Artist Statement in: Julia Allerstorfer, Monika Leisch-Kiesl, “Being a 'Global Artist'?: Ekaterina Shapiro-Obermair, Daichi Misawa, Golzar Hazf ann Mara Niang” in »Global Art History«, ens. by Julia Allerstorfer, Monika Leisch-Kiesl, pp. 63–76, transcript, Berlin, 2017.（邦訳）
Exerpt — Wrestling with a cultural boundlessness, culturality, has been my vital concern. I presented the notion of culturality in 2015 in my master’s thesis for the first time and further discussed it in detail in a paper. Culturality is not a concept that solely belongs to me, for many books, educational systems and other resources have influenced my thought and behavior. Such books, educational systems and other resources had seemed to also have been influenced by other resources, etc. If source exists, what is source of source? I do not know whether the culturality is a concept ...
“Culturalities,” in Transactions of the Virtual Reality Society of Japan, Vol. 21 (2016) No. 3 p. 423-436, VRSJ, Tokyo, Online: http://doi.org/10.18974/tvrsj.21.3_423, written February 2016.（邦訳）
Abstract — An actor seems to assert the traditions that it is related to, occasionally. This paper analyses the culturality of the audience behaviour of a trilogy. The trilogy is a kind of interactive space. Culturality is multifaceted and waxes symbolic at times, as does traditional behaviour. It has provisionally three types: referential culturality, analogous one and habitual one. As a boundless, or self-critically trans-active concept, culturality enables one’s elastic understanding of cultures. It is a kind of wave, rather than a substance, transmitted and inherited, or interfered, through the agency of history. Through the analysis of culturality carried out, one could point out the cultural linkages between those contemporaneous and traditions transmitted, like hyperlinks between a time and another time. Those engaged seemed to be often culturally self-assertive like Narcissus. However, they were not only so. That is, as a result of the analysis, it was discovered that the referential culturality that refers to a tradition may overcome seemingly existing cultural barriers by fusing any culturalities belong to different traditions like a performance with a meta-culturally synthetic behaviour, or self-critically and trans-actively symbolic action. As such concept, culturality could be applied to the behavioural observation of relationships emergent in the fields from anthropology to zoology, as well as techno-cultural ecology/-nomy and practice, such as interaction design. With the culturality, human beings and their behaviour are neither anonymous nor definite anymore, but a sort of heir, from which designers and observers of a paradigm can take account from now on.
“Data Auditorio: Towards intense interaction, an interactive hyper-directional sound for play and ubiquity,” in Proceedings of Joint International Computer Music Conference-Sound Music Conference 2014, ICMA-SMC, 2014, pp. 1669–1676. Online: http://hdl.handle.net/2027/spo.bbp2372.2014.254, written 2013–2014.
Abstract — This paper presents the playful and ubiquitous interaction of sound: an 'intense interaction.' It aims to realise, in other words, an interactive sound produced in a certain space. It enables audience to participate in a game called performance play (e.g. playing piano, playing music, being a play actor, etc.) in order to significantly change and overcome the existing patterns of reality in the space by their own various activities. An interactive hyper-directional sound environment Data Auditorio was created to realise the concept. [...] The installation utilises the format of a performance stage and encourages the audience to interact in a natural fashion with the interactive sound, thereby making the game of Data Auditorio a more active endeavour. The result of it can be applied to a hyper-directional sound interface design, as well as works of art and music.
“Transparent Sculpture: An embodied auditory interface for sound sculpture,” in Proceedings of the 7th International Conference on Tangible, Embedded and Embodied Interaction, ser. TEI ’13. New York, NY, USA: ACM, 2013, pp. 389–390. Online: http://doi.org/10.1145/2460625.2460707 PDF: Available, written 2012–2013.
Abstract — Toward ecologically distributed interactions using sound in the real world, this paper presents an embodied auditory interface for a sound sculpture; it is composed of the orientations’ structure of sounds from hyperdirectional loudspeakers and an empty stage to capture a certain real space and the activities there [...] audience members were dancing, running, shouting, etc.
“Transparent Sculpture: Passages,” in CyberArts 2012, Hatje Cantz.
Online: http://www.hatjecantz.de/cyberarts-2012-3178-1.html, written April 2012.
Abstract — Essay by Misawa is slightly altered. Basic idea is that: “Transparent Sculpture: Passages” is a sound installation that includes multiple hyperdirectional sounds and their sweet spots in the midair above the apparently empty stage. Hyperdirectional loudspeakers can deliver the sound to a limited listening area from a distance. Sweet spots formed as an installation are a certain virtual structure or invisible existence like a transparent sculpture. Audio field-recordings of different cities are used as the audio contents, which express the indigenous aesthetics of each area as a cultural worldly product: their vernacular, the natural sound, artificial sound, etc. In addition, audio feedback loop generated from the sonic environment of the installation is used too, such as audience conversation. As a result, any sounds in the exhibition are mixed and transformed into a new acoustic structure every moment. By getting engaged with it on the stage, the visitor can perceive and make the “Transparent Sculpture” by their own performances.
“Reverence in Ravine: A transparent sculpture in coordinate space for installation art,” in Proceedings of 18th International Conference on Virtual Systems and Multimedia (VSMM), ser. VSMM. IEEE, 2012, pp. 603–606. Online: http://dx.doi.org/10.1109%2FVSMM.2012.6365988 PDF: Available, written 2011–2012.
Abstract — This paper presents a sculptural installation art project assumed as a coordinate space, which includes plural sweet-spots like spatial coordinates made of orientations of images and sounds from monitors and hyperdirectional speakers.[...] The aim of the project was to inspire the criticism by the audience about the differences of each experience between plural sweet-spots. In the exhibition, it was observed that the audience walked around and searched the existence of the transparent sculpture.
“Plural Art: distributing videos in plural form through the web,” in Proceedings of 16th International Conference on Virtual Systems and Multimedia (VSMM), ser. VSMM. IEEE, 2010. Online: http://doi.org/10.1109/VSMM.2010.5665947 PDF: Available, written 2010.
Abstract — This paper presents a way that distributes one concept through video art in plural form, assuming that audience in the world are active audience. This video art uses the web, web browsers, web API, video service on the web and video production software. Audience as information receiver can understand a concept of the work in complementary point of view, and artist as information sender can send the concept from various angles through the work [...].