Faculty | Department of New Media

When we want to communicate information or an idea, what method will work best? Researching and developing these methods is my field of expertise. In this field, known as Communication Design or Media Design, we don’t distinguish between methods of expression or media. The internet, flipbook animation, a numerical formula or a song are all equally valid means of communication. Verbal communication and textbooks can both be effective methods depending on the subject matter. However, in reality there are lots of situations where information is not fully communicated, which leads to various degrees of confusion and underachievers in schools. Simply changing the method of communication can reduce confusion and underachievement. For humans, the problem of communication isn’t limited to “communication/understanding.” Regardless of how society changes, we will always have communication “among people.” Without it, humans cannot survive.

Masahiko Sato, Professor

Born in 1954 in Shizuoka Prefecture, Sato specializes in research and development of expression and teaching methods. Among his major works are PythagoraSwitch (NHK Educational TV), Keizaitte souiu koto datta no ka kaigi (So-that’s-what-economics-is-all-about forum), and the PlayStation software I.Q. Recent recognition for his work includes the Gold Prize at the 2007 New York ADC Awards; 2011 Publication Award from the Mathematical Society of Japan; 2011 Minister of Education, Culture, Sports, Science and Tchnology Award for Art; 2013 Medal with Purple Ribbon; and official invitation to the 2014 Cannes Film Festival (short film category).

It goes without saying that the parents of photography are the natural sciences and painting. However, contrary to what one might expect, film owes its birth not to photography but literature and music. Though photography and film are often bundled into the single word “image” due to having the camera in common, their differing parentage is the reason we somehow feel awkward treating them as one. Rather than congregating with photo artists and researchers here in the Department of New Media, my preference is to look for new colleagues to embark with on a journey to meet those parents – natural science, painting, literature and music; or their relatives, social science and technology. No matter the form of media we each hold in our hands, I believe media to be the best tool for meeting those new colleagues, for taking home the results of those encounters, and expressing them for the future.

Naoya Hatakeyama, Professor

Born 1958 in Rikuzentakata, Iwate. Received his master’s degree from the Graduate School of Art and Design, University of Tsukuba in 1984. He is best known for his photographic studies of manmade and natural landscapes. Recipient of the 22nd Kimura Ihei Award, the 42nd Mainichi Art Award, and the 2011 Minister of Education, Culture, Sports, Science and Technology’s Art Encouragement Prize, among others. His works are in the collections of major museums around the world including MoMA, Tate, and the National Museum of Modern Art, Tokyo. His many published photo collections include Lime Works, Underground, and Blast.

In the Media Technology Department, we proactively in corpor at e the latest technology for video production and presentation. It is a fascinating field, where the aim to develop technology useful for production, and the search for forms of expression that apply to this technology coexist. The constant evolution of devices in cluding production tools, sensors, and actuators, and services like the web and other communication tools, means that students will require a keen interest in the latest technologies. They will also need to have a critical viewpoint, and keep in mind how these tools can change society. Most essential will be a firm focus on offering new experiences through the production and exhibitions of media-based imagery.

Takashi Kiriyama, Professor

Received his Doctor of Engineering from the Department of Precision Engineering, The University of Tokyo. Assumed his current position after working with Research into Artifacts, Center for Engineering (RACE), Japan Science and Technology Agency, The University of Tokyo Interfaculty Initiative in Information Studies. Fruits of his creative practice as the unit Euclid (together Professor Masahiko Sato) include Arithmetik Garden (2007), Pool of Fingerprints, The Nominal Divide (2010), and Hill of Reign (2015).

The overwhelming dominance of transnational capital and standardized communication that have resulted from globalization seem to have deprived our lives of texture. In order to regain this texture, we need to ask some fundamental questions:
When did the world become like it is now? What position can critical art take in the context of a world inevitably influenced by the internet and globalism? In preparing critical art to answer these questions, we may find hope in media expression, because media have condensed technology, memory and history, all of which have the potential to expand the possibilities of humanity.
Things expressed by media include: the feel of conversations, the reality of scent, sounds in nature, ripples on water, admiration for the divine, communication by metaphor, and poetic ethics in life. Herein we find the poetry of those who pursue new directions in critical art, in the hope of retrieving the texture of life.

Eishi Katsura, Professor

Born 1959 in Nagasaki. Specializes in Media Studies and Library and Information Science. Received his master’s degree from the Graduate School of the University of Library and Information Science. He previously he worked as an assistant at the National Center for Science Information Systems (currently National Institute of Informatics), and as associate professor at Tokyo Zokei University. His publications include Interactive Mind, Ningen Kosai Jyutsu, and Mythology of Tokyo Disneyland. He is also involved in the planning of new public cultural facilities both in Japan and abroad.

Our activities are based on the question: “What is drama?” and mainly focus on audience/seating theories. Theater has been developing its form and qualities as a people-gathering activity since ancient times. In fact, the word “theater (theatre, theater or teatro …) ” originates from the Greek, “theatron,” meaning “the space for the audience” in a theater facility. Our quest for the audience or seating form, through theater-based contemplation, relates to the question of our own very existence. Such explorations also lead us to explore styles of community and methods of communication. Thus, the theater has developed a profound relationship with cities and countries. Moreover, theater is not limited to the stage: by liberating theater from stage production, we open up broader possibilities. From both theoretical and practical viewpoints, we aim to find ways to expand the possibilities of theater, by returning to its roots.

Akira Takayama, Associate Professor

Theater director, born 1969. Founder-director of the theater collective Port B. Takayama’s activities have expanded beyond the theater setting to encompass actual cities and communities, including installations and tour performances making use of urban locations. Recently, he has collaborated with practitioners in a number of different fields including art, tourism and urban-projects, expanding the possibilities of various genres with his theatrical ideas and concepts.

Minoru Kimura, Assistant Professor

Born 1970 in Hiroshima. Beginning in 1991 with a project utilizing parking meters on the street, he develops works that exploit the loopholes in laws and rules in a wide-ranging practice that includes design for print media and conducting bookbinding workshops. Exhibitions include: 3rd Japan Video Television Festival (1992, Spiral, Tokyo), “Nihon no Eizo (images)” (1995, Fukui Fine Arts Museum), “Exit” (1995, Hiroshima City Museum of Contemporary Art), and “AtopicSite: On Camp/Off Base” (1996, Tokyo Big Sight).

Adjunct Lecturers

Yohei Kurose, Yukari Shiina, Ryuta Miyake, Karen Severns, Akira Mizuta Lippit