Politeness & Manners in the Japanese Language///日本語の慇懃(いんぎん)とエチケットとポライトネス、そして風俗(ふうぞぐ)と礼儀(れいぎ)と作法(さほう)。

Recently I have been reviewing and practicing my respectful Japanese. There are many forms of conjugation in Japanese and although I have a decent understanding I need to practice. Therefore this post is a quick review in these different forms of grammar (I am sorry that their is no English translations…).

最近、私の警護と尊敬語の日本語を練習と復習しています。日本語で多い活用仕方たちがあるので私は分かればですけど、もっと練習が必要です。それだからこのポストは活用と文法たちを早くリビューです。(英語の翻訳無しからごめなさい)

。。。

手稲語

こちらには在庫がちおざいません。/// もしもし、ABCの山田でございます。

尊敬語

私は誰かに何かを言われる。/// 結婚記念日を忘れて妻にめっちゃ怒れたんだよ。

来週は出張に行かれますか?/// 何かを飲まれますか?/// 何時ぐらいに戻って来られますか?

部長、お客様に電話されますか?

『お・ご+動詞+になる』

待つ >>> お待ちになる。

読む >>> お読みになる。

利用(りょう)する >>> ご利用になる。

中澤(ナカザワ)さにお会になりましたか?/// 今日の記事をお読みになりました?

お分かりなったと思いますがもう一度説明します。/// コンピューターをご利用なりますでしょうか?

見る >>> ご覧(らん)になる

いる >>> いらしゃる

言う >>> 仰る おっしゃる

する >>> なさる

この。。。をご覧になりましたか?/// 今、どこにいらっしゃいますか。

金澤さんは明日が報告書の提出日(ていしゅつび)だと仰っていました。

謙譲語 (けんじょご)「もらう>>>いただく

Kenjôgo is used for actions performed by the speaker to abase themselves in front of the listener. Consequently it can only be applied to actions that the speaker will take. This is subtly different from sonkeigo. Sonkeigo elevates the listener; kenjôgo lowers the speaker. The result is the same—respect conferred from the speaker to the listener—but the usage and grammar are different.

電話させていただきます。/// 説明させていただけると大変ありがたいのですが。

明日はご連絡します。/// お待しています。/// 後(のちほど)ファイルをお送させていただきます。

見みる >>> 拝見はいけんする

言いう >>> 申もうす

もらう >>> 頂いただく

する >>> 致いたす

いる >>> おる

来くる >>> 参まいる

私はロバートと申します。/// コーヒーを頂いてもいいでしょうか /// 

ご連絡をお待まちしております。/// 本店(ほんてん)の営業(えいぎょう)を9月くがつ1日ついたちより再開(さいかい)いたします。///

終わりました!!!このサイトからhttps://www.japanistry.com/honorifics/

Brussels to China: Koi Animation

Working and living in Beijing has been an awesome change. In the past I spent so much time making stop motion animation and very recently I had made a new one. The capital city of China is a very animated place and therefore it inspired me to complete this animation. The reason for making it is a pleasant one; the moving image is for a good friend of mine. Joey Wright is an extremely musically and sonically attuned individual he has been busy playing in various bands and collaborative projects in his home city of Brussels in Belgium. The band Mishaps are a trio and Joey sings and plays guitar. Their style is very eclectic and animating for them was very enjoyable. My friend may still use and re-edit the animation in the future but regardless of what happens it was a lot of fun re-visiting my past creative habits and practice. So, this animation for the track titled The Trap was intended as a parting gift to this Brussel’s based creative.

The animation’s aesthetic is inspired by my fondness and personal experience of Asian culture and imagery. The Koi fish has a long-standing place in mythology and respect for the beauty of nature and so it was an obvious form to use with music. People may associate the Koi fish with Japan but like most things in East-Asia this fish was transported to this Island nation from China. This is the first time I have animated fish and the combination of their natural environment plus their physical shape lend a lot of potential to the possible sequences an animator may create with this fish. Moreover, in China there is a well known piece of mythology in which three Koi fish attempt to swim up a waterfall. Only one succeeds and reaches the top and in doing so transforms into a dragon. Being a Westerner I do not assume to understand the intricacies of this myth however a seemingly obvious interpretation would be: true transformation arises through perseverance. It would be interesting to see or ask a Chinese person for their own reflections on this myth and the place of this infamous fish in other places and stories.

I hope that people enjoy the music and take pleasure in viewing this scruffy and scrapbook like piece of animation.

Japanese

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This post includes a few things I have been reading and translating. I have already posted some of them on Instagram but here I have included a translation of my friend Yutaka’s book, and my teacher Yoko’s buddhist text. I have also included some important practice in Japanese grammar which I really need to commit to memory in a fluent way so I can use them correctly in speech. I also found this amazing website for students of Japanese: www.japanese.io it is full of a wide range of literature and I will be using it a couple of times a week.

 

このポソトは私の読むと翻訳するの物です。インスタグラムで前にアップロードしたにですけど、友達豊君の本も私の先生、陽子さんの仏教テクストの翻訳を有ります。そして、大切な日本語の文法の練習する事も有って、この事が私はとてもペラペラ経由で暗記しなければなりませんから、話すときに使えますね。で、この素敵なサイトを見つけましたので、このサイトは日本語の生徒さんために便利だと思います。www.japanese.io はたくさん文学が持つので毎週二回目使えましょうです。

 

….……………………………………………………………………….

 

 

kanji 005

 

If we make space for worshipping our nature with sublimation, existence is magnified.

Spring is passing / the birds cry / and the fishes fill with tears on their eyes.

 

kanji 001

Ah tranquillity! / penetrating the very rock / a Cicada’s voice.

kanji002

 

Zen does not shout:

Its will is free

We can swim in the sea of its heart

The place of decision is a turning point in existence

Is the natural profound meaning.

 

kanji003

kanji004

 

Gradually meet philosophy

 

What good can I do when angry?

 

Yutaka Morinaga

 

Throughout the day there are many problems with being angry, right?

___ Morinaga, This way of resolving was an inconvenient state of affairs.

 

Morinaga ‘whether one likes it or not, it is a little laughable. A sporadic person, reaching their limit has an angry feeling, and this is an object of torment?’

‘sporadically, ‘yes, this is how it is?’

 

___what Sporadic people, and Morinaga want to say is failing to come to an end.

 

Morinaga ‘ sporadic people reaching their limit try and make a sign of the angry episode, this considerable speech is understandable. But, for example, you can’t control the anger, and the anger is unreasonable, oh dear!’

 

Sporadically, ‘well, yes, you can. Seeing the person who sells, and what person suddenly gets angry like this.

 

Morinaga ‘ Yes?!’

 

レッドタートル

All Turtles Should be Red:

Watching An Isolated Isolation in Reddo Tātoru: Aru Shima no Monogatari レッドタートル ある島の物語

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In 2016 Japanese director/producer Toshio Suzuki and Dutch animator Michaël Dudok de Wit collaborated to produce a jewel of a silent film; the title translates directly into English as Red Turtle: The story of an island. A film that features a narrative of a shipwrecked existence terrorised by a strangely coloured turtle. The Silence of this film lends and supports its Japanese flavour and taste. One loves the way it is animated with such care and compassion for the re-depiction of reality that it presents. Indeed the narrative of isolation that the protagonist suffers is also a potential re-depiction of reality in that although we are strongly grounded in living in communities of infinite variability this might not provide enough data for an individual to understand their own being. Thus after watching this film we could choose to take away from the experience a question: how do we understand ‘isolation’ as it is in the film and in wider contexts of life?

For me the medium of animation is partly isolating and this needs no proving it is self evident that even with contemporary production software that makes use of nodes and modes so as to maximise and streamline the working of animation the process remains time consuming and therein isolating. But animation is like an island a very small patch of land surrounded by a liquid and in this sense it carries a metaphorical energy that reminds of the place of the cell in artificial movement. But, here the cell seems closer to biology and therefore the belief that one might know a given state of the natural world; although is this not contrary to the truth of animation and its relation to that ancient belief; that ancient truth that states everything is subject to a force understood and experienced as change. Along with this, the relation we have had with knowledge is increasingly troubling me: for instance in the perspective ordered by science we use the word ‘isolation’ in tandem with a positive idea that of objective certainty, ‘we need to isolate the cause’, but at the same time thinking about the social use of the word we find a mainly negative usage of isolating.

There are ways in which individualism which is perhaps the term we might use to describe the idea that isolation is a positive. But, isn’t this cultist self so absurdly false and artificial that it deserves to be laughed at and derided because although there are great achievements made by remarkable individuals is it not the case that these are still socially determined and culturally by acts of barbarism? Is it not a point to wrestle with this antagonism between being all alone, and how in society this is often a kind of punishment: a naughty step, a sin bin, and a detention. Today, though we need to encourage retention so in this spirit one wishes to explore the theme of isolation not as a punishment ( we can do this another day) but rather as a part of survival itself. This will be attempted by way of a short exploration of the wider use of shipwrecked individuals and their islands both in art and wider cultural events. But, before we take a leap from the island with the red turtle let us make a brief nap on the island called language. In Japanese the name for island is Shima, the kanji 島 is composed of two parts bird and mountain and so from a Japanese perspective the position from which we are looking at the island and its isolation is one from the fluid movements of the sea.

Not all islands are in possession of mountains but they all possess their own geological culture which is not dependent on humans being marooned on its land. I wonder if this was a concern at any point for artist Charles Avery created a fictional island under the project The Islanders () one reads that our access to this island is mainly by a town brilliantly named Onomatopoeia and in the manner which these inhabitants might like or appreciate I can not help but take the noun of this capital topos and play on the place called island. Island sounds like its meant to be split into ‘is-land’ and I do not know are ‘is-lands’ the smallest land; is there not some land smaller than an ‘is-land’? I think so however I do not know so! Avery’s project is extremely seductive I want to read more about it and look at his dynamic drawings which are our only points of entry to this fiction that serves as a gateway towards greater insight on the determination that comes hand in hand with isolation. Do Avery’s islanders feel isolated and if so do they actually want foreigners visiting?

Japan, we are told by a world history was isolationist certainly not protectionist as it is now. This most Eastern of islands has a history of not only being isolated but of isolated individuals its almost as if the presence of many separated land masses presented an opportunity for the Japanese to exercise their imagination in spectacular ways. Japan has an island exclusively for Cats, and an island unfortunately patriarchal in its spiritual value (the island of Okinoshima excludes woman). A man named Masafumi Nagasaki has lived as a hermit in Japan for so many years and does not seem to have cared about his isolated condition. Next to this is the specifically unique Japanese notion of being a hermit 引き籠もりHikikomori a withdrawn world. Japan is a country comprised of a series of Islands that gracefully slide from the east of the earth. There are so many beautiful places in this country from the outskirts of Hokkaido, Hiroshima, and Okinawa, to Kyoto and the towering Tokyo.

Next to these Japanese is-lands there is a widely read and influential Arabic story about a boy growing up on a desert Island. I was introduced to this story by the princely German Idealist Friedrich Wilhelm Joseph Schelling who references it in a text he wrote in praise of Immanuel Kant’s monumental achievement in re-defining the place of the subject in human thinking.[I] Schelling references Philosophus autodidactus in dismissing the causal scepticism of David Hume as Kant so forcefully did. Schelling’s words and sentences liken the causal presupposition the necessity of a portion of our judgements being prior to experience because the experience itself is created by the time and space already present at the moment of judging. This independence of our will is perhaps similar to the universal law of gravity suggests Schelling. So here we have an isolation in philosophy an attempt to give ground to a metaphysics that was then in need of solidifying as an objective science. I wonder if the child on this fictional Arabic island shares traits with the red turtle’s captive?

The child like the man finds a route away from isolation by the application of an innate understanding. We learn that this medieval jewel of philosophical reflection might not have made it through history if its author had not been the protégé of a prince who translated the works of Aristotle into Latin. The most delightful thing about this text and it is a quality shared by the animated film is that although theology is present it is as an undercurrent or something you have to see yourself. Rather then the usual focus on a neoplatonic emanation and a kensosis anchored to the One what you have instead is the number two: two islands, two islanders, two forms. Perhaps there are two ideas that are influential for our viewing of this fantastic film: I was recently watching something that gave me the idea that silence (remembering the animation is silent) is made possible by the failure of language. Next to this is the existence of pure negativity that our positivity has to constantly resist? I often wonder if Japanese notions of nothingness are able to mediate this issue. In our Arabic story of island isolation there are frequent moments where the language plays between this dynamic of universality construed as infinite and the finitude of the individual being.

‘since the notion of imperfection is nothing but a mere Non-existence or what depends upon it? And how can he in anyway partake of Non-existence, who is the Pure Existence, necessarily by his Essence; who gives being to everything that exists, and besides whom their is no existence; but He is the being, He is the perfection, He the plenitude, He the beauty, He the glory, He the power, He the knowledge?

     

As if you take any Body whatsoever in your hand, and then move your hand, the body will without doubt follow the motion of your hand? With such a motion as shall be posterior to it in Nature, tho’ not in Time, because they both began together. So all this World is caused and created by this agent, out of time, Whose command is, when he would have anything done, Be, and it is.’

 

–  Ibn Tufayl [II]

To further Tufayl’s contribution to the animated experience let us deal with the ultimate mischief maker called time. The above quote suggests time and space began together and this is indicative of the thoughts of Kant in his Critique of Pure Reason, ‘Time is nothing other than the form of inner sense, i.e., of the intuition of our self and our inner state. For time cannot be a determination of outer appearances; it belongs neither to a shape or a position, etc.’[III] Evil German philosopher Martin Heidegger found Kant’s definition to be inspiring and states so early on in his philosophical masterpiece, ‘…apriori is the interpretation of genuine historical beings. Travelling through time with their own historicity.’ [IV] This motion then is to be considered as nature; time is our natural state. But to resolve these German notions of time let us turn back to the medieval period and to an Asian master, Dogen Zenji who has a distinctly unique concept of time, a ‘Time Being’ or Uji in Japanese. It seems more befitting to both the marooned man attacked by a turtle and other historical individuals such as Nakahama “John” Manjirō who was one of the first Japanese translators to work with the Americans. As a young man Manjirō-san was indeed marooned and shipwrecked on Torishima Island.

In master Dogen’s essay on Time Being, we see how it might be a complete waste of time to initiate a thinking about isolation. Dogen’s words make it appear as if time is a unifying thing only if one has attained the capacity to see the way. Dogen describes a unified and not an isolated time thus, ‘The way the self arrays itself is the form of the entire world. See each thing in this entire world as a moment of time. Things do not hinder one another, just as moments do not hinder one another. The way-seeking mind arises in this moment. A way-seeking moment arises in this mind. It is the same with practice and with attaining the way. Thus the self setting itself out in array sees itself. This is the understanding that the self is time.’[V]This understanding is present and sharply felt if one finds themselves in extreme isolation when one is forced to consider the limits of being: time remains ever present and mischievous. Natural time then is unforgivably uniform and only appears to change; Dogen’s point is that we should learn to partake in this uniformity lest we fall and victimise the self.

In a way the Western perception of isolation dwells in an unhelpful negativity as described in a recent article by researcher Frank Johnson, he says ‘”[R]eality” resides outside the individual. The accepted orientation is to relate to the world in a direct and a discrete way as an external environment. States of cogitation which center on internal phenomena run the risk of being disparaged as irrational and dangerous.’[VI] Here though what is this natural force experienced as the blood red turtle other than a demand to work with this radical evil, this das radikal Böse, or a pure negativity? Freud gives voice to a potential for two methods to unite to solve unwelcome separations and to move towards surviving them; two methods that reside under the names Psychoanalysis and Zen Buddhism may be different but possess the same aim. Writing in ‘Beyond The Pleasure Principle’ Freud diagnoses this devilish red shelled being, ‘errare humanum est perseverare autem diabolicum (to err is human, to persist is of the devil). If this science of the human psyche and the most refined of Asian spiritual practices were to find themselves being brought closer together then we can continue to isolate what makes isolation always potentially part of the silence of animation.

“A state is called the coldest of all cold monsters. Coldly lieth it also; and this lie creepeth from its mouth: “I, the state, am the people.”

– Nietzsche, Thus Spake Zarathustra

Finally these guardian deities of the lonely spirit brought the war.

You are not to blame. I, of course, am not to blame. Everything is the doing of loneliness.

 

Loneliness made them carry guns, even made them, with the bait of loneliness, shrug off their mothers and wives

and leave toward where the flags flapped.

Trinket makers, cleaners, clerks, students,

all turning into folk shaken with the wind.

 

Every and each one, no distinction among them. All taught to die was best.

Petty, timid, good-natured people, their thoughts darkened in the name of the Emperor, went off like brats, delighted, hubbubbing.

 

But on the home front, we’re nervous,

fearful of an arrow with white feathers,

forcing ourselves to push aside skepticism and anxiety,

we try to spend just this one day, we’re all doomed anyway,

drunk on the sake given out.

Egoism, and the shallowness of love.

Bearing it in silence, women wait for rations,

linking themselves like beggars.

People’s expressions growing sadder day by day,

the fate of the folk of an all-out nation,

I had not seen, since my birth, a loneliness so immediate, so profound.

But I no longer care. To me, such loneliness doesn’t mean anything now.

 

The loneliness that I, I now truly feel lonely about

is that I can’t feel, around me, any desire, not even of a single person,

holding his ground in the opposite direction of this degradation, trying to find the very roots of loneliness as he walks with the world. That’s it. That’s the only thing.

 

On 5 May 1945, Boys’ Day

– Mitsuharu-Kaneko, The Song of Loneliness

 

………………………………………………………………………………………………………………

I. Friedrich Wilhelm Joseph Schelling. (1994) ‘On the History of Modern Philosophy: Kant, ed. By A. Bowie Cambridge, CUP, 94-106 

II. Ibn Tufayl. (1929), The History of Hayy Ibn Yaqzan (Alive, Son of Awake), Translated from the Arabic by Simon Ockley. Westminster Press, London

III. Immanuel Kant. (1998), Critique of Pure Reason, Cambridge University Press, B 50. 163

IV. Martin Heidegger. (1996), Being & Time, State University of New York Suny Press. 11

V. Zen Master Dogen, Moon in a Dewdrop, trans. Dan Welch and Kazuaki Tanahashi  https://www.thezensite.com/ZenTeachings/Dogen_Teachings/Uji_Welch.html

VI. Frank Johnson. Psychological Alienation: Isolation and Self-ESTRANGEMENT , Psychoanalytic Review (1963), 62:3 (1975:Fall) p.369


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全ての亀は赤い亀を入れなければなりません:レッドタートル有る島の物語で塊然い孤独を見っています。

2016年で日本人の演出家スズキ・トツオとホランド人のアニメーター、デゥドクデウィット・マィークル静粛な映画を作るのでご協力しました。題名は英語に翻訳して「Red Turtle: The story of an island」です。映画のナラティブは難破の存在が変なカラード亀経由して恐怖しました。映画の静粛な事は日本的な嗜好に支持しました。私は映画のアニメ仕方で実をまた描くのために用心と慈悲がとても大好きです。実際には、主人公が苦しむ孤立の物語はまた、我々は強く無限の変動のコミュニティに住んでいるに基づいているが、それは個人が理解するのに十分なデータを提供していないということで現実の潜在的な再描写である。したがって、この映画を見た後、私たちは、経験からの質問を取ることを選択することができます: どのように我々はそれがフィルムで、生活の広い文脈で「分離」を理解するのですか?

私ためにアニメの媒体/ミディアムはちょっと孤立化んですので当世流な作る方がノードとモードを使う事にしてもこの孤独から多い時間を過ごすと自明です。でも、アニメは小さいランドを環海の島をみたいだって、このセンスで比喩表現と不自然な動きの細胞が連想します。しかし、ここに細胞は生物学へもっと近くみたいなので、自然の具合の知識を信じる事で他の昔の信心がアニメの実で諸行無常を反しません。そして、前の文章の事隣に皆さんの知識と関係は私に心配を増加しるので、例えば科学の遠近法でこの単語「イソーレシン」と確実で積極的なアイデアで「原因を隔てれなければなりません」ですけど同じ時間でアイソレイトが消極的で社会的な意味を有ります。

アイソレイトの積極的なアイデアの説明するで個人主義を使えます。でも、このカルト自己はむやみに空々しくてアーティフィシャル居るけど、この自己の業績は社会と蛮行経由して決心するからこの業績ために笑いだしますか。要領は西の国の社会で一人で受刑:やんちゃなステップ、シンビン、拘置の対立関係を取り組みますか。今日、保持をしなければなりませんのでこの孤立は処罰じゃない(他の日出来る)いっそ孤立が生き残る方を探ります。アートと文化の旧事で難破の人のソトーリーに島と早く探索しています。でも、島とレッド亀から跳ねる前に言葉の島で小さい昼寝をします。日本語でアィランドの名前島ですので、漢字が”島”二つの部分有って鳥みたいな、山と日本の遠近法から離島に見る立場は流動的な海からよ。

全ての島は山じゃありませんですけど全ての島が人間の難破を依存しないから地層の文化持ちます。私は画家チャールズ・アブーリさんを同じ考え方と思うという事とこの画家が虚構の島を作って居ます。プロジェクトはザーアイランデズだから、皆さんはこの島の参入するのオノマトペ村へ入れるので市民の順調な好み経由して、僕がこの国都の名詞をこの場所で遊びます。アイランドの音はイズーランドに切れてなるを聞こえます。そして、私は知らないにイズーランドが一番小さいランドですか。他のランドはイズーランドに比べてもっと小ささを有りますか。考えるですけど知らないね!アブーリさんのプロジェクトはとても悩ましいのでもっと読みたいと彼の行動的な絵を見たいです。このドローイングは虚構の門と孤独の決心により一層眼力をくれます。アブーリさんのアイランドの人は孤独を感じるか、もし、感じてからこのアイランドの人は外国人を出入りしたいです。

日本、世界の歴史は孤立主義有ったけど今保護主義ですので皆さんに言いました。一番東の島達は孤立主の歴史有るけど遠隔の人という事も別途な陸岸から日本人の想像力を仕方の機会みたいです。日本は青島愛媛県、そして一つの島は隠岐の島が女性差別過ぎます。男性はナガサキ・マサフミさん、日本で多い年に隠者を居ると住んでいましたので気にしないでした。このユニークで日本的な隠者居るで引き籠りが内向的な世界です。日本は国と一連の島が世界の東側から優雅でずらす。日本でたくさん美しい場所有るので北海道と広島と沖縄と京都も屹然い東京です。

これらの日本の島々の隣には、砂漠の島で育った少年についての広く読まれ影響力のあるアラビア語の物語があります。私はこの物語を、人間の思考における主題の場所を再定義する際のイマヌル・キャントの記念すべき功績を称えて書いたテキストの中でそれを引用している、ドイツの理想主義者フリードリック・ウィルヘルム・ジョーゼフ・スケリングによって紹介されました。[1] シェリングは、カントがデビッド・ヒュームの因果的な懐疑を却下する際にフィローソーフィカズ・オートディダクタズを参考にしました。 シェリングの言葉や文章は、経験そのものが判断の瞬間にすでに存在している時間と空間によって作られているので、因果関係の前提は経験の前に判断の一部が必要であると考えています。私たちの意志のこの独立性はおそらくシェリングを示唆している普遍的な重力の法則に似ています。 ですから、ここで私たちは哲学を孤立させ、形而上学に根拠を与えようとしました。 この架空のアラビア島に住む子供が、アカガメの捕虜と形質を共有しているのでしょうか。

男のような子供は、先天的理解の適用によって孤立から離れた道を見つけます。 著者がアリストテレスの作品をラテン語に翻訳した王子の原始者でなかったならば、この中世の哲学的反射の宝石は歴史を通してそれを成し遂げなかったかもしれないことを私たちは学びます。このテキストについての最も楽しいこと、そしてそれがアニメ映画によって共有されている品質は、神学が存在しているけれどもそれはあなたが自分自身を見なければならないという何か不足しているということです。 そうではなく、ネオプラトニックな発散と、人に固定された尖塔に焦点を当てることは、2つの島、2つの島人、2つの形式です。この素晴らしい映画を見るためには、おそらく2つのアイデアがあります。私は最近、言葉の失敗によって沈黙(アニメーションは沈黙していること)が可能になるという考えを与えてくれるものを見ていました。 これの隣に私達の積極性が絶えず抵抗しなければならない純粋な否定性の存在がありますか。私は、何もないという日本の概念がこの問題を解決することができるのではないかとしばしば思う。 島の孤立についての私達のアラビア語の物語では、言語が無限として解釈されるこの普遍性の動的と個人の存在の間で演じる場面が頻繁にあります。

 

「不完全さの概念は単なる非存在に他ならないのか、それともそれに依存するの か? そして彼はどうしてもとにかく彼の本質によって、純粋な存在である存在しな いのに参加することができます。誰が存在するすべてのものに存在を与えるのか、 それ以外には存在しないのか。 しかし、彼は存在であり、彼は完全さであり、彼は 寛容さであり、彼は美しさであり、彼は栄光であり、彼は力であり、彼は知識であ るか。

あなたがどんな体をあなたの手の中に持っていってそしてあなたの手を動かしたか のように、体は間違いなくあなたの手の動きに従うでしょうか? それらが共に始ま ったので、時間内ではなくて、自然の中でそれの後にあるような動きで。ですか ら、この世界はすべて、このエージェントによって引き起こされ、創造されたので す。」

イブン・タフェール [2]

アニメーション体験へのタフェールの貢献をさらに深めるために、私たちは時間と呼ばれる究極のいたずらメーカーに対処しましょう。上記の引用は時間と空間が一緒に始まったことを示唆しています、そしてこれは彼の純粋な理由の批評におけるカントの考えを示しています、「時間は内なる感覚の形式、すなわち私たちの自己と内なる状態の直感の形に他ならない。しばらくの間、外観の決定はできません。 形や位置などに属さない。ドイツの邪悪な哲学者マーティン・ハイデガーは[III]、カントの定義が感動的であると述べ、彼の哲学的傑作の早い段階で述べています。自分自身の歴史を持って時を経て旅をする[IV]。時間は私たちの自然な状態です。しかし、これらのドイツの時間的概念を解決するために、私たちは中世の時代と、明確にユニークな時間の概念、日本語での「時の存在」またはUji(有時)を持っているアジアのマスター、道元禅師に話を戻しましょう。他の歴史的な人、マンジロウ・”ジョン”ナカハマさんと難破の男性にもっと相応をみたいですので、マンジロウ・”ジョン”ナカハマさんは日本人の翻訳者がまずアメリカ人と働きました。若い人でナカハマさんは鳥島に難破しました。

道元禅師氏のTime Being(有時)に関するエッセイでは、孤立について考えることを開始することがいかに完全な時間の浪費になるかを見ています。 道元の言葉は、時間が道を見る能力を達成した場合にのみ、時間は統一的なものであるかのように見えるようにします。道元は統一された、孤立した時間ではない、と説明しています。この全世界のそれぞれのものを時の瞬間として見てください。瞬間がお互いを妨げないように、物事はお互いを妨げません。道を探す心がこの瞬間に生まれます。この心の中に、道を探す瞬間が生まれます。それは練習でもやり方でも同じです。このように、配列の中に出ている自己はそれ自身を見ます。これは自己が時間であるという理解です。[V] この理解は存在し、存在の限界を考慮せざるをえないときに極端に孤立していると感じると鋭く感じられます。自然な時間はそれから容認できないほど一様で、変化するように思われるだけです。 道元のポイントは、私たちが転倒して自己を犠牲にしないように、この統一性に参加することを学ぶべきだということです。

ある意味では、研究者フランク・ジョンソンによる最近の記事で説明されているように、孤立に対する西洋の認識は有益でない否定性を示しています。「現実は個人の外にあります。 受け入れられている方向づけは、外部環境として直接的かつ個別の方法で世界に関係することです。 内部現象を中心とした共引用の状態は、非合理的で危険だと惑わされる危険があります」。[VI] ここで、この急進的な悪、このdas radikalBöse、または純粋な否定的なものと共に働くという要求以外に、この自然の力はどうしているのですか。フロイトは、歓迎されない分離を解決し、それらを生き残るために動くための2つの方法の可能性を表明します。疎遠’精神分析とZen Buddhism禅という名前の下にある2つの方法は異なるかもしれませんが、同じ目的を持っています。「喜びの原則を超えて」と書くと、フロイトはこの悪魔のような赤い殻を診断します(誤った人間は人間であり、持続するのは悪魔です)。 この人間の精神の科学と最も洗練されたアジアの精神的慣行が互いに近づくことを発見することであるならば、孤立を常に潜在的にアニメーションの沈黙の一部にするものを孤立させ続けることができます。

ZVpVqK8

寂しさの歌   四

国家はすべての冷酷な怪物のうち、もっとも冷酷なものとおもはらる。それは冷やたい顔で欺く。欺瞞は、その口から這い出る。
「我国家は民衆で有る」と
ニーチェ・シアラトウストラはかく語る。

遂にこの寂しい精神のうぶすなたちが、戦争を持ってきたんだ。君たちのせぬじゃない。僕のせめでは勿論ない。みんな寂しさがなせるわざなんだ。

寂しさが銃をかつがせ、寂しさの釣出しにあつて、旗のなびく方へ、母や妻をふりすててまで出発したのだ。かざり職人も、洗濯屋も、手紙たちも、学生も、風にそよぐ民となつて。

誰も彼も、区別はない。死ねばいへと教へられたのだ。ちんぴらで、小心で、好人物な人は、「天皇」の名で、目先まつくらになつて、腕白のやうによろこびさわいで出ていつた。

だが、銃後はびくびくものであすの白羽の箭を怖れ、懐疑と不安をむりにおしのけ、どうせ助からぬ、せめて今日ー日を、ふるまひ酒で酔ってすごさうとする。エゴイズムと、愛情の残さ。黙々として忍び、乞食のやうに、つながつて配給をまつ女たち。

日に日にかなしげになつてゆく人人の表情から国をむけた民族の運命のこれほどさしせまつた、寂しさを僕はまだ、生まれてからみたことはなかったのだ。しかし、もうどうでもいへ。僕にとつて、そんな寂しさなんか、今は何でもない。

僕、僕がいま、ほんたうに寂しがつてぬる寂しさは、この零落の方向とは反対にひとりふみとべまつて、寂しさの根元をがつきとめようとして、世界といつしよに歩いてぬるたった一人の意欲も僕のまはりに感じられない、その事だ、そのことだけなのだ。

昭和(ショウワ時代)二○・五・五
端午の日

 


1.フリードリック・ウィルヘルム・ジョーゼフ・スケリング(1994年). ‘近代的な歴史: カント’. エッドはボウイ・ア、ケーンブリッジのプレス

2.イブン・タフェール(1928年). ‘ حي بن يقظان’, ‘フィローソーフィカズ・オートディダクタズ’アラビア語から翻訳者はサイモン・オックレ、ウエストミンスタープレス、ロンドン

3.イマヌル・キャント(1998年).’純粋理性批判’ ケーンブリッジ大学のプレス

4.マーティン・ハイデガー(1996年).’生存と時間’政府大学のニューヨークのスニープレス

5.道元禅師(ドウゲン・ゼンジ)(1996年)’露滴の月’ 翻訳者はダン・ウエッチと棚橋・カズアキ

6.ジョンソン・フランク(1693年).’心理的な疎隔:孤立と自己の疎遠’精神分析のレビュー,62:3(秋1975年)

 

 

Avataṃsaka – sūtra.

Sangha:

Webp.net-gifmaker (6).gif 

 

Seeking of the Path

 

Once there was a boy named Sudhana who also wished for Englightenment and earnestly sought the way. From a fisherman he learned the lore of the sea. From a doctor he learned compassion toward sick people in their suffering. From a wealthy man he learned that saving pennies was the secret of his fortune and thought how necessary it was to converse every trifling gained on the path to Enlightenment.

From a meditating monk he learned that the pure and peaceful mind had a miraculous power to purify and tranquillize other minds. Once he met a women of exceptional personality and was impressed by her benevolent spirit, and from her he learned a lesson that charity was the fruit of wisdom. Once he met an aged wanderer who told him that to reach a certain place he had to scale a mountain of swords and pass through a valley of fire. Thus Sudhana learned from his experiences that there was true teaching to be gained from everything he saw or heard.

Sutra001

He learned patience from a poor, crippled woman; he learned a lesson of simple happiness from watching children playing in the street; and from some gentle and humble people, who never thought of wanting anything that anybody else wanted, he learned the secret of living at peace with all the world.

 

He learned a lesson of harmony from watching the blending of the elements of incense, and a lesson of thanksgiving from the arrangement of flowers. One day, passing through a forest, he took a rest under a noble tree and noticed a tiny seedling growing nearby out of a fallen and decaying tree and it taught him a lesson of the uncertainty of life.

Sutra002

Sunlight by day and the twinkling stars by night constantly refreshed his spirit. Thus Sudhana profited by the experiences of his long journey.

Indeed, those who seek for Enlightenment must think of their minds as castles and decorate them. They must open wide the gates of their minds for Buddha, and respectfully and humbly invite Him to enter the in-most chamber, there to offer Him the fragrant incense of faith and the flowers of gratitude and gladness.

 

Avataṃsaka – sūtra.

IMG_4033

I am sorry blog, I have been away for too long, but here is a post about some translations from Japanese into English. I am sharing it for other Japanese learners and for anyone with an interest in Buddhism and Kanji.

First up we have some letters I am sending to old students who I miss a great deal. I hope to see them all soon they where such nice people and I was lucky, I will always be lucky to have met them. The above Japanese translates as,’ Maki, Please give this to everyone. On the other side of this letter there is interesting English poetry. I am looking forward to the next time I am in Japan. Let us stay in touch. Paul’

IMG_3992

The second is a map that my friend Yutaka wrote me… it describes a place of nature, a place near Tokyo which has a lot tress; a kind of forest. Yutaka is a fellow philosopher and I want to talk about co-authoring some texts with him in the future.

IMG_4035 (1)

Thirdly, there is this bookmark, I took it from a flyer for an exhibition on Ink Painting and I love Sumie and Ukiyoe (Ink painting and Wood Block painting) I could spend all day every day looking at these Japanese art forms. 水墨の風, このブークマークは東京駅近くに出光美術館で展覧会からですね。

IMG_3991 (1)

I saved the best to last, this year I will sit my first JLPT exam and then each year after I will sit another. My enthusiasm for this Asian language comes from a teacher I had a Yoko amongst other Yokos. Yoko is a translator of Taiwanese Buddhist texts for one of the biggest Buddhist temples in the world. This translation below is from a recently published book Learning the Spirit/Mind of Zen. Like all authentic Buddhist literature its beauty, power, and truth are constants.

IMG_3990 (1)

Yoko 001

The Translation into English Reads:

“Mutually helping each other.

A place where this happens becomes heaven.

Respecting the neighborhood together.

A place where this happens becomes a pure land.

Heaven is ones home.

The Pure Land is ones spirit”

Yoko 002.jpg

Remove the weeds of the mind. And allow the seeds of merit to grow.

[…]

Thank you for reading.  I will post a much larger and more extensive Japanese translation soon.

 

 

 

Sai Tamiya / タミヤ・サイ

 

03

タミヤ・サイ /  Sai Tamiya,

私は君の絵とイラストレーションが本当に素敵ですのでもっと習いたいだから、もし、今月から三ヶ月まで君のお仕事を私とインタビューで話したら、本当にいいです。このアートはどう描けますか。絵は、マジックとみたいですけど、実君のタレントで、良い日本ので野党的な版画家と耽美を続ける事から現在世界に持って来ます…もっと当世流なし方です。

I think your illustrations are amazing and I want to learn more about them so it would be really good if over the next couple of months you would be willing to engage in an interview with me about your art and illustration practice. How you started making the images you make? Images, that somehow as if by magic, but really by your talent, carry and transform the rich tradition of Japanese printmaking and aesthetics and really brings it into the contemporary world – in a more modern way.

その絵は肝心の日本的なスタイル有りますから皆さんが見えなければなりません…

I would like to help promote your work… because your images contain an essential Japanese style that everyone should see.
ポール・ハリソン  (歩流・梁尊)

Paul Harrison

 

 

ポール ハリソンさん

 

メールをどうもありがとうございました。

ポールさんが私のイラストレーションを気に入ってくれて、私も嬉しいです。

 

Thank you for your email.

I’m glad that you liked my illustration.

 

まず始めに申し上げますと、私の作品はCGであって、リアルの版画ではありません。私は日本画や版画が好きですが、本の挿絵などの仕事として制作するには、岩絵の具や墨を使って描くことは、時間的にもコスト的にも現実的ではないからです。だから私はペンタブレットを使って、なるべくリアルの日本画や版画に見えるように描いています。

 

First of all, my work is CG, not real wood prints. I like Japanese paintings and wood prints. But it is not realistic in terms of time or cost to draw drawings using rock paints or inks. So I use a pen tablet to draw as realistic Japanese paintings and wood prints as possible.

 

使用しているアプリケーションはPainterとPhotoshopの2つで、ペンタブレットを使っています。人物や背景などのアウトラインをPainterで描き、Photoshopで色を塗っています。そして、リアルな版画や日本画の質感を出すために、スキャナーで取り込んだ紙のテクスチャーを

レイヤーで重ねて、最後に色の調整をして完成です。

簡単に説明するとこのような工程です。

 

I mainly use Painter, Photoshop and a pen tablet.

Draw outlines such as people and background with Painter and paint colors with Photoshop. Then, to lay out realistic prints and textures of Japanese paintings, layer the paper texture captured by the scanner.

Finally, color adjustment is done and it is completion.

田宮

Best regards, Sai

 

 

2018年半にブログのポストから私たちは一緒に喋る事が大好きです。是非、1つのエメールで2つの質問をしましょう。色々なトッピクので君のワークから、日本と世界も。

I would really love to interview you over the second half of 2018 for a blog post. Let us email each other with two questions each email. About all kinds of topics that relate to your work, Japan, and the wider world.

 

ここにまずの2つの質問です

Here are the first two questions:

 

一    墨絵と木版よりデジタルなソフトの方が好きです。あのー君はこの働き方の現実化時が説明を出来ませんか。

1) You use digital software rather than the older woodblock printing. Can you describe to me the moment you realized that this way of working was the best for you?

 

二    雪舟・等楊さんのアートが大好きとブァン・ゴーは墨絵ので大きく影響しました。君ために外人で誰がインスパイアしませんか。

2) I love the work of Sesshū Tōyō and the fact that Van gogh collected Japanese wood block prints. Are there any western artists that influence you?

 

(この返事は遅過ぎたのでごめんなさいです。最近、いつも忙しかったです。)じゃ、来年私はまた東京に来るから、その時に私たちを1回目会えます。良い友達をなる。

(I am sorry this reply is late, I am always too busy…) I am planning on visiting Tokyo next year so after our discussion we will become friends in person…

 

Paul ポール。(歩流・梁尊)

 

こんにちは、ポールさん。

 

インタビューに関してのご返信です。

私は英語が上手じゃないので、あなたにうまく伝われば良いのですが。

 

1

私は最初はアクリル絵の具を使っていましたが、

私がイラストレーターとして仕事をし始めた1996年頃に、デジタルイラストレーションが世に出始めて私もMackintoshとFractal Design Painterを使い始めました。デジタルではペンタブレットを使って手書きのように描かくことができ、色の調整や編集が容易であることそして、その頃から出版業界でも次第にフロッピーディスクによるデータ入稿が主流になったのも、私がデジタルソフトウェアを使い始めた一因です。

1

At first I was using acrylic paint, about 1996 when I began working as an illustrator, digital illustration started to appear in the world and I started using Mackintosh and Fractal Design Painter.In digital, you can paint like a handwriting using a pen tablet, it is easy to adjust and edit colors.

And from that time on, the publishing industry gradually became the mainstream of submission of data by floppy disk.

That is one reason I began using digital software.

 

2

私は学生の頃は油絵を描いていて、ゴッホも私が好きな画家の一人です。

私は西洋のテンペラ画がの色合いや質感が好きで、Sandro BotticelliやFra Filippo Lippiをよく参考にしました。私がデジタルで描き始めた頃、私はテンペラ画の質感を表現するために色々なマチエールを作り、それらをスキャンしてイラストレーションに使いました。その手法は今でも使っています。

2

I was drawing oil painting when I was a high school student and Van Gogh is one of my favorite painters. I like the color and texture of western tempera paintings, especially Sandro Botticelli and Fra Filippo Lippi. When I began to draw in digital, I made various material to express texture of tempela picture, scanned them and used it for illustration. I still use that method.

ポールさんが来年東京に来た時はもし会えれば良いですね

It would be nice to meet you when you came to Japan next year.

 

 

  1. You have had a lot of success with your style. I really think that works like: ‘man with carp’ , and ‘the Girl with an umbrella’ are not too idealised or realistic but achieve a great blend between the two. [I am not sure of these titles are correct, but your instagram account provides a great overview], then you also have deeply erotic illustrations. I wanted to ask you two questions: 1) Which Japanese artist working with eroticism do you like? 2) Do you think works that are erotic in some way are more subjective than objective? Because sex can be thought of in many different ways?

 

  1. 君のスタイルと盛況をくれました。私は絵から, ‘男性と鯉’と’彼女と傘’が理想家と現実的を過ぎるじゃないので良いブレンドをしました。(多分、タイトルは正しくないです。分からない…) そして、深くて色っぽい絵も有るから、2つの質問を尋ねたいです。一、誰の色っぽい画家が好きですか。二、サイくんは色っぽいアートをもっと主観的か客観的でどう思いますか。セクスは色々な考え方を有ろう。

 

02

man with carp

 

ポール ハリソンさん

 

こんにちは。

日本では8月は酷暑でしたが、9月になり涼しくなってきました。

そちらは日本よりだいぶ涼しいでしょうね。

 

大学で2つの試験したからこの返事は遅過ぎましたので本当にごめんなさいです。全然問題ないですよ。

 

3

>1)Which Japanese artist working with eroticism do you like?

 

彼らはエロチズムを描くアーティストではないかも知れませんが、私は林静一や小村雪岱が好きです。(一応、彼らはヌードも描きます)

林静一は私が子供の頃の1970~1980年代に挿絵だけでなく様々なメディアで活躍したイラストレーターです。彼の描く女性はどこか物憂いな雰囲気でとても魅力的です。小村雪岱は80年以上前のアーティストです。

彼の描くイラストはシンプルながら構図が洗練されていて、物語性を感じさせます。それは浮世絵のようで浮世絵ではない、古いようで新しいスタイルです。

 

>2) Do you think works that are erotic in some way are more subjective than objective? Because sex can be thought of in many different ways?

 

それは場合によって違うのでどちらとも言えますが、仕事で描いているものは客観的なものですね。小説の挿絵などは読者が物語のシーンを想像する手助けをするためのものですから、登場人物や情景、時代背景至るまで、私は出来るだけ物語に忠実に挿絵を描いています。

 

 

3

1) Which Japanese artist working with eroticism do you like?

 

They may not be an artist who draws erotism, but I like Seiichi Hayashi and Komura Settai.(They also draw nudity)Hayashi Shiichi is an illustrator who played an active part in various media in the 1970-1980 years, and the woman he draws is very attractive with its annui atmosphere. Komura Settai is an artist over 80 years ago. Although his illustrations are simple, the composition is refined and makes it feel narrative. It seems to be an ukiyoe print, not an ukiyo-e, it seems old and a new style.

 

2) Do you think works that are erotic in some way are more subjective than objective? Because sex can be thought of in many different ways?

 

Since it depends on the case, it can say either, but what you are painting at work is objective. Illustrations of novels are for helping readers imagine the story scenes,I draw illustrations faithfully to the story as much as possible, from characters, scenes, to the background of the times.

 

 

Best regards

 

Sai

 

 

四つと五つと六つの質問しましょう。

 

The 4th, 5th, 6th questions…

 

四・サイさんの全ての絵からどちら一番大好きですか。そして、理由は何ですか。

  1. Sai, in all your images which one do you like the most?

 

五・日本は有名な芸者いるので最近この文化は退行とみたいですけど、いつか普通の日本の女性は着物を着ったら�芸者もみたいです。芸者のでサイさんの意見は?

  1. Geisha are famous in Japan, recently thisCulture is regressing but sometime a normal Japanese woman wears the kimono and seems like a Geisha. Sai, what is your opinion on this?

 

六・最近私の同僚はおススメしました。本の作家が、『ユキオ・みしま、仮面の告白』です。そして、私はアニメが好きだから、どちらアニメが好きですか。例えば、鋼の錬金術…

  1. Recently a colleague of mine made a recommendation. An author of a book, ‘Yukio Mishima, “Confessions of a Mask”. And, I like anime, which anime do you like? For example, “Hagenenorenkinjitsu”…

 

SAI, I will send you some more questions soon… もうすぐ、多分もっと三個の質問を送っています。じゃ、元気だね…

 

歩流…

 

ポール ハリソンさん

 

こんにちは。

先日のインタビューの返信です。

 

4

最近描いた絵の中では「祭りのあと」が好きです。

理由は人物の表情と構図でしょうか。縁日から帰ってきて少し寂しい雰囲気が表現できたと思います。

 

I like “after the festival” in the paintings I drew recently.

The reason is the expression and composition of the person.

I think I was able to express a little lonely atmosphere as she came back from the shrine festival.

 

 

01

The Girl with an umbrella

 

5

日本では現在でもお祭りで浴衣を着たり、成人式などで着物を着ますが、

芸者は宴会などで客を楽しませる技能を持ったホステスのことなので、日本人の私には着物を着ている女性と芸者は全く別に見えますね。

私は着物が普段着のようにもっとポピュラーなものになってほしいです。

 

In Japan, I still wear a yukata at a festival and wear kimonos at an adult ceremony etc, In general, geisha is a hostess with skills to entertain customers at banquets and the like,a woman wearing a kimono and a geisha are quite different to me in Japanese. I want kimono to become more popular like everyday wear.

 

6

私は最近のアニメはあまり見ませんが、私が子供の頃によく見たのは世界名作劇場と呼ばれるシリーズです。どの物語も好きですが、その中でも特に「赤毛のアン」が好きです。

 

I don’t see much of recent animation, but I often see it when I was a child is a series called “World Masterpiece Theater”. I like all the stories, but I especially like “Anne of Green Gables” among them.

Best regards

Sai

 

オケー、終わるの四つの質問です。(私たちは忙しい人ので僕に悲しさを成るですけど会えるでこの話すを続けている) そして、君の答えが好きです。私は多くて新しい事を習います。

Okay, four last questions (It makes me sad but we are both busy and can continue our conversations in person), and I like your answers. I am learning many new things.

 

七ー    日本でスタジオジブリのテーマパークを開ける事が楽しみにしますか。行きませんか。ディズニーランドも有るととても人気なー。

  1. Are you looking forward to the Ghibli Theme park opening? Will you go? Japan has Disneyland and it is very popular.

 

八ー     音楽は話しません。ゴールデンボンバーよりBABY METALどちらが好きですか。どちら聞きたいですか。

  1. We haven’t discussed music. Which one do you prefer? Golden Bomberor Baby Metal? Which will you listen to?

 

九ー   私はタオ・オカモトさんが敬愛します。この彼女は映画にザー ウルバリーンで見えました。誰かが好きですか。

  1. I have a crush on the actress Tao Okamoto. I saw her in the film ‘The Wolverine’ (2013). Is there someone who you admire?

十ー    しまいに世界に将来お仕事を説明しで下さい。何の君のアートの展覧会が皆さんは楽しみにします。

  1. Finally, please tell the world what work you have planned for the near future. What exhibitions of your work can we look forward to?

 

 

ポール ハリソンさん

こんにちは。インタビューの返信です。

 

私は宮崎駿のファンなのでジブリパークの開園は楽しみですね。

私はジブリの映画の中ではとなりのトトロが好きなのですが、

私が大学生時代に住んでいた所沢は”となりのトトロ”の舞台でもあって、郊外には今でもトトロの森があります。

映画の舞台になった街を散策するのも良いです。

 

I’m a fan of Hayao Miyazaki, I am looking forward to the opening of Ghibli Park.

I like “My neighbor Totoro” in Ghibli’s movies, Tokorozawa I lived in college days is also the stage of “Totoro”,

there are still Totoro’s forests in the suburbs.

It is good to take a stroll around the city where the movie was set.

 

残念ながら私はどちらのアーティストの音楽も聴かないです。

私がよく聴くのは1970~80年代の音楽で、ディスコやファンクが特に好きです。洋楽ではEarth, Wind & Fire、邦楽では山下達郎が好きで、最近は80年代の日本のシティポップスをよく聴きます。

 

Unfortunately I don’t hear either.

I often listen to music in the ‘70s and ’80s, especially like disco and funk.

I like Earth, Wind & Fire in Western music, and Tatsuro Yamashita in Japanese music. Recently I listen to Japanese popular city pop in the 80’s.

 

私はマイケル・J・フォックスが大好きです。彼の映画では”バック・トゥ・ザ・フューチャーが”有名ですが、The Secret of My Successも私の大好きな映画です。

I love Michael J. Fox. In his movie “Back to the Future” is famous, “The Secret of My Success” is also my favorite movie.

 

10

私は現在は書籍の挿絵やブックカバーを主に描いていますが、将来的には私はその他のメディアでの仕事も増やしていきたいです。

私のイラストレーションは日本画のような日本スタイルの描き方をしているので、私は海外での仕事でもそれを活かせるようにしたいです。

 

Currently I mainly draw illustrations of books and book covers, but in the future

I would like to increase the work on other media as well.

As my illustration is drawing Japanese style like Japanese paintings, I would like to make use of it even in overseas work.

イラストレーションを添付します。 インタビューをどうもありがとうございました。

Best regards

 

 

タミヤ・サイはフリーランスの挿絵画家(イラストレーター)です。彼は東京・日本に住んでいます。

Sai Tamiya is a freelance Illustrator who lives and works in Tokyo Japan. See the illustrations at: http://www.artlimited.net/14860 and on Instagram: @saitamiya

ku_ru kanji

In pursuit of Japanese fluency every Westerner is faced with the dilemma of how or what to do about the languages three alphabets … Hiragana and Katakana are difficult enough then a normal person will look at Kanji and say, “Well I am not Asian therefore I am not obliged to learn it. I, on the other hand, are a mischievous animator constantly seduced by all kinds of literature from Graffiti to poetry and especially graphic poetry.

The following is an abuse of Instagram. A collection of recent calligraphy and writing from various Asian hands with some translation and comments.

日本語のペラペラを追撃するで西人はこの言葉の三つのアルファベットが問題をどうしますか。平仮名とカタカナ十分な難しいです。普通の人は漢字を見たに(じゃ、私はアイジ人ではいないので学びの義務を有りません。しかし、私はわれぱくなアニメーターいるからいつも全ての文学で落書きから詩まで、図形の詩の方がいいとこの物は僕を靡かす。…これはインスタの悪用しています。最近、書道は色々なアジアの手からと翻訳と注釈の収集です。

 

 

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Peaceful Wisteria @y_bikin

 

Blog kanji 001

Pink frilly decoration, like a small garden.

Lesser Cuckoo … @Shoorei

 

Blog kanji 002

Now, I have no choice. Now I live as a woman .  @Shunpu

 

Blog kanji 003

With writing, really a moist instrument,

A wealthy rich culture comes. @Mashiko798

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Before trying to be someone, I think the things you couldn’t do are a way of introduction. @bein_S.0913

 

Blog kanji 005

 

Bugs/disregarding (disregarding small bugs, you say plates do not cry Kanji.

Haha, this one is a failed translation, the adjective is wrong. 笑、これは翻訳しないで、形容詞は悪いです。

 

Blog kanji 006

 

May also the yearly amount is over. Atmospheric temperature between the body’s condition will disappear (leave). Please look after yourself please. @kakichirashi

 

2 x B

Two Bens:Two Artists Using Japan for Inspiration. (Benjamin Bardou’s ‘Tokyo Wanderings’, and Ben Jeans Houghton’s film ‘2nd Life’.)

[Ben J. Houghton’s film ‘2nd Life’ was exhibited at Bloc Projects in Sheffield.]

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The French artist Benjamin Bardou’s work is a visual feast at first sighting on Instagram one was hooked asking what is this new glitchy and painterly crack? It turned out to be some experiment in video editing and production using something called ‘pointcloud’ in the animation of videos. Take for example ‘Dotswarm’ an application for apple operating systems developed in New Zealand. After glimpsing at what this kind of animation is I encountered a new development in animation techniques that is animating the cloud. This is very fascinating for me because the image of the cloud is a very very very beautiful and strong image. Clouds have inspired so much culture over the history of our species from Aristophanes’s portrayal of Socrates to a fantastic youtube lesson on the continuation of Chan Buddhist hermits titled Amongst White Clouds (worth watching it still makes me romanticise about being a hermit… although I do not wish to be one). In Japanese the Kanji for cloud 雲 / ku-mo / is comprised of two parts ‘rain’ 雨 /a-me/ and a radical for ‘say’言/ Iu / which in turn can be in turn reduced down to two. So, one direct translation into English can be ‘rain say’ or ‘say rain’ the potential meaning of which escapes me. Yet, it does provide a route into the two videos which I would love to just gawp at continuously projected in a high definition. First viewing was a kind of reality check because Bardou’s short films really forced immaterial aesthetics into one’s thoughts. Similar and relevant considerations are also found in a brilliant discussion of an “immaterial world” author Steve Wright asks a question that is perhaps also asked by the two films Lost in Tokyo, and Wandering in Paris (please watch them below), that is ‘Are we living in an immaterial world?’. In Wright’s sharp dissection of post-workerism and especially the work of political and economic thinkers such as Antonio Negri and Michael Hardt in their books Empire and the Multitude ideas of immaterial labour and the changing reality of capitalism are thought through. I think an element of wrights conclusion is rather interesting when he mentions ‘Speculative ventures – which have been rife in the past decade – seem to make money out of thin air’, and…

‘In the meantime, debt continues to balloon, from the micro scale of individual and family credit cards, to the macro level of public sector budgets and current account deficits. However ingeniously the burden of such debt is redistributed, the terms of the wager cannot be forestalled forever. When it is finally called in, things will become very interesting indeed. If nothing else, we may then find out at last whether or not, as Madonna sang. …

The boy with the cold hard cash Is always Mister Right, ‘cause we are Living in a material world.i

Ending on Madonna’s song completes a nice circuit in that the essay begins with referencing Zen. Two individuals try and outsmart a master and ask, ‘can you teach me about reality without using either sound or silence? The master punches them in the face’ such a moment of aggression is perfectly placed so as to allow me to make an important point regarding Bardou’s cloudy creations. For me they were and still are a punch to the face in that they build upon the notion of a veil that covers an underlying reality, or a reality that should indeed be veiled?

Fundamentally, modern life is computational the acceptance of mathematics builds a one sided picture of the world. A sphere of certainty although useful is it really necessary? If so what kind of necessity does it represent? Questions such as these are seemingly resolved in the silent Buddhism by way of a profound negation of illusion of Maya; qualities that are shared with Plato in that the most rightfully revered ancient Greek Pagan believed whole heartedly in a universal law. In the Timaeus (Plato’s creationist account for existence) we can read Timaeus describe how the maker of the universe a creator God desired ‘everything to be good, marred by as little imperfection as possible’; this God found everything visible in a state of turmoil therein he was forced to turn this chaos into order.ii It is this movement away from the senses and an emphasis on their being two realms of reality the transient and the eternal and unchanging. For those readers interested in how Plato came to make his distinction between the sensible (A-C, eikasia -pistis), and the intelligible (C-E, dianoia – noesis) represented by a divided line. Can it not be true that all lines are not just divided but are dividing; Plato would have perhaps said that all lines are divided by the sight or gaze. Yet what about the line made by Plato’s creator, a line from Chaos to order, and is this line still as persuasive as it has been for over a thousand years? I am less convinced that Plato did not completely miss-interpret the followers of Heraclitus and that his debt to Parmenides was not burdensome upon the human imagination. Speaking about such topics makes me also add that the role of the Sophists on Socrates and Plato needs studying as it contains hidden mysteries and insights. Bardou’s films offer up not a frustrating but a strong example of artistic wonder surviving, thriving, and marking its territory among its newer iterations: philosophy, science, and design.

It is one of those infuriating moments of existence a good friend of yours has helped bring an awesome artwork to a city that gave me my first taste of actual education (the state organised schools, the generic secondary schools in the UK, I experienced as a factory and a prison – aware that the national curriculum is so devoid of any kindness nor nuanced belief in those learning under it – I hear some of you think: ‘well at least you had education of some sort?’, yes, I did, but only when I moved to an open and free space at the Art school in Sheffield). It is a shame I could not participate in this community’s appreciation of a film ‘2ndlife’ by Ben J. Houghton. A film which features visual material shot and taken from the country I consider as my second home. Japan, has a claim to being the most interesting country, nation, or culture currently thriving on this planet because it is home to some of the oldest unique events, objects, and processes. To name but a few that western readers may easily identify and understand: Manga & Animation, Samurai, and Sushi. But wait, the latter is a silly sentence because each reader has their own identification and understanding of the Far East. This is but one of the good things about this film although a monologue Ben’s voice (I assume) never detracts from the content his camera records; content that features places and locations that I am personally so fond of. This is of course to be expected as any lucky person able to live in a country that is not their own will testify that although it is a confusion as to whether or not your interpretation makes the place, or does the place (time/space) make your interpretation?

The film is a good resource and example of how art is a parental practice to philosophy. Watching 2nd life one hears, ‘every artistic practice is generative’ and this made me nostalgic for such a belief for I do not believe this is applicable to the whole (every practice) of such practices. This is due to my repeated experience of the severity of manipulation involved in human habits and thus an inability to fully control symbolic value (this is most likely tantamount to a personal confession about one’s own inability to draw conclusions surrounding such distinctions as value and meaning, being and non-being, the transcendent and immanent). One really likes how the film really deepens the titles duality. It comments on a life within a life and beliefs surrounding rebirth and the Buddhist belief of Saṃsāra (संसार: an endless cycle of rebirth and wandering; is it akin to the western wondering necessity? Who knows?). For me there are strong highlights that stuck with me after one watch of this film. The first comes at 09:44 – and Ben’s voice reminded me of the spiral circles in French thinker Delueze’s metaphysical detailing of desire … and this film brilliantly hammers home that time is necessary for meaning and generates a lived experience in which time’s transitory mysterious materiality is laid bare for the spectator’s spectacles. Houghton correctly states three modes of learning 1) brutal ‘trial and error’ 2) emphatic connections, 3) love and compassion – all eventually, by way of artistic inquiry and agency lead to “learning as liberation from learning.

Here the film’s speculations start to go even more deeper as the narrator suggests whilst on a Tokyo train that it is perhaps a strange and dark aspect of human consciousness that allows our thinking, or being to often encompass a “Tearing through humanness” amidst all the energy and re-incarnation. Another memorable line that hits right to the hidden dilemma at the heart of human creativity, “trying to find a usable marker is like trying to grab a beam of sunlight in a river current”. This line makes me think of the strangeness of how objects only exist under the parameters of their own usage, but this sentence seems to disturb this in that with the surface of a flowing river’s encounter with light. Such an example of flux is one of the joys of film and video (both digital and analogue) they capture light for fleeting experiences that are often feel so fundamentally familiar we forget their difference. The mechanics of film: the capture of light and time, the animation of matter, and the social and anti-social modes of production… offer up alternatives to what we so often are forced to take for granted. Here, cinema and literature are shown to be deeply intertwined and contained within their operating systems, within their modus operandi, is a utopian day dreaming. Understood from the perspective of a ‘second life’ this may suggest that rebirth be something desired; never mind the Buddhist wisdom that states this as unnecessary suffering, ‘if one can live again then why not?’ Well, there is always the probability you could come back as a fruit fly or a loathed creature like a cockroach? This is why Buddha’s insights should not be messed with however if we, in our thinking, are searching for a connection between East and West then here is a potentially political one: Is Buddhism more Hobbesian (as in the self is this illusionary leviathan?) or Rosseau-ian (that the institutions with which we have to live by corrupt our innocence?); it could be a mixture of course?

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A cat moving through a graveyard hones the films fluctuations on its current: its exploration of the true difficulties that every human faces. How, in each of us there exist drives that if we find a balance within daily life then they may flow peacefully but if we experience a degree of unbalanced events and situations then ‘like follows like’ we move towards chaos. Such interrelations are very difficult to navigate and to survive them the psyche of an individual has to go through training, has to measure itself amongst the vast possibilities that reside in even the most miniscule of spaces. This meditation manifests more vividly at an introduction of a cat (a most beloved creature in Japan). At 34:26, a cat’s poem states, ‘you smell like soul and blood, just waiting wanton time … waiting for the time where my ideas act…’ all spoken in a slow and lucid stroll through a graveyard. Reminding me of supposed antagonisms between reason and its absence, realism and relativism, automation and autonomy. But, is it not true that an animal such as a cat teaches humans their own futility? We can never be as beautiful nor as stupendously wacky (see the mass of cat Instagrams), or even as wise as our feline associates. This cat and poem in a graveyard (all Japanese cats are related to the six cats (Goma, Otsuka, Kawamura, Mimi, Okawa, and Toro in Haruki Murakami’s Kafka on the Shore (2002)) made me want to read the book again of course and also research other relations one could find that connected Ben’s film with Murakami and I stumbled across an article written by Michele Eduarda Brasil de Sá. In this article Michele brilliantly invites us to consider a Japanese notion of “Space Time” by honing in on an important part of Murakami’s novel. We are presented with the main character kafka Tamura discovering an oil painting in a library in which supposedly the secrets to the labyrinth of time are found as well as “The Edge of the World” (世間の縁 /sekai no fuchi/).iii

Inevitably Murakami’s novel and the cat cameo culminates in me and you, dear reader, being forced to bow to the cat’s (にゃー義 /nya-gi/ a belief in the feline) because it could be the case that cats are in possession of an understanding of why gravity is also only partially universal and more than a little bit wave like. This then entails a perspective that strives and struggles for an appreciation of the limitations of life and of living. Houghton’s film is so thought provoking it gracefully invites much consideration on this narrative of struggle, of the finite that all humans represent. Here again Buddhism trumps western thinking in that the Buddhist death is positive we should be embracing the lack of choice with which we came into being as different to how we could leave existence. Ben’s work also references the notion of Antinatalism in the thinking of philosopher David Benatar, and how Houghton experienced a group of American military personal discussing their masculinity at the doors of the notorious suicide forest Aokigahara or ‘The Sea of Trees’. Such a coincidence makes me think of an anti-antinatalist position that I also think the maker of this film would also support. That is it is a little daft considering we are all here because two or even more people made us. To prescribe a negative value to birth is akin to saying you would rather not be when you are being. You could say that this misunderstanding arises from not appreciating how being is always taken over to a space, it always finds itself there. This is of course a little derivative of Martin Heidegger’s thinking (I wish it were more Kantian, or Schellingian but I need to study these Germans more), but what I find fascinating by the ease at which anti-natalism is refuted (in only one sense, but it could also be defended as a form of “free” choice) is that it also enables an understanding of traditionally materialist stances on the cosmos. Here we have two positions that are against human life one being anti-birth, and the other against continuing life (suicide).

But, I am sure these two are positive they are affirmations of life because both are about choice seen as both intentional and wholly other. We are fundamentally not in control of the beginning of existence and yet we can say with some certainty that it is more likely that we are in control of our demise (not when but how) even though there is still the possibility that this control may be taken away from us. The ancient atomists understood existence as unforgiving and unaffected by humans, yet they acknowledged that atoms may join and separate and that is why a film about Japan such as ‘2nd life’ is so great; it is not humorous but it demands we take materialism and the role of religion seriously. I think this film encourages and nurtures understanding on the role of transience in transcendence. This then connects back to what one mentioned regarding Plato’s conjunction between constant change and infinite being. I think the regularity of material change is of a nature that is apprehensible in that ‘becoming’, the titanic twin of change, reinforces teleological time (there are other forms of time (Chronos is a mischeivous god!)). Why? Plato believed in universals (Ideas = forms) and for something to be a universal it must remain forever and be incorruptible. . Science and particularly astrophysics and quantum mechanics reveals the extent to which all could be related, this is called the unified field theory, and it aims to reveal reality as an equation. Regardless of whether or not the physicists make such a remarkable achievement the fact that some of us are striving for such things demands that we question the effects it may carry. If such a process is accomplished in the name of knowledge then this worries me because it suggests another standardisation that may do away with a determination (struggle to understand) found in those phenomena such as light, colour, and life.

One good example of why a spectrum predominates over standards is mass/matter/weight itself and here again we can find Plato and Buddha’s presence. Plato had the notion of το μέγα και το μικρών (‘the great and the small’ /to mega kai to mikron /) a dualistic ontology that has ‘the One’ as a principle of unity, and ‘the indefinite dyad’ a principle of multiplicity and indeterminacy.iv Buddha has a similar if not equivalent duality that Enlightenment is another One (but, differs in that this represents an absence of thinking), and unless we learn to see through the multiplicity called ‘Maya’ an illusion, our suffering increases. But, it is the half of the split comprised of illusion that interests me and I am not here trashing the One, just stating that the contents of the sensory realm being illusionary may not be problematic if we understand them as illusions. That being illusionary generates a necessary need to be creating our own relations between things? Even mathematics can be said to partake in such processes; one very striking modern scientific example is a discrepancy between the Quantum and the relative, or how do we understand atoms when their material qualities appear as change itself.

A striking example would be a symmetry between the great and the small this can be found if we consider the notion that mass is only a constant if it travels at the speed of light. Other than this it is subject to change. This then makes it also a spectrum if what we measure changes by our measuring then does this support the necessity of a spectrum of choice struggling in face of determination? Or, does it affirm a determination a one unchanging and perfect? I do not know, but this is the line of questioning I will further at some point. First, to end on some aesthetic evidence for these considerations. Whilst studying for a philosophy of science exam I came across the symbol for Solar mass M and learnt that it is equivalent to the mass of our sun: two Nonillion (two quintillion kilograms), allowing the measurement of the mass of the planets and cosmic entities. If we look at the symbol for solar mass we simultaneously see how Plato was brilliant and wrong in that our contemporary understanding of our sun states that it too has a lifespan, it too has to die, and if it has to die, then surely the universe also?v This symbol also resembles Plato and his intellectual father Parmenides’s belief that the One took the form of a circle because by definition, ‘that which is equidistant in all directions from the centre’ can be said to have a kind of perfection but importantly we have a choice if this is seen as a process of becoming. If we exist within the universe on a line from one sun Mto others M1 + M2 + M☉3 + M☉4 +M☉n……. we see clearly how choice arises from a battle against a determination with demise as Ben himself narrated, ‘you must be in a place of perfect unrealised potential at the moment of death’.This all may be a digression from the brilliance of Ben Houghton’s film but I felt that I wanted to take the opportunity to share some thoughts and urge anyone interested about this film to get in touch with the artist and demand that he screen this 50 minute film near you. This film deals with so much that is of interest ( sovereignty of personhood… love as a co-dependency) it would take a second life just to second this awesome work of art.

Perhaps, this commentary on a ‘2ndlife’ is too focused on just one recent extrapolation of death and indeed too anchored to the beautiful Japan. So, to end with something that expands the death of this film into another stream of thinking on death found in the ‘Tibetan Book of the Dead’, these lines lifted from The Aspirational Prayer Which Protects from Fear of the Intermediate States may offer a temporary period. But still a perfect pregnant potential, Thank you Bens!

‘When I am miraculously born into the intermediate state of rebirth, may I not be beguiled by the perverse prophecies of Māra, And as I [freely] arrive at every place that I think of, May the bewildering fear and terror, generated by my negative past actions, not arise. When the roars of savage wild beasts echo around me, May their cries be transformed into the sound of the sacred teachings, the Six Syllables , And as I am engulfed by snow, rain, wind, and darkness, May I achieve the pure clairvoyance of radiant pristine cognition

May I easily come to master by study and reflection, The manifold stages of learning ̶ small, intermediate, and great. May the country into which I am born be auspicious, And may all sentient beings be blessed with happiness. ‘vi

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二人のベン二人のアーティストは鼓舞ために日本を使います。ベンジャーミン・バードウさんの東京のふらふらとベン・ジェンズ・ホートんさんの映画は二回目の命

フランス人の画家ベンジャーミン・バードウさんの芸術作品は視覚的な地層です。まず1回目見える時で私はどっぷりどんなグリッチフでベンのヘロインですか。このワークはビデオのエディットと創作の実験でポイントクラウドを使う事からビデオをアニメします。例えば、ニュージーランドでドットスワァムはアプルのツステムのアプリために展開しました。このアニメーションのタイプを見えたに雲をアニメしていると新しいアニメの方法を会えました。雪は本当に強いて美しい絵ので私ためにとても魅了します。雪は人間の歴史に経由して多い文化をインスパイア〜したのでアリストフェーニーズのサークレーティーズからよいユーチィーブの禅の隠者が(白雪で)の記録映画です。(私は隠者を成るたくないですけどこのフェルムが私のロマンチックな気持ちを続けます。日本語でクローワド漢字のは雪を二つの分が合成です。雨と言うだから二に通分します。で、一つの英語に入っての翻訳は”言うの雨”か”雨と言う”と可能な意味を逃げます。でも、これは二つのビデオをハイビジョンで見えることを続け方の経路があげます。バードウさんの考えることに無形の審美学を入ったにショートの映画は一回目の見えるが本当に真実のチェックをみたいでした。
最高無形の世界で作家スティーブ・ライトさんは多分二つの映画が東京で迷うとパリでふらふらが同じ質問あって皆さんを無形の世界に住んでいますか。ライトさんの絵刷なポーストワーカーイズムの解析学とアントーニーオー・ネグリーとマイケル・ハートさんの政治的で経済的な本(エンパイアとマルティチュード)で無形の労力か働くと資本主義の事実を変化が考えます。ライトさんの結論は面白いです。彼は投機的なベンチャーーこれは十年前に猖獗を極めたー薄いお金が空気から作る事をみたいですと言いた。そして…

“すでにして、借金を右足がり、微細な個人とご家のクレジットカードから、マクロな公共部門の予算と経常黒字まで。しかし、その借金は負担を再配布で、賭けるの態様が後手を永遠に出来ないです。この賭けるの回収時から事態はとても面白くてなります。もし他ならないことは私たちがマドーナさんの歌うの正しさを見つけるので…”

マドーナさんの歌に終わるはこの論文が禅を引用だからいい回線を完成しました。二人は’実から音と沈黙は無し教えますか’と禅の師家に質問しました。師家はその二人の顔でパンチしているので侵略時が私ためにバードウさんの曇りのアートで大切な要旨ができます。繁栄と領域を主張します。
存在の仕方ない時はいいともだちが待ちの教育に上手な美術を持ってくるの手伝っていました。(前の町の大学は本当に特別です。理由はイギリスの教育制度を僕の経験が刑務所と工場をみたいだから課程も生徒ために優しさとニュアンスの信じる無しです。私は誰かの思い方で”君は何かの教育が会うたね”と聞きます。ええ、そうですけどシェフィールドのアート学校に入るからオープンと自由自在な経験をきる。私はこのコミュ二ティでベン・ジェ・ホートンさんの二回目命の映画を多いとしませんので残念です。この映画は物質が私のセカンドホームの国から撮影しました。日本は一番面白くて古くてユニークなイベントと物と経路のホームですから日本が地球上で一番面白い国民と文化の申し出あります。漫画とアニメ、武家とお寿司は西人がこの事を分かれます。ちょっと待て読者たちは日本の同定と理解があるので前の文章がたわいないです。この映画のよいことは独語けどベンの声がカメラのイメージから全然気をそらすので、フィルムの内容で色々な場所たちが好きです。これはラキーナな人を外国に住んでいったから普通の予想と言いて、しかし、ごったも有るし〜皆さんの通訳は場所を作られるか場所が通訳を作られますか。

Lost in Tokyo from Benjamin Bardou on Vimeo.
“二回目の命は哲学ためにアートが親ので本当にいい例えです。二回目の命を見っているは(全てのアーティステックな実践をジェネレーティブ)と聞こえるから。このビデオのアートは私に遠因の覆面カーバが実を覆面有るなければなりませんから私の顔でパンチもです。差遣的にもダンライフの勘定と数学を受諾ので世界の絵は不平等な絵を作ります。確実性の球体はべんりけどこれは必ずですか。この質問は静かな仏教でマーヤーのイリュージョンを深い否定で解決済みです。そして、このクオリティはプラトンにシエアするので尊の古いギリシャーのペイガンが普遍的な法律を信じました。ティメオーズ(プラトンの創造論)私たちは天主が全てのいいと少しい不備も欲しい事を読めます。このゴッドは全ての視覚的なものを混乱過ぎるを見つけたから、この混乱を平均)に化せなければなりません。この移動は可能から二つの実の天地あるで無常と永久に念を押しました。読者からペラトンの区別で感覚的な(エイー・シーeikasia・pistis)と達意なタース(シー・イーdianoia・noesis) 両方はディバイデッドインを描破します。それも、全てのラインはディバイデッドですけどディバィデッデイングも有るし〜ペラトンが全てのインを視線が見えるからディバィデッドします。でも、ペラトンの神明のラインはどうですか。このラインは混乱からバランスまで、このラインが千年あとに説得力続く。私はペラトンがヘラクライタスを悪い拝読したと彼のパーメニディーズために忝を人間の思い方に負担を成ったので半信半疑です。このトッピクスを話しているは私がペラトンとサークレーティーズの詭弁の影響で非表示の神秘と洞祭力有るから足しました。バードウさんの映画は創造的な驚嘆の生き残るの例を悔しくないけと強い奉納ですからこの例はアートの新しい反復で哲学と科学とデザインにこの創造的な驚嘆が

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         Benjamin J. Houghton ‘2ndlife’, Film Still (2018)

よくファミリア過ぎるので忘れると光を捕らえます。フィルムの力学: 光を時間捕らえる、物質をアニメする、社会的でアソテソーシャルの生産の方法…皆さんの強行な措定くらへて他のオプションを見せます。だからシネマと文学は一緒に不採算の手口と作動で空想的社会改良家有ります。二回目の生命の遠近法から見るを分がったに生変をくれたいみたいですけど仏教の知恵がこの生変を必要ではないと言った”もし、また生きたら大丈夫かな?”では、生変するでいつもショウジョウバイとゴキブリを死に変わりますか。それは仏教の洞察力をごちゃ混ぜないですけど、もし私たち考えるで東と西の関係を探して多分政治的な一つのままです。仏教はハーブジーン(遺制と生くなければなりませんので無罪を毒する)勿論、ミクスもありうべきか?
猫はなかば経由動くでフィルムの変動をナラティブに研ぐ、そして全ての人間は正しい問題を向かいます。どうやってか、全ての人中に動因があって、もし私たちが生活でバランスを見つけるからこの動因を平穏ですけどもし、いつかの経験をするので同じ事を一緒に習うで私たちを混乱に動きます。相関はナビるが難しさともし良い生存して個人のプッュケーを訓練しなければなりませんと個人のプッュケーは自分を微細なスペースで膨大な可能に対して計ります。この瞑想は一番の鮮明する猫の紹介時で(日本で猫が超愛してる)。34分26秒で、猫のしはみみは精神とちの匂いみたいです。はちゃめちゃな時間を持って…時間で私のアイデアに行為を持つと私がこの信じる事を全ての実践で言わないけど前の信じるから懐かしくてなりました。このいない事は人間の習性で深刻なてさばきので象徴的な価値を支配が出来ません。(でも、これは私の価格と意味いるといない、超越論と内在的で断じないから個人的な懺悔です)。私はこのフィルムに題名の双対をもっと深さなる事が大好きです。生命を生命中に伝えて生変と生変と仏教の輪廻と信じるも伝えます。私ために一回見る後で強い圧巻を見かけました。まず、9分44秒でベンさんの声はフランス人の哲学者デレューズのデザアイの形而上学的唯物論を連想します。このフィルムは時間のマティリアリティを見物人のメガネためにあらわにすると時間も意味の命脈ために必要です。ホーウトンさんは3つの学びの除法生と言って、1) 残虐なテストとミス、2) 罷り手作、3) 愛と慈悲です。これ学び方たちはアーティスティックの調査と仲介経て”学びは学びから解放”と導く。
ここにフィルムの思索はもっと深さに始めるに話者が東京よ電車でエネルギーと生まれ変わり中に見知らぬで暗い人間の意識の分から皆さんの考えると存在よく人命をばりばり経由すると網羅と理解を出来ます。他の印象深い文章は人間の徳蔵生の心に行く本流中で光線を奪い取るようにするは使えるのマーカーを見つけるようにみたいです。この文章は私に物が物の使う方であるだけと考えるですけど、この文章この考えると光が本流を会いて妨げます。この光速の例え一つのフィルムとビデオの喜び(アナログとデジタル) ではかない経験を言う。全ての言うは明徴でゆっくりはかば経由して話しました。理由と不合理、現実主義と相対主義、オートメーションと自治権も、この対立関係たちは私に連想しました。でも、猫は人間に無駄なこと教えるを正しいですか。人間は決めして猫の知恵と綿陽でならないです。この猫とし(全ての猫は6匹の猫とゴム、オツカ、カフムラ、ミミ、オカフ、トロ、と村上・春樹の’海辺のカフカ’(2002年) 。私にこの本をまた読みたいです。そして、他の関係たちを見つけるとベンのフィルムから村上・春樹までつなげると研究するので私はミシェールさんはエドアルダー・ブラツル・ディー・ザーさんの記事を積まずできます。ぎじで日本的な時空を考えて村上・春樹の本の大切な部分にピントに行く。主人公、カフカ・タムラは図書館で油絵と時間の迷宮とせかりの縁を見つけました。
止むを得ず、村上・春樹の小説は猫のカメオし私と今の読者に猫のニャー義をお式しなければなりません。だから、猫は重力ので部分的な普遍とサスッルギをみたいです。これは生命と生きるの限りが見えるの多とします。ホーウトンさんの映画は相当と有限のナラティブをくそ落ち着きの考えるも優しく誘います。また仏教の思うは西の思うを敗る。理由は仏教の死ぬは肯定から私たちの生めるで円卓無しが抱くので死ぬる比べて違います。ベンさんのアートは哲学者デービッド・ケイヘナターの考えるでアンテネータリズムを青木がアオキガハラでホーウトンさんはアメリカ人の軍隊が男性を話し合うの経験も。そんな、偶然は私にアンテーアンテネータリストの定位でベンさんも支持すると思います。アンテーネータリズムはちょっと滑稽です。二人は皆さんを作るから誕生に

ネがティブな父あげるから(生きるならよりいかにいの方がいい)と言う同じです。これ分けないのことが生きるいつも場所にもたらすも、いつも生きるはそことおそこに見つける。ハイデガーの教えるからちょっと誘導したいです。(私はこれをもっとキャンティウンがスケリンギアンの方がいいですけどこのドイツ人をもっと勉強しないと)。でも、アンテーネータリズムの本論の簡単から面白いです。(一つの駁する方だ、でも自由の形で守る。) それで、伝統的で物質主義者の宇宙から分ける事が出来ます。ここに二つの立場は人間の生きるにはしてアンテ生めると他の立場が生きる事を続くにはして(自殺)です。
それで、私は両方が生きるの肯定から両方は意図的で今一つから積極です。私たちは存在の始めるを肝心と規制全然ではないですけど少し確実と私たちの終焉いつじゃないかどうやってを収集を話せる。
ところがこの収集は約をほされる。古いアトミズトは存在から人間のかざいけのないが優しくないと分かりました。でも、アトミズトはアトムを一つ一つと結びつけると承認しるので二回目の命が本当にいいです。二回目の命はユーモア無し唯物論と宗教の役目をちゃんとする。このフィルムは超越中で無常を促がす。これはプラトン前にことで常数の変化と広大無辺の散在の交渉またリンクします。置く薄々変化の至善は分けるから理由が変化のヲタンな双子を成ることでテローローギキャルな時間に増強します。(クロノスはわんぱくな神様だから、他の時間形があります。) 何故?ペラトンさんは普遍と信じて(イデア) と理念)何かが普遍あれのこの物を永遠に連結有ります。

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               Benjamin J. Houghton ‘2ndlife’, Film Still (2018)

例えば、大きくて小さくて間に左右相称有る事を質量の常数がもし光速で動けったらこの例えを見つけます。よりか、質量は変化が出来ます。それで、分光もから、もし私たちの寸法を測るので変化して断固と規格化に反して反俗スペクトルを支援しますか。で、規格化一つのままの完璧で全然変化しないを確認しますか。私は知らないですけどこの考えるの路線を続けます。まず、この文章の神秘的な物証を終われる。科学哲学の試験を勉強時で太陽質量をで会うので、太陽の物質に等価二つのクィソティリョンのキロです。惑星とソーラのエンティティを図れる。もし、象徴を見って太陽から同期の理解ので一斉にペラトンが輝かしさと正しくないを見せるから私たちの星雲の太陽も死ねければなりません。もし、それは正しいから宇宙もしねければなりません。この象徴はペラトンと彼の知的なお父さんパーメニディーズの信じるでザーワンが円形を有る。定義して(中心から四方八方に同じ)と完全のタイプを言えるですけど大事な皆さんの選び方と成るの方法を見えます。もし、人間は宇宙でいって一つの太陽から他の太陽までこの線でいって皆さんが付帯の終焉に戦いのでベンさんは彼自身で可能性の場所にいなければなりません”と言いました。これは全部脱線かなーベン・ホーウトンさんの映画からそれて僕がこの綺麗で皆さんこの価格にご連絡
化学は天体物理学と量子力学も全て果敢系出来るを表す。これは統一場理論ですから現実を方程式も見せる。もし、物理学者は目覚まし達成問わずにだれかが活性を努力から私たちにこのことの効果を質問しなければなりません。もし、知識ために方法ので私は心配すると現象(光、色、生命)で、規格化を申し出るから決心(理解の戦い)を消します。
分光(決心) 一つの良い例規格外よりはもっといいですからが質量、集団、重さままここでペラトンとブッダを見つける。ペラトンは(観念)を有って(大きて、小さくて)双対の存在論でペラトニックなワンで団結と無期限のダイアドでかず多い原則です。ブッダは等しい二元性が有ってこの開眼か他のワンです。でも、考えるは欠席です)。皆さんはまやかし経由を見えるを習う。なくては、ないことには、我らがなくなんを上がります。だから、まやかしとイリュージョンの半で面白さもワンが(たわごと、おしないですけどもし皆さんは可能の現実は幻を分かたら、問題じゃないです。幻で皆さんために必要な物とこと間に新しい関係を作くなければなりませんか。数学もこの照臨仮定で参加して、量子と神族の違いは近代的で化学的な例について、アトムの物質を変化でその物の見た目をどうやって分かりますか。
して50分フィルムを違い場所にみせると僕の感想したいと感じます。この映画はたくさん当該のこと取り扱う;(主我の主権と愛は共依存)で、このあそれ多いアートにくちを添えることが出来るので二回目の命を必要する。多分、この二回目の命の余説は綺麗な日本と最近死ぬの補外法で作過ぎます。で、何かのこのフィルムの死ぬを他かの必滅の教え方に入って拡張で終わる。このエッセイはチベットの死者のしょて:
ザー・アスピラティオナル・プレア・ウィッチ・プロッェクツ・フロム・フィア・オブ・ザー・インタミーディアト・ステーツからもっと行く。臨時の終止符止まるを備えるですけど絶好で身重のポテンシャルです。ベンズかベンたちにどうも有難うございます。

“いつ私は中間体なステァートと具合の申請に生まれる。マーラーの佞姦な予言を窓を成らない。私は全ての場所を思って着く。前の消極的な暴挙から恐怖とテロをあかない。野蛮な虎狼を唸るを私にお側で響した。この唸るは聖なるな教えで六字大明呪の音に化する。そして、今私を雪、雨、風、暗闇を呑まれる。厳正の認識の純粋の千里眼を私ははたしてお願いします。勉強と反省経由に簡単な熟達するかも…。
学びの多様体で小ささと中間体と大きと。生国は目出度いです。天地有情は幸福と清穆をよろしいです。”

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iSteve Wright, ‘Reality Check: Are We Living in an Immaterial World?’, in Proud to be Flesh: A mute magazine anthology of cultural politics after the net, (Mute Publishing, London; Autonomedia: Brooklyn, 2009) 472- 480.

iiPlato, trans. Robin Waterfield, Timaeus and Critias, (Oxford World’s Classics, Oxford University Press. 2008).18.

iiiMichele Eduarda Brasil de Sá, Time(s) and Space(s) in Huraki Murakami’s “Kafka on the Shore”, Conference Paper, 2016.

ivAristotle, Metaphysics, (A 6, 987 a 29 – 988 a 1)

vSee Stoic “ἐκπύρωσις ekpyrōsis, “conflagration”) is a belief in the periodic destruction of the cosmos by a great conflagration every Great Year. The cosmos is then recreated (palingenesis) only to be destroyed again at the end of the new cycle.

viComposed: Padmasambhava, revealed: Terton Karma Lingpa, Trans: Gyurme Dorje, The Tibetan Book of The Dead, (Penguin Books, England, 2005) 316.

Letter to Muhou-san and the Antaiji Sangha.

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[The following is a copy of an email I will send to the head abbot of this temple in Japan. To start a discourse and one day perhaps visit to formally practice Buddhism. I look forward that moment and the start of a long and warm conversation.]

Dear Dōchō-san (abbot Muhō), and the Zen community at Antaiji,

I hope this letter reaches you quickly and I would be happy if you read this letter. I am Paul Harrison an animator and thinker who is at heart Buddhist. I have lived and worked in Tokyo Japan for two years. I’ve been learning Japanese studying with Yoko Morita sensei. Yoko told me about your temple, and so I wanted to make contact with your sangha in Hyogo. Now the first wind of spring has past you all must be looking forward to very pleasant weather (I hope you do not suffer from hayfever). Anyway the reason I am writing to you is I want to understand Zen more deeply. My teacher Mrs. Morita teaches Engaged Buddhism, and translates for a Taiwanese temple here in Tokyo. Sensei has taught me many things and ways of practising Buddhism. But, I wanted to ask you Muhō, and your Sangha’s members some questions to help spread the Buddhist truth into the wider world.

 

-Paul Harrison

禅師様、

貫主、無法さん、安泰寺の禅宗の僧伽にこの手紙を道長さん早く受け取って貰えれば、私は嬉しいです。私はポール・ハリソンと申します。日本に二年間住んでいます。英語の講師です。森田陽子先生から、日本語を習っています。陽子さんは安泰寺の事をなしましたですから、私は兵庫県の僧伽に今手紙を書いています。春ー番が吹いたので皆さんは快晴を同じいい天気を楽しみにしている事思います。『花粉症でくれしんでいないように願っています』しかし、書く理由は禅をもっと分かりたいから、そして森田先生は人間仏教を教える事いって台湾のお寺で翻訳しています。先生は私にたくさん禅について教えてくれました。それで、無法さんに私はの質問をしたいです。そして、仏教の真実を伝えたいです。それで、もっと人間が禅法を分かるように成ると思います。

歩流・梁尊

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