- Eriko Kusuta
由奥古斯丁•伯克 先生/女士 主讲的市民论坛
- 2009年9月19日 (13:30-15:30)
- IMS Hall
“Fudo includes not only the environment, but the subjectivity of the inhabitants as well”
During my studies in geography and Oriental studies, I encountered a book by Tetsuro Watsuji entitled Fudo, published in 1935. I was deeply interested in the concept of fudo that he discussed, introducing the concept of ontology into geography while preserving the phenomenological interpretation. He wrote that fudo was not merely the environment, but also included the subjectivity of its human residents. It is impossible to understand the reality of fudo without fi rst understanding the people living within it.
I formerly lived in Sapporo, and one of my research themes there was the pioneering of Hokkaido in the Meiji era. At that time rice agriculture was thought scienti cally impossible in Hokkaido, but the determination and eff orts of the farmers there, coupled with a natural mutation exhibiting improved resistance to cold climate, made it possible. Th e fl avor of this strain drops somewhat when grown outside the Hokkaido region, and no doubt it would have been disposed of as weed. With the successful establishment of rice agriculture in Hokkaido, however, this rice assumed a central position in the fudo of the region. This fudo incorporates both subjectivity (the feelings of the local inhabitants) and objectivity (nature, scenery, etc.), and the balance between them can also be interpreted as the relationship between the collective and the individual. The interactive relationship between these two elements, trajectivity, is what creates fudo and the people.
In today's world, the fudo of diverse regions including Japan are being homogenized, and this trend has been questioned. These warnings against modernization are a new research theme of mine. The environment and human inhabitance are threatened, and we must recognize the need for a lifestyle based on quality, not on materialism. Philosopher Martin Heidegger once said that people should live like poets. Creating the earth of the future will require us to assume lifestyles with the spiritual richness of poets.
由帕沙•查特吉 先生/女士 主讲的市民论坛
- 2009年9月20日 (13:00-14:30)
- IMS Hall
"Voicing the History of the Voiceless"
Professor Chatterjee talked with Professor Chiharu Takenaka of Rikkyo University, who researches international and Indian politics and has translated work by Professor Chatterjee. Their discussion touched on methods of uncovering the history of the ordinary people, and how to utilize that knowledge in the future.
由三木 稔 先生/女士 主讲的市民论坛
- 2009年9月20日 (16:00-18:30)
- Fukuoka Bank Hall
“The Fascination of Minoru Miki”
Four groups performed, including a nine-part operatic circle of Japanese history that only Mr. Miki could write, as well as sokyoku, choral, instrumental and vocal pieces, revealing the breadth and depth of his music.
由蔡国强 先生/女士 主讲的市民论坛
- ACROS Fukuoka Event Hall
“Driven to Explore the Potential of Art”
Exhibitions of contemporary art in Asia generally do not drawn large numbers of visitors, but tend to be enjoyed by the few.
Th is is unfortunate, especially considering that contemporary art expresses messages on society and the era through new techniques, so people should feel more familiar to it compared to traditional art. The theme for the forum focused on this point.
First and foremost, “Art must be useful in your own life.” Unless you yourself are happy, others cannot feel happy either. That’s why you should concentrate on what you want to see and do. For me, I achieve catharsis through reworks, blowing o ff my dissatisfaction with my sadness, my weakness, or with society itself. I can express my feelings to others through art, and I feel at peace when I can express the beauty of nature.
When I want to draw attention to some social issue, I can send a message through my art, because art is a bridge between myself and society. The tough part is to fi nd a fascinating and powerful means of expressing my feelings in my art. Problems must be resolved outside of art, but in the end are expressed through artistic energy. This is something I am constantly aware of.
Art also has the aspect of helping people. For example, I have auctioned o ff some of my pieces, and made donations to help victims of the earthquakes in Taiwan and Sichuan. I was involved in a project to make kites with children in Egypt, and even aft er that project ended, they still hold kite events annually. Artists not only show their work to others, they sow the seeds of culture.
Many people are awed and excited by my reworks. People across the globe were astonished by the Olympic fireworks that graced the skies above Tiananmen Square in Beijing. Art brings joy to people.
I think although art is not very practical, it has many potentials. I hope that you all will visit art museums more o ften, and encounter the pleasure of contemporary art as you discover new methods of expression and new concepts.