About, Daichi Misawa

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ABOUT

This website [misawadaichi.net] is an official website of Daichi Misawa.

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BIOGRAPHY

MISAWA Daichi [portrait] is a researcher and artist of sound and/or music, who has obtained degrees of a MA in 2015, a vocational degree in information in 2011, and a LLB in 2007. His artworks often are something that may be interpreted as an apparatus for regulating an environmental factor such as culturality, and then the apparatus and the environmental factor emerge together as a boundlessness to the interpretor.

For a reference to his artworks cite a paper Culturalities, and to his artist statement a chapter of »Global Art History«.

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EDUCATIONS

Master of Arts, Die Universität für künstlerische und industrielle Gestaltung Linz, Linz, 2015.
Erasmus+ Student Exchange Program, L'université Paris 8, Saint-Denis, 2014.
Diploma (Postsecondary Course (Information)), The International Academy of Media Arts and Sciences, Ogaki, 2011.
Bachelor of Laws, Keio University, Tokyo, 2007.

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ARTWORKS

Passages; format: audio, 44.1 kHz, 24 bit; songs: 1; length: 13:14; written 2010; published January 8 2017. Online: http://daichimisawa.bandcamp.com.
Abstract — A soundtrack of Passages (2010), the soundtrack comprises: a plurality of environmental sound recordings; and a piano recording.
Culturalities; format: literature; length: 14 pages; written –2016; published October 31 2016. Online: available.
Abstract — A paper on a behavior discovered through an analysis of a trilogy, the paper comprises: an introduction to a study of culturalities; and a discussion on a case study of the study of culturalities; wherein the behavior is named 'culturality'; and a behavior that seemed to demonstrate a meta-culturality is presented.
Passages for the Fifth Anniversary [CGI]; format: video; length: 20 seconds; written July 2015; published July 31 2015.
Abstract — A CGI animation that suggests a plurality of passages, the CGI animation comprises: a video of scenery of riverside passage; and a video of scenery of seaside passage; wherein the video of scenery of riverside passage and the video of scenery of seaside passage are computer-generated and played back concurrently.
Passages for the Fifth Anniversary [RAW]; format: video; length: 20 seconds; written July 2015; published July 31 2015.
Abstract — A movie that suggests a plurality of passages, the movie comprises: a video of scenery of riverside passage; and a video of scenery of seaside passage; wherein the video of scenery of riverside passage and the video of scenery of seaside passage are played back concurrently.
~~Insulation~~; format: installation; dimensions: 3 meters, 5 and 3 (w, d, h) or variable; media: acoustic insulation; written January 2014; exhibited August 28 2014.
Abstract — A sound installation in an environment, the sound installation comprises: one or more walls made of sonic insulation; wherein a viewer-listener listens to an environmental sound of the environment or to a sound generated by the viewer-listener.
Luna; format: installation; media: loudspeaker, water in vessel, computer, microphone; written May 2013; exhibited June 12 2013.
Abstract — A sound installation in an environment, the sound installation comprises: one or more waters in vessels; one or more loudspeakers; and one or more microphones; wherein the waters in vessels react to an environmental sound of the environment or to a sound generated by a viewer-listener.
Data Auditorio Concert Version; format: concert; length: 20 minutes or variable; written January 2013; performed: September 6 2014.
Abstract — The sound installation of Data Auditorio modified for concert, wherein the microphones comprises: one or more microphones placed for one or more performers on a stage; and one or more microphones placed for one or more audience members outside the stage.
Data Auditorio; format: installation; dimensions: 5 meters, 5 and 4 (w, d, h) or variable; media: directional loudspeaker, microphone, computer, spotlight; written January 2013; exhibited September 4 2014. Online: available.
Abstract — A sound installation for karaoke performance in an environment, the sound installation comprises: one or more microphones; one or more sweet spots of directivities of directional loudspeakers or loudspeakers that are audible at one or more places of the microphones; and a recomposer that recomposes an acoustic feedback originating in the environment by applying a granular synthesis; wherein the recomposer recomposes the acoustic feedback; an recomposed acoustic feedback emerges; and a viewer-listener sings.
Transparent Sculpture; format: installation; dimensions: 7 meters, 7 and 4 (w, d, h), or variable; media: hyperdirectional loudspeaker, microphone, computer; written January 2012; exhibited August 28 2012. Online: available.
Abstract — A sound installation for performance in an environment, the sound installation comprises: one or more microphones; and one or more sweet spots, or audible area, of directivities of directional loudspeakers; wherein one or more angles of intersections of the directivities are less than 90 degrees; and wherein an acoustic feedback that originates in the environment emerges; and a viewer-listener dances.
Reverence in Ravine; format: installation; length: 1 minute; dimensions: 7 meters, 7 and 4 (w, d, h) or variable; media: hyperdirectional loudspeaker, loudspeaker, screens, computer; written 2010; exhibited January 24 2011. Online: available.
Abstract — A sound and light installation that presents a plurality of sweet spots, the sound and light installation comprises: one or more sweet spots, or audible area, of directivities of directional loudspeakers; one or more sounds transmitted from the directional loudspeakers; one or more sweet spots, or visible area, of directivities of screens; and one or more lights transmitted from the screens; wherein one or more angles of intersections of the directivities are 90 degrees; and wherein a viewer-listener walks along the plurality of sweet spots.
Aegean Sea [White]; format: video; length: 8:45; written 2010, exhibited October 10 2013.
Abstract — A CGI animation that suggests a plurality of seas, the CGI animation comprises: a video of scenery of the Aegean Sea; wherein the video of scenery of the Aegean Sea is computer-generated; and a color of the computer-generated video except edge is white.
Aegean Sea [Black]; format: video; length: 8:45; written 2010, exhibited October 10 2013.
Abstract — A CGI animation that suggests a plurality of seas, the CGI animation comprises: a video of scenery of the Aegean Sea; wherein the video of scenery of the Aegean Sea is computer-generated; and a color of the computer-generated video except edge is black.
Passages; format: video; length: 13:45; written 2010, exhibited September 22 2010.
Abstract — A CGI animation that suggests a plurality of passages, the CGI animation comprises: a plurality of videos of sceneries of passages that is computer-generated; and a soundtrack; wherein the plurality of videos of sceneries of passages are played back one after another.
Sky In Cloud; format: video, silent; written –2009; exhibited March 20 2010. Online: available.
Abstract — A plurality of streaming videos that embodies a concept, the plurality of streaming videos comprises: a plurality of videos of sceneries of a sky that is computer-generated; and one or more web browsers; wherein the plurality of videos of sceneries of the sky is streaming in the Internet; and the plurality of videos of sceneries of the sky that is streaming is played back one after another on the one or more web browsers.
Scenes At The Cities; format: video; length: 8:30; written 2009; exhibited July 30 2009.
Abstract — A video installation that suggests a history concerning two cities in Japan, the video installation comprises: a first movie of a first city of the summer in Japan, 2009; a first map of the first city; a second movie of a second city of the summer in Japan, 2009; and a second map of the second city; wherein the first movie and the second movie are played back concurrently; and wherein a viewer compares a place displayed in the first movie or the second movie with a location of the place in the first map or the second map.
March 20; format: video; length: 10:59; written 2005; exhibited April 2009.
Description — A movie about a university student, the movie comprises: a plurality of first scenes shot in a city; and a plurality of second scenes shot in a nature; wherein the university student wanders in his dream or reality the plurality of first scenes or the plurality of second scenes.

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PUBLICATIONS

Isidora Ficovic, Daichi Misawa, "2020: A Restroom Culturality" in: Isidora Ficovic, Every Dot Is A New Beginning, Gallery Beograd, Belgrade, 2020. Online: text, PDF (excerpt), FIG 1, FIG 2, FIG 3 and FIG 4.
Excerpt — A restroom for visitors to reflect upon a cultural boundlessness, or culturality, of restrooms in the past, present and future ...
Trilogy for Culturalities Catalog, document: 1, songs: 3, length: 8 pp., music length: 5:19, format: 48kHz 16bit MP3, published June 7 2019. Online: PDF, FIG 1, SND 1, SND 2 and SND 3.
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«, eds. Julia Allerstorfer, Monika Leisch-Kiesl, pp. 63–76, transcript, Bielefeld, 2017. Online: PDF (excerpt).
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 (last seen on August 30, 2020), written February 2016, peer-reviewed.
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 (last seen on August 30, 2020), written 2013–2014, peer-reviewed.
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 (last seen on August 30, 2020) or here, written 2012–2013, peer-reviewed.
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 (last seen on August 30, 2020), 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 (last seen on August 30, 2020) or here, written 2011–2012, peer-reviewed.
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.
(Paper on Sky In Cloud) “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 (last seen on August 30, 2020) or here, written 2010, peer-reviewed.
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 [...].

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EXHIBITIONS OR PERFORMANCES

Data Auditorio Concert Version, Gallery AU, Vienna, 2015.
Data Auditorio, Museum of Greek Folk Musical Instruments, ICMC-SMC 2014, Athens, 2014.
Data Auditorio Concert Version, Ars Electronica Festival, Linz, 2014.
Data Auditorio, Ars Electronica Festival, Linz, 2014.
Passages, Institut français du Japon, Tokyo, 2014.
Agean Sea, Digital Big Screen in Speculum Artium, Trbovlje, 2013.
Luna, Die Universität für künstlerische und industrielle Gestaltung Linz, Bewegte Dinge, Linz, 2013.
Passages, Ukradená Galerie, Linz, 2013.
Transparent Sculpture, Asia Digital Art Award 2012, Fukuoka Museum of Art, Fukuoka, 2013.
Transparent Sculpture, Design Hub Barcelona, TEI’13, Barcelona, 2013.
Reverence in Ravine and Passages, U35 Creators Japan Exhibition Vol. 1, Japan Institute, Yokohama, 2013.
Passages, Asia Digital Art Award 2012, Fukuoka Museum of Art, Fukuoka, 2013.
Transparent Sculpture, Ars Electronica Festival, Linz, 2012.
Passages and Sky in Cloud, ASYAAF 2011, Seoul, 2011.
Reverence in Ravine, The International Academy of Media Arts and Sciences, Ogaki, 2011.

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MEDIA

“Being A Global Artist?” on panel discussion about global artist, in L.I.S.A. - Das Wissenschaftsportal der Gerda Henkel Stiftung, 2016. Online: https://lisa.gerda-henkel-stiftung.de/being_a_global_artist?nav_id=7441 (last seen on January 6, 2016) or here.
“Artist Focuses Sound Waves Like Laser Beams To Create Mythical Installation” on Reverence In Ravine, in The Creators Project, Intel/Vice. Online: http://creators.vice.com/en_us/article/artist-uses-hypersonic-sound-to-create-mythical-sensory-experience (last seen on January 6, 2016) or here.
“Misawa Daichi 1983 Japan” on artist interview by Berzah Özgü Özalp in Istanbul Contemporary Museum (individual project website), Boğaziçi Üniversitesi. Online: http://istanbulmuseum.org/artists/misawa-daichi.html (last seen on January 6, 2016) or here.