Faculty ｜ Department of New Media

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.

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.

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 the ater from stage production, we open up broader possibilities. From both the oretical and practical viewpoints, we aim to find ways to expand the possibilities of theater, by returning to its roots.

Building a space to create expressions and activities that no one has yet known.

I practice activities that involve ‘creating projects’ with diverse artists and creators. Based on fieldwork that directly engages with concrete subjects such as people, flora and fauna, objects, and landscapes, my approach aims to render these experiences into exhibitions and other spatial forms that unfold over time. In such activities, documentation and expression through moving images are essential. Notably, in contemporary art, video has become one of the primary forms of expression, and it is well known that many people work with it regardless of their field or specialization. Furthermore, the conceptual foundations upon which various cinematic spaces are constructed will undoubtedly remain a key concern in contemporary art going forward. I believe that graduate programs in art serve not only as places of learning but also as institutions that generate expressions and activities not yet known to anyone. I hope to cultivate with you all an independent space for artistic research and creation—distinct from museums and art centers—and to pioneer experiences yet undiscovered.