(c) 2016 Minori Yamazaki -Japanese Artist-


by ardest

タグ:science art ( 13 ) タグの人気記事

a0031847_20101456.jpg[作品アーカイブ]

1983年のことですが、立方体万華鏡cumos(キューモス)の6cmタイプを特注で第9回世界複素環化学会議のプレゼントノベルティーとして特注制作していたことを思い出しました。

"The Ninth international Congress of Heterocyclic Chemistry" とcumosの前面にシルクプリントしてあります。ロゴもSpiel Cumosと大書きされていて箱も特製ですね。内部の鏡パターンには複素環の構造を表面鏡にエッチングしています。  複素環化学会のHPへ

およそ100個限定で制作たように記憶しています。現在は手元にこの一個だけ残っています。組み立ては手作業なので夜なべしたように思います。
a0031847_2095280.jpg

■ cubic 3D kaleidscope = mirror box 鏡箱 サイコロ型万華鏡 CUMOS
■ new CUMOS site CUMOS.JP cubic cosmos scope
■万華鏡伝導UAPふくろうの会
 
by ardest | 2007-05-16 20:10 | CUMOS立方体万華鏡
[展覧会アーカイブ ]
サイエンス&アート展「たんけん! びっくり! ふしぎな世界」
1999年(平成11年) 7月18日(日)〜8月31日(火)
第3ゾーンの「光とアート」の部門展示に出品しました。
-光の反射,屈折現象や光ファイバーを応用したアート及びコンピュータグラフィックスを紹介-
[主な出品資料]
ライトアート作品(ヤマザキミノリ作),さいころ万華鏡(ヤマザキミノリ作),コンピュータグラフィック作品(ヤマザキミノリ作),他 ライトスティック 千葉現代産業科学館での紹介ページへ
※写真は当時のsonyの35万画素cybershotで撮影したもの。
a0031847_23435623.jpg


More 続きを読む・・・
by ardest | 2007-04-17 21:14 | 展示と掲載等資料
これは、立方体万華鏡cumosの中身を撮影するための手製ピンホールカメラです。大学院の修了制作で作成したものです。左から立方体の一面の中央から撮影するタイプ、真ん中は一辺の中央から、そして右は角の一つから対角の角方向を覗くピンホールカメラです。左のもののみ一面のパターンミラーが仮止めされています。残りの2点も二枚と三枚のパターンミラーをテープで仮止めして使います。これらの本体にフィルムバックを取り付けて1分ほどの露出で、鏡の箱の無限反射を撮影します。
 ★内部映像事例へ-1   ★内部映像事例へ-2
ピンホール部は、田中央式フィルムピンホールカメラです。なんと穴直径0.18ミリのものを使っていました。これ以上小さい穴は、光の波長と緩衝して、結果的に写りがよくありません。経験値からこのくらいが限界だったように記憶しています。
●cumosと田中式ピンホールの記述のある記事へ
a0031847_1744984.jpg

特注で表面鏡のアクリルミラーを制作して、組み立てています。。鏡自体は26年くらい経ているので、さすがに劣化が進んでいます。中央に小さく見える部分がフィルム式ピンホールです。
a0031847_17502844.jpg

↓この開口部分に6×7のフィルムバックを両面テープで接着します。
a0031847_18544038.jpg

●学研「大人の科学マガジン」vol.13投影型万華鏡にcumosが記載されました。学研「大人の科学.net」へ
■ new CUMOS site CUMOS.JP cubic cosmos scope
■ cubic 3D kaleidscope = mirror box 鏡箱 サイコロ型万華鏡 CUMOS
■万華鏡伝導UAPふくろうの会
 
by ardest | 2006-10-26 17:51 | CUMOS立方体万華鏡
- Minori Yamazaki's World -1995

Machiko Kusahara Media Art Curator

Professor of Media Art, Waseda university.

Without light, we could not see. Only an energy of light can generate and support the entire ecosystem of earth. The story of Genesis in which light gave birth to life is a myth which is based on a truth.

The expression of light has been the recurring theme in various works of arts, from expressions of hope and porousness in religious paintings to subjective expressions in Impressionist art.

Stained glass, which enabled light to express magnificent images, was later transformed into slides projected by a lamp for people's amusement. It was, so to speak, a small freedom as a result of shutting out the sun light.

With the transformation from slides to movies and from an optical to electronic media, we acquired the ability to control light. Expression by light has been a dream pursued by western artists. This was indicated in the fact that the advent of computer graphics was regarded as "a medium human beings finally achieved to paint with light" in Europe and North America.

It is interesting that computer graphics, one of the most advanced of visual technologies, has clearly reminded us that we have relied on light since ancient times, a fact that has been over]coked in civilized society where darkness has been wiped out. Computer graphics simulates the actual reflection and diffusion of light. The monitor screen would remain dark if we overlooked the care of a light source in the virtual world.

In the 1960's and 70's, the beginning of the era of electronic art, many works of expression through light appeared. They took various forms. Neon tubes, irradiation of a beam of light, sculptures of moving light in combination with kinetic reform, reactive image processing and projection using analog synthesizers, ambient spaces where monitors are installed, were more or less typical configuration of the works of that time.

Materials like laser beams and Plexiglas (transparent resin which has a tendency of having beams of light centered on its cross section) made it possible to mold the image of light more sharply than ever, while optical fiber enabled the ability to guide light in any direction.

The delicate cybernetic work by Wen In Tsar and the space created by Bruce Nauman give us an impression of light which has final]y become a scud]plural media. However, the use of loudly-colored lights to create excitement in live concerts and discos, and the il]urination of the sky with neon lights and laser beams in place of the stars became common during the rapid economic growth of the 1980s.

Commercialism surpassed art by sheer quantity. I can still remember the reaction of a visiting American light sculpture artist back then, who was at loss for words at his first sight of the night life and lights of Shinjuku's Kabuki-cho.

In the path of contemporary art, if the artist wanted his lighting work to convey its pure art message, completely shut out from the masses, inevitably he would need to trim his work by minimal and geometrical expression or to critical]y cast back the overflow of light. Nam June Pike, Jenny Holzer, and Tatsuo Miyajima capture the overflow of image (or electric signs) and cast the image back to us by altering its message completely.

Takuro Osaka visualize and contemplates our surroundings by conveying invisib]e cosmic rays falling continuously from the universe into frail]e blinking light. In these works the light conveys message, and we cannot help confronting it.

Minori Yamazaki's works are different from these. He does not trim light but absorbs it and creates his own animistic universe which is based on organic rather than inorganic system. His works as a whole, rather than individually, expand the ambient and three-dimensional space using various media including computer graphics.The space is filled with light which changes its density peacefully and quietly.

Recalling the biological"ontogeny recapitulates phylogeny" theory, the memories of our ancestors' will to be merged with the memories of human fetuses and from the inside of a womb, we experience being wrapped in the softness of light and dark.

The fact that Yamazaki's art continues to be engaged in and concerned with design must be behind such feature of his space. If a nature of design is to produce a soothing and recreating moment, and a meaning of art is to remind us of things we have lost, then we need an artist like Minori Yamazaki to recall the meanings of the lost darkness and the starlit sky.

After the crazy era of wasted energy resources, the calm spaces created by artists such as James Trarel and Bill Viola are beginning to attract wider attention.

We are looking for a mysterious familiarity in the junction of light and darkness. From this junction, our lost memories will be recovered and quietly expanded.
 Minori Yamazaki's Internet Museum  ヤマザキミノリのインターネット美術館 Internet Museum of MINORI YAMAZAKI
■ new CUMOS site CUMOS.JP cubic cosmos scope
■ cubic 3D kaleidscope = mirror box 鏡箱 サイコロ型万華鏡 CUMOS
■万華鏡伝導UAPふくろうの会
 

More information...
by ardest | 2006-03-07 20:59 | comments

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by ardest | 2006-02-15 20:01 | CG, Media Art

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by ardest | 2006-02-08 19:56 | CG, Media Art

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by ardest | 2006-01-30 19:56 | CG, Media Art

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by ardest | 2006-01-20 19:53 | CG, Media Art

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by ardest | 2005-09-10 19:50 | CG, Media Art
※個展やグループ展以外で出品した展示企画についてアーカイブします。

■ サイエンス&アート展「探検!ビックリ!不思議な世界」1999年 平成11年7月18日〜8月31日 
千葉県立 現代産業科学館  CHIBA MUSEUM OF SCIENCE AND INDUSTRY

 Minori Yamazaki's Internet Museum  ヤマザキミノリのインターネット美術館 Internet Museum of MINORI YAMAZAKI


More※以下は事務局サイトより引用
by ardest | 2005-04-20 09:57 | 展示と掲載等資料