Ambient Media: Japanese Atmospheres of Self by Paul Roquet

By Paul Roquet

Ambient Media examines tune, video artwork, movie, and literature as instruments of atmospheric layout in modern Japan, and what it capability to exploit media as a source for private temper rules. Paul Roquet strains the emergence of ambient types from the environmental tune and Erik Satie increase of the Nineteen Sixties and Nineteen Seventies to the more moderen healing emphasis on therapeutic and relaxation.

Focusing on how an environment works to reshape these living inside of it, Roquet exhibits how ambient aesthetics provides affordances for reflective go with the flow, rhythmic attunement, embodied defense, and concrete coexistence. Musicians, video artists, filmmakers, and novelists in Japan have extended on Brian Eno’s suggestion of the ambient as a mode producing “calm, and an area to think,” exploring what it potential to domesticate an ambivalent tranquility set opposed to the doubtful horizons of an ever-shifting social panorama. providing a brand new method of realizing the emphasis on “reading the air” in jap tradition, Ambient Media files either the adaptive and the alarming facets of the expanding deployment of mediated moods.

Arguing opposed to reviews of temper legislation that see it basically as a sort of social pacification, Roquet makes a case for figuring out ambient media as a neoliberal reaction to older modes of collective attunement—one that allows the oblique shaping of social habit whereas additionally permitting participants to suppose like they're those finally in control.


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Ambient Media: Japanese Atmospheres of Self

Ambient Media examines track, video artwork, movie, and literature as instruments of atmospheric layout in modern Japan, and what it skill to exploit media as a source for private temper rules. Paul Roquet lines the emergence of ambient kinds from the environmental tune and Erik Satie increase of the Sixties and Nineteen Seventies to the more moderen healing emphasis on therapeutic and rest.

Extra resources for Ambient Media: Japanese Atmospheres of Self

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And at the same time it would neutralize the street noises which so indiscreetly enter into the play of conversation. 32 Satie’s emphasis on furnishing music as a way to “fill up those heavy silences” and “neutralize the street noises” strongly parallels the emotional and cognitive orientation of the commercial BGM to come. / 40 / BACKGROUND MUSIC OF THE AVANT-GARDE Crucially, however, his plea to treat music as if it were a chair “in which you may or may not be seated” is delivered in a playful and ironic tone.

19 BACKGROUND MUSIC OF THE AVANT-GARDE / 33 / The gap between the 1960s avant-garde environmental volatility and the emerging orientation toward engineered comfort came out in vivid relief on the grounds of the 1970 World Exposition in Osaka. While the expo was commercially successful, drawing over 83 million visitors in the 183 days it was open, its emphasis on high-tech corporate-sponsored pavilions symbolized for many artists in Japan the death of the avant-garde and the advent of a new era of consumerism.

36 The many Satie concerts following this initial outing are remarkable not only for their quantity but also for their multimedia character, as if the Japanese avant-garde’s earlier interest in “intermedia” FIGURE 2. Cover of the Satie volume of the Ongaku no techō (Music notebook) series, released in 1981 at the height of the Satie boom. Includes texts by Akiyama, Takahashi Aki, Takahashi Yūji, and others, as well as key Satie texts in Japanese translation, an original score by Takemitsu Tōru, and “Satiricollages” by Akiyama.

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