#jusant comes to mind

[zincbot]

wish they made more games for people who's favourite part of botw and totk is the climbing

[amandasgeekblog]

Don't Nod's Jusant Demo Review

Don't Nod recently announced its newest game Jusant by revealing its trailer during XBox Games Showcase 2023. Showing off impressively tall environments and highlighting somewhat otherworldly nature, it feels like a fresh setting for the studio. It was a beautiful and intriguing look into the surprise climbing video game due out this year. Lucky for us, Steam has a demo. Here are my thoughts.

Jusant's demo starts with the definition of the title. Jusant, a noun, is French for low tide. While cliche in an essay, I don’t mind this at all. I do not know French, and the demo likely doesn’t start at the very beginning of the game. It's low tide, and in this game, it’s implied a big unusual ebb.  One might miss that the desolate, incredibly tall, vertical climb is not your average desert. But beside the definition, there is the call of seagulls and areas of barnacles found on the climb. It’s a quiet game, in its isolation and sound. You can hear your breath, your hand as it grasps a ledge, the wind as it blows past your body. Jusant is almost devoid of music for the majority of the game, with subtle musical cues, and high impact when the music full of awe does come through. 

Besides the sounds, right off the bat, the visuals are great. The protagonist’s design has a brightness to it. The high saturation colors stand out from an arid landscape. The stylistic choice of no whites of the eyes makes the character design stand out. The interior environments seem to be an eclectic style of construction site, oceanic, and alien. These ad hoc scaffolding areas were built for all to climb because the low tide seemingly upheaved the locals' lives. No one outside of the player character is seen in the demo (save for glimpses of your little water-blob friend), but there are a few notes and text-based messages to be found. Those familiar with Don’t Nod’s massive hit Life is Strange or the lesser known Tell Me Why (available for free every Pride month) might wish for more interactivity of props. There is one “moment of reflection” as I like to call it, that is common in that genre, and it was peaceful. But if exploring via thoughts or item examination is lacking, that could be very intentional, Jusant’s genre is described as an action-puzzle climbing game on their website. However, Jusant is also tagged as an action-adventure game on Steam. So, it will have to be examined in the full game if the adventure elements are lighter.

I know, I know. Let’s get to the gameplay: climbing! Apologies in advance to those who boulder or rock climb that might suffer through my lack of knowledge and clunky wording. Another note: I used a controller, and it is highly recommended that you do. Climbing feels pretty good. The left hand is the left trigger, and the right hand is the right trigger. I wouldn’t say the controls are floaty, but I do feel like the experience is a little smoothed. The protagonist feels like a strong climber. It is easy to get a good flow in the beginning of the demo with an abundance of available handholds. The player can “look” with one of the joysticks to direct where they reach. Stamina is no worry at all in the start of the demo. Once embarking on some longer climbs or when jumping is needed, you’ll have to watch your gauge. The protagonist will also breathe a little heavier for a diegetic reminder to rest. While on a climb, simply clicking your left joystick down lets you rest just about anywhere. The character is shown shaking out the hands, which is fun and a thing I have seen real climbers do. I did not see what an actual fail state looked like, but when stamina was dire, there was heart racing and red blinking on the stamina meter. 

There’s more depth to the aspects of the gameplay, like with the length of your rope, and adding pitons along the way so you don’t fall too far and lose too much progress if you lose grip. There’s elements of rappelling and ascending that are not realistic to physics, but fun for a game. Sometimes you need to descend or do a sort of wallrunning move to reach the next set of handholds. The demo explored mostly straightforward navigational routes except for a couple trickier spots closer to the end. From the trailer it seems more puzzle elements will be introduced. For example, growing, flowering stalks can take you higher, and seemingly magically-appearing vegetation can sprout into handholds.

Don’t Nod bills this game as a meditative climbing game in nature. I do think they will deliver that. The scenes and landscapes are really vast while on the climb. There doesn’t seem to be anything to rush you on your climb, and the visuals and music are calming. You explore a desert-like landscape in the demo, but there seems to be more biomes that will be explored throughout the game.

Any negatives or issues? 

Handholds are not always the clearest, I do not have an issue with this myself but people with low vision may have trouble. A highlighted or more contrasted color scheme setting could be good for others

There was some graphical stuttering on my PC a few times (for reference I have RTX 2070, Ryzen 7 2700x). But to be honest, I don’t know much about PCs or running games.

I feel like once the panting audio to indicate lower stamina got stuck even after I rested. 

Hints were repetitive, but this is a demo, and there was a setting to turn it off, so this is all good

You might wish more in the interiors were interactive

The pros: 

Fun to climb, intuitive. Which is good, that’s the main mechanic!

Lovely style, saturated hues contrasted with expansive and more realistic landscapes.

Quiet game, relaxing. An hour passed without me noticing!

Potential to have unique lore, something different

Jusant is planned to release Fall 2023 on XBox Series X|S, Playstation 5, and Steam. Get the demo on Steam now.

[jcmarchi]

Jusant Review - Reaching The Summit - Game Informer

New Post has been published on https://thedigitalinsider.com/jusant-review-reaching-the-summit-game-informer/

Jusant Review - Reaching The Summit - Game Informer

Jusant asks players to do one thing: climb. As a silent mountaineer accompanied by a cute critter, the only thing standing between you and your mysterious mission is one very tall mountain. The journey to its summit is treacherous, but thanks to an ingenious climbing system, beautiful art direction, and intriguing world-building, inching toward the top is worth the effort. 

The intuitive climbing mechanics are the star of the show. Pressing the left and right shoulder buttons lets you grip handholds with the corresponding hands of the climber while you aim with the left stick. The back-and-forth rhythm of hitting both buttons to pull yourself up precarious terrain feels natural and realistic without being cumbersome. Gripping drains a stamina meter, and though managing this isn’t often difficult, it does add a nice element of thoughtfulness and tension to the ascent. Climbing excels, but simply walking can be troublesome as the character has a habit of getting stuck on even the most negligible geometry, such as small pieces of rubble, resulting in awkward jumping and spinning to break loose. 

Your only tool is a retractable climbing rope that automatically anchors you to a wall, meaning you can never fall to your death (or die in general). While this contributes to the game’s relaxed, meditative atmosphere, that doesn’t mean failure isn’t a factor. Slipping sends you dangling back to where you began, which can result in having to reclimb lengthy stretches. You can prevent demoralizing setbacks by staking up to three pitons as you climb, extending your reach while creating makeshift checkpoints. I love the strategy of managing the placement of my pitons, as it gave me creative agency in how I navigated tricky sections – namely walls lacking handholds – while ensuring any lost progress was entirely my fault due to bad or infrequent piton staking. The rope also allows for performing fun maneuvers like swinging across gaps or wall-running to reach distant goals. 

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Ballast, the climber’s cute, water-like pet, offers another helping hand. Hitting a button makes it emit a pulse that transforms organic elements, such as making giant flower bulbs sprout climbable buds or causing vines to grow rapidly and letting you hitch a free ride on them. There’s only a small handful of these tricks, but they complement traditional climbing while adding an entertaining layer of whimsy.  

These mechanics result in climbing that feels challenging in the right ways. Scaling the mountain requires enough physical effort and coordination combined with mindful planning to make hitting each elevation milestone feel like a well-earned accomplishment. Looking down over a cliff to see the entire section I just completed before looking up at the obstacles to come is satisfying and daunting. Climbing in games is often shades of being either mind-numbingly simplistic or painfully tedious. Jusant strikes a great sweet spot. The great controls made me confident and eager to tackle the well-crafted, puzzle-like climbing routes and obstacles. 

Developer Don’t Nod does a great job of mixing up Jusant’s premise by introducing new environmental or platforming challenges in each of the game’s six chapters. One section has you riding powerful wind gusts to reach far-off platforms. Rock-like bugs serve as moving handholds that can carry the player along, provided you watch the path they’re on and adjust if they lead you astray. One of my favorite areas lets you scale and swing across massive stalactites in a giant, bioilluminated cave. Jusant has a relatively short run time (about six hours), but it remains fresh and engaging throughout. 

Jusant’s picturesque scenery looks fantastic. Set in a world that has mysteriously lost nearly all traces of water, the mountain is situated in a dry, vast seabed. Dehydrated coral, fossilized seashells, and shipwrecked vessels provide the only evidence of the former ocean, as do numerous abandoned settlements where a lost society once called the mountain home. It may technically be a world in ruin, but the warm colors, great lighting, and sharp art design make it fun to look at. 

    How this calamity happened, and the plight of the people who experienced it is told through a series of sometimes lengthy but fascinating diaries. Whether it was the story of a young woman eagerly abandoning her home life to embark on an expedition to the summit or the day-to-day musings of folks who can’t fathom living on a horizontal plane, these logs are enjoyable and worthwhile reads that provide vital context to the world and your quest.

Numerous paths inside and outside the mountain hide various collectibles and interactive artifacts, such as wall paintings telling a grand legend and seashells that provide audio-only flashbacks of this lost civilization. I went out of my way to find as many of these as possible, and thankfully, the game tracks all of them. That makes revisiting chapters to locate missed items an easy and inviting proposition. Even if you can’t collect it, I was happy to find new rooms, stores, and other infrastructure to get a better idea of these people’s way of life. 

Jusant is my favorite Don’t Nod title since the original Life is Strange and is one of the year’s best gems. The climbing mechanics are so smart and well-executed that I hope other games take notes. Add an inviting presentation, a pleasant soundtrack, and an alluring air of mystery and isolation reminiscent of Team Ico’s best works, and Jusant is a rewarding expedition.

[artstropicalokinawa]

不親切なバー、あるいはワシリエフの食堂 ―――あるいは、食とアートの関係をめぐる考古学

数年前パリで、３つのカクテルを用意したバーを、アートのプロジェクトとして1日だけオープンした。場所は通常そうした目的で使われる場所ではなく、レジデンスや展示などのための施設だった。グラスにはそれぞれキーワードを印刷した短冊状の紙が添えられていて、それを手がかりに、共同体というテーマについて参加者どうしの議論が生まれるのではないかと期待していた。カクテルは、それぞれ独自の視点で共同体についての考察を行なった、モーリス・ブランショ、アルフォンソ・リンギス、エドゥアール・グリッサンの名前を冠することにした。グリッサンと名付けられたカクテルを片手に、目に止まったキーワードについて、無防備に語り始めるようなことがあったのだとすれば、内容の如何にかかわらずそれはそれで素晴らしいことではなかっただろうか。アートの世界で、飲食を提供する場面に出合うことは珍しいことではなくなりつつある。オープニング・パーティーなどそれをこそを目的としたものはもちろんだが、プロジェクトや作品そのものに調理や飲食が組み込まれていたり、展示やディスカッションに併設するかたちでそうした場が設けられていることもある。今日のこうした傾向を考えるとき、まず真先に思い浮かぶのはリクリット・ティラバーニャではないだろうか。1990年代から始まった展示スペースでの調理、提供、飲食は、今日の同様の活動に大きな地盤を与えることになったはずだ。食とアートというと、三度祝福された男、トリマルキオーの催した饗宴から、その下流のささやかな美食などを想起するかもしれないが、もちろんここで触れている傾向はそれとは関係がない。かつてドクメンタで、エルブジという三つ星レストランがアーティストとして取り上げられたことがあったが、そのアップデートできていない食への視線に象徴されるように、そのときのドクメンタは稀に見る低調なものだった。リクリットの関係で言えば、ニコラ・ブリオーによって提起された関係性に注目した理解が大きな後ろ盾になっていたと考えること無理のないことではないだろう。ブリオーに対しては、クレア・ビショップらによる批判もすでに消化済みだが、あえていえば、ビショップは楽しいはずの食事の場や酒宴の場だからこそ生まれ出る対立や拒絶を理解していない。しかし、リクリットを想起した人の���くは、少し間をおいて、あるいは即座に、ゴードン・マッタ-クラークがニューヨークに開いたレストランのプロジェクト、FOODを想起したのではないだろうか。FOODの様子はドキュメンタリー映像で確認できるが、より飲食の提供という業態自体に焦点が置かれているとはいえ、ほとんどリクリットのパッタイを調理する場と変わらないことに驚かされる。マッタ-クラークのような業態そのものとしての取り組みは、たとえばアリギエロ・ボエッティがカブールに開いたホテル、One Hotelにも見出すことができるだろう。だがもちろん、マッタ-クラークもボエッティも、業態そのもののコピーだけを見ていたわけではない。そうした業態に入ってこそ初めて、後の、ある種の抽象化ともいえるリクリットの活動も可能になったはずだ。彼らが呼吸していたものは、ブリオーの混乱したテキストよりも、旧ソ連の拘禁状態の市民たちが、共同キッチンに見出していた自由を扱った、イリヤ、エミリアのカバコフ夫妻の作品を考えればわかりやすいだろう。冒頭で触れたバーが、共同キッチンを目指すものであることは覆い隠すことはできない。そしてこうしたある種の経験の、さらに向こうを遠望するとき、ロシア出身の画家、マリー・ワシリエフが自身のアトリエを解放して開いたという食堂が姿を表してくる。第一次大戦下、困窮するアーティストの胃袋を満たすために開かれた食堂は、主宰した本人の思惑を超えて大きなものになりつつある。ワシリエフの食堂には様々な人が足を運んでいたが、『突然炎の如く』の原作者アンリ=ピエール・ロシェもその一人だった。パブロ・ピカソをガートルード・スタインに引き合わせたその人物は、ミュンヘンの宇宙サークルの常連でもあり、当然そこで出会っていたフランチェスカ・ツ・レーヴェントローの話を、ワシリエフの食堂ではないにしろ、パリのどこかでマルセル・デュシャンに囁いたに違いない。独身者によって裸にされた花嫁が、フランチェスカだということもありえないことではない。第一次世界大戦下、灯火管制厳しいなか、クラブとしての営業許可が幸いして夜半まで賑やかだったという食堂は、第一次世界大戦の終結とともに幕を閉じるが、世界はそのとき既に、今日の世界を先駆ける、スペインに汚名を着せた流感の感染に染まりつつあった。いずれにしても、対立や拒絶だけでないものを生み出していたワシリエフの食堂の意味は、もはや無視できないものはいうまでもない。おそらくビショップだって、きっとそんなことは十分に承知しているはず。さあ、冒頭の共同体のバーに戻ろう。このプロジェクトは、そこに滞在していたアーティストに誘われ���ものだったのだが、実はその場所こそかつてワシリエフの食堂があった場所だった。何かの因縁なのかもしれないしそうではないのかもしれない。けれども、いつからかバーという形態のプロジェクトに手を出していた人間にとって、この偶然は、手にしたカクテルの名前を再び想起させてくれる。時代を隔てて、ワシリエフ、マッタ-クラーク、ボエッティ、カバコフ、リクリットを抱えるその共同体は、おそらくますます多くの人々を包み込んでいくことになるだろう。

The bar without hospitality, or Vassilieff's canteen ―――Or archeology on the relationship between food and art

A few years ago, in Paris, I opened a bar for one day as an art project, in which only I served three kinds of cocktail. The place is never used for such purpose, but for residencies and exhibitions for artists. Each glass has been pasted some strips of paper with printed keywords, and I expected, those words would lead to discussions among participants about the theme, that is, community. I put on each cocktail the names of Maurice Blanchot, Alphonso Lingis and Édouard Glissant. They are all the person who considered the community from their own viewpoints. If someone had a cocktail named Glissant in ones' hand and started to talk about the keywords that caught her or his eye, wouldn't it be fantastic, regardless of its content? In the art world, it becomes not uncommon to encounter food and drink scenes. Of course, like opening parties, there is something like that is an end of itself. But there is also something like that cooking, eating and drinking are incorporated in art projects or art expressions, or,  accompanying exhibitions or discussion events, special venues are installed for them. When considering today's these trends, the first thing that comes to your mind would be Rirkrit Tiravanija. Cooking, serving, eating and drinking in the exhibition space, which began in the 1990s, certainly have provided a great background for similar activities today. When it comes to the relationship with food and art, you might recall the feast of Trimalchio, who is the man blessed three times, and the modest gastronomy being an extension of it, but of course, the tendencies mentioned here have nothing to do with it. Once, in Documenta, a three-star restaurant called El Bulli was featured as an artist, but it meant unupdated understanding on food as art activism, for that reason, that Documenta, unusually, became to be seen as not impressive one. As for Rirkrit, it's not unreasonable to think that the relationship-focused understanding raised by Nicolas Bourriaud was a major backing. Criticism on Bourriaud by Claire Bishop and others has already been digested, but if you dare, Bishop does not understand the conflicts and rejections raising sometimes in the fun dining and the happy banquet halls. But many who recalled Rirkrit might have recalled, after a short while, or immediately, Gordon Matta-Clark's restaurant project, FOOD, in New York. We can see the state of FOOD in the documentary video, but it is surprising that it is almost the same atmosphere as the place where Rirkrit's Pad Thai is cooked, although the focus is on the business itself of providing food and drink. Efforts as a format itself, like Matta-Clark, can also be found, for example, in One Hotel, which opened by Alighiero Boetti in Kabul. But of course, neither Matta-Clark nor Boetti was thinking of just only rebuilding the format itself. Of course, only after entering such a business format would it be possible to carry out activities of Rirkrit and so on, which can be said to be a kind of abstraction. The work of Emilia and Ilya Kabakov, which dealt with the freedom that the detained citizens in the former Soviet found in the communal kitchen, makes us possible to understand what they were breathing, than thinking about Bourriaud's confusing text. It cannot be obscured that the bar mentioned at the beginning wants to be this communal kitchen. And as we look further into this kind of past activities, we end up a canteen that Russian painter Marie Vassilieff has opened at her atelier. The canteen, which was opened during the First World War to fill the stomach of a poor artist, is becoming larger and larger than the intension of its owner. Although various people visited Vasirieffe's canteen, one of them was Henri-Pierre Roche, the author of the original story of "Jules et Jim" was one of them. Although that man who introduced Pablo Picasso to Gertrude Stein was also a regular in the Munich cosmic circle, and of course, the story about Franziska zu Reventlow who he met there, would be whispered to Marcel Duchamp in somewhere in Paris, if not in Vassilieff's canteen. It's not impossible that La Mariée mise à nu par ses célibataires was Franziska. Under the strict blackout control during World War I, the canteen was lively until midnight owing to the business license as a club, fortunately, but it closed with the end of the war. But already then, the world had started being stained with the Spain-flu infection that soiled the name of Spain, which was the forerunner of today's pandemic. In any case, it goes without saying that the meaning of Vassilieff's canteen, which produced more than just conflicts and rejections, can no longer be ignored. Perhaps even Bishop would be well aware of that. Now let's get back to the beginning, the bar of communities. Although the project was invited by the artist who was staying there, interestingly, it was actually the place where Vasillieff's canteen used to be. It may or may not be the fate of something. But for the man who has been working on a project in the form of a bar sometimes, this coincidence reminds of the name of cocktails of that bar. Over time, the community of Vassilieff, Matta-Clark, Boetti, Kabakov, and Rirkrit will probably envelope more and more people.

O bar sem hospitalidade, ou a cantina de Vassilieff −――Ou arqueologia sobre a relação entre comida e arte

Há alguns anos, em Paris, abri um bar por um dia como projeto de arte, no qual apenas servi três tipos de coquetéis.　 O local nunca é utilizado para aquele propósito, mas para residências e exposições de artistas.　 Em cada copo foram coladas algumas tiras de papel com palavras-chave impressas, e eu esperava que essas palavras levassem a discussões entre os participantes sobre o tema, ou seja, comunidade. Coloquei em cada coquetel os nomes de Maurice Blanchot, Alphonso Lingis e Édouard Glissant, todos eles que consideravam a comunidade a partir de seus próprios pontos de vista. Se alguém tivesse um coquetel chamado Glissant na mão e começasse a falar sobre as palavras-chave que chamam a atenção dela ou dele, não seria fantástico, independente do conteúdo? No mundo da arte, não é incomum encontrar cenas de comida e bebida. Claro que, como as festas de abertura, há algo assim é um fim em si mesmo. Mas também há algo como cozinhar, comer e beber são incorporados a projetos de arte ou expressões artísticas, ou, acompanhando exposições ou eventos de discussão, locais especiais são instalado para eles. Ao considerar essas tendências de hoje, a primeira coisa que vem à sua mente é Rirkrit Tiravanija. Cozinhar, servir, comer e beber no espaço de exposição, que começou na década de 1990, certamente proporcionou um grande pano de fundo para atividades semelhantes hoje. No que diz respeito à relação com comida e arte, você deve se lembrar da festa de Trimalchio, que é o homem abençoado três vezes, e a modesta gastronomia sendo uma extensão disso, mas é claro, as tendências aqui mencionadas têm nada a ver comisso.O que se refere à relação com a comida e a arte, você deve se lembrar da festa do Tolmarquio, que foi abençoado três vezes, ou a gastronomia hoje é a jusante, mas é claro que as tendências aqui mencionadas nada têm a ver com isso. Certa vez, na Documenta, um restaurante três estrelas chamado El Bulli apareceu como artista, mas isso significou um entendimento desatualizado sobre a comida como ativismo de arte, por isso, que ista Documenta, excepcionalmente, passou a ser vista como não impressionante. Quanto a Rirkrit, não é absurdo pensar que o entendimento focado no relacionamento levantado por Nicolas Bourriaud foi um grande apoio. As críticas ao Bourriaud por Claire Bishop e outros já foram digeridas, mas se você ousar, Bishop não entende os conflitos e rejeições que às vezes surgem nos jantares divertidos e nos salões de banquetes felizes. Mas muitos que se lembraram de Rirkrit podem ter se lembrado, depois de um curto período, ou imediatamente, do projeto de restaurante de Gordon Matta-Clark, FOOD, em Nova York. Podemos ver o estado de FOOD no vídeo documentário, mas é surpreendente que seja quase o mesmo atmosfera do lugar onde o Pad Thai da Rirkrit é cozinhado, embora o foco esteja no próprio negócio de fornecimento de comida e bebida. Esforços como o próprio formato, como Matta-Clark, também podem ser encontrados, por exemplo, no One Hotel, que foi inaugurado por Alighiero Boetti em Cabul. Mas é claro, nem Matta-Clark nem Boetti pensavam em apenas reconstruir o próprio formato.É claro que só depois de entrar em tal formato de negócios seria possível realizar atividades de Rirkrit e assim por diante, e isto pode ser considerado uma espécie de abstração. O trabalho de Emilia e Ilya Kabakov, que tratou da liberdade que os cidadãos detidos no ex-soviete encontraram na cozinha comunitária, nos permite entender o que eles respiravam, do que pensar no texto confuso de Bourriaud. Não se pode obscurecer que o bar mencionado no início quer ser uma cozinha comunitária. E quando olhamos mais de perto esses tipos de atividades passadas, acabamos em uma cantina que a pintora russa Marie Vassilieff abriu em seu estúdio. A cantina, que foi aberta durante a Primeira Guerra Mundial para encher o estômago de um artista pobre, está ficando cada vez maior que a intenção de seu dono. Embora várias pessoas tenham visitado a cantina de Vasirieffe, uma delas foi Henri-Pierre Roche, o autor da história original de "Jules et Jim" foi uma delas. Embora aquele homem que apresentou Pablo Picasso a Gertrude Stein também fosse um regular no círculo cósmico de Munique e, claro, a história sobre Franziska zu Reventlow que ele conheceu lá, seria sussurrada a Marcel Duchamp em algum lugar de Paris, se não no da cantina de Vassilieff. Não é impossível que La Mariée mise à nu par ses célibataires fosse Franziska. Sob o estrito controle do blackout durante a Primeira Guerra Mundial, a cantina ficou animada até a meia-noite devido à licença comercial como clube, felizmente, mas fechou com o fim da guerra. Mas já, então, o mundo tinha começado a ser manchado com a infecção da gripe espanhola que sujou o nome da Espanha, que foi o precursor da pandemia de hoje. Em todo o caso, nem é preciso dizer que o sentido da cantina de Vassilieff, que mais do que conflitos e rejeições produziu, não pode mais ser ignorado. Talvez até Bishop saiba disso. Agora vamos voltar ao início, o bar das comunidades. Embora o projeto tenha sido convidado pelo artista que estava hospedado lá, curiosamente, era na verdade o lugar onde costumava ser a cantina de Vasillieff. Pode ou não ser o destino de algo. Mas para o homem que às vezes vem trabalhando em um projeto em forma de bar, essa coincidência o lembra do nome de coquetéis daquele bar. Com o tempo, a comunidade de Vassilieff, Matta-Clark, Boetti, Kabakov e Rirkrit provavelmente envolverá mais e mais pessoas.

杉田 敦 / ATSUSHI SUGITA

美術批評。文章や発言だけでなく、プロジェクトや展示、キュレーション、アクションもある意味で批評として取り組む。素粒子物理学、認知科学などの研究から、美術のフィールドへ。この経歴はよい表現をすれば旅、節度ある表現では迷走、現実的には徘徊と言えそう。2017年のARTiTでの連載の書籍化に励みつつ、次の連載もそろそろ始まります。Amazonでひとつ星の評価をいただいている『静穏の書』は渾身の一冊…

Art critic. For me, not only texts and remarks, but also art projects, exhibitions, curations, and any other actions have the meaning as criticism in a sense. Moving from research on elementary particles and cognitive science to contemporary art. This career path can be said "travel" in favourable expressions, "losing way" in modest, and "roaming" in realistic. Although working hard to make the serialization of ARTiT in 2017 into a book, the next serialization is also about to begin. In the book, titled de-desassossego, which has been rated one star in Amazon, all my thoughts are condensed...

Crítico de arte. Para mim, não apenas textos e comentários, mas também projetos de arte, exposições, curadorias e quaisquer outras ações têm o significado de crítica em certo sentido. Mudança da pesquisa sobre partículas elementares e ciências cognitivas para a arte contemporânea. Essa carreira pode ser chamada de "viagem" em expressões favoráveis, "perdendo o rumo" em modesta e "perambular" em realística. Embora trabalhe duro para transformar a serialização do ARTiT em 2017 em um livro, a próxima serialização também está prestes a começar. No livro, intitulado de-desassossego, que foi classificado como uma estrela na Amazon, todos os meus pensamentos estão condensados...