and phylogenetic taxonomy of seaweeds, which are multicellularAlgaeorganisms. Among them, one group of red algae is my life workand I consider myself as a red algae specialist. However, there arenumerous differences between unicellular and multicellular algae,
in reality, the majority of taxonomists only specialize in either one

Since I work at a university, specializing in the algae taxonomy,of them. I also only had textbook knowledge about Cyanidium

I often get inquiries from people outside the university. Most ofcaldarium, thus, at the beginning, I accepted the request, thinking

those inquiries can easily be associated with social contributionthat I could perhaps help by referring Nagasaka to some researcher

works by scientific professionals, such as checking narration texts

who would be better-suited for her inquiry.

for TV footages to make sure that there are no scientific mistakes

However, when I actually listened to Nagasakaʼs proposal, it hadin them, or they want me to specify the type of algae, which ismore things in common with my research topics than I expected

unwantedly growing in a culture pond, and teach them how to copeand I was fascinated by her idea. In 2005, I participated in thewith the situation. Having said that, I sometimes get consulted byecological survey of the Shiretoko Peninsula, as the person in charge

people in the literature and art fields about such matters, they wantof seaweeds, when the Shiretoko Peninsula was in the process ofto interview me in order to model a taxonomist character in a novel

gaining World Natural Heritage site status. I have been regularlyor they want me to specify the type of seaweeds, which are drawn

conducting field surveys to monitor the area since it gained its

on Émile Galléʼs flower bases that would get exhibited in an art

status, thus, the Shiretoko Peninsula has been a very familiar fieldmuseum. When the university office contacted me this time, asking

for me for about fifteen years. Also, if the sudden change of theif it was okay to connect me to an artist, who wanted to know

earthʼs environment, which was caused by oxygenic photosynthesis

about Cyanidium caldarium, at first, I thought that it would alsoof the ancient algae, had not occurred, the evolution of lifeforms

be one of those trivial inquiries. Cyanidium caldarium is a species

would have taken a completely different direction and, of course,of unicellular red algae, which grows in the high temperature andwe humans would not have come into being. Moreover, byproducts

highly acidic conditions of hot springs. Although it is a type of

produced by life activities of those algae are the resources buried

algae that all phycologists would have heard the name of, there areunderground, such as iron, oil, and cement, which support ournot many taxonomists who actually work with them. If anything,present civilization. These are the topics students in my class getbiologists other than taxonomists might often work with themfascinated by every year. I felt I would really like to cooperate withfor the purpose of researching photosynthetic functions, because

Nagasakaʼs work and I immediately started looking through papers

Cyanidium caldarium grows in extreme condition and there iswritten about the cultivation of Cyanidium caldarium and ordered

not a concern about other lifeforms coming in and propagatingnecessary reagents and instruments for the cultivation. Aboutduring cultivation and it is relatively easy to take care of them

one month later at the end of March, I received the Cyanidium

even for “amateurs”. My specialized field is the biogeography

caldarium, which Nagasaka had collected at the Kamuy-Wakka

Waterfalls, and I started the cultivation. After some trial and error,

the worksʼ intentions.

the Cyanidium caldarium kept growing nicely in an Erlenmeyer

The classification of “algae” itself also has a similar aspect offlask, which was kept in a constant-temperature incubator set at 45

conceptual commonality. In the contemporary taxonomy, groups ofdegree Celsius, for Nagasakaʼs exhibition in the autumn. However,organisms, which have common ancestors, are only recognized asin the early September when it was getting closer to her exhibition,

being in the same taxonomic groups. Since the Ancient Greek civi-a large earthquake struck Hokkaido. Many of the algae strains I

lization, it has been thought that organisms that can move on theirwas cultivating in my laboratory died because their petri dishes

own are animals and the rest of organisms are plants. However,were directly damaged by the tremors and their incubators stopped

the development of electron microscopes and the genetic analysis

operating for three days due to the power cut. But, to my surprise,technologies in recent years have broken the mold. It has turned

the Cyanidium caldarium, which I worried the most about beingout that fungi, which had been grouped as a part of lower plants

hurt by the power cut because they need the high temperature tothat do not flower, are closer to animals than to plants that flower.

live, survived through the event and fulfilled its duty as one of theAlso, it has been proven that three groups of seaweeds; green algae,

elements in Nagasakaʼs work.

brown algae, and red algae, whose only differences were thought tobe their colors, are further away from each other in their lineages

As Nagasaka is already aware, Stromatolite, which is one of thethan the difference between fungi and animals. When it comes toconstituting elements of her work, is a rock produced by cyano-

unicellular algae, they are divided into much more, independent lin-bacteria, which is a prokaryote. Cyanobacteria is not necessarily

eages than seaweeds. That is to say, organisms that are under theclose to Cyanidium caldarium, which is a eukaryote, in theirclassification of algae are a highly miscellaneous mixture phyloge-taxonomic relationship. Nevertheless, everybody would feel thenetically. Nevertheless, from their common characteristics of having

conceptual commonality the two share: they are the creatures that

relatively simple constitutions, growing in water, and performing

continuously live in harsh environments, which let us imagine theoxygenic photosynthesis, these organisms are still classified as algae

ancient earth where dynamic volcanic activities were taking place.

today, besides the taxonomic unitʼs perspective.

Also, the origin of chloroplast goes back to cyanobacteria and all
oxygenic photosynthesis organisms including Cyanidium caldarium

As a matter of fact, to my regret, I could not see Nagasakaʼs work

have inherited their ability to perform oxygenic photosynthesis

in person in Fall 2018 due to my schedule, despite the exhibition

from cyanobacteria. From this perspective “things originated frombeing held in Sapporo, where I am based. This time, I am in chargecyanobacteria”, they also have common features. I imagine that itof making the summer exhibition, featuring algae, at the Hokkaido

is part of the workʼs intentions to create effects by overlaying theseUniversity Museum. While it is part of the aim in the exhibition tovarious meanings. Now that I think about it, I feel that it was myconvey the academic values of each specimen in the collection, thefoolish act to have specified the seaweeds drawn on Galléʼs flower

exhibition also aims to convey their artistic appeals, such as differ-bases by their tiny features, and as a result, to have narrowed downent forms of algae, which Gallé paid close attention to, or the physi-

cality of old specimen labels, which evoke the feelings of history in

服部 浩之

us. By having Nagasakaʼs work, which will be re-configured to fit

インディペンデント・キュレーター

into the exhibition, in the middle of the exhibition space, I hope to1978 年生まれ。早稲田大学大学院修了（ 建築学 ）。青森公立大学国際芸術センター青森

sensuously convey the profoundness of algae to the audiences and［ ACAC ］学芸員を経て、2017 年より秋田公立美術大学大学院准教授。アジア圏を中心に、展

make an intriguing exhibition by the synergetic effect created by art

惑星の、時間旅行へ 」（ 十和田市現代美術館、奥入瀬エリア｜ 2013 年 ）、「 Media/Art Kitchen 」

覧会やプロジェクト、リサーチ活動を展開。近年は、「 十和田奥入瀬芸術祭 –SURVIVE：この（ ジャカルタ、クアラルンプール、マニラ、バンコク、青森｜ 2013 年 -2014 年 ）、「 あいちトand science.

リエンナーレ2016̶虹のキャラバンサライ （」 愛知県美術館ほか｜2016年 ）、「ESCAPE fromthe SEA 」（ マレーシア国立美術館、Art Printing Works ｜ 2017 年 ）、「 近くへの遠回り 」（ ウィフレド・ラム現代美術センター｜ 2018 年 ）などの企画に関わる。第 58 回ヴェネツィア・ビエ

Tsuyoshi Abe

ンナーレ国際美術展日本館展示「 Cosmo-Eggs ｜宇宙の卵 」（ 2019 年 ）キュレーター。

山本 順司
地球科学・教育学・博物館学

1973 年滋賀県生まれ。2001 年東京大学大学院修了（ 博士［ 理学 ］）。地球を時空的に解剖することを目指した「 四次元地球プロジェクト 」を推進。

2003 年京都大学大学院理学研究科助教に着任。宇宙と地球の接点である太陽系の形成過程を探るため「 石の中の銀河プロジェクト 」を推進。地球深部に眠っている地球形成初期からの残存物質の探索に没頭。

2011 年の東日本大震災を機に教育普及活動の重要性を痛感し、教育学や博物館学を志向。
2012 年北海道大学総合博物館准教授に着任。
「 地球体感教材開発プロジェクト 」を開始。以降、開発した教材を次々に科学イベントや授業に投入し、その効能を教育系学会誌や博物館学系学会誌で公表することで、科学リテラシーの底上げに力を尽くしている。

2015 年から社会と学術界が交わる場を作ることを目指し、大学博物館を知のハブとする「 知の交差点プロジェクト 」を開始。
誰もが意識せずに立ち寄れる究極のユニバーサルミュージアムを作ることを目指して活動中。
北海道大学准教授。

阿部 剛史
藻類学

1968 年東京都生まれ（ 幼時に埼玉県に転居 ）。1998 年北海道大学大学院修了（ 博士 [ 理学 ] ）。
紅藻ソゾ属を材料に、従来の分類学的手法に加え、培養株を用いた交雑実験と化学分類を併用し、日本近海における種内分化過程を推定。

1998 年北海道大学大学院理学研究科助手に着任。北海道大学総合博物館の設立に関わる。
1999 年北海道大学総合博物館の発足に伴い、同、博物館情報メディア研究系助手に移籍。
2000 年日本藻類学会論文賞受賞。
2006 年ほぼ 40 年ぶりとなる知床沿岸の海藻相調査に参加、以後、知床世界自然遺産浅海域生物相モニタリング調査に海藻担当として参画。

2012 年夏季企画展示「 藻類が人類の未来を救う 」担当。
2012 年北海道大学総合博物館資料基礎研究系講師に昇任。
2013 年タイ国立科学博物館出張展示「 Algae for Humankind 」担当。
2019 年北海道大学総合博物館資料基礎研究系准教授に昇任。

Hiroyuki HattoriTsuyoshi Abe

Independent Curator

Phycology

Born in 1978. Hiroyuki Hattori graduated from Waseda University with a Masterʼs in Architecture. Through working as curator at Aomori Contemporary Art Centre [ACAC], hehas been working as associate professor for the Graduate School of Transdisciplinary Arts
at Akita University of Art since 2017. He has been developing various activities, includingexhibitions, projects, and research, mainly in Asia. Recent projects he was involved in
curating include: Towada Oirase Art Festival–SURVIVE: Time Hoppers on the Earth (TowadaArt Center and Oirase Area, 2013), Media/Art Kitchen (Jakarta, Kuala Lumpur, Manila,Bangkok, and Aomori, 2013-2014), Aichi Triennale 2016–Homo Faber: A Rainbow Caravan(Aichi Arts Center and other locations, 2016), ESCAPE from the SEA (National Art Gallery,Malaysia and Art Printing Works [APW], 2017), and Going Away Closer (Centro de Arte
Contemporáneo Wifredo Lam, 2018). He was also curator of Cosmo-Eggs in the Japan
Pavilion at the 58th International Art Exhibition–La Biennnale di Venezia in 2019.

Born in Tokyo Prefecture in 1968 and moved to Saitama Prefecture during his childhood.
Tsuyoshi Abe completed his graduate studies at Hokkaido University with a Doctorate
in Science in 1998. Using the red algal genus Laurencia as his research specimen, hetheorized their differentiation process in the seas near Japan by applying the conventionaltaxonomical methodologies as well as the cross experiment and chemotaxonomy byusing cultivated strains. In 1998, he became an instructor at Graduate School of Science,
Hokkaido University. He was involved in the foundation of the Hokkaido UniversityMuseum. In 1999, following the inauguration of the museum, he transferred his position
to be instructor in the Section of Informatics and Media Studies. In 2000, he received
the Best Paper Award of the Japanese Society of Phycology. In 2006, he joined the firstalgae survey of the coast of the Shiretoko Peninsula after almost forty years, and, sincethen, he has been participating in the shallow sea biological monitoring survey of theShiretoko World Natural Heritage site, as the person in charge of seaweeds. In 2012, hetook charge of making a summer exhibition Algae Save the Future of Humankind at themuseum. In 2012, he became a lecturer in the Section of Fundamental Studies. In 2013,
he took charge of loaning the exhibition Algae for Humankind to the National ScienceMuseum, Thailand [NSM]. Since 2019, he has been an associate professor in the Sectionof Fundamental Studies at the Hokkaido University Museum.

Junji Yamamoto
Earth Science, Education, and Museology
Born in Shiga Prefecture in 1973. Junji Yamamoto completed his graduate studies at Tokyo
University with a Doctorate in Science in 2001. He promoted the “Four-dimensional
Exploration of the Earth” project, aiming to dissect the earth spatiotemporally. In 2003, hebecame assistant professor at Graduate School of Science, Kyoto University. He promoted
the “Galaxy in a Stone” project to search for the formative process of the solar system,
where the universe and the earth come in contact. He devoted himself to search residualmaterials from the early stage of the earthʼs formation, which are buried deep within theearth. Upon experiencing the Aftermath of the 2011 Tohoku Earthquake and Tsunami,
he keenly felt the importance of educational activities and aspired to education andmuseology. In 2012, he became associate professor at the Hokkaido University Museum.
He started the “Sensory Tool for the Earth” project. Since then, he has been committing toimprove scientific literacy through introducing the teaching aids he developed in science
events and lectures and publishing their effects on educational and museological academic
journals. Since 2015, aiming to create a place where society and academia intersect, hehas been doing the “Intellectual-Hub” project to turn university museums into intellectualhubs. He is currently an associate professor at Hokkaido University and working with thegoal to create an ultimate universal museum, where everyone can casually visit.