#artist: みかづきあきら！

[animepopheart]

★ 【みかづきあきら！】 「 みかづきあきら 」 ☆ ✔ republished w/permission ⊳ ⊳ follow me on twitter

[notfreetoday]

MPW Ep 6 Subtitle Corrections

Masterlist: EP 1 || EP 2 || EP 3 || EP 4 || EP 5 ||

Y: 正直言って　怖い 近づく度に　心臓が跳ねるから 何なら近寄らないで欲しい 住む世界が違うから 好かれたいとかは思わない ただ。。。 嫌われてしまったら死んでしまうかもしれない 想像するだけで　胃液がせり上がった Y: To be honest, I was scared. Because whenever he came close to me, my heart leapt and skipped a beat. I wished that, if possible, he wouldn't come near me because we lived in different worlds. 'I want him to like me' - I never had a thought like that. It was just... If he ended up hating me then I felt like I might die. Just thinking about it made my stomach turn.

We've seen for awhile that Yoh's fear that Segasaki will one day come to disdain him is what keeps him from voicing his thoughts out loud - but it is in Ep 6 that we truly learn the intensity with which Yoh feels, and come to understand why that fear overwhelms him to the point that he is incapable of hearing Segasaki's love for him.

Or, Yoh sees Segasaki for the first time and literally starts spouting poetry in the way only a visual artist can. Get ready for a lot of interaction breakdowns - this episode tells us quite a lot about these two! Same translation disclaimer applies, Ep 6, let's go!

S: 相変わらず　歩くの遅ぇな S: As usual, he walks so slowly

Y: あのさ　実は Y: 出てくるときにケンカしちゃって M: え？どうしたの Y: お前の仕事なんてどうでもいいって言われた M: 瀬ケ崎さんが？そんなこと言ったの？ Y: どうでもいいって　なんだよ Y: 人が一所懸命やってることに対して* Y: 最低だよ　あいつ* Y: You know... actually Y: When I was leaving we got into an argument M: Huh? What happened? Y: I was told "I don't care at all about something like your work" M: By Segasaki-san? He said something like that? Y: "I don't care at all"... what's with that! Y: To say that about something that someone is giving their all for...* Y: He's the worst, that guy** **Yoh uses あいつ (aitsu) to refer to Segasaki as "that guy". This is again considered rude, though is often used amongst male friends as well (like calling someone an asshole/bastard). He tends to use this word to refer to Segasaki in his head, especially when he's annoyed with him.

*Just like at the end of Ep 5, where Yoh emphasizes that he will become someone who can earn more as opposed to just earning more, here Yoh specifies that he is upset with Segasaki's response to his work, rather than being upset with the response being directed at himself, as the original subs imply. It's a small difference but I think it's important because it fits with his entire character. He has consistently only been triggered by comments about his work, not about him as a person. Yoh is self-conscious and sensitive about his work, because he sees competence as a measure of worth. It's precisely because he ties his self-worth to his work that he falls into such a deep depression in Ep 5, and it is the same reason why Yoh does not understand what good Segasaki could possibly see in him - after all, there is no merit in just being who he is, only in the work that he can do.

Y: いや　それは都合よく受け取り過ぎだよ Atsuya: ダヨ君　言葉って受け取り方が９割だからさ A: 同じ言葉でも　その時の気持ちやコンディションによって A: 違った意味に捻じ曲げちゃうものなんだよ A: ダヨ君が元気な時だったら     もっと甘～く聞こえたんじゃない？ Y: No, that's just over-interpreting it in my favor Atsuya (Man-san's husband): Dayo-kun, they say that about 90% of the meaning words convey comes down to the way we interpret them, so A: Depending on the way we feel, or our condition in that moment, that meaning can end up distorted and warped, even if the same words are used, you know? A: If Dayo-kun you, had been in a happier mood, might it not have sounded a lot sweeter to you?

Y: ん。。。いや、違うんです Y: 俺とあの人って　そういう感じじゃないんで Y: Mm... No, it's not like that Y: That person and I, well... that's not what it's like (between us), you see

Y: あの人を初めて見たとき この星の生き物じゃないかもしれないって思った   少なくとも地球上で見たものの造形の中で 一番きれいだとおもった 耳の形　鼻筋　 下顎角のライン　唇の膨らみ きっと見えない眼球の形状まで きれいなんだろうなって

Y: When I first saw that person I thought that he might not be a living thing from this planet At the very least, out of all the forms that I had ever seen on this Earth I thought he had the most beautiful one. The shape of his ears, the ridge of his nose, The line of the angle of his jaw, the full contour of his lips Even the structure of what could not be seen - the globe of his eyes - I thought for sure that too must be beautiful.

Y: 趣味で漫画は描いてたけど 現実の人間を描くのは初めてだった それに　 男を描きたいと思ったのも初めてだった 今　目に焼き付けて　描きつけておきたい衝動に駆られた たぶん　あの美貌と同じ空間にいた そのせいで　俺は　おかしくなっていた Y: I had drawn manga as a hobby but It was my first time drawing a real live person. And, It was also the first time that I thought "I want to draw a man" In that moment, driven by impulse, I wanted to burn his image into my eyes, to capture his likeness down on paper. Probably, it was because I was in the same space as that beauty. It was because of that, that I began to go crazy.

At 06:44, when Segasaki's green shirt classmate comes in calling his name, you can see that Yoh mouth’s "Mizuki" after he hears it.

(Btw Green Shirt later wears a Red Jacket, and is played by Nishimoto Maiki, the leader of the group Acchan is in - GENIC. Cute shot of the 3 of them here)

S: 直接何かしてくるわけではないし　別にいいと思うけど S: Well it's not like he's doing anything to us directly... I think it's fine actually

Y: 女の子が相手なら　 一目惚れだとはっきり思ったかもしれない でも　ただただきれいな男だったんで 自分の脳が　そこまで処理しきれなかった Y: If it was a girl Then maybe I would have clearly understood that this was love at first sight But it was just very simply, a beautiful man so My brain couldn't handle processing more than that

Most of this is not subtitled, and it’s a little muffled, but as the group walks over you can hear that Segasaki is the center of their conversation here, though he's not actually participating in it much. It speaks to the group dynamics, so I'm including it here (Segasaki is bolded):

Girl: ええ？ S: ちがうよ Red Jacket: 瑞貴じゃん、ね、今ね？ Girl どうせモテるじゃん S: いやモテない Red:モテるよ瑞貴が Girl: 告白されてるよ　どうせ Red: されてる　されてる Girl: あれ！ぼっちくん*じゃん Red: うわっ　マジだ　ぼっちくんじゃん Boy: いつも俺たちのことチラチラ見てる Girl: ちょっと来なよ　おしゃべりしたげるからさ** Girl: Whaat? S: It wasn't Red Jacket: It was (said to) Mizuki wasn't it, right? Just now? Girl: I mean you're popular anyway! S: No, I'm not Red: Mizuki's popular Girl: Whatever it is, that was a confession (you received) Red: It was, it was Girl: Oh hey! Why, isn't it Little Loner*? Red: Oh snap, you're right! It is Little Loner! Boy: The one who always sneaks looks at us Girl: Come here a bit, we'll talk to you, ok?** *ぼっちくん (Bocchi-kun) - Bocchi is slang for loner, and by adding the suffix "-kun" to it, they've turned this into a diminutive, like a nickname. It sounds cute and friendly, but is clearly meant as a casual sort of insult, so I've translated it as "Little" here. **This is an interesting line to discuss. She tells Yoh to come over, using the phrase 来なよ (kina yo) - this is the same "na" that Segasaki uses in Ep 4 actually, when he tells a drunk Yoh to go sleep in the room. It's the exact same word form, but where it was tender when Segasaki said it, it's highly insulting here - and the reason is because of the context and their (non-existant) relationship. She may be Yoh's senior, but this is the first time they're meeting, and they are nowhere near close enough that this phrasing would ever be seen as appropriate. She then tells him "we'll talk to you", using the colloquial form of "~したあげる (shita ageru)" aka "to do for you" - in other words, she's framing the action of them talking to him as if it were a gift from them to him (this word form also implies they are above him in the hierarchy). She also adds the polite prefix "O" to the word for "talk", which in this context is meant to make her appear sweet and ladylike. In other words, with just one line, she has insulted Yoh not only by talking down to him as if he were a small child or a pet, but also by insinuating that she's a sweet, lovely person who has been so kind as to deign to speak to him.

Y: あの。。。俺*　買ってきます Y: 絡まれてるより１００億倍マシだわ Y: Um... I*... will go and buy it. Y: That's definitely 100 million times better than getting harassed by them *Yoh still uses the masculine pronoun 俺 (ore) for "I" here (the same one he's used in every episode) which is remarkable for the fact that he doesn't switch to the more polite form 僕 (boku). Nowadays, it isn't really expected per se that a junior make this switch - especially since "ore" is usually the go-to pronoun for most male university students - but the switch wouldn't be surprising either, given that they are his seniors. Yoh does acknowledge their seniority when he uses the formal -masu form of the word "to buy" - but in the context of them bullying him, the choice to stick with the more masculine pronoun "ore" suggests that he isn't intimidated by them.

Red: セルフパシリって　すごくね？ Girl: やばいよ Red: He automatically offered to be an errand boy! Isn’t that crazy? Girl: It’s nuts!

パシリ(pashiri) - to be made to run errands - is slang, and it is used specifically to refer to cases where someone with more social power orders another around. It’s almost always linked to bullying or misuse of social power – so by using this word, these guys - they know exactly what they are doing.

Y: クソだよ　あいつら* Y: Those bastards*… they’re trash *Yoh uses the same word あいつ (aitsu) to refer to the gang that he did at the beginning of this episode to refer to Segasaki - once again it is the context that changes the meaning of this word. With Segasaki, it is proof that they share a close relationship. With these upper classmen that he's just met - it's definitely rude.

This is a very common form of bullying in school, and evidently, Yoh recognizes it immediately. The fact that he jumps so quickly to cooperating with it tells us sadly that this is something he's familiar with - he's likely been bullied before. This is unfortunately, unsurprising, because Yoh doesn't adhere to social norms very much. He eats alone, he stares at people, he doesn't greet his seniors properly (that slight bow is not enough, there should at least be a verbal greeting of some sort).

In my post on amae, I talked about how the interdependent self-construal means that one's ability to assimilate is seen as a value. In the same vein, people who do not fit in with the group, or who do not conform, are not looked upon favorably in Japan, because it is often assumed that they simply do not want to. It is not that they are unable to assimilate, it is that they are refusing to make an effort to be part of the group, and thus the fault and blame lies with them. Ostracization of those different therefore, is the expected consequence and punishment that the group metes out. All of us have to do our part to adhere to the rules of the group - what makes you so special that you can do your own thing? If you just did your job of fitting in like the rest of us have, well, then you wouldn't be in this position in the first place, now would you? - This sort of justification is the reason why bullying in Japan can become very, very extreme, and why despite efforts, has been so difficult to eradicate.

S: そんなに　一人で持てないだろうと思って S: 貸して Y: ありがとうございます* S: 行こう S: I thought all of that was probably going to be too much for one person to carry S: Pass it over Y: Thank you very much* S: Let's go

*Yoh uses the full, polite version of "thank you" here, and he will, for the most part, continue to use desu/masu forms with Segasaki, and answer him politely, in recognition of their senior/junior relationship. Similarly, Segasaki uses informal forms with Yoh, though he maintains a friendly demeanor and does not drop to rude forms at all, because they aren't that close yet. Note how he says 行こう (ikou) for "let's go" here - different from his present day "we're going", which leaves no room for argument.

(Also, he took the heavier bag of drinks (´ ▽｀).。ｏ♡)

S: 結構歩くのゆっくりなんだね Y: よく　言われます S: 君　名前は？ Y: あ　葉って言います　あの。。。葉っぱの S: ふーん　葉くんか Y: はい S: 俺は　 Y: 瑞貴...さん S: なんで知ってんの？ Y: あ　そう呼ばれていたので S: よく　聞いてんな Y: はあ　まあ。。。

Let's break this down to look at some social cues and nuances:

S: You walk quite leisurely, don't you? Y: I've... been told that a lot

This is more than just a callback to the beginning of the episode (or a chance to contrast how much more polite and sweet Segasaki sounds here 😂) - This is another way in which we see Yoh does not fit in. Segasaki is his senior, who has gone out of his way to come help him (never mind that Yoh's being bullied), and he should at the very least, be trying to match Segasaki's pace, not making him wait like Yoh does here. Segasaki's comment should be taken as much as an expression of surprise, as it should a cue to catch up - Yoh glances briefly at Segasaki after this line (which seems to amuse the latter) but he doesn't actually apologize outright or walk any faster. He does admit that he's been told this often - which sometimes can work as a concession, because you sort of validate what the other person is saying, but at the same time you aren't quite agreeing either. That said, it can backfire, because it means you've been made aware of your habit and yet have done nothing to change it. Segasaki doesn't seem to mind though, and actually matches Yoh's pace here.

Speaking of "pace" - "マイペース" or "my pace" is a loan word from English, and is a term used to describe someone who tends to do things, well, at their own pace, or in their own way, and who isn't bother by the people or goings-on around them. Usually meant as a benign, sometimes affectionate comment on someone's personality, it often brings to mind the image of someone who appears to drift during conversations, who might be a little "slow" in social interactions, or who physically lags behind the group. It can have negative connotations, because it means the group needs to make concessions for this person (like looking for them when they've wondered off). Yoh is the epitome of someone who is "my pace", and I'm very sure that the emphasis on his slow walking is not just a peculiar quirk of his character, it's an intentional part of the character design to show how Yoh is different.

S: *You... what's your name? Y: Ah, I'm called Yoh. Um... written with the character for "leaf" S: Hmm~ Yoh-kun huh.. Y: Yes

*Segasaki uses the polite pronoun 君 (kimi) to refer to Yoh here, as opposed to the rougher お前 (omae) that he now uses in the present day.

That little action Yoh does whilst saying "leaf" is him drawing out the kanji character for his name. It's quite common to tell someone which character is used to write your name, because the characters usually mean something, and it helps others to remember. Strictly speaking, Yoh really should be introducing his full name here, but judging by how he's been fiddling with the plastic bag, he's probably just too nervous to realize.

S: I'm Y: Mizuki...san S: Why do you know that? Y: Ah... that's what.. you were called (by them) so... S: You listen closely don't you Y: Ahh.. yea...

Nice save 😂First of all, it's extremely unusual to jump straight to using someone's first name instead of their family name (unless you're still a kid), let alone doing it to an upper classman, though Yoh does manage to tack on the polite suffix "-san" at the back. It's the verbal equivalent of stepping right into someone's personal space and touching their bag or something and then being all "er there was something there...". It's just weird and borderline inappropriate 😂 The fact that Segasaki doesn't scold him for taking such a liberty, or show any sign that he appears weirded out by it (in fact, he actually goes along with it!) tells us that Segasaki is a very kind (yasashii would be the right term here, the same term that appears at the end of this episode) or at least a very tolerant individual though I'd also like to think he just finds Yoh's strange ways a little cute too.

S: いま　楽しい？ Y: え？あ　いえ S: 絡まれて　パシらされてさ Y: ああ。。 S: どう？ Y: いや　たのしくないです Y: 瑞貴さんは？ S: 俺？ Y: はい S: 全然楽しくない S: 内緒ね Y: はい

Continuing with the breakdown:

S: Is it fun? Y: Huh? Ah no-

Segasaki's tone changes here to a more serious one - all he does is stress the final syllables of the word "fun" to indicate he's asking a question, instead of adding any end particles that might give more context, or that might soften the tone. The topic switch is a little sudden, which is why Yoh seems a bit confused. It doesn't help that the words are a little ambiguous - it literally translates to "now, fun?" - except the Japanese word for "now" is often used to mean "just now" as well, because the Japanese concept of time is not quite as linear as it is in West. "Now" doesn't just refer to "this current exact second we are in", it extends from whenever the "current activity" began right up to "this current exact second" - the key is figuring out what the current activity is 😅. Because Segasaki jumps into this topic so suddenly, and without much contextual cues, Yoh can't quite tell whether he means now, as in them walking together, or now, as in, the whole being sent on an errand thing, which is why Segasaki clarifies in the next sentence:

S: Being hassled, and sent on errands? Y: Oh... S: So? Y: No, it... isn't fun.

Segasaki watches Yoh closely whilst he waits for the answer to his question. This is Segasaki checking that Yoh knows he's being bullied, and it's also permission to talk about the topic. Once he confirms that Yoh does know what's happening, he looks away again.

The exchange tells us a lot about Segasaki's character, because often, the reason why bullying goes on for so long is that no one is willing to talk about it. Everyone knows what's going on, but no one acknowledges it. The fact that Segasaki jumps straight into it hints to Yoh that he doesn't agree with what his "friends" are doing (whether Yoh catches that hint or not is a different story). It also tells us, the audience, that he isn't afraid to speak up about things he disagrees with (similar to how he spoke up for Yoh when Yoh was sketching in the cafeteria) - but not to the extent that he'll do something which threatens the harmony of the group outright. This is tatemae/honne, which I talked about briefly in the amae post as well, and linked to this street interview video for real life examples. In short, tatemae is your ability to avoid conflict and smooth over group interactions, and is seen as an essential and positive trait. Segasaki is very good at this, even at this stage in his life, which is part of why he is so well-liked.

Y: What about Mizuki-san? S: Me? Y: Yes S: I'm not having fun at all S: It's a secret, yea? Y: Yes

This is cute, and tells us about Yoh's character too. Firstly, he's still persisting in his use of "Mizuki-san", though he's being really tentative about it, like he's testing whether or not it's okay. Secondly, he's actually asking Segasaki directly to confirm his stand on what his "friends" are doing. Is this Yoh being daring, or just his slightly awkward, somewhat tactless self? I couldn't tell you 🤣 It's likely a bit of both.

In response, you can hear the surprise in Segasaki's voice, but he doesn't hesitate to detach himself from the actions of the group. The way he invites Yoh into his group here, by acting as if he's let Yoh in on a secret, is very charming obviously, and reminds me somewhat of how in Ep 4, he suddenly drops to "Kanami-san" when talking to Man-san too. This again fits with how his "public mode" has been consistently portrayed thus far - nice, charming, polite, good-looking, and obviously popular (Ep 3, the girls in the cafe at the back, Ep 4, the way he talks to Man-san, this Ep, where he's even been proposed to).

Guy: 俺の水がきたかな？　 Red: あいつ覚えてるかな Guy: 確かに　待たせたな S: ごめん　葉くんお腹痛いんだって　だから連れて帰るわ　はい Girl: 瑞貴まで帰らなくてもいいんじゃん S: しんどいのに　一人すんのかわいそうでしょ* S: じゃあ　またね　また　 S: 行こう Red: 優しいな**　瑞貴 Girl: でも　帰っちゃったよ Guy: Is my water coming? Red: Will that guy remember? Guy: Good point, he's really made us wait S: Sorry! Yoh says he's got a stomachache, so I'm gonna take him home. Here! Girl: Huh? But it's not like Mizuki you have to go too right? S: Leaving him all by himself right when he's having a hard time - wouldn't you feel bad for him?* S: So, see you guys later, 'kay! Bye! S: Let's go Red: Mizuki's really kind** isn't he? Girl: But, he's leaving you know!

*Segasaki does a very small switch up to the polite form here, as he takes the moral high ground by reminding the girl that as Yoh's senior, they have an obligation to take care of him when he's unwell. He's still friendly about it though. **優しい (yasashii) - kind. This word pops up a lot to describe Segasaki, we'll talk about it at the end of this episode.

Y: あの　いいんですか？ S: あそこ戻りたかった？ Y: いえ Y: Um... is this okay? S: You wanted to go back there? Y: No

Y: いつも　友達に囲まれてるこの人が なんでこうして　俺と一緒に歩いてるのかわからなくて 不思議だった Y: This person, whose friends were always surrounding him... I just couldn't understand why he'd walk together with me like this It was a mystery to me.

Y: あの顔が　信じられないほど近くにあった 耳元に届いた声の響きまで　良いものであることに 気づいてしまった Y: That face was... so close to me I could scarcely believe it And it dawned on me then How wonderfully pleasing Even the notes of his voice drifting pass my ears sounded

The scene in the library I've included right at the top, but I'm going to add the conversation that happens during Yoh's monologue, since the subs have them sort of mixed in.

S: 葉 S: 何してんの？ Y: え？えと、あの、本を探せて... S: この本面白いよ Y: え？ Y: ありがとうございます S: また感想教えて Y: はい S: Yoh S: What're you doing? Y: Eh! Um, ah.. I'm looking for a book... (inaudible) S: This book is interesting Y: Eh? Y: Thank you very much S: Tell me your thoughts on it next time Y: Yes

Segasaki's already dropped the polite suffix "-kun" behind Yoh's name here, and doesn't actually bother to let Yoh finish saying thank you before he tells him to report back about the book. Yoh on the other hand, is still using the full, formal and polite version of thank you, and answers him properly. Segasaki's taken the initiative to get closer to Yoh - he's already speaking to him like how he does in the present day (just, not roughly), but Yoh hasn't gotten comfortable enough yet to drop the formalities - or, he simply may not be sure if he can.

Navigating formalities and when to drop them is tricky, and requires some degree of social intuition. Generally speaking, Segasaki dropping a speech level should be a sign that it might be okay for Yoh to drop as well (not to the same level of course, just a little less formal) - but given how Yoh sees them as living in different worlds, and how fearful he is of being hated, it's unlikely that he'd want to touch the status quo.

Y: あの人の気持ち？ Y: That person's feelings?

Yoh's pretty much stuck to the phrase "that person" when referring to Segasaki this whole episode, even during his flashback. He tends to do this when he's feeling some distance between them (like in Ep 2).

On screen messages: Y: What is Kintsuba? S: You don't even know what Kintsuba is? Y: I'm sorry [Yesterday] S: I'll be back late today Y: Understood [Today] (unread) S: Just give the editor some kind of excuse, and come back right now

A: 随分　追い込まれてたねぇ Y: 気持ちを言葉にするとか　あんまりしたことなくて Y: 他人の気持ちなんて　なおさら A: You've pretty much been cornered, huh?* Y: Putting feelings into words and all... I've never really done that myself... Y: Let alone (doing that for) another person's feelings. *This is in reference to Man-san asking Yoh to write out Segasaki's feelings

A: めちゃくちゃにしてやる, めちゃくちゃにして..x10 A: Gonna mess you up, mess you up... x 10

Yes, this does sound like a line straight out of a bad Jp AV 🤣🤣. I mean, we're talking about scenes from Man-san's manga right? That they had to mosaic out? 🤣🤣

Now you know why Segasaki is pissed.

S: 可奈美さんも一緒に仕事してるんですか？ M: すみません！瀬ケ崎さんにご報告もせずに進めてしまって S: いや、可奈美さんのせいじゃないですよ S: Kanami-san, are you also doing your work together with him? M: I apologize! We ended up moving forward without even alerting you about it! S: No, it's not your fault, Kanami-san

You can tell Segasaki has misunderstood here - he thinks Man-san has also been called to work at this Editor's place, and is completely not listening to what she has said, hence her ?? reaction 🤣

S: あ、すみません 急用ができてしまったので葉を迎えに来ました S: Ah, I apologize An urgent matter arose, and so I've come to pick Yoh up.

Segasaki's being quite formal here, but this is not the way to be polite. The "proper" way to request leave to go home early on behalf of someone else would be to first, apologize specifically for the disruption, introduce yourself and your relation to that person, apologize that an urgent matter has come up, regrettably but firmly insist that said person must return home immediately on pain of death, apologize again for all the trouble caused, promise to make up for it, humbly ask for understanding, and then apologize your way out the door.

So yes, despite the polite word forms this is quite rude, and is so far removed from Segasaki's usual "public mode" that it cracks me up. Segasaki's composure is unravelling by the second in these next few scenes - he is pissed and absolutely does.not.give.a.shit. 🤣

From right to left: S: So, this bastard is the famed Editor huh... S: Don't you dare try to deceive and pull tricks on Yoh! S: The hell you doing touching him like that so freely!! A: Who (is this)?

The language gets progressively ruder the more the speech bubbles get pointy and the larger the font gets🤣🤣

M: 瀬ケ崎さん　やっぱ強いわ～ M: Segasaki-san really has a strong presence after all~

Y: 黙っててごめんなさい* S: あのさ Y: はい S: ああいうのがいいわけ？ Y: え？ S: 俺より　あの男のどこがいいわけ？ Y: I'm sorry for keeping this from you!* S: Tell me Y: Yes S: Is that what you like? Y: Huh? S: Compared to me, just how is that guy better? *Yoh uses the full but informal version of "sorry" here - gomen nasai. Making a note of this here so I can come back to it in one of the analysis posts.

Y: え、いや Y: 比べるものじゃないと思うけど。。 S: あるんだろうが　俺より　いいところが S: まあ、納得する理由がない限り俺は認めねえけどな Y: 強いて言えば　優しいかな* Y: 人の話を　ちゃんとじっくり聞いてくれるし Y: Um, no... Y: I don't think it's something that can be compared... S: There is something, isn't there? Some way in which he's better than me S: Though, unless you give me something I think is reasonable I won't accept it Y: Well if I had to say something then... maybe, he's kind?* Y: I mean, he listens carefully and attentively to what someone has to say...

*優しい (yasashii) - often translated as "kind", it encompasses the ideas of "caring", "tenderness", "thoughtful/considerate", "warm/gentle". It's often a trait people say they look for in their significant other.

This word has come up often to describe Segasaki - in Ep 2, Segasaki uses it to describe himself, in Ep 3, Yoh uses it to describe Segasaki's voice, and of course here in Ep 6, red shirt uses it to describe Segasaki again. Even when the word isn't said out loud, a lot of Segasaki's actions would fit this word - In Ep 2, when he picks up after Yoh and comforts him during their not-argument. In Ep 3, when he passes Yoh his gift, and implies there's nothing to be sorry for. In Ep 4, the way he coaxes Yoh. In Ep 5, when he takes care of Yoh. In Ep 6, he speaks up for Yoh in the cafeteria when he doesn't have to, when he goes to help Yoh. The irony of this moment is that Segasaki puts in a lot of effort and probably does pride himself in being yasashii, and he listens to Yoh better than Yoh listens to himself, and yet he hears from Yoh that he isn't yasashii or attentive, which explains the pained expression on his face.

S: あ、そう S: 俺先行くわ* S: Oh, is that so? S: I'm going ahead then* *わ (wa) - this ending particle puts emphasizes one's statement, but is not one that Segasaki usually uses. It's less forceful that his usual speech, because he's quite hurt by Yoh's statements.

Y: かばんに入ってたやつ　戻しといてから Y: The thing that was inside my bag, I put it back so... The way Yoh ends this sentence leaves room for a follow up - it's an invitation to continue the conversation, which we actually have not seen him do with Segasaki, and that's why he looks so dejected when Segasaki rejects that invitation by walking away.

Though it's been hinted at throughout the show, Ep 6 is where we get confirmation that Yoh's just never quite fit in with the crowd, and that Segasaki has always been in the center of it. The stark difference explains why Yoh is so afraid that one day he will do something to make Segasaki hate him, and why he reflexively rejects the idea that Segasaki could possibly love him.

This episode is painful, for both of them. For Yoh, because from the intensity of his monologues, we finally get a sense of how big a presence Segasaki is to him, and therefore, how devastating it would be to lose him. For Segasaki, because for all that he can read Yoh, for all that he has done to try and reassure Yoh of his love, he still cannot make Yoh see, cannot make Yoh hear.

"If he ended up hating me then I felt like I might die."

It is precisely Yoh's love for Segasaki that makes Yoh fear the possibility of losing him, and it is that fear that blinds, deafens and mutes Yoh to the very thing he hopes for. And it is in trying to protect himself, that he inadvertently hurts the very person he loves so much.

[d3pr3773dc4n73r]

!KNUCKLE UP! BOY!!ナックルアップ!男の子！

💥🥊💥🥊💥🥊💥🥊💥🥊💥🥊💥🥊💥🥊💥🥊💥🥊💥🥊 Well…Here we are yet again. Now, I have done previous projects before that have not been very successful, but I do hope that this one, will be the exact opposite. So, welcome to the: “Knuckle Kid Knockout” Process! This project/collab will focus on creating an Alternate Dimension (Universe) where everyone in the first original Mega Man series will be humanoid Kickboxers/MMA fighters. This idea was highly inspired by one art piece made by a Twittex (Twitter/X) user named: Sweet_Ant (@Sweette59439603). The art piece in question can be found right here: Media posts by Sweet _Ant🍉🐜🐜 (@Sweette59439603) / X まぁ。。。また来ました。そうですね、私は過去にあまり成功しなかったプロジェクトを行ってきましたが、今回は正反対であることを願っています。さあ、ナックルキッドのノックアウトプロセスへようこそ!このプロジェクト/コラボレーションは、最初のオリジナルロックマンシリーズの全員がヒューマノイドキックボクサー/MMAファイターになる異次元(宇宙)の作成に焦点を当てます。このアイデアは、Twitter/XユーザーのSweet_Ant(@Sweette59439603)が作成した1つのアート作品に大きく影響を受けました。問題のアートワークはこちらでご覧いただけます。 Media posts by Sweet _Ant🍉🐜🐜 (@Sweette59439603) / X

Plus, I have noticed that people like to make alternate universes of the series. So, why not try it out myself? さらに、人々はシリーズの別の宇宙を作るのが好きであることに気づきました。では、自分で試してみてはいかがでしょうか。

-Each line of robots will be chosen by an individual where they will create messy concept art of how they would look as a Kickboxer/MMA fighter. -Once a line has been completed, results will be posted, showcasing the brainstorm of ideas. -I myself will keep these pictures, so that I can draw a full fledge design, incorporating the ideas that were given. -Once all lines of robots have been completed, I will continue moving forward with creating the story, and what will exactly happen in this alternate universe. -There is no due date. So, that gives plenty of time to put in enough mental and artistic effort! But again, these will only be concept sketches, so there is no need to look outright pretty to the viewer. -ロボットの各ラインは、キックボクサー/ MMAファイターとしてどのように見えるかについての乱雑なコンセプトアートを作成する個々の人によって選択されます。 -ラインが完成したら、アイデアを出し合う結果が掲載されます。 -私自身もこれらの絵を保管し、いただいたアイデアを取り入れて本格的なデザインを描けるようにしていきます。 -ロボットの全ラインが完成したら、この異世界で一体何が起こるのか、物語作りを進めていきます。 -期日はございません。つまり、十分な精神的および芸術的な努力をするための十分な時間が与えられます!しかし、繰り返しになりますが、これらは単なるコンセプトスケッチであるため、視聴者にあからさまにきれいに見える必要はありません。 If anyone else would like to join this project, my Discord is: “d3pr3773dc4n73r”. And although people are free to join, I will also be searching for volunteers in the meantime. Now, if some artists require payment, that is totally fine. I just will not be able to pay upfront for everyone. Only some, if I can afford right on the spot. So, I hope that we can work out an agreement when it comes to that matter. Other than that, here are the participants from the chosen lines, as well as the lines that are still available! このプロジェクトに参加したい人がいれば、私のDiscordは「d3pr3773dc4n73r」です。そして、人々は自由に参加しますが、その間にボランティアも探��ます。さて、一部のアーティストが支払いを必要とする場合でも、それはまったく問題ありません。ただ、全員に前払いすることはできません。その場で余裕があれば、ほんの一部です。ですから、そのことに関しては、私たちが合意に達することができることを願っています。それ以外は、選ばれたラインからの参加者と、まだ利用可能なラインは次のとおりです。

OZTheKid:ロックマン1 (Mega Man 1) @switchnx:ロックマン2 (Mega Man 2) @cherricokeart:ロックマン3 (Mega Man 3) @sonyshock:ロックマン4 (Mega Man 4) @neogandw:ロックマン6 (Mega Man 6) @d3pr3773dc4n73r:ロックマンロックマンワールド５ (Mega Man V) @aguita-mineral: ロックマン&フォルテ (Mega Man & Bass) Rere: ロックマン&フォルテ 未来からの挑戦者 (Mega Man & Bass: Challenger From The Future) @pikapulu: ロックマン9 (Mega Man 9) @decaffeinated-heads: ロックマン11 (Mega Man 11) And here are the lines still available for pick up! そして、これがまだピックアップ可能なラインです! -Mega Man 5 -ロックマン5 Mega Man 5 | MMKB | Fandom -Mega Man 7 -ロックマン7 Mega Man 7 | MMKB | Fandom -Mega Man 8 -ロックマン8 Mega Man 8 | MMKB | Fandom -Mega Man 10 -ロックマン10 Mega Man 10 | MMKB | Fandom -Mega Man DOS (PC) -ロックマンDOS Mega Man (DOS) | MMKB | Fandom -Mega Man 3: The Robots are Revolting -ロックマン3:ロボットは反乱を起こしている Mega Man 3: The Robots are Revolting | MMKB | Fandom -Mega Man Strategy -洛克人大戰 Rockman Strategy | MMKB | Fandom

Now, if anyone has any additional questions, feel free to send me a message. I would prefer you not send an ask. I do not want to reveal TOO much to the public eye. With all of that said and done, I hope that everyone who sees this will give it a look. If not interested, a reblog is always helpful! さて、誰かが追加の質問を持っている場合は、私にメッセージを送ってください。私はあまり多くのことを世間の目にさらしたくありません。以上を踏まえて、これを見た皆さんにはぜひ見ていただきたいです。興味がない場合は、シェアが常に役立ちます!

!SEE YOU IN THE RING! !リングでお会いしましょう! 🥊💥🥊💥🥊💥🥊💥🥊💥🥊💥🥊💥🥊💥🥊💥🥊💥🥊💥

[yoga-onion]

[Image above+below: works of an Estonian artist, Kaljo Põllu (28 November 1934 – 23 March 2010) ]

Legends and myths about trees

Forest myths, Estonian traditional beliefs (2)

The world of the Estonians’ ancestors - Proto-Estonian mythology

The world of the Estonians’ ancestors is believed to have turned around a pillar or a tree, to which the skies were nailed with the North Star. The Milky Way (Linnutee or Birds' Way in Estonian) was a branch of the World tree (Ilmapuu) or the way by which birds moved (and took the souls of the deceased to the other world). These myths were based on animistic beliefs.

Some traces of the oldest authentic myths may have survived in runic songs. There is a song about the birth of the world – a bird lays three eggs and starts to lay out the nestlings – one becomes Sun, one becomes Moon and one becomes the Earth. Other Finnic peoples also have myths according to which the world has emerged from an egg.

It has been suggested by ethnologist and former president Lennart Meri and among others, that a Kaali meteorite crater which passed dramatically over populated regions and landed on the island of Saaremaa around 3,000 - 4,000 years ago was a cataclysmic event that may have influenced the mythology of Estonia and neighboring countries, especially those from whose vantage point a "sun" seemed to set in the east.

There are surviving stories about Kaali crater in Finnish mythology (Description of indigenous paganism by Finns who always believed in spirit beliefs). 

In the Karelian-Finnish folk epic, the Kalevala, cantos (songs) 47, 48 and 49 can be interpreted as descriptions of the impact, the resulting tsunami and devastating forest fires. It has also been suggested that the Virumaa-born Oeselian god Tharapita is a reflection of the meteorite that entered the atmosphere somewhere near the suggested "birthplace" of the god and landed in Oesel.

Estonian mythology is a complex of myths belonging to Estonian folk heritage and literary mythology, and the systematic documentation of Estonian folklore had only began in the 19th century. 

Therefore, information on Proto-Estonian mythology before the conquest of the Northern Crusades, Christianisation and incorporation into the European world and during the medieval era, is only scattered in historical chronicles, travellers' accounts and in ecclesiastical registers.

It can be difficult to tell how much of Estonian mythology as we know it today was actually constructed in the 19th and early 20th century. Friedrich Robert Fehlmann, one of the compilers of the Estonian national epic, Kalevipoeg in the introduction to Esthnische Sagen (Estonian Legends), states.

"However, since Pietism has started to penetrate deep into the life of the people...singing folk songs and telling legends have become forbidden for the people; moreover, the last survivals of pagan deities are being destroyed and there is no chance for historical research."

木にまつわる伝説・神話

森の神話・エストニアの民間伝承 (2)

エストニア人の祖先の世界 〜 原始エストニア神話

エストニア人の祖先の世界は、柱または木の周りを回っていたと信じられており、その柱には北極星とともに天空が釘付けにされていた。天の川（エストニア語ではリヌーテーまたは鳥の道）は世界樹（イルマプー）の枝であり、鳥が移動する（そして亡くなった人の魂をあの世に連れて行く）道であった。これらの神話はアニミズム的な信仰に基づいていた。

最古の本物の神話の痕跡が、ルーン文字の歌詞の中に残っているかもしれない。ある鳥が3つの卵を産み、雛を産み始める。ひとつは太陽になり、ひとつは月になり、ひとつは地球になる、という世界の誕生の歌がある。他にはフィン族にも、世界が卵から生まれたという神話がある。

3,000～4,000年前に人口密集地域の上空を劇的に通過し、サーレマー島に落下したカーリ隕石 (ｶｰﾘ･ｸﾚｰﾀｰ) は、エストニアや近隣諸国、特に「太陽」が東に沈むように見えた国々の神話に影響を与えた可能性がある、と民族学者で元大統領のレンナルト・メリらによって示唆されている。

フィンランド神話 (精霊信仰を常に信仰していたフィン族による原始宗教的な伝説) にカーリ隕石に関する物語が残っている。カレリア・フィンランドの民俗叙事詩『カレワラ』の第47、48、49カント (聖歌) は、その衝撃と、その結果生じた津波、壊滅的な森林火災についての記述であると解釈できる。また、ヴィルマ���生まれのオイセルの神タラピタは、この神の「出生地」とされる場所の近くで大気圏に突入し、オイセルに落下した隕石の反映であるとも言われている。

エストニア神話は、エストニアの民間伝承と文学的神話に属する神話の複合体であり、エストニアの民間伝承の���系的な記録が始まったのは19世紀になってからである。そのため、北方十字軍の征服、キリスト教化、ヨーロッパ世界への併合以前、そして中世のエストニア神話の原型に関する情報は、歴史年代記、旅行者の記録、教会の記録に散見されるのみである。

今日私たちが知っているエストニア神話のどれだけが、19世紀から20世紀初頭にかけて実際に構築されたものなのかを見分けるのは難しい。エストニアの民族叙事詩『カレヴィポエグ』の編纂者の一人であるフリードリヒ・ロベルト・フェールマンは、『エストニア伝説』の序文で次のように述べている。

“しかし、敬虔主義が人々の生活に深く浸透し始めて以来......民謡を歌い、伝説を語ることは、人々にとって禁忌となった； さらに、異教の神々の最後の生き残りは破壊されつつあり、歴史研究のチャンスはない。"

[nenbutsushuart]

The Buddhist Art of Nenbutsushu 佛教之王堂は佛法に基づいて建­­立され 建物全ての部位に、仏縁を結ぶ教えが込められています。

念佛宗 山門 天井画極彩色

世界最大の山門　迷える衆生を佛道へ招き入れる門 念佛宗総本山　山門　　高さ35.6ｍ（基壇、棟飾��込）、桁行（幅）34.5ｍ、梁間（奥行き）13.8ｍ 壁面を覆う龍の彫刻が、この門が登龍門であることを示しています。登龍門は、中国の黄河上流にある急流で、鯉が登って龍に変じるといわれ、煩悩にまみれた泥凡夫が、この門をくぐって浄らかな浄土へ到るのであります。 上段は日本建築史上初の六手先総詰組様式、下段は四手先総詰組様式です。正面の山号額は、高さ5.25ｍ、幅3.15ｍで、本畳に換算して10.2畳という日本一の大きさです。また、山門の両脇には、世界最大級の総漆塗りで中華人民共和国工芸美術大師（人間国宝）佘國平佛師制作の阿形・吽形の仁王像が配されています。仁王像は、世界最大級にして総漆塗り。山門の両脇から俗界を見渡し、悪を断じ善をすすめます。 山門上層には中華人民共和国工芸美術大師、黄文寿氏制作になる、「観経発起」の情景を彷彿させる、阿難尊者と目連尊者を従える釈尊像が安置されています。「観経発起」とは、釈尊が、王舎城の王妃韋提希夫人が我が子阿闍世により王宮の奥殿に幽閉されて救いを求める声を聞かれ、『法華経』の会座を中断、耆闍崛山から王宮に降臨され、教えを説かれて韋提希夫人を救われた故事です。 天井には、三阪雅彦画伯制作になる吽形の老龍及び瑞鳥の鳳と凰が描かれ、周囲は、佛法が伝来した古の時代に百済の文化をもって色とりどりに染められた奈良の都を彷彿させるが如く、韓国に一千四百年の長きにわたり伝えられてきた丹青技法保持者である韓国人間国宝・李萬奉大僧正猊下、及び、直弟子洪昌源師制作の彩色で彩られています。 （落慶時プレスリリースより）

Dancheong, seen inside the upper part of the Main Gate On the upper part of the Main Gate, an old dragon is painted by the master artist Mr. Masahiko Misaka. The surroundings are painted richly in full color by Most Ven. Lee Man Bong, a living national treasure of Korea, together with his head pupil Mr. Hong Chang Won, using Dancheong, the traditional painting technique inherited since ancient Korean Dynasty.

[asahi-yamane-art]

『白鼠 - 静雨止間 - (Ver ORG)』　 ASAHI YAMANE

自作の水彩画です。

透かし文字入ってます。見づらいけれど御免なさい。

( It is a watercolor painting of my own creation.

Watermarked letters are included. It is hard to see, but I am sorry. )

P・S ”HAZERU ART(外部販売ポータルサイト)”にある私の作品ページのリンクを下↓に貼っておきます。(※下のHAZERU ART画面をクリックで行きます。)　…宣伝です♪ヨロシクです☆

(P・S　The following link “Hazeru Art” is a website to support registered artists in selling their works. Please visit the dedicated page in “Hazeru Art”.)

[hidenobu-suzuki]

folding fans are said to undergo approximately 88 steps from cutting bamboo to completion, and they are crafted by the hands of multiple artisans. The processes of crafting the frame, paper, painting, and finishing are all specialized tasks. For the creation of the original fan, we entrusted the renowned Kyoto folding fan shop, Hakutiku-do, to produce a custom-made folding fan.

The material that forms the core of the folding fan's structure utilizes young bamboo aged between 3 to 5 years. It is delicately processed into thin pieces, starting the intricate carving and painting stages. The paper for the fan surface is created by cutting three layers of paper with a core in between, sandwiched with washi paper, into the shape of a folding fan.

While typically, each piece of cut paper is individually painted by an artist, the original fan employs paper printed with Hidenobu Suzuki designated colors and arrangement. Subsequently, the printed paper is folded in an accordion-like fashion.

Using two molded templates with grooves, the folded paper is sandwiched between them, and one or two creases are applied, creating pathways for inserting the ribs in the later stages of finishing.

In the final finishing stage, air is blown into the section where the creased paper accommodates the inner ribs, creating holes.

The inner ribs, coated with water-based glue, are then inserted and adhered.

The thicker ribs on both sides, known as the "parent ribs," are heated, bent inward, and glued to the paper, shaping and refining the fan's form.

Thus, an original folding fan is meticulously brought to life through these steps.

Would you like to buy a folding fan that is a traditional Japanese craft?

You will be very satisfied with the beautiful finish.

HIDENOBU SUZUKI PHOTOGRAPHY SHOP 扇子は竹をきるところから仕上げまで約８８工程あると言われ、何人もの職人たちの手によって作られています。

骨づくり、紙、上絵、仕上げ、それぞれが分業になっています。

オリジナル扇子制作にあたって、京扇子の名店、白竹堂さんにお願いをしてオリジナル扇子を製作して頂きました。

センスの骨になる材料は、３年から５年の若い竹を使い、薄く細かく加工して細工や塗工程から製作が始まります。

扇面の紙は、芯紙を表と裏から皮紙で挟んだ３枚合わせのものを使用して扇の形に切り抜いていきます。

通常は、切り抜いた紙に絵師が１枚１枚上絵を付けていくのですが、オリジナル扇子は、鈴木秀総の作品を指定した色と配置でプリントした紙を使用しています。

その後、プリントが終わった紙を蛇腹状に折る作業を行います。

渋引きをした型紙２枚で紙を上下から挟み、１枚もしくは２枚ずつ折り目をつけ、後の仕上げ工程で骨を差し込む道を通していきます。

最後の仕上げ工程では、折り目をつけた紙の仲骨が通る部分に息を吹き込み穴を開け、水糊をつけた仲骨を差し込み接着します。

親骨とよばれる両側の太い骨は熱して内側に曲げて紙を接着し、形を整えて仕上げていきます。

こうして１本のオリジナル扇子ができるのです。

[alien-melissa]

The Australian Music Scene Is On Fire .✦

✶.•Babie Club‧₊˚✧

オーストラリアの友人が行っていて知った『Babieclub 』というパーティーコレクティブ。日本のホステスクラブを改装して作られたというメルボルンのクラブ。ポップでキラキラした空間に装飾され、そこにはそれぞれ思い思いの好きな格好で踊る人々。

アニメのコスプレ、ロリータ、フェアリー、ギャル、着ぐるみ、、日本のサブカルチャーの影響を感じるものからパンクやゴスファッションなど様々。

イベントの詳細には᭙ꫝꪮ ᭙꠸ꪶꪶ ꪗꪮꪊ ᥇ꫀ, babie?

wear that one outfit that's been sitting in your wardrobe. >> you know the one.

(グローゼットに眠ったままの服を着てきて、分かるよね？あれだよ)

音楽はHyperpop/Future bass/Nightcore/Anime meme music/Y2K pop...

なりたい姿で、好きな音楽で踊り、ありのままの自分を解放するピースフルな空間を共有できるパーティー。

同じように自由で自身を解放するパーティーコレクティブ他にもある..

꧁ celestia(天体) ꧂

多次元のクリエイティブ団。Artist,Visionary,Dreamerのためのスペース。

詳細には

「誰もがワイルドな面とそれを解放したくてうずうずしていることも知っています。あなたの中の反逆者と破壊者から逃れるため、星の光の中に足を踏み入れる時が来ました。宇宙の中で天国のように楽しんでくれることを願っています♡༉‧₊˚✧」

と書かれ、毎回テーマや世界観などが設定されている。日常から離れ非現実的な空間で自分を解放する場を作っているパーティー。「安全な空間であること」「誰でも受け入れる」ということが前提として挙げておりステートメントがアーティストや観客の中で共有されている。

初めて行ったパーティーでも疎外感を感じず音楽を楽しめた経験もあれば、音楽を楽しみに遊びに行ったはずがアウェイな雰囲気と誰かの不快な言動に嫌な思いをして帰った経験もある。ただでさえ生きにくい世の中で必死に生きているのに、好きな音楽を共有しているときくらい好きなように邪魔されず楽しみたい、好きなものへの愛に溢れて優しい空間であってほしい。と普段から思っていたからこそ、そういうイベントがあることに希望を感じた。

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A post shared by 𝒄𝒆𝒍𝒆𝒔𝒕𝒊𝒂 .｡. 天体 (@celestia.oo)

BabieClubからは直接「オーストラリアへおいで！近いうちにBabies Clubと遊びましょう」とメッセージをもらい。リアルで日本と交流できる機会があればいいなと思った。

オーストラリアが英語圏であって、アジアでもあるからこそ生まれる各国のいろんなカルチャーが交わり発展しているシーン。

次世代を担う新進気鋭のアーティストたちを紹介したい

★Daine

メルボルンのエモポップスター、ジャンルに執着しないマルチジャンルなDaineのルーツはtrap、Midwestern emo,、hip-hop 、hyperpop 、メルボルンのハードコアバンドの影響などユニークなブレンドによって独自のハイブリッドサウンドを生み出している。オートチューンとDaineの声の相性は最高.....！！！

Charli XCXは次にビッグヒットする新人アーティストとしてDaineの名前を挙げており、MuraMasaのオーストラリア公演のオープニングアクトとしても選ばれるなど注目を集めている。

パンデミックの時期にはオンラインパーティー『Nocturne 』ホストしCharli XCX,Hannah Diamond,Oklou,Ericdoa,Golin,Hyd,Himera....など多くのアーティストが出演し、オンライン上でコミュニティを拡大させた。

↓Nocturne

★Cookii

Lucy BlomkampとRosebud Leachの2人組によるプロジェクト、姿や名前などを伏せ、謎めいた存在であったが匿名で活動することを辞め、2022年「so young 」のリリースと共に表に出ることを決意した。　

ミックステープ「popstyle」ではパンクなリフや歪みと2000年代のポップメロディーの融合。ポップかつトゲのある激しいサウンドでジャンルを超えたマッシュアップが特徴的！

最近では様々なDonatachi, Hearteyes, Lonelyspeck,など様々なアーティストとのコラボレーションによってさらにCookiiとしての音楽の幅を広げている。

★Donatachi

シドニーのDJ/プロデューサーのDonatachi、2022年リリースの『Donatachi.com 』ではレイブ、ジャングル 、ブレイクビーツなどノスタルジックな音楽からのインスピレーションと甘くて鋭いポップミュージック��未来への推進力と、圧倒的なエネルギーを放つサウンド。

Mallrat 、Slayyyter とのコラボレーションや、最近ではCowgirlCrueやCookiiなど様々なボーカリストと共作を行なっていて、インタビューでもDonatachi にとって誰かとコラボレーションすることはまったく別の視点を与えてくれて、曲のアイデアが湧いてくるのでとても楽しい。と話している。リリースされるごとにどんどん新しいスタイルを確立していくDonatachiのポップミュージックに今後も注目したい。

★Ninajirachi

オーストラリアのエレクトリックDJ/プロデューサー

熱狂的なビートと未来的なポップの白熱するセットを実現する私の大好きなアーティスト！！

私が特に好きなのはDoracodracoとStart Smallという曲

11月にはFlume やToro y Moiなどがラインナップに参加する、『Spilled Milk music festival』でのパフォーマンスを終え、大きな会場を熱狂させた。

Ninajirachi をきっかけに知ったDJやアーティストKenta204, Harvest, Laces、、も本当に素晴らしいアーティスト達なのでぜひチェックを！

CRACK Magazineに提供したMixが最高だったので聴いてほしい。本当に最高なので！

↓CRACK MAGAZINE pop zone series - Ninajirachi Mix

★Nuum

オーストラリア出身のシンガーソングライター/プロデューサー、実験的なサウンドを掘り下げ続けているNuum。日本のシューゲイズバンド、揺らぎの「While my waves Wonder」のリミックスや、玉名ラーメンの「aoluv」のプロデュースなど日本でも幅広く活躍の場を広げている。

2nd　EP 『nu world』ではNuumの新しいサウンドやテクスチャーを表現しつつも、カジュアルな音楽リスナーにも聴き入れやすく、実験的な音楽とポップスの境界線を曖昧にしたものになっている。

2023年(？)来日する可能性も？日本のアーティストとの繋がりも多く今後いろんなところでプロデュースやコラボレーションで目にすることになるかもしれない注目の存在。チェックしておいて間違いないです。

★Holliday Howe

シドニーを拠点に活動するハイパーポップ・プロデューサー＆シンガーソングライター

Charli XCX、Tove Lo、PC Musicなどのポップミュージックの影響を受け、ヘビーなバンガーときらめくセンチメンタルな要素を絡めた彼女の音楽！ロンドンのクラブシーンの影響を受けながら、独自のメランコリックなハイパーポップに磨きをかけてきた。

シドニーからロンドンへ移住し、世界中を渡り歩いた彼女のデビューミックステープ『My Friends Live in My Pocket』が11月にリリースされ、オンラインで築き、維持する友情への賛歌を歌ったものとなっている。

--------------------------------------------------------------

このオーストラリアのピースフルで愛に溢れたコミュニティやクラブシーンの存在と素晴らしいアーティスト達のことを日本でも多くの人に知られることで、このコミュニティ周辺を交えてのパーティーが実現したときに、盛り上がればいいなと思っています。

確実に少しずつその日が近づいています（╹◡╹）♡

[yurinas]

“小高”

プロジェクションマッピングアニメーション2023/10/14

福島県南相馬市のアーティスト・イン・レジデンス「群青小高」に参加しました👏小高には2週間ほど滞在し、小高で見聞きした自然をアニメーションにしました。

小高には鳥、馬、蝶、植物、海などたくさんの生き物がいることに気づきました🐴🦋🪴それは私の故郷である福島県を思い出し、子供の頃を思い出しました。生活をするためには都会で暮らすのが便利ですが、自然とともに暮らすことも必要だと感じています。だから、小高では自然を重視するようになりました。

また、地元の人たちの多くは和室に住んでいます。多くの襖には自然をモチーフにした絵が描かれアニメーションを投影することを思いつきました❣️

小高では、数年前に避難が解除された後、人口がまだ少ないため、地域の人たちがイベントや交流場所を設けてコミュニケーションを取ろうとしているように見えました。いろいろな人に会いましたが、中には他県から来た人も多くいます。これからの大高町の発展が楽しみに思いながら、このアニメーションを制作しました。特に子供に喜んでもらえたのが嬉しかったです🧒

今回の制作で、支援と協力してくれた皆さん本当にありがとうございました✨

“Odaka”

projection mapping animation

2023/10/14

I joined “Gunjo Odaka” which is the artist in residency in Minamisoma, Fukushima👏 I stayed in Odaka for about 2 weeks.

I made an animation about nature which I saw and listened in Odaka.

I realised many living things such as birds, horse, butterflies, plants, and sea in Odaka🐴🦋🪴 It reminds me of my hometown in Fukushima prefecture, and made me feel my childhoods. I’ve recently become aware of the importance of striking the balance between development of the city and nature. For making a living, I feel I need to live in the city because of conveniences, but also to live with nature. So I became to focus on nature in Odaka.

In addition, local people usually live in Japanese style rooms.

I came up with projecting my animation to the Japanese sliding door which is called “Fusuma” in a room because the sliding doors are often painted with nature motifs❣️

In Odaka, it seems people try to communicate with others because the population is still small since the evacuation was lifted several years ago. I met many people and some of them are from other prefectures. I look forward to the future development of Odaka.

Thank you so much to everyone who supported and helped with this project✨

[falseandrealultravival]

Lu Xun's "New Story": Criticizing Chinese Civilization(The Problems of the Dam): Essay

Three Gorges Dam

The collection of works in the title is a wonderful response between the artist himself and his works, as Lu Xun(魯迅), who was concerned about the future of China, was trying to sound a warning to the Chinese people. Although he was fully aware of the greatness of Chinese civilization, he wrote things that disparaged that civilization. The works included are 8 stories in total, including a ``reasonable new interpretation'' of Lao Tzu’s Departing episode, and are rich in variety, so you won't get tired of reading them.

The most interesting story among these stories is that when King Yu(禹), one of the three emperors Yao, Shun, and Yu, was desperately trying to control floods, scholars and officials connected to the central government What this means is seen as nothing more than an event in the world of Chinese characters, and the story depicts people having meaningless discussions about whether Yu actually meant an insect, and doing nothing about the problem. Eventually, the mud-covered Yus returned and despised and mocked those in the center.

Importantly, Yu succeeded in controlling floods by letting water flow without building dams. Modern China's Three Gorges Dam is only a recipe for disaster. Suicidal behavior of the Chinese people. They must read the classics properly. (Here,” The book:書経”)

Lu Xun's internal motivation for writing this story was that at the time, the system for discovering officials called the Imperial Examination had become meaningless, and the story of how a student taking the Imperial Examination who could only understand Chinese characters was now meaningless to even children. It seems that Lu Xun, who witnessed the pitiful situation where he gave a lecture on Chinese characters, wrote out his anger (though he did not know whom he was addressing) on a manuscript paper. In the case of Yu's tales, without making fun of the main character, he depicts a highly probable figure of Yu and instead criticizes Chinese civilization by pointing out the scholars and officials who have become a group of incompetents bound by Chinese characters.

魯迅の『故事新編』：中国文明をこき下ろす

表題の作品集は、中国の行く末を憂いた魯迅(ろじん)が、中国人への警鐘を鳴らす意味で、作家自身と作品が見事に呼応したものです。中国文明の素晴らしさを十分知った上で、その文明を貶めることを書くのです。収録されている作品は、老子出関の逸話の「妥当な新解釈」のお話などなど、全８話、ヴァラエティに富んでいて、読んでいて飽きません。

これらのお話のなかでも興味深いのは、堯・舜・禹（三帝）のひとり禹（う）王が、必死に治水の事業をしていた際に、中央政府に繋がる学者・役人たちが禹とはなにか、漢字の世界の出来事としてしか見られず、禹とは虫のことだったかなどと無意味な議論をしていて、なにもしない有様が描かれます。そのうち、泥まみれの禹たちが帰還し、彼ら中央のものどもを軽蔑しあざ笑う・・・こんな話でした。ちなみに、Yu、ダムを作らず、水を流すことで、治水に成功した。現代中国の三峡ダムは、災害を招くだけだ。中国民族の自殺行為。彼らは古典はちゃんと読まなくてはだめだ。

魯迅がこの話を書いた内的動機としては、当時、科挙という役人発掘制度が無意味になり、漢字のことしかよく解らぬ科挙受験生のなれの果てが、子供たちに、いまや無意味になった漢字の講釈を垂れるという情けない実情を目にした魯迅が「憤り」（だれに対してかは解らぬながら）を原稿用紙に書きつづった有様が目のあたりに見えるようです。禹の説話の場合、主人公を茶化さずに有り得た蓋然性の高い禹の姿を書ききり、むしろ漢字に縛られ、無能集団と化した学者や役人を槍玉に挙げることによって、中国文明の批判にしたのでしょう。

[animepopheart]

★ 【みかづきあきら！】 「 chizuru // ReLIFE 」 ☆ ✔ republished w/permission ⊳ ⊳ follow me on twitter

[soul-eater-novel]

P164 どうもわからないという声で、マッシュが言う。「これは……、皆さんいったいどうなされたのです？」 “What in the world happened?” Mathiu asked, confusion plain in his voice.

「いいからそこのレバーを下ろしてくれ！横の壁にあるだろ？」、ビクトールが叫んだ。 “Forget about that, just pull the damn lever!” Viktor cried. “It’s right next to ya!”

「これですか……」 “You mean this one?”

ギリリとレバーを引く音が聞こえ、扉が開いた。 They heard the creak of the lever being pulled down. The door opened.

通路が蝋燭に照らし出され、数名の兵を連れたマッシュの姿がティルたちの前に現れた。 Candlelight flooded into the passageway, illuminating Mathiu, flanked by several soldiers.

「ティル殿、ご無事てしたか。帰りが遅いので、兵を連れて来てみたんてすが……。どうしたことでしょう、帝国兵の影も形も見あたりません」 “Lord Tir, are you injured? You were late returning, so I gathered together these soldiers to come look for you… what the devil is going on? We didn’t see a single imperial soldier on our way in.”

しかしティルは、マッシュの問いに答えられなかった。 But Tir wasn’t able to answer his questions.

床に目を落としたティルは、冷え切った床の上に緑のマントと青い衣服、そして柄に白い布を巻いた斧を見つけてしまったからだ。 Like a stone sinking unwillingly to dark depths, his gaze fell to the floor. Strewn upon the cold flagstones were Gremio’s green cloak, his blue sweater, and his axe, the handle wrapped in a white cloth.

なんの前触れもなく、ティルの目から涙が溢れ出した。 Without any warning, he began to sob.

ティルはその時、グレミオが本当に、自分の前からいなくなってしまったことに気づいた。 It had finally hit him that Gremio had really and truly died.

通路からの脱出法を探すことで無理やり悲しみを押さえつけていたティルは、そうしながらも、ずっと心のどこかでこう願っていた。 He had pushed his sorrow away by searching for a way to escape, the whole time believing deep in his heart…

この扉が開けば、グレミオがいるーー。 When we get this door open, Gremio will be waiting on the other side.

ぼっちゃん大丈夫でしたかと、グレミオが微笑んでくれるーー。 He’ll smile and say, “Are you all right, young master?”

しかしティルの前に、グレミオの姿はなかった。 But Gremio was nowhere to be seen.

ただ揺らめく蛾燭に照らされ、もう誰にも着られることのないマントと、握られることのない斧が転がっているだけだった。 The wavering light of the candle only illuminated his cape, with no one there to wear it, and his axe, with no one there to hold it.

P165 「グレミオ…」 “Gremio…”

ティルが思わず膝を落とす。 Tir dropped to his knees blindly.

緑のマントに、大粒の涙がばたりと落ちる。 His tears fell on the green cloak like giant raindrops.

「ティル様…．」 “Lord Tir…”

クレオに抱きかかえられて、やっとティルが立ち上がった。 Cleo hugged him and he finally stood.

「軍師さん、とにかくここを出よう。ティルには休息が必要だ」ビクトールも言った。 “We gotta get outta here,” said Viktor. “Tir needs to rest.”

床に落ちている物を見て、マッシュもグレミオの死を悟ったようだった。 It seemed Mathiu had gathered Gremio had died from seeing his possessions on the ground.

マッシュはしばらく床に目を落としていたが、ふと顔を上げるとティルを見つめてこう言った。 His gaze lingered on the floor for a moment, but then he raised his eyes and stared hard at Tir.

「ティル殿……、多くは言いません。ただ、あなたが解放軍のリーダーであることを、お忘れなきよう」 “Lord Tir… I’ll keep this short. Remember that you are the leader of the Liberation Army.”

しかしティルは、マッシュに答えることも、歩きだすこともできなかった。 But so great was his grief that Tir couldn’t respond to Mathiu or even walk toward him.

自分を愛してくれた男の冷えきった遺品と、彼が残してくれた温かな思い出の狭間で、ただ涙に暮れた。 Tears rushed in as if they could fill the gaping and endless abyss that stretched between the mementos of the man spread across the flagstones, grown cold, and all the warm memories he had given Tir.

---

ティルたちがガランの関所に戻ってみると、スカーレティシア城攻略の準備が整っていた。 Tir and the others returned to the Garan checkpoint and began preparations to capture Scarleticia Castle.

居城からローレライ、ルビィらを援軍として呼び寄せ、いつの間にか各街を回り有志も募っていた。 They sent for reinforcements; Lorelai and Ruby. In what seemed like no time at all, the Liberation Army’s ranks were bolstered by volunteers pouring in from what felt like every street corner.

テイエンの街からは船大工のゲン、奇妙な発明家カマンドール、帰還魔法を使いこなす魔術師ヘリオン、修行中の格闘家エイケイが参戦してくれた。 In the town of Teien a shipwright named Gen and an odd inventor by the name of Kamandol joined. So did the magician Hellion, who could use magic to send people back to headquarters instantly, and the martial artist-in-training, Eikei.

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[hatanowataru]

「積み重なったもの」 新作として、しばらく制作していたものができたので、Wa.galleryに持っていきました。 @nishitenma_takei @hatano_wataru_art しばらく参考作品として展示しつつ、何かのタイミングで同じような作品と同時に展開していきます。 ものを作り続けるというのは、新しいことへのチャレンジがつきまとう事となります。私にとっての変わらないものは昔からつづいてきた和紙であり、その上に表現することは、流動的に変化していくものです。 掴んだと思った真実はまた零れ落ちたり、満たしたものが溢れ出したり、、、 #abstract #abstractart #abstractpainting #絵画 #抽象画 #表現 #drawing #minimal #minimalart #art #artist #contemporary #contemporaryart #artwork #空間 #interior #hatanowataru #ハタノワタル #wagallery https://www.instagram.com/p/ClFV67OvSI-/?igshid=NGJjMDIxMWI=

[aoharushiyo]

little little happy! / little happy [eng translation]

TITLE: リルリルHappy! (Little Little Happy!) ARTIST: リルハピ (Little Happy) 　　　　鈴宮 壱 (Suzumiya Hajime) | CV: 木村 良平 (Kimura Ryohei) 　　　　丹波 燐 (Tanba Rin) | CV: 逢坂 良太 (Oosaka Ryota) 　　　　雁屋園 道貴 (Kariyazono Michitaka) | CV: KENN 　　　　四方 ルカ (Shihou Luka) | CV: 柿原 徹也 (Kakihara Tetsuya) 　　　　宗円寺 雨夜 (Soenji Sayo) | CV: 前野 智昭 (Maeno Tomoaki) COMPOSITION: RAG FAIR 引地 洋輔 (Hikichi Yousuke), 土屋 礼央 (Tsuchiya Reo) LYRICS: RAG FAIR 引地 洋輔 (Hikichi Yousuke), 土屋 礼央 (Tsuchiya Reo) ARRANGE: RAG FAIR 引地 洋輔 (Hikichi Yousuke), 土屋 礼央 (Tsuchiya Reo) OFFICIAL MV: (from youtube)

ENG:

Taking in the breathtaking cityscape after sunset during the winter holidays My fingertips are frozen, but I still want to check if you’re with me What we kindled across a screen in the dead of night is a wish I won’t lose sight of until it shines high in the sky! It's showtime!

What we're gonna make here is a miracle, see If you count "one, two, three" out loud, a story will begin right now With you, I'll become the me I want to become Shine, Little Happy! Let’s meet under the winter sky like stars

We’re aiming for the stage of our dreams, but just wanting to go faster isn’t enough I want to be right there with you, I want to grant your wish The fluttering powder snow glitters in the light of the buildings A blue-tinged future, a white-coloured wish; let it melt and shine! It's showtime!

What we're gonna draw here is a miracle, see If you start on "three, two, one", these imprinted footprints show that you're not alone, so puff out your chest and stand tall Even if you fall, it's all right because I'll take your hand

“It's because of you that the current me is here. I'll put my heart into this song.”

Everybody, do you know happy? Are you ready? Come on now, here we go! Everybody, we are Little Happy!

Rather than making a wish, we're gonna make a miracle, see If you count "one, two, three" out loud, a story will begin, so raise your voice even above the chill Even if you make a mistake, it's all right! Let's overcome those tears

What we're gonna draw here is a miracle, see Let's start on "three, two, one" The world we can only reach together is surely waiting for us Always Real Happy! Let's pile them up like snow One, two, three, for you!

JPN:

息づく街並み　冬休み　陽は沈み 凍えた指先　けどお互い　確かめたい 夜中の画面越し　僕らあたためたもの ゆずれない　その願い　高く輝け It's a showtime!

ここから起こすのは奇跡さ ワンツースリー　カウント出したら 始まるストーリー　君と今 なりたい僕になれ きらめけ Little Happy! 冬空集う　星のように

目指す夢の舞台　加速したい　まだ足りない そこに僕はいたい　君といたい　叶えたい 舞う粉雪ひらり　ビルに照らされてキラリ 青い未来　白い願い　溶けて輝け It's a showtime!

ここから描くのはキセキさ スリーツーワン　駆け出したなら 刻む足跡　ひとりじゃない だから胸を張れ 転んだって It's all right! その手を僕が　掴むから

「君のおかげで、今の俺がいる。 歌を、心を込めて」

Everybody, do you know happy? Are you ready? Come on now, here we go! Everybody, we are Little Happy!

願うより起こすのが奇跡さ ワンツースリー　カウント出したら 始まるストーリー　寒さにも 負けない声を張れ ミスったって It's all right! 乗り越えろその Crying

ここから描くのはキセキさ スリーツーワン　駆け出してゆけ きっと待ってる　君としか たどり着けない世界 いつだって Real Happy! 僕ら積もらせよう　雪のように ワンツースリー for you

[nouskjp]

Twitterはフォロワー数の多い絵師の力が強すぎる。私は絵師じゃなくてweb漫画描きだ。カラー絵は表紙ぐらいしか本来描かなかったしそれでよかった。そんなことすらTwitterメインの時は忘れてた。

私は漫画を描くべきでSNS以外の漫画倉庫を整えるべきを思い出させてくれたのは、趣味が色々な人達がフラットに交流しているMisskey.ioだった。私は絵師じゃない。25年以上、漫画を描き続けてきた漫画描きだ。

居心地いいMisskey.ioですら、わざわざ外部リンクをクリックして長編漫画を読む人はまれ。それでいい。SNSは私にとって作品公開の場でなく創作の息抜きの交流の場だった。

なのでこれからは、たまに息抜きに来ます。ありがとう。

＊リンクのweb漫画はNSFW

以下Tumblrの追記。

Twitterはフォロワー数の多い絵師の力が強すぎる問題。フォロワー数でしか判断しない人が多いから、Twitterで活動したい無名絵師はまずはフォロワー数がないと絵をろくに見てもらえない問題だけでない。

同じような話題の繰り返しになってしまうが、趣味が合うからとか楽しそうだから交流したいじゃなくて、交流することでTwitterのフォロワー数を増やしたい。フォロワーを人でなく数字としてしか見てない絵師が多すぎなこと。

自分よりフォロワー数の多い神絵師様にお近づきになり、RTしてもらう仲になれば自分も神絵師に近づくという、楽し��よりもTwitterの数字に囚われすぎな絵師が多すぎて疲れた。

私は25年同人活動をしていて。思えばTwitterは同人作家さんとの近況報告や交流の場がmixiからTwitterに移ったのではじめたにすぎない。

私は神絵師でない。無名同人作家だ。

数字マウントでなく、規模がわからないと、何が何だか分からないので具体的な数字も書く。

ここ10年Twitterを積極的に使ってた時でもフォロワー数は3000人程度。疲れては消しだったので、だいたい70～500人の間だった。10年以上同一アカウントかつ、Twitterの様なシャドウバンがないpixivでは8000人程度だ。

謙遜でも僻みでも無く私が活動する特殊性癖の男性向けエロ描きだと規模が小さい部類だ。

ただ、私の創作活動はTwitterとは関係なかった。同人誌即売会と自サイト中心だった。

自サイトは2004年から。当時は添付できる画像容量が小さく、大量に高画質画像を掲載できなかった頃からイラストより漫画をサイトに掲載していた。

コミケやふたけっと、それ以外のオフ会で仲良くなった作家さん達が偶然5桁6桁の神絵師様なだけだった。私のフォロワー数がおおいからじゃない。イベントや打ち上げで楽しく盛りあがっている創作仲間だっただけだ。性癖同じなら上手い下手関係なく楽しく盛りあがろう。そういう創作コミュニティに私は居た。

神絵師様にお近づきになりたい絵師らが、神絵師には見向きもされないが、フォロワー俺より少ない雑魚絵師の夜紫蛇足がかりにすれば神絵師様にも近づけるとか、本当にウンザリしていた。

そういう面倒避けにも有る程度はフォロワー数居なきゃならないのかとTwitterの数字を意識しなければならなくて本当に向かなかったなと。しょうもないダラダラ愚痴になるのでこの辺で。

元々SNSは息抜きの交流の場だった。SNSで見てもらえるを考えず、私は息抜きと近況報告にSNSに来ればいい。

初心に帰れてよかった。タイトルは文字数の関係で、Misskey.ioと書いたが、Misskey.ioもNostrも、kmy.blueも色々居心地が良いSNSをやったことでそれを思い出せた。

今鍵アカのTwitterは、自サイトメンテが終わったら公開予定だが、おだやかTwitterを入れて、通知は全部切った。あくまで自サイトの連携投稿にしか使わない予定だ。

今日も作品公開の場である自サイトを更新しようと思う。

＊サイトは成人向けです。 https://nousk.jp/

The following is a translation by DeepL

On Twitter, only the works of painters with a large number of followers are noticed. In order to be creative, one must first increase the number of followers. Doujin artists are only concerned about their Twitter numbers rather than the enjoyment of interaction.

I am not a painter. I am an amateur cartoonist. I never used to draw color illustrations except for the covers of doujinshi. I devoted myself to drawing black-and-white manga.

I left Twitter and tried various social networking sites. It was Misskey.io, a Japanese SNS, that brought me back to my creative roots.

Misskey.io was a place where people of all interests could communicate equally. Even if I couldn't draw color pictures, I could still have fun interacting with everyone.

I have been drawing manga for over 25 years, but I don't need to draw color illustrations, which I am not good at, on social networking sites. I was reminded of this.

I don't want to fight over numbers on social networking sites. That is also why I am updating my personal website now.

Thanks for reading.

[takmiblog]

Artist Statement : Kim Insook

アーティスト・ステイトメント 　日本・韓国・北朝鮮のはざまに暮らす人々の個性や多様性に着目したプロジェクトをはじめ、韓国や中国、ドイツで、地域やコミュニティの人々とのコミュニケーションを基盤としたプロジェクトを行い、イデオロギーや自分と異なる背景を持つへの「偏見」を超え、より良い関係性を模索するプロジェクトを２００１年から継続的に行ってきました。 　本企画の個展及び宇多村英恵さんを招いて行うトークイベント『Between Breads and Noodles』は、在日外国人や海外に移住した日本人の視点を交えることにより、「異なる文化背景を持つ人々」を他人事として見過ごすのではなく、自分の隣で共生する存在として見つめることについて共に考察することを目的としています。Gallery MoMo のご協力とアーツカウンシル東京の令和４年度第一期東京芸術文化創造発信助成を受けて開催実現に至りました。 　作品は1963-1977 年に大韓民国の国家政策により、炭鉱夫と看護婦としてドイツへ派遣され、移住後、現在までドイツで暮らす人々とのコミュニケーションを基盤として制作しました。異国へ渡った移民２世以降のアイデンティティを見つめる過程を写真・映像作品で収めると共に、ヨーロッパで生きるアジア人としての彼らのアイデンティティを韓国、日本、台湾、インドネシア、ベトナム、タイから輸入された約40 種類のインスタントラーメン約2,000 個を積み上げたラーメンタワーで表現しました。そしてそのラーメンタワー（＝ヨーロッパに住むアジア人）に近づき、味を選び（＝個性を知り）、食べてみる（＝親しくなる）までの行為により、人が他者の個性にたどりつくことを食べ物に比喩したパフォーマンスを行いました。ヨーロッパの中でアジア人として生きる彼らに着目し、人種による偏見を個性や多様性へと転換することを試みたこれらの作品を通じて、彼らの立場を共に体験するインスタレーションとなっています。 　また、会期中にアーティスト宇多村英恵さんを招いて行うトークイベント『Between Breads and Noodles、アーティストが見つめるはざま』では、アメリカに住む宇多村さんと２０２２年２月から１年の期間を経てオンラインで対談を行い、トークイベントで発表する内容についてのリサーチ、研究を進めてきました。 　大阪、韓国ソウル、東京と移住しながら在日外国人アーティストとして暮らす自身の体験と、茨城で生まれ、イギリスに留学後、ドイツへの移住経験を経て、現在はアメリカでアーティスト活動を行う宇多村英恵さんの体験を交え、日本を内と外から見つめ、異なる背景を持つ人々とどのような関係性を持つかについて、共に考える機会を設けたいと思います。 　最後に、２月３日～３日２６日まで本展覧会と同時に開催されている恵比寿映像2023「コミッション・プロジェクト」に１０チャンネルヴィデオ・インスタレーション『Eye to Eye』を発表しています。２０２２年に制作した最新作で、意識しないと見過ごしてしまう「自分と異なる背景を持つ人々」の個性と向き合うことについて考察するための作品です。滋賀県愛知郡愛荘町にあるサンタナ学園（コレジオ・サンタナ）と出逢い、共に過ごしながら、ブラジルにルーツを持つ0 歳から18 歳の約80 名の子どもたち、そしてサンタナ学園を支える先生や支援者と1 人1 人向き合うプロジェクトを通して制作しました。 　『Between Breads and Noodles』と『Eye to Eye』を通じて、就労のために異国へ渡った国内外の移民の立場を交差させ、「異なる文化背景を持つ人々」を自分の隣で共生していく存在として見つめる機会となることを願っています。 合わせてご高覧いただけると幸いです。 展覧会へのたくさんの関心と、トークイベントへの参加をお待ちしております。

2023 年　金仁淑

(https://koten-navi.com/node/156091)