December 23, 2017

ある(超難しい)響きについて & I started taking Suona lesson!

image: 碗(it means cup) for Suona

Now I am in Taipei. So cloudy and unexpectedly cold(not as much as Japan off course). To be precise, I am participating in an exchange research residency between ARCUS(Moriya, Japan) and Kuandu Museum(Taipei, Taiwan). Kuandu Museum is located in the north of Taipei near Tamsui. In the northern part of Taipei, there were several Spanish colonies which were then taken by Dutch and later by Chinese, English, Japanese and partly English again... such complex colonial histories are a part of my 17th century research.

The Museum is a part of Taipei National University of Arts. It's up on a hill, 10-15min away from 3 stations but somehow many easy-hikers on weekends. Winds are strong and you have a great view towards the city of Taipei. It means... I am far away from downtown Taipei. Well just an hour or so to be fair.

There are fine art, music, dance, theatre, and new media department. I am staying in the guest house of the university which is in the campus, so I often eat at the student canteen. It makes me feel like I am back in school again. Very proper for research residency environment? but being in school had an advantage in cases like finding a teacher for learning instrument.

I wrote a letter explaining my desire and reasons for learning the instrument to find some people who would be willing to help my search into to the sound of Suona. Soon after my letter was handed to the staff of museum, they passed it to traditional music department in the campus. Luckily one of the graduate student, Chi-yi, found it interesting and contacted the office.

I met to-be-my teacher in the museum office for the first time. There were already several Suona on the table. The instrument has a tiny wooden body called 管 (pipe) and a metal cup 碗 and the reed is rather small for making that massive sound. Seeing it for the first time, it looked well made and yet primitive at the same time.


The curators and staff at the museum were gathered around the table chatting with Chi-yi. It was nice to see them getting interested in the instrument. Although in Tainan and also elsewhere, I feel that the temple and people lives are connected strongly even among young people, the enthusiastic conversation kind of revealed the distance between the "traditional instrument" and people who are not engaged with it.

Musicians of traditional music(include Western traditional music "classical" music) often becomes elite group and at the same time, sometimes, segregated given some "special" tasks to carry out rituals etc. So it is not just the fast pace modern or contemporary urban life and rational(for production) society that separated these music from people but l personally feel the gap or closeness between this type of music and people hints something about the condition of our society. Not quite sure what it reveals but maybe how much extra(but necessary to breath) space it has?

I feel that we all need a space and time that cannot be named. Music may have provided it. Some time-space that refuses any claim and remain unknown. Maybe... and why am I writing this?

image: Chi-yi instructing me how to read and play

Anyway, I started taking Suona lesson. It requires certain amount of breath to produce the sound and to control the pitch. It is so difficult and loud that my ear started ringing after several notes I played.

image: notation for "上管風入松

hope to upload my recording soon! or not...TBA.







-hello is this mamoru?
-ok. TA at the traditional music department contacted us that they found a musician interested in your project and she is in the library now. Are you still sleeping?!
-no no. wow that’s great.
-can you come now?
-sure. in 10min.


-I will be coming to the office in 5 min. Is she already there?
-yes but it’s ok. take your time~


-hi nice to meet you. my name is mamoru
-oh hi, my name is Chi-yi








December 10, 2017

ある響きについて & wondering what I heard in that moment

image: sky above a street in Tainan, 2017

A sentence may tell you the beginning of my recent search...

- I was in Tainan.

Not sure what triggers you by the sentence but with the image above and if you have ever been there, I am sure you can recall/imagine/hear some sound other than the fireworks and the passers by.

There was this sound. It was festive, loud, and uplifting.
I heard the sound everyday somewhere.

It's so identical that I would not miss it. It gave me this timeless feeling somehow, probably deriving from its primitive acoustic energy produced by the intense breath of the player and for sure by something more.

image: excerpt of The Trading Post at Dejima (Japan, c.1840, brush and ink on silk), Rijksmuseum

It's called 唢呐(Suona) in Taiwan. The names and the descriptions of the instrument and its history/origin varies. It can be found in various cultures along the silk road then all over the world, including Japan. Just like many other instruments. So what's so unique about it then?

It is interesting to note that in 16th century, the instrument was introduced to Japanese as "唐人笛"(flute of Tang) but later Portuguese came and called the instrument as "charmela", then more people seems to adopt the European name gradually. But it wasn't so much about this kind of information I can find easily on Wiki or my personal nostalgia that I remembered the sound of the street vendor selling noodles playing this instrument maybe 30 years ago or so. In the chorus of this instrument, I heard something more. Probably another history that I don't know yet.

One thing related to what I am hearing may be found in the following image I have been looking into for several years.

image: *engraved image from Gedenkwaerdige Gezantschappen der Oost-Indische Maatschappy in ’t Vereenigde Nederland, aan de Kaisaren van Japan, Arnoldus Montanus, 1669

I have been inspired by the images created in the Netherlands about Japan(or East) by Europeans who gathered information and imagined it; its culture, history, and geography. It first looked odd, then made me judging that it's wrong and later caused me to wonder on what bases I was judging. I had to question myself what and by what means I assumed that I knew about the 17th Century Japan. Movies? Text book provided by schools? Can I say that I know something about it then?

Could it be true that I am less informed than those Dutch people who made that geography book?

It could. The distance between me and 17th century Japan is so far away in time and cannot compare with the geographical distance those Dutch people had back in 17th century. However, if they wish, they could go on a ship and spend 8 months to reach it(apparently with a lot of luck) while I would have no chance to travel there.

I became curious about their process, so I started gathering many materials about 17th-21st century Japan(or East) from the Netherlands, Indonesia, and now Taiwan to imagine possible histories of Japan or the world. I came to Taiwan (and will be here for a while) hoping to reflect and deepen my understanding of histories especially from 16/17th century onwards. I want to somehow pluralize the world(or my world view maybe) into worlds. Not a Japan but Japan-s. Simply to give space to breathe for myself and for other people who might also be suffocating by the standardisation or more like a singularization of nationalistic identity promoted/propagated by the authority over personal.

What did I hear in the chorus of 唢呐(Suona)?

It was festive, loud, and uplifting. It went on and on and faded out. I was walking away and they were marching on to the next temple. Though the sound faded out, it made my ears more indulged into the details of what I had experienced. And I am in this search of the name for it.

I want to know it.

August 12, 2017

東京で久々の個展です and my latest music-work will be exibited!

solo exhibition/個展 "散華 上段-Upper Sange 2017"
2017.Sep.02 - Oct.07 @Yuka Tsuruno Gallery

image: excerpt from a video "becomings / 投げ出された身体"(HD, silent, 2017)

ご無沙汰してます。昨年オランダより帰国してから制作していた新作をYuka Tsuruno Galleryにて発表します。
I will be showing my new work @ Yuka Tsuruno Gallery in Tokyo.
(Please scroll down for the rest of English greetings!)

制作にあたって相談に乗ってくださったたくさんの方々に感謝します。そして快く取材に協力し、持てる知見を惜しみなく披露してくれ、レコーディングも快諾してくれた河合 真人上人、そして忙しいスケジュールの合間を縫って素晴らしい作品解釈と演奏をしてくれたガムラン奏者Welly Hendratmoko、パーカッション奏者Alfin Satrianiの2人に心から感謝します。またインドネシアでの録音に関してコーディネートとアシスタントをやってくれた Rangga Purnama Ajiにも改めてありがとう!最後にビジュアル・リミックス担当 Hyuntae Leeにも感謝!(まだ現在進行系ですが・・・w)

image: excerpt of the illustration from "Gedenkwaerdige Gezantschappen der Oost-Indische Maatschappy in ’t Vereenigde Nederland, aan de Kaisaren van Japan"(1669, Amsterdam)


I will be showing my newest work "散華 上段 - Upper Sange 2017" at my mother gallery in Tokyo, Yuka Tsuruno Gallery. Please come take a look or actually to listen to since it is a piece of "music" that I made with fabulous musicians from Yogyakarta and a monk from Kyoto.

The work features sutra chanting of Rev. Mahito Kawai(head of Zuirin temple of Jyodo sect) whom I met and collaborated with at a music festival in Austria more than 15 years ago! Anyway, it is the 5th chapter of my series called "a long listening journey of a Possible thiStory especially of Japanese & Dutch & something more". The recording was inspired by several illustrations in the Dutch geography book published in 1669, Amsterdam, which has been one of the most important inspiration for the entire series. Some of them shows "temples" of their-imaginary-Japan where people dance around the fire in trance and others contains instruments that are truly similar to Java gamelan instruments. I had tried to graft these inspirations with the world of 2017.

Big Thanks to all who helped me and gave advised and making this piece possible. Especially 河合 真人 (Mahito Kawai) for putting his expertise and willingness to create the piece, and Welly Hendratmoko & Alfin Satriani for understanding the concept and expressing it into great performance!! Also Rangga Purnama Aji for giving me so much time and energy coordinating and be willing to assist me during recording sessions in Yogyakarta. Last but not least, Hyuntae Lee for remixing all the images for the projection.(still in progress at this very momoment!) and not to forget Komatsu Sound Lab, who would make the sound system in the exhibition space, be sure to experience the sound if you are around Tokyo! I guarantee you will not regret to experience their sound system even if you don't like my music! ;)

December 04, 2016

レクチャー@国立民族学博物館 & I will talk about my latest project at National Museum of Ethnology!

image: lecture performance @ National Museum of Art, Osaka(2016)

大阪の千里中央、万博記念公園にある国立民族学博物館にてAnthro Film Lab*主催のセミナー「Anthro-film Laboratory 21」にて現在進行中のプロジェクト「あり得た(る)かもしれないその歴史を聴き取ろうとし続けるある種の長い旅路、特に日本人やオランダ人、その他もろもろについて」の事など、実作のプロジェクションを交えつつ話します。

I will talk about my latest project "a long listening journey of a Possible thiStory especially of Japanese & Dutch & something more" at National Museum of Ethnology, a seminar organized by Anthro Film Lab*.


「Anthro-film Laboratory 21」

Date: Dec. 18, 2016, 14:00-
Venue: National Museum of Ethnology, 2F, Seminor Room 7, Osaka


*Anthro-film Laboratory

Anthro-film Laboratoryは、人類学、映画、コンテンポラリーアートが交叉する実践のなかで、言語に依拠するだけでは伝達されえない知や経験の領域を探求し、人文学における新たな知の創造と語りの新地平を切り開くことを目指します。

Anthro-film Laboratory aims to explore the knowledge and human experience that can be transmitted through non-textual form; expanding the practice of knowledge creation and storytelling in the humanities in conjunction with film, contemporary art and anthropology

October 07, 2016

あり得た(る)かもしれない歴史にまつわる作品発表! & I will show works I have made in The Netherlands!

left: video still, detail, Further(2016), dancer: Madoka Kariya, right: research material, engraved illustration, detail, Gedenkwaerdige Gezantschappen der Oost-Indische Maatschappy in ’t Vereenigde Nederland, aan de Kaisaren van Japan(Arnoldus Montanus, 1669, Amsterdam)

(Please scroll down for English)

a long listening journey of a Possible thiStory especially of Japanese & Dutch & something more / あり得た(る)かもしれないその歴史を聴き取ろうとし続けるある種の長い旅路、特に日本人やオランダ人その他もろもろに関して

viewing space vol.002: mamoru
会期: 2016年10月29日(土) - 12月3日(土)
Yuka Tsuruno Gallery
140-0002 東京都品川区東品川1-33-10 TERRADA Art Complex 3F
tel. 03-5781-2525
営業時間: 11:00-18:00(火・水・木・土)/11:00-20:00(金)/日・月・祝休廊


今回、この新シリーズの現時点を披露できることになりました。場所は、私の所属ギャラリーであるYuka Tsuruno Galleryの新拠点となった天王洲のアートコンプレックス内の共有ビューイングスペースです。


*1669年にアムステルダムで出版(アルノルドス・モンタヌス著)原題は「Gedenkwaerdige Gezantschappen der Oost-Indische Maatschappy in ’t Vereenigde Nederland, aan de Kaisaren van Japan」。日本語では「日本誌」とか「東インド会社遣日使」等と呼ばれる。


I will be showing my works I have made in the Netherlands in the past year, screening a documentation video of my lecture performance(20.5min) and 2 video works(10 + 3.5min). All together about 35-40min.

The project is inspired by a geography book published in Amsterdam in 1669, titled "Gedenkwaerdige Gezantschappen der Oost-Indische Maatschappy in ’t Vereenigde Nederland, aan de Kaisaren van Japan." This book, 456 pages of text with 71 engraved illustrations and 23 double-paged engravings folded in, comprehensively showcased Japanese people, culture and history and introduced to Western society. I have been making a series of works that, in some way or another, graft today, the world of 2016, to the Possible history that these Dutch book makers had once generated.

The screening will take place in the viewing space of the new art complex, TERADA Art Complex, in which my gallery has moved in. It will run for 5 weeks and the videos would all together be about 30min long so please plan to visit when you have time! I have the privilege of having Komatsu Sound Lab. to assist my sound set ups. It is sounding. (By the way, I am already making a new chapter of this series, and it will be shown in 2017.)

Screening will include the following/スクリーニングの内容:

The 1st chapter: 
this voice・a place・all that is resonating/この声・ある場所・残響するすべて (2016)
a lecture performance, 9:30, language English
viewing link:
Documentation of a lecture performance/レクチャー・パフォーマンスのドキュメンテーション映像

The 2nd chapter: 
The Art of Japanese Bowing/(ジ)ヤパニーズのお辞儀 (2016)
a lecture performance, 10:41, language English
viewing link:
Documentation of a lecture performance/レクチャー・パフォーマンスのドキュメンテーション映像

The 3rd chapter: Further/遠くへ(2016)
HD 16:9, stereo sound, 10'10", dancer: Madoka Kariya, camera: Sol Archer
viewing link:

The 4th chapter: outstretched/伸ばした手(2016)
HD 9:16, silent, 3'20", camera: Sol Archer
viewing link:

image: a excerpt from "Gedenkwaerdige Gezantschappen der Oost-Indische Maatschappy in ’t Vereenigde Nederland, aan de Kaisaren van Japan." (Arnoldus Montanus, Jacob van Meurs, Amsterdam, 1669)、画像:モンタヌス日本誌、アルノルドス・モンタヌス、1669

September 16, 2016












soundartist77 at 09:38|この記事のURLComments(0)2016 Tokyo 

June 01, 2016

作品収蔵のご報告&Time of Others exhibition travelling to Australia, Brisbane!

20150525-27 copy

photo: (C) mamoru, Museum of Contemporary Art Tokyo, Courtesy of YUKA TSURUNO GALLERY

Exhibition@Queensland Art Gallery|Gallery of Modern Art, Brisbane

It’s June! How are you doing? I am about to finish my master in a month meanwhile… my work "THE WAY I HEAR, B.S.LYMAN 5th Movement Polyphony for Collective Imagination" will be exhibited again. "Time of Others", a travelling exhibition which opened in April 2015 and went around, is now going to be re-opened for the last time in Australia, Queensland Art Gallery|Gallery of Modern Art, Brisbane, from June 11 and ends in September 18, 2016. Thanks to all the artists, curators, staff, and visitors that I got(will get) in contact through this exhibition. The work has been acquired by Museum of Contemporary Art Tokyo and now a part of their collection, so I hope that they would show it sometime in the future. Special thanks to all the people I collaborated during the research and MOT and my gallery YUKA TSURUNO GALLERY.

Here is 1min Trailer/Prelude, using the very first part of the whole work(15min). Please have a look!

More about the work(pdf 1.3MB):



大変ご無沙汰しています、久々に展示の案内をさせて下さい。昨年発表した「THE WAY I HEAR, B.S.LYMAN 第5章 協想のためのポリフォニー」ですが再度、オーストラリア・ブリスベンのクイーンズランド州立美術館|現代美術館にて6月11日から9月18日の期間展示されます。2015年4月より巡回していた「他人の時間」展もこれでいよいよファイナルです。もしも夏休みなどでブリスベンに行かれる際は是非ご覧ください。参加アーティスト、キュレーターチーム、スタッフの皆さんいろいろとお世話になりました、そしてご来場下さった (る)皆様、ありがとうございます。おかげさまで作品の方は昨年度、東京都現代美術館に収蔵されました。また近い将来また展示される事を願ってます。何よりもこの物語の舞台であり、リサーチの際に色々な方に協力いただいた北海道と米国マサチューセッツでなんとか展示したいと願っています。


作品詳細(英, pdf):

May 31, 2016

風を知るータンデム飛行2&Documenting my WIND STUDY!

photo: Miyake Kotaro











風を知るータンデム飛行1&Documenting my WIND STUDY!


photo: mamoru


ともかく、鳥取で2015年8月に鳥取藝住祭の関連企画として、Hospitaleプロジェクトの赤井さんを呼びかけ人として、アーティストの山本高之さんと共同ディレクションした「SCHOOL IN PROGRESS」という企画を行った。その際に、私が長年地味に進めている「風を知る」というリサーチプロジェクトに絡めさせてもらうことにした。以下は、前にHospitaleで鳥取に呼んで貰った時から協力していただいているパラグライダー・インストラクターの市川正さんとの飛行記録を主にFBへの投稿を元にかきおこす。



ー向かってます。空へ!(it's true. You'll see later!)

ーまだ向かってます!空へ!On the way!

ーまじですよ。serious business







































July 31, 2015

想像のための幾つかのスコア and upcoming lecture-performance!

image: performance view: "THE WAY I HEAR/Several Scores for Imagination" 2015.Jan.27th, Tokyo

(Please scroll down for English)


「THE WAY I HEAR/想像のための幾つかのスコア」

〒530-0005 大阪府大阪市北区中之島4-2-55 TEL:06-6447-4680(代))
日時:2015年8月8日(土)14:00 - 16:00(休憩あり)
入場:無料、先着130名 ※10:00から整理券を配布







Lecture Performance

"THE WAY I HEAR / Scores for Collective Imaginations"

performer: mamoru(text, talk), Daisuke Kino-shita(flute, talk)
date: 8th, August 2015, 14:00 - 16:00 (with intermission)
venue: The National Museum of Art, Osaka
admission: free, register at the reception from 10:00 -

sound: Komatsu Sound Lab.
organised: The National Museum of Art, Osaka
special thanks: YUKA TSURUNO GALLERY, Asian Contemporary Music Society (ADOK)


Dear readers!
Here is an INVITATION to my upcoming lecture-performance! As a part of "TIME OF OTHERS" exhibition now taking place at The National Museum, Osaka, the lecture-performance will include several projects that I have been working on as I briefly introduce below. I am very much excited to work with DAISUKE-Kinoshita, an excellent Japanese flute player and composer, who will be performing "polyphonic-talk" with me. He will also introduce special techniques of wind-instruments in relation to my WIND STUDY.

-about the "Scores for Collective Imagination"-

"Arnoldus Montanus and Andries Beeckman"
17C Dutch writer, Arnoldus Montanus was the author of "Atlas Japannensis being remarkable addresses by way of Embassy from the East India Company of the United Provinces, to the Emperor of Japan", so-called first Western book of Japanese Historical account and a painter who was his contemporary and went around East Indies as a soldier of Dutch East Indies(VOC).

"B.S.Lyman" (>related posts)
It is based on the research I have been doing over the past 3 years about an American geologist/mine engineer who were hired by the Japanese government in late 19C and conducted an important geological survey and made the first modernised geological map in Japanese history. I will introduce the work I presenting at the Museum of Contemporary Art Tokyo, titled "THE WAY I HEAR, B.S.LYMAN, The 5th Movements Polyphony for Collective Imagination". It is 2ch bilingual text-projection with bilingual narration and some field recording.

"WIND STUDY"(>related posts)
It is a fascinating borderless-timeless subject of curiosity and I have indulged into the subject for years; trying out sailing and paragliding, learning science of it, visiting windy locations, researching stories/myths and wind that changed the history. I am so pleased to have an opportunity to invite Daisuke Kino-shita again after the performance we did in earlier this year as a "wind player". He will tell/play us about his thoughts around wind instruments!

April 30, 2015

協想のためのポリフォニー and about TIME OF OTHERS exhibition

(for English scroll down please!)

現在、東京都現代美術館にて開催中の「他人の時間」展に「THE WAY I HEAR, B.S.ライマン 第五章 協想のためのポリフォニー」という新作の「サウンドインスタレーション」を出品してます。




「他人の時間 - Time Of Others」展@東京都現代美術館



group exhibition "Time Of Others"

I went back to Japan for a little while to install my recent work for the exhibition at MOT, The Museum of Contemporary Art Tokyo. I am presenting a work titled "THE WAY I HEAR, B.S.LYMAN, The 5th Movements Polyphony for Collective Imagination". It is based on the research I have been doing over the past 3 years about an American geologist/mine engineer who were hired by the Japanese government in late 19C and conducted an important geological survey. A continuous chapter from the one I exhibited in 2014; Score for solo imaginative listener. The new chapter consists of several narrations that you hear from wireless headphones, series of short Bilingual(EN/JP) texts on two screen, and edited field recordings and a few other sound. It is 2ch text-projection with stereo sound.

I named the piece as polyphony for "collective imagination" thinking that the installation would become sort of a "score" to inspire collective people in the exhibition space, inviting them into their own imaginary soundscape. I am curious how/whether their imaginations would resonate each other in the space or may be they would not? then becomes parallel imagination?

Speaking of imaginary hearing, I had a very interesting moment when I was editing one part of the text-film. I "heard" one sound that B.S.Lyman might have imagined. Based on different types of research, I am now able to imagine what was like to be there and what you might hear if you were there, but "imagining the imagination of other" was a new layer for me. I have tried to included this sound in the work.

The exhibition runs until the end of June, so if you are ever in Tokyo please visit and see/listen to the work!

"Time Of Others" @ The Museum of Contemporary Art Tokyo
exhibition period: April 11th - June 28th
more about the exhibition > e-flux/announcement

* Although the exhibition will travel to 3 other museums, my installation is planned to be shown only in Tokyo and Brisbane. However, a lecture performance related to the work is going to take place in National Museum of Art Osaka on the 8th Aug!

-National Museum of Art, Osaka
25 July - 23 September 2015
*8th Aug - lecture performance "THE WAY I HEAR"

-Singapore Art Museum
November 19, 2015–February 28, 2016

-Queensland Art Gallery|Gallery of Modern Art, Brisbane
June 11–September 18, 2016

January 16, 2015

一時帰国中のイベントリスト!and this is the list of lecture+performances in Tokyo Jan-Feb 2015

image: front cover of the flyer for the Tokyo performance


1 -Jan 25th/Tokyo/Talk


『庭園美術館へようこそ 〜旧朝香宮邸をめぐる6つの物語』
出版記念 高橋マナミ写真展(2015.1/22 Thu. - 2/1Sun.)


2 - Jan 27th / Tokyo/Lecture Performance

「THE WAY I HEAR / 想像のための幾つかのスコア」

東京都千代田区外神田6-11-14(3331 Arts Chiyoda 3F)

Venue: 3331 Arts Chiyoda 3F, ROO302,
Date: Jan 27th 2015, 19:00-21:00
Admission: Free but RSVP; email to "" write mamoru/lecture performance, your name, email, phone. Thank you! and looking forward to see you.>
No translation but part of the performance will be done and presented in Engilsh. There will be polyphonic performance with the wind player(flutist Daisuke Kinoshita).


3 - Jan 31st / Tottori/Lecture Performance

「THE WAY I HEAR / 想像のための幾つかのスコア」

旧横田医院・Hospitale Project


4 - Feb 1st / Osaka/mini party + mini lecture


日時: 2月1日(日) 19:00 - 22:00
場所:project room ift(大阪市北区中津3-21-15)

soundartist77 at 19:15|この記事のURLComments(0)news | live performance

November 30, 2014

まだ会った事のない友人 and that's how I met Kosta Tonev!

(Please scroll down for English)画像1

「CHAPTER SEVEN -03- まだ会った事のない友人」

キャリー付きの大きなバックパックにもなるかばんを2つピックアップし、ひとつを背負い、ひとつを引っぱり駅へと向かう。税関の背後にある大きな自動ドアを抜け、ターミナルに出るとすぐに格安プリペイドのSIMカードを購入し、手持ちのiPhoneに SIMを差し込み、いろいろと設定をしながら電車のチケット券売機に並ぶ。言語を英語に指定し、チケットを購入。階段を降りるとプラットフォームになっていて、運良くすぐにDen Haag Central行きの電車が来たところだったので、空いている席を確保して、15時間のフライトで疲れた体とやたらと重い荷物を座席に置いた。アムステルダム・スキポール駅からハーグまではIntercityという快速電車で約30分ほど。オランダはとても狭い。

ーyou can just send me a message after you get on the train. (電車にのってから連絡してくれれば大丈夫だから)


宛先:Kosta Tonev
I just got on the train to Den Haag Central. I will be there in about 30min or so!
Looking forward to meet you.(いまハーグ行きの電車に乗りました。だいたい30分くらいで到着しそうです!会うのを楽しみにしています。)



Anna(以下、A): It's not easy to find a place here, you know. (オランダは部屋探しが大変だけどどうするつもりなの?)
mamoru(以下、m): I'm thinking to book a cheap hostel or airbnb for a week and try to find the room to rent.(とりあえず一週間くらい安宿に泊まりつつ、住む家を探そうかな。)
A: You can stay at our place if you don't find any place. But my first advise to you is to GET A BIKE!(もしいいところがなかったら家に泊まってもいいから言ってね。でもともかく自転車はゲットする事!)
m: OK! thanks a lot.(ありがとうー!)




"OK. Then see you later!"(じゃあ、あとで!)




Kosta(以下、K): Hi. I am sorry I am late. I had to do something with my friend.(遅れてちゃってごめんなさい。どうしてもちょっとやらなきゃならいことがあって。)
m: No sorry! I mean, thank you for everything and letting me stay at your place.(いやいや全然大丈夫! というか泊めてもらえるだけで本当に助かります。)
K: Sure, sure. How was your flight? Well, shall we go? I can carry one of your bag.(もちろん。疲れてない?まぁ、とりあえずいこうか?ひとつ持つよ。)






「CHAPTER SEVEN -03-A friend that I have never met 」

I picked up my two language with small wheels. One on my shoulders and another one pulling, I go towards the station, passing through the big automatic door behind the tax-desk. I get my prepaid SIM, trying to setup while waiting on a line to buy a train ticket. I arrived right on time on the platform as the train going to Den Haag Central arriving. I sat down put my heavy luggage and myself which is being tired from the 15-hour-flight. From Schipool Airport to Den Haag Central is more or less about 30min. The Netherlands is not so big.

ーyou can just send me a message after you get on the train.

I put out my iPhone and set the Wi-Fi. There is a free Wi-Fi in the train here. Off course you need to click some kind of “Agreement” to give all the data while you are using it…so it is not “free” in deeper sense. I cannot read Dutch, but anyway I agreed. Logged in.(I guess that’s what it says on the screen since I see the signal) I open my messenger App.

Create a new message
to: Kosta Tonev
I just got on the train to Den Haag Central. I will be there in about 30min or so!
Looking forward to meet you.

His name is Kosta. He is one of a friend that I have never met.

An artist friend of mine who lives in Amsterdam introduced his good artist friend Anna Morelo after we chatted over FB about my coming and about his project going to Hokkaido. I got in touch with Anna and she helped me to get some sense of what’s it like to be in Den Haag.

Anna: It's not easy to find a place here, you know.
mamoru: I'm thinking to book a cheap hostel or airbnb for a week and try to find the room to rent.
A: You can stay at our place if you don't find any place. But my first advise to you is to GET A BIKE!
m: OK! thanks a lot.

She lives in an anti-squatte together with few other artists.(I guess there are this kind of very unique sense of legalization here in Netherlands.) They have a guest room and she offered me to stay there. In fact, Airbnb was way more expensive than my expectation in the case in the Hague, so I decided to thankfully take my opportunity. I contacted her before I left Tokyo and found out that she was also going abroad for her project, so Kosta came to pick me up.

I was looking at messages we wrote before, wondering what kind of person he is, sometime looking out from the window. There was no reply after a while, so I decided to call him.

the phone is ringing on the other side
a man picks up a phone
short conversation
"OK. Then see you later!"

It is not allowed to talk on the phone in Japanese trains.
Personally, I like it that way, however I see many people talk on the phone in other countries. I assume that a lot of them have unlimited contract, which was not the case in Japan up until recently or still today.

I hear a lot of conversation
English, Dutch(I guess), Spanish
and this one sounds like ….Russian?(I am not sure)

The train has arrived at Den Haag Central almost on time. I walked on the platform and look around, but there seems no one looking for me. I sat on a bench for a little while, then saw a guy rather shorter than I somehow was imagining came towards me with his smile on his face covered with beard.

Kosta(K): Hi. I am sorry I am late. I had to do something with my friend.
m: No sorry! I mean, thank you for everything and letting me stay at your place.
K: Sure, sure. How was your flight? Well, shall we go? I can carry one of your bag.

We started walking. From his name, I was thinking that he might be from East Europe, Central Europe, or Russia. He is from Bulgaria and before coming to the Hageu, he had lived in Vienna. I was there in 2009 for about half a year, so I said that we might have seen each other on the street. We passed through shops and theaters in the center of the Hague. When I say central, it really doesn’t mean that it is big, but it is rather small. If I walk 5-10min away, big buildings disappear. Walking along the canal, passing by bars and restaurants, we arrived at the apartment.

It certainly looks damaged compare to other buildings in the neighboorhood, but not so much. It is actually normal and if I didn’t know that it is anti-squatte, I would probably not notice. The ground floor used to be a bar or restaurant, I saw many chairs and tables, and other furnitures, kitchenwares. Two or three buildings are connected. It is a huge space all together. One of the space is used as a gallery space and they organize exhibitions or events once in a while. I looked up the ceiling which is partly scraped off and I can see the trace of leaking as well.

I see.

The typical staircase in the Netherlands is very steep, narrow, and someone circulating. Probably to maximise the economy of the space. I went up the stairs. The guest room was clean, big, has big bed and windows facing the canal. There is another room next to it where one of the artist lives in. I knocked on the door to say hi, but he was not there. Kosta lives in the other building, so I put down my luggage in the guest room, organized a little, and walked down the stairs again and visited their space.

Anyways, the beginning

November 21, 2014

「そして、すべては残響する」 and my text work is published today!


画像:参考資料より、image: from the research material



私のテキストは庭園美術館の敷地中央に生える2つの木との出会いから書きおこしたリサーチベースのテキスト作品です。これまで、パフォーマンスの為のスクリプトやテキストスコアを書いてきましたが、出版を主に念頭にしたものは初ですが現在とりくんでいる「THE WAY I HEAR」シリーズの延長線上のものです。是非ともお手にとって読んで下ると嬉しいです。

museum website:

My new soundscape-text work titled "そして、すべては残響する" (potential English title... "then, lasting echo" is published by a Japanese publisher Kawade Shyobo together with 5 other variety of texts written by novelist Mariko Asabuki, musician/composer Umitaro Abe, artist/manga writter Erika Kobayashi,sweets researcher Rika Fukuda, manga writter Yoriko Hoshi on a book that is made for the occasion of the renewal opening of Tokyo Metoropolitan Teien Museum.

My researched-based-text starts from my encounter with the two huge trees in the middle of the "teien"(garden). Over the summer, I started researching two tree and found very intriguing facts about them. It lead me to meet several people including a retired botanical researcher, a gardener, a historian. The text goes in between my field notes and imaginary conversation that was inspired by those professionals in relation to the soundscape texts related to the history of the trees.

I have written a script for performances and text-score for imaginary soundscapes but this would be the first work for me that was written for the publication in the first place. I do hope I(or someone!) can translate it into English one day soon, but for now it is in JAPANES ONLY!

soundartist77 at 19:53|この記事のURLComments(0)news | publications

October 21, 2014

入国 and I am in Den Haag !

(For English, please scroll down )ChSEVEN_02







「NON EU CITIZENS」の列に並んで待つ事15分

"Just wait here. It won't take you too much time.
Don't worry. We will just clarify it. It won't take too much time. Okay?"






Q: Is this your final destination?(アムステルダムが最終目的地ですか?)
m: Oh, no I am going to Den Haag after this.(いえ、この後ハーグまで行く予定です。)
Q: Why are you going to Den Haag?(ハーグに行く目的は?)
m: Studying.(留学です。)


Q: Master Artistic Research - Master of Music. So you do music?(アーティスティック・リサーチー音楽修士号。ということは音楽家なの?)
m: Yes. I am starting my master at the Royal Academy of Art and Royal Conservatory in Den Haag.(はい。王立アート・アカデミーと王立音楽院で修士の研究をはじめるところなんです。)
Q: Sounds interesting.(面白そうね。)



Q: Welcome to the Netherlands and good luck on your study.
m: Thank you.






"CHAPTER SEVEN -02- Entering"

After leaving Narita Airport, making transit at Incheon Airport in Korea, I have arrived at Schiphol Airport in Amsterdam.

To enter the Netherlands for studying purpose as a Japanese, you need a VVR VISA. Due to the change of the law, students cannot apply for the VISA on their own, but the host institution has to apply for them instead. It will be issued after the entry into the country. It means I don't have any stamp on my paspport indicating my legal status as a international student. This is mentioned in the pdf file that the University had provided me, on the Websites, even I confirmed with the Embassy of Netherlands in Japan when I had to call them for other reasons. Although, they all say that's how it works now..., I couldn't shake off my doubt; can I enter "smoothly"? I have too many bad memories at the immigration in the past that make me anxious about it. I never carry anything wrong, but sometimes they give me a trouble for carrying my custom-made-equipments and art works.

Off course, I have a return ticket, but it is a fix-open eTicket and the returning date indicated on the ticket is next year which is obviously over 3 month of non-VISA regal time period. I have brought the acceptance letter from my school with the signature of the president, a receipt of the payment for the tuition, a copy of my bank statement, etc. However, they are basically all print-out stuff, and easily be manipulated by Photoshops...Without the intention of trusting the person, these can loose its validity in a second. I just heard from my friend via FB that she had a bad time in Schiphol, which made me more anxious about it. I can be little late since my flight arrived around 18:00 and train to Den Haag won't be that long. I can still get there before dark.

- I just don't like the immigration stuff at all...(who does!?)

Waiting on a "NON EU CITIZENS" line for about 15 min or so.
I saw a group of Asian people been taken to the other rooms.

I hear a woman screaming. (probably in Chinese?)
A man calmly saying;
"Just wait here. It won't take you too much time.
Don't worry. We will just clarify it. It won't take too much time. Okay?"

People waiting on their lines looking towards the other room, whispering something to each other.
Not a good atmosphere...

On my line, a female immigration officer whose long blonde hair tied in back, talking to an Asian student, stamping on her passport. The next moment, a family probably somewhere from Middle East was stepping forward. In the next counter, there is a tall male officer talking to his colleague probably as he is finishing his working our, looking towards the other room, sometime laughing, off course making people waited on the line.

- I know this things happen everywhere...

One by one, people cross the border into the Netherlands, and I am the next.
My eyes and officer's met and I stepped in front of the glass wall facing her.

[I(m) hand in my passport to the officer(Q).]

Q: Is this your final destination?
m: Oh, no I am going to Den Haag after this.
Q: Why are you going to Den Haag?
m: Studying.

[m hand in the acceptance letter to Q. Q starts reading it and looking towards m a few times. Then Q talks to m in a little casual manner.]

Q: Master Artistic Research - Master of Music. So you do music?
m: Yes. I am starting my master at the Royal Academy of Art and Royal Conservatory in Den Haag.
Q: Sounds interesting.

[Q is still looking at the acceptance letter. m takes out the other papers from his bag, but Q notices it and makes eye contact, shakes her head a little to say "there is no need for that". Q puts the letter on the counter.]

The passport is stamped.

Q: Welcome to the Netherlands and good luck on your study.
m: Thank you.

[Q smiles at m and hand back his passport. m receives it and enter the country. ]

I was almost ready with every situation I could have imagined but not with this one. It went too "smooth" and I even got a words of encouragement. I just laugh at myself being so suspicious...

- nicely entered

Putting all the papers back in my bag again, and hurried to the train station. "A friend that I have never met" will be waiting for me at Den Haag Central.

September 06, 2014

圏外 and I am out of Japan for a while!

(For English, please scroll down )



早朝 iPhoneのアラーム音










I am out of here maybe for a while / しばらく行ってきます

(-02-入国 へ続く)



Five o’clock in the morning, the alarm of my iPhone ringing

I wake up on a big couch at my friend’s place. Peep through the curtain, there I find a drop of water on the leaf of aloe in a planter placed outside. Reflecting the sunlight. It's crystal, shining.

-clear day

I am feeling little tired than usual, but force myself to sit up, stand up, and walk over to the big window. The sun has been rising in between the skyscrapers. It seems to me that the sight is much clearer than usual. Maybe because it rained all day yesterday? or maybe it’s me who is setting out on a new journey.

-Well, in either case, it’s good to start a day like this

Ringing the same alarm on the phone over and over again, my friend has just woke up. With a “good morning” in her very low key, she is murmuring something, gliding coffee, and preparing a bowl of yogurt with some fruits and honey for me. Her alarm is still snoozing. It’s really good to have a friend like her.

the steam coming out from the coffee maker

I drink up the fresh coffee at last, saying “good bye” to my dear friend, and go out. There are only few people on the street, mostly foreigners, which is always the case in this part of the city. I put out my phone thinking to take a photo of the light on the building. I then realize two letters on the left upper corner of the screen on my phone; "圏外(out of range)”. Oh that's right, I have cancelled my phone last evening.


I put my phone back in my pocket and get on a Metro little earlier than I planned.

I am out of here maybe for a while / しばらく行ってきます

May 20, 2014

音楽をつかまえて and 3 etude works are exhibitied in Kochi, Japan !

etude no.19 本、短い前想曲とともに、2014
photo: Mitsu Maeda

齋藤裕一/mamoru  音楽をつかまえて



これまで各地でいろいろなバリエーションを重ねてきたetude no.11ハンガーとeutde no.13氷、そして新しい展開を「etude no.19 本」では試してみています。

「日常のための練習曲」はインストラクション/楽譜に沿って鑑賞者の皆さんに音を実演してもらう事で成り立つ、というのを基本としています。「etude no.19 本」ではページをめくる音を聴いてもらう、演奏してもらうのですが、本の内容はこれまで展覧会にちなんだ本やその時に読んでいる本などを選んでいましたが、今回は、高知にゆかりの作家の本を選び、そのための「短い前奏曲」というものを作り作品の一部としています。


THE WAY I HEARというシリーズで特に取り組んでいる、テキスト楽譜による「想像の音」と「日常のための練習曲」の合わさったような雰囲気です。


soundartist77 at 14:26|この記事のURLComments(0)2014 Kochi | exhibition

May 03, 2014

新しい「独想曲」を発表します and the title is "THE WAY I HEAR, B.S. LYMAN"

(Please scroll down for English)

(c)Tokyo Wonder Site / mamoru

このたび、Tokyo Wonder Site本郷にて「THE WAY I HEAR, B.S.LYMAN」を発表します。この作品は、明治初期、近代化を急ぐ日本政府によって雇われた外国人専門家の一人で、鉱物資源調査や、その従事者の育成を託され、当時まだ「蝦夷」とも呼ばれていた北海道に赴き精細な地質調査を行い、その結果から日本初の総合的な地質地図「日本蝦夷地質要略之図」を出版したベンジャミン・スミス・ライマン(1835-1920)という人物を取り上げ、彼が聴いただろうサウンドスケープをテキスト譜を中心としたインスタレーションを通して「リスニング」して頂く作品となっています。

今回は、その中からライマンが夕張川で小さな石炭の塊を発見する場面をもとにした第四章「19 June, 1874」を「独想曲」(お一人ずつ用意されたテキスト譜とインスタレーションから想像していただく形式)として発表します。



「THE WAY I HEAR」という言葉には、耳を通してのリスニングだけでなく、知ること=リスニングへと拡張させた「音を聴く術」という意味を込めている。"



場所:Tokyo Wonder Site Hongo(
期間:2014.05.03(Sat) –2014.06.08(Sun)  *Closed:5/7・12・19・26・6/2
入場無料、Admission Free



The new work that I am showing at the exhibition features an American geologist Benjamin Smith Lyman who came to Japan in 1873, conducted a three-year long geological survey trip in the northern island of Japan which then called Yesso/Ezo. He was one of the foreign experts hired by the Japanese government when it was rushing to modernize the country at the beginning of the Meiji Era. Lyman was hired to conduct a survey of mineral resources and train those taking part in the survey. He published the first comprehensive geological map in Japan ("A Geological Sketch Map of the Island of Yesso, Japan") as the result of his survey. The installation is a "stage" for imaginative listening; it is only activated by the audience engagement through reading the text-score and with simple actions suggested in the same text.
(You can see some of the past posts related to the research for this work.)

The 4th Movement "19 June, 1874" is based on a scene in which Lyman finds coal pebbles on a sandy beach of the River Yubari. The piece is for a "soloist" meaning that the space can be entered by one person at a time.

"Is it possible to hear a sound that one has never heard before? I have been asking this question for some years and travelled some places.

I have listened to the surrounding sound with my ears, tried to recapture the situation by imitative learning and observation, interviewed locals, gone through historical archives, methodological datas, environmental datas, personal diaries, and mythes. They may not directly refer to soundscape, but through collective resources, I have tried to listen to the reverberation of the sound of a certain moment and a place.

THE WAY I HEAR is my way of extending the modes of listening from physical one to more general idea; that is knowing=listening. "

March 29, 2014

風を知る人達 and I thank you for all of you!!

photo: Ryoko Tanaka, 2014.03.23 旧横田医院屋上、西風、約3m/s





インストラクター:市川 正さん(JHF公認インストラクター)

文章取材:岡崎志保さん(鳥取大学体育会ヨット部 新 4 回生 )




<風を知るための/team mamoru_tottori>



soundartist77 at 23:25|この記事のURLComments(0)2014-2015 Tottori 

March 20, 2014

風を知るための幾つかのパフォーマンスとそのスコア and the lecture performance + a show of its score!

image: 北西の風、風速11m/秒を知るためのパフォーマンス / wind study - NW, 11m/s

Lecture Performance|幾つかのパフォーマンス 2014/03/22 & 23 15:00 start
Exhibition|幾つかのスコア 2014/03/27-4/13 13:00-18:00 入場無料・会期中無休

このたび、ホスピテイルではサウンド・アーティスト、mamoruによるレクチャー・パフォーマンスを実施します。4週間にわたる鳥取滞在中、mamoruはこの土地の風を知ろうと、リサーチグループを作り資料にあたり、風を知る人達に会い、インタビューを重ね、自らもそれらの風を体験するためのフィールドワークを行いました。本作はその「風のスタディ」に基づいて制作され、パフォーマンスではそれらの成果がレクチャーされ、演じられ、集まった人達もまた「風を知る」でしょう。 パフォーマンス後に残された舞台装置と、新たに置かれるインストラクションおよびテキスト・スコアによる「風を知るための」手がかりとなる展覧会も開催します。

1977年大阪生まれ。近年は身近な物や行為から生まれる微かな音をとりあげる「日常のための練習曲」や、過去−現在−未来/架空の音風景を実際のリスニングやリサーチによって書きおこす「THE WAY I HEAR」などのシリーズ作を発表。普段あまり気にとめない音を「聴くこと」から知りうる世界を提示することを試みる。主な展覧会に「MEDIA/ART KITCHEN」(アヤラ美術館、マニラ、2013)、「十和田奥入瀬芸術祭」(十和田湖、2013)など。

主催・お問い合わせ:ホスピテイル・プロジェクト実行委員会(鳥取大学野田研究室内) 〒680-8551 鳥取市湖山南4-101
tel & fax:0857-31-5128/090-9546-9894(担当:赤井)email:

soundartist77 at 12:01|この記事のURLComments(0)2014-2015 Tottori