JANUARY 27-28, 2018

International Conference

TOWARDS POST-MEDIA STUDIES IN ASIA

Program

Organized by:
Graduate School of Global Arts, Tokyo University of the Arts
Post Media Research Network (PMRN)

This project is supported by JSPS (KAKENHI) Grant Numbers 17H02587

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19:00

17:00-18:20

16:40-17:00

15:40-16:40

15:20-15:40

14:00-15:20

12:30-14:00

11:10-12:30

Break

10:50-11:00

Welcome Party

Speaker

S ession 4

Break

Speaker

S ession 3

Coffee Break

Speaker

S ession 2

Lunch

Speaker

S ession 1

Keynote Speech 2

10:10-10:50

Hyunjoon Shin

Jones Gareth

Lik Sam Chan

Park Sungwoo

Andreas LenanderÆgidius

Artist/Activist/Postgraduate student, Tokyo
University of the Arts

Strange Connections: Radio Kosaten as a Collaborative Research Laboratory

Jong Pairez‘Readerly Shuttlings’: How New M aterialism, Borrowed Scenery and a Cross-Cultural
Community Walking Practice Contribute to an Attentive Engagement with the CityThe Roles of Social M edia in 'Cut out' Seoul and M obile Space-making by Young Artists inSeoul, South Korea

Dating potential: The Forming of Desiring Subjects in Dating Apps in Contemporary China

S pace and Practices (Chair: Tomoko S himizu)

M ediatization and Cultural Practice in Asia: with a Case in Korea

Associate Professor/Sunkonghoe University

PhD candidate/University of Dundee

Ph.D. Candidate/University of Southern California

Assistant Professor/Woosong University

The Disappearance of M usic M edia – Theorizing Post-media Conditions for Control in the East
PhD Student/University of Southern Denmark.
Asian M usic Industry.

Popular Culture in the Post-Media Era (Chair: S hinji Oyama)

Professor/Korea University

Professor/Kwangwoon University

Lecturer/Paris 8 University

Candlelight Rallies in South Korea: Entwining and/or M erging of Online/Offline Protests?

Affective Network in the Popular M ovement of Feminism

Media, Affect anf Politics (Chair:Kazunori Mizushima)

Images in Exile

Chung Il-Joon

Yeran Kim

Stephen Sarrazin

Ji-hoon Kim

Takeshi Kadobayashi

Post-Medium Conditions (Chair: Yoshitaka Mori)
Rosalind Krauss’ “Post-M edium Condition” Revisited: From the Standpoint of Film and M edia
Associate Professor/Kansai University
TheoryContemporary East Asian Postinternet Art of the M oving Image:
Associate Professor/Chung-ang University
Postproduction, Circulationism, and the Layers of the Global and the Local

Professor/Chinise University of Hong Kong

Break

10:00-10:10
Technologization of Everyday Life: social media and China

Professor/University of Oxford

Western Communications as War: Asian Communications as Coupling

Scott LashKeynote Speech 1

9:20-10:00

Anthony Fung

Professor/Tokyo University of the Arts

Towards Post-M edia Theories in Asia

Yoshitaka M ori

Opening Remark

9:00-9:20

January 27 (SAT)International Conference

TOWARDS POST-MEDIA STUDIES IN ASIA

Keynote Speech 4

Break

9:50-10:30

10:30-10:50

2

Break

Wrap-up Session

16:40-17:30

Speaker

Session 7

Coffee Break

Speaker

Session 6

Lunch

Speaker

16:30-16:40

15:10-16:30

14:50-15:10

13:30-14:50

12:30-13:30

10:50-12:30

Break

9:40-9:50

Session 5

Keynote Speech 3

9:00-9:40

January 28 (SUN)Re-finding the Concept of the 'Tactical Media' in the Post-media era in the Terranian of Socially
Ph.D candidate / Tokyo University of the Arts
Engaged Art

Ai KanoPhD Student / Tsukuba University

Associate Professor/Nagasaki University

Mexijuku: Mexico City’s Harajuku and new Japanese identities

Japan's Paris, or: On Humanity as Extension(s) of Media

Lisander Martínez

Maria Grajdian

Doctoral candidate/City University of
New York

Post-Technological Video: Agency of Matter in Korean Video Art in the 1970s

Haeyun Park

New Subjectivities/New Identities (Chair: Ryosuke Hidaka)

Adjunct Researcher / Tate Research Centre:

Intermedia in Taiwan and Hong Kong in the 1980s

Video Communication: Artists Redefining Media Publics in 1970s Japan

Yu-Chieh Li

Nina Horisaki-Christens

Visiting Researcher / Sophia University

Foreign Teacher/Mie University
PhD Student/ University of Birmingham

Metafictionality as Ethic : Affecting Change in our Narrative Ecologies

John Wolfgang Roberts

Heterogeneous Voices: East Asian Video Art and Intermedia in the 1970s and 1980s （Chair:Yoshitaka Mori)

Associate Professor / Konkuk University

Associate Professor/Tokyo Keizai University

Lecturer/Kanto Gakuin University

Preofessor/University of Tokyo

Associate Professor/Harvard Univesity

Politics and Dispositif on the basis of Michel Foucault and Giorgio Agamben

Screen as Method: Reframing Visual Experience in the age of Mobile Media[Im]possibility of "Asian" Media Theory?

Theorizing New Media (Chair: Mamoru Ito)

An Attempt to Design a Media Community

Post-Media Theorization: For a Theory Without Content

Jin-Woo PARK

Toshiro Mitsuoka

Satofumi Kawamura

Shin Mizukoshi

Alexander Zahlten

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Keynote Speech 1

Scott Lash
University of Oxford
Title

Western Communications as War: Asian Communications as Coupling
In many disciplines -anthropology, sociology, geography -there has been something of an ‘ontologicalturn’. Media theory has no been immune to this ontological turn, in Stiegler, in Kittler, in the many Deleuze
influenced media theorists.

But what about in Asia?

relations are somehow beyond ontology?

What if Francois Jullien is right, and Asian cultural

For Jullien, Western cultural relations are thus about ontologyor ‘être’ (being) while Pacific-Asia is about ‘entre’ (in-between). If this is so, what are the implications forcommunications? Ontology or being (être) presumes an isolated, individual knower in connection with athing whose epistemological and ontological truth s/he is to know.

The entre of Asian cultural relations

and communications presumes an original relationality (仁), of a two that comes before the one. The
Western frame of communications presumes an agon or agonistic relation between communicating
individuals.

The Western model of communications (Shannon, Wiener, Turing, Von Neumann) comesfrom warfare, comes from a military model.

The Eastern model may be one instead more of sharing. What

Benjamin understood as mitteilen, literally communication as sharing.

Are thus Western communications

largely on the paradigm of war? While in the East, communications are more or less on a paradigm ofcoupling, of sharing?

Bio
Scott Lash. Born in Chicago, Lash took a Bsc as an psychology from the University of Michigan and MA
in sociology from Northwestern University. He received his PhD from the London School of Economics(1980). Lash began his teaching career at Lancaster University. In 1998 he moved to London to be appointed
as Director for the Centre for Cultural Studies and Profressor of Sociology at Goldsmiths College, London
University. He is (co-)author of The End of Organized Capitalism, Sociologiy of postmodernism, Reflexive
Modernization,Economies of Signs and Space, Another Modernity, A Different Rationality and Critique ofInformation. His books have been translated into 10 languages.

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Keynote Speech 2

Anthony Fung
Chinese University of Hong Kong
Title

Technologization of Everyday Life: social media and China
Today China’s citizens’ everyday life is connected as well as bounded by the wide use of social media
platforms. Just wechat, the Chinese version of combined function of Facebook and WhatsApp, is the mostcommon and performative social media which take in 963 million users worldwide. Explicated in this paper
is such socialized network has become a non-detachable web of control in which every citizen voluntarily
partakes in, and in Lyotard’s terms, citizens justify the technologization of society with the advancementof social medias that emerge every day. Wechat, now extends its networking function to payment,
transportation, investment and consumption. However, contrary to the poststructuralist argument whichsuggests that technologization give rise to performativity and mercantilization of knowledge that are on apar with decentralizing power center, the authorities in China always intervene the boundaries of knowledge
by directly or indirectly rewriting the logarithm of control behind the various social medias so as to stabilize
the status quo. Social media in China therefore, apart from facilitating the effectiveness of life routines, alsofunction to network among individuals for a more effective centralized social control in the eyes of the state.

Bio
Anthony Y. H. Fung is a Professor at, and Director of, the School of Journalism and Communication,
Chinese University of Hong Kong. His current research projects include youth culture and the consumptionof popular culture in Hong Kong and China; globalization of TV formats; transnational media corporationsin China and Asia; and new media and online communities. He is the author of Global Capital, Local
Culture: Transnational Media Corporations in China (Peter Lang, 2008) and numerous articles and bookchapters.

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Keynote Speech 3

Alexander Zahlten
Harvard University
Title

Post-Media Theorization: For a Theory Without Content
The recent reinvigoration of English-language media theory is based on a number of promises.
On the one hand is the promise of attention to the technologies and entanglements that increasingly shape
our perceptions, actions, and daily rhythms; it is an attention that claims to revise concepts such as agency,
environment, or the human.
On the other hand is the promise, less often made explicit, of a seemingly universally applicable theory of
media in general. Often based on technology and its supposedly objective material base, it is understood astheory with a “global” reach that regards locality as incidental. It is a tendency that reinforces existing
power relations in knowledge production.
However, if media determine our situation, then “our” situation also determines our media theory. Media
theory can be read as a symptom of media situations, and even as co-symptomatic to aesthetic models wefind in popular culture.
Proposing the concept of simalternity, this paper will consider the possibilities of relating media theories
from different media situations. It will illustrate the different possibilities by looking at popular culturematerials and practices as supplying an implicit narration of such media theory relations. If a concept suchas post-media has any value, it has to be in not only envisioning more constructive media situations, butalso enacting a new set of conditions for media theorization.

Bio
Alexander Zahlten is an associate professor in the Department of East Asian Languages and Civilizationsat Harvard University. His work focuses on popular film and media in Japan and East Asia. Recent
publications include his co-edited volume Media Theory in Japan (Duke University Press, 2017, with
Marc Steinberg) and his book The End of Japanese Cinema (Duke University Press, 2017).

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Keynote Speech 4

Shin Mizukoshi
University of Tokyo
Title

An Attempt to Design a Media Community
In the depressing situation of Japanese media landscape, what is possible for media studies? The
presentation first points out problems in Japan's media landscape and discuss the strategies and methods
required to deal with them.
The major problems that arise in Japanese media are categorized into three issues: (1) the "1955 regime" inmass media has not run its course, (2) the absence of a communal story, and (3) the universities versus
Japan.
In this situation, how should media studies be structured? There is no panacea. But for start, Mizukoshi put
three idealistic points: (1) the need for new media literacy, (2) restoring the third position, (3) awakening
the "design-oriented mind."Lastly, he discusses about his pragmatic (design-oriented) and critical (theoretical) media practices with hiscolleagues such as the publication of a bilingual independent little magazine 5: Designing Media Ecology
and launching its twin practice Radio 5. Both of them are attempts to link, record, and view activities of
new media studies in the global society from a bird's-eye view and can be situated in a new ideology suchas platform cooperativism (Scholz, 2016).

Bio
Shin Mizukoshi is a professor of media studies at the Interfaculty Initiative of Information Studies, theUniversity of Tokyo. He has been working on critical and practical media studies to try to defamiliarize
and recombine the relationship between media and people with a design-oriented mind. His most recent
Japanese edited publication is Media Ron (Media Studies) (Open University Japan, 2018). Mizukoshi isthe editor of a bilingual independent little magazine 5: Designing Media Ecology and one of core
members of Platform Cooperativism Japan.

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Session 1

Post-Medium Conditions
Chair

Yoshitaka Mōri
Tokyo University of the Arts
Bio
Dr. Yoshitaka Mōri is Professor at Tokyo University of the Arts. His research interests are postmodern
culture, media, art, the city and transnationalism. His publications include Street no Shiso (The Philosophy
in the Streets) NHK Publications, 2009 and Popyurā Myūjikku to Shihonshugi (Popular Music andCapitalism) Serica Shobō, 2005/2012 (in Japanese) and “J-Pop Goes the World: A New Global Fandom in
the Age of Digital Media” Made in Japan: Studies in Popular Music, T. Mitsui (Ed), Routledge, 2014, and“New Collectivism, Participation and Politics after the East Japan Great Earthquake”, World Art,
Routledge/Taylor &amp; Francis, 5/2, 2015 (in English).

Speaker 1

Takeshi Kadobayashi
Kansai University
Title

Rosalind Krauss’ “Post-Medium Condition” Revisited:
From the Standpoint of Film and Media Theory
In A Voyage on the North Sea: Art in the Age of Post-Medium Condition (1999) and other writings, Rosalind
Krauss proposed the idea of “post-medium condition” in order to describe a series of artworks after
modernism that seek to reinvent a given medium in their own new ways. Scholars of film theory, such as
Mary Ann Doane, D.N. Rodowick and Francesco Casetti quickly responded to this notion, reflecting on the
post-medium condition of the cinema, subsequent to the decline of the film medium as its technical support.
In this regard, it is interesting to note that Krauss herself has elaborated the idea of post-medium by referringto Stanley Cavell’s classic book of film theory: The World Viewed: Reflections on the Ontology of Film(1971). Krauss’ theory of post-medium is essentially a critical elaboration of the notorious idea of medium
specificity by art critic Clement Greenberg, as her early writings were, and this time Krauss takes up
Cavell’s thoughts on Greenberg’s and Michael Fried’s idea of medium specificity, and especially his ideaof “automation” as the medium specificity of film. In this paper, I will explore such references back andforth between art criticism and film theory in the elaboration of the idea of post-medium condition andconsider what it means to the practice and theory of media today. Especially, I will look at a few examples
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from the media practices in Japan after the 3.11 earthquake-tsunami-nuclear disaster, in which this postmedium condition manifests itself most clearly.
Bio
Takeshi Kadobayashi is an Associate Professor at the Department of Film and Media Studies, Faculty of
Letters, Kansai University. He wrote a book Watcha doin, Marshall Mcluhan?: An Aesthetics of Media (InJapanese; NTT Press, 2009) and many articles. He has recently co-edited the special issue "Whereabout of
Post-Medium Images” of an academic journal in Japan, Hyosho: Journal of the Association for Studies ofCulture and Representation (vol. 8, 2014) as a guest editor.

Speaker 2

Jihoon Kim
Chung-ang University
Title

Contemporary East Asian Postinternet Art of the Moving Image:
Postproduction, Circulationism, and the Layers of the Global and the Local
This paper discusses two contemporary East Asian artists, Lu Yang (Chinese) and Kim Hee-cheon (Korean),
who have produced an array of moving image artworks reflective of the postinternet condition, a situationthat the internet and digital technologies are no longer perceived as new but as fundamentally restructuring
our subjectivity and world. In doing so, it examines the hybrid aesthetics of software applications employedby both artists, as well as their common expression of the fundamental overlaying of the virtual datascape(derived from the user experiences of VR, video games, cellphones, etc.) with the physical space and thehuman body, in terms of the two key ideas of postinternet art: first, Nicolas Bourriaud’s ‘postproduction’which refers to the dominance of recycling, refashioning, and recombining existing media information andforms over the production of a new artwork; and second, Hito Steyerl’s ‘circulationism’ as a concept thatrefers to the strategies of postinternet art to intervene in the accelerated circulation of the images in thedigital environment and their incessant proliferation in our real space, experience, and subjectivity. By
opening a platform for intersecting the ideas of postproduction and circulationism with the theories ofglobalization and transnationalism, which has yet been discussed in the existing study of postinternet art, I
argue that a key specificity of the postinternet art of the moving image in contemporary East Asia lies in its
attempts to create the spreadable images of multiple political, aesthetic, and cultural layers. This means thatthe layering of the virtual and the physical spaces, which characterizes the two artists’ figuration of
postinternet and posthuman sensibilities, should be seen as expressive of the contradictory and unstablecoexistence of the global and the local.

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Bio
Jihoon Kim is associate professor of cinema and media studies at Chung-ang University, South Korea. He
is the author of Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age (NewYork: Bloomsbury Academic, 2016). His essays on film theory, experimental film and video, art of themoving image, cinema and contemporary art, digital cinema, and experimental documentary have appearedin Screen, Film Quarterly, Camera Obscura, Animation: An Interdisciplinary Journal, Millennium Film
Journal, Leonardo Electronic Almanac, and the anthologies Global Art Cinema: New Histories andTheories (Oxford University Press, 2010), and Taking Place: Location and the Moving Image (Universityof Minnesota Press, 2011), among others. Currently He is writing his second book manuscript entitledDocumentary’s Expanded Fields: New Media, New Platforms, and the Documentary.

Speaker 3

Stephen Sarrazin
Paris 8 University
Title

Images in Exile
If Asia is indeed the largest area to consume and produce media, this could perhaps explain why it concedes
little time to forging concepts. This is especially the case with cinema, video and media art, notably in Japan,
which in spite of venues such as ICC or events like the Yebisu media art festival, practices a form of‘tangible’ exile –in an era of digital circulation- that sees much of its moving image art production travel toEurope, with France as its most receptive host. Looking to both Jacques Ranciere’s theories of gap andedges (les ecarts du cinema, les bords de la fiction) and Nicolas Bourriaud’s overpowered relational
aesthetics, this talk would examine the case of Japan (with nods to Thailand) and France, and its relationshipto production and distribution and how post-media wherein remains grounded in geography.
Bio
Stephen Sarrazin is a film and moving image/media art professor, critic and curator working in Tokyo andParis. He lectures at Paris 8 University, and at other institutions in Tokyo. He has also guest-lectured atColumbia University, New York University, Yale University, Buffalo University, Ontario College of
Design, Yale University, Oxford Brookes, Edinburgh University, ZKM, etc. He has contributed tonumerous publications, including Art Press, Flash Art, Cahiers du Cinema, Parachute, InterCommunication,etc. He has published books on several artists including Gary Hill and Japanese artist Akino Kondoh. In
2014, he published a collection of essays and interviews on contemporary Japanese cinema (Reponses duCinema Japonais, Lettmotif, 2014). He was co-editor in chief of the film and media art journal, Mondes duCinema (published in France by Lettmotif) and is now editor in chief of the journal CONSTANCE
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(published by Marest Editeur in Paris). He has curated many installation exhibitions in Europe and Japan(collaborating with artists such as Gary Hill, Eija Liisa Ahtila, Bill Viola, Tony Oursler, Shelly Silver,
Shirin Neshat,etc), and programmed video art screenings around the world for more than two decades,
working with museums, galleries and independent art spaces. In 2014 he curated shows in Tokyo and Berlin,and spoke at the Grand Palais in Paris in December 2014. He was recently invited by the Bangkok Art
Center for a series of lectures and video art screenings, and is currently working on two group exhibitionsin Japan, and a solo exhibition of pioneering media artist John Sanborn, in France and Germany. The show
traveled to Bangkok’s BACC in 2016, then to Bourges, France. He is curator in residence at the Ken
Nakahashi Gallery in Tokyo for 2017-2018, and is preparing a show of Japanese media art for Norway
scheduled in 2019.

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Session 2

Media, Affect and Politics
Chair

Kazunori Mizushima
Osaka Sangyo University
Bio
Kazunori Mizushima is professor of cultural studies at Osaka Sangyo University, Japan. He has translated
Hardt and Negri’s Empire trilogy and published extensively a number of articles and books oncommunicative capitalism and media ecology. His current research focuses on the relationship between
technology, capitalism and political subjectivities in a post-media era.

Speaker 1

Yeran Kim
Kwangwoon University
Title

Affective Network in the Popular Movement of Feminism
Affect is essentially collective and social. In proposing the term ‘affective network’, I propose that at a
certain historical moment, specific affect is socially formed and practised through collective material andimmaterial experiences. A particular issue I would like to raise is concerned with gender politics in Korea.
While sexual harassment has recently become seriously aggravated in South Korea, including a killing ofa young woman in the busiest street in Seoul (Gangnam tube station) by a homeless schizophrenic man, apopular feminist network has been actively animated across actual and virtual spaces.
The dramatic development of popular feminism is provoking and the steep development of feminism is
explained in several respects. One of the main forces comes from the young women’s digital empowerment,with which they have become able to express their anger against patriarchal social order and will to change
the unjust daily experiences of sexual violence and inequality. However simplistic celebrating of thosebright sides is risk of overlooking the vulnerability of women in cyberspace. This is because digital network
also reveals the young women’s vulnerability and fantasy, as explicitly seen in her strong aspiration forsuccess by creating a self-branded commodity. However, unsurprisingly, most of them hardly overcome
the precariousness structured and imposed on the female millennial by post-capitalist forces ofcompetitiveness, consumerism and sexualisation.
Thus the virtual space is a performative space, in which women’s contradictory affects of empowerment

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and vulnerability, desire and frustration, and (pseudo-)realisation of love and happiness of the self arestrenuously negotiated and struggled in the current ‘gendered neoliberalism’ (Gill, 2017).
Bio
Yeran Kim is Professor in the School of Communications, Kwangwoon University, Seoul, South Korea.
She has extensively published a number of papers and books, including ‘Idol Republic: Global Emergenceof Girl Industries and Commercialization of Girl Bodies’, and Faces of word and Mobile,

Girl@Digital

Asia (co-authored). Her current research focuses on the cultural intersection of affect, communication andsociety in the contemporary social media ecology.

Speaker 2

Il Joon Chung
Korea University
Title

Candlelight Rallies in South Korea:
Entwining and/or Merging of Online/Offline Protests?
In contemporary South Korean history, there have been many candlelight rallies challenging the legitimacyof governing regimes. Recently, from October 2016 to March 2017, there have been nationwide candlelightrallies in S. Korea that ended after firing incumbent president G. H. Park. It is amazing not only in its sizeand duration but also in the way it was org
anized seamlessly and performed peacefully.
Many foreign observers got deep impression from South Korean rallies as a form of direct participatory
democracy. But the viewpoints from insiders who actually choreographed the rallies and real participants
who joined the rallies so long a time period, the key to success lies in the entwining and/or merging of
online & offline protest.
This paper is based on interviewing several key organizers behind the scenes and nationwide opinion polls
over ordinary people conducted between March to August of 2017 by myself sponsored by Korean
Democracy Foundation. This research focuses on the impact of media in this protest movement and theway online/offline communication construct the whole social movement field.
My tentative conclusion is this: South Koreans connected by internet virtually all the time, there is no
distinction between online/offline. Producers and consumers of media spectacles are the same. Media not
only mediates between human subjects but also between subjects and objects. Through media subjects andobjects melt into Overman.

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Bio
Chung, Il Joon (鄭一畯) is a Professor of Department of Sociology in Korea University since 2007. Dr. Chung majors
in Comparative Historical Sociology, Global Sociology, Public Sociology, and Social Theory. He got Ph. D. in
Sociology from Seoul National University in 2000. He is the President of the Korean Social History Association fromJanuary 2017 until the end of this year. He also has been the President of the Korean Association for Public Society
from January 2016 until December 2017. He has been the Chief Editor of Economy & Society (2016. 1. – 2017. 12)
and The Journal of Asiatic Studies (2012. 3. – 2015. 2). Prof. Chung has been the Visiting Researcher & Lecturer ofGraduate School of International Studies, Kobe University, Japan (2015. 1. – 2015. 2), the Visiting Scholar of Sociology
Institute, Academia Sinica, Taiwan (2013. 11.- 2014. 6), the Visiting Scholar and the Lecturer of Jackson School ofInternational Studies, University of Washington, U. S. A (2000. 9. – 2003. 2) and the Visiting Fellow of HarvardYenching Institute, U. S. A (1995. 9. – 1998. 2). He has published many books including The June Democratic Struggle(Co-authored, 2017), Social History/Historical Sociology (Co-authored, 2016), Contemporary Masters in Social
Theory (Co-authored, 2015), Democracy in South Korea & ROK- U. S. A. Relationship (Co-authored, 2014), andContemporary Political History of South Korea (2013). He has published many articles such as “The Genealogy of‘Nuclear Crisis’ over Korean Peninsula,” Economy & Society, Vol. 115, Fall 2017; “Choe Mun-Whan and the
Problematic of Korean Sociology: Beyond Nationalism and Capitalism,” Korean Journal of Sociology, Vol. 51, No. 1,
2017; “A Comparative Study of the History of Nationalism in South and North Korea,” Journal of Public Society, Vol.
6, No. 1, February 2016; “Diêm Regime & U. S. A. Alliance: Different Vision of Nation Building and Limited
Partnership 1954-1963,” Society and History, Vol. 108, Winter 2015; “Rethinking and Recasting Korean Social
History: Envisioning a Third-Wave Korean Social History Problematic,” JOURNAL OF CONTEMPORARY KOREANSTUDIES, Vol. 1, No. 1, December 2014; “A Comparative Study of the Transformation to Developmental State in
ROC & ROK: Focusing on the Cold War Strategies of the U. S. A. over Asia,” Society and History, Vol. 100, Winter2013. He has edited and translated many English books into Korean regarding Zygmunt Bauman, Ulrich Beck, Pierre
Bourdieu, and Michel Foucault.

Speaker 3

Jong Pairez
Tokyo University of the Arts
Title

Strange Connections: Radio Kosaten as a Collaborative Research Laboratory
Radio Kosaten is a migrant and precariat-run collaborative research radio project that started last year inTokyo. The project rethinks radio as a media technology or an artistic medium and recreates it rather as ashared laboratory space of encounter. As a laboratory space shared by incompatible subjectivities and theirself-interests, this radio project however aims to enable a collaborative articulation of precariousness as ashared condition in life. Using the paracuratorial as a framework, this paper examines the collaborative
research of the radio project by looking at its volatile structure and processes. Moreover, by touching upon
the anti-social turn in queer theory this paper will interrogate artistic and social practice implied in the radio
project. However, by rethinking social practice from the negativity of anti-social turn in queer theory thispaper hope to propose a different contribution in the artistic and curatorial field respectively.

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Bio
Jong PAIREZ (b. 1978) was born in Leyte and currently lives and works in Tokyo as an unskilled foreign
migrant worker. His first positions in Japan were as a love hotel janitor, more recently as a supermarket
errand person. Jong has always dreamt of becoming an artist, but he eventually abandoned the idea after
realising that art requires privilege and the kind of virtuosity as defined by Italian semiologist Paolo Virno.
His estrangement from art and work allow him to develop a different creative practice that withdraws awayfrom the culture of making and the aesthetics of productive anxiety. Pairez is currently working on his
postgraduate thesis on the aesthetics of failure and politics of the anti-social at the Graduate School of
Global Arts in Tokyo University of the Arts.

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Session 3

Popular Culture in the Post-Media Era
Chair

Shinji Oyama
Ritsumeikan University
Bio
Dr. Shinji Oyama is an associate professor of Cultural Studies in the College of International Relations at
Ritsumeikan University in Kyoto. He has written and spoken widely and internationally on brand andbranding, Japanese cultural and creative industries and cultural globalization.

Speaker 1

Andreas Lenander Aegidius
University of Southern Denmark
Title

The Disappearance of Music Media – Theorizing Post-media Conditions
for Control in the East Asian Music Industry.
This paper focuses on the distinct technologies that operate behind, beyond, and below the concept of media.
I theorize that the intricate complex of platforms, channels and formats for the consumption of culturalcontent is better understood through the lens of format theory (Aegidius,2017; Sterne, 2012). A theory offormats does not require us to forget what we have learned from media theory. Format theory proposes a
different scaling of analysis. It does so by drawing on STS, cultural studies and software studies. The format´…denotes a whole range of decisions that affect the look, feel, experience, and workings of a medium.
It also names a set of rules according to which a technology can operate´ (Sterne, 2012, 7).
Music consumption in the East Asian countries and especially Japan provides a remarkable and unique casefor the continued and global disappearance of music media. But formats persist and govern the musicexperience. Here I focus on the ways in which traditional and physical music formats (CD) intersect withnew media formats, e.g. the micromaterial music file and the music stream, here conceptualized as theinternet protocols plus music file (Aegidius, 2017). I suggest that the commodification of the stream entails
a technical and perceptual disappearance of (music) media technologies into the software. What is left is
an assumed easier and more immediate experience of music in it self. To better understand the negotiationsof control in the emerging digital music ecologies, I propose we elaborate on the post--‐media conditionsof the music industry through the use of format theory.

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References:
Aegidius, A. L. (2017). The Use of Music Files at the Intersection between Downloading and Streaming
Practices.
(PhD-dissertation (in Danish)), University of Southern Denmark, Odense.
Sterne, J. (2012). MP3: the Meaning of a Format. Durham og London: Duke University Press.
Bio
Andreas Lenander Aegidius, PhD in Media Studies at the Dept. for the Study of Culture, University ofSouthern Denmark. His PhD--‐dissertation is applied format theory and a qualitative analysis of The Useof Music Files at the Intersection between Downloading and Streaming Practices: A study of everyday
digital music use and the remediation of music formats (2017). Research interests: digital music formats,digital music business, cultural intermediaries, medium theory, format theory, cultural studies, software
studies, sound studies.

Speaker 2

Park Sungwoo
Woosong University
Title

Mediatization and Cultural Practice: with a Case in Korea
This paper proposes to understand media not as an independent object, tool, method or mediator in
traditional perspectives. Instead, the concept of media should be always situated in that of ‘mediatization(Couldry 2004)’ as a form of social systems. Thus, the consideration of media should be displaced by thatof mediatization. Philosophically, mediatization as a holistic, practical network has two opposite situations:the liberation from the old notions like anthropocentrism and technocentrism; at the same time, theobsolescence of both human beings and technologies accelerated by the progress of media environments
and conditions like smartification and digitalization. In this regard, this paper first, enters into dialogues of
mediatization brought up by a Nick Couldry with a perspective of ‘pharmakon’ introduced by a philosopherof technology, Bernard Stiegler (2011), through which ontological matters of human beings and media
objects in the mediatization are to be elaborated. Through this, it argues that mediatization shouldn’t betaken merely as a new theoretical conceptuality, but rather a critical moment to reflect on the relation
between people, media and environment. Second, with the case of South Korean popular culture syndrome,
Hallyu, this paper attempts to reconsider mediatization in Asia in terms of media-exchange practices in acurrent age called ‘the 4th industrial revolution period’ characterized by smartification and automation of
object and environment.

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BioPark Sungwoo is assistant professor and the department chair of the Global Media & Communication Arts
Department at Woosong University, South Korea. Park finished his Ph.D. at the Centre for Cultural Studies,
Goldsmiths College, University of London. His thesis was 'The Korean Wave and Media Exchange in
Global Culture Industry.' He has published books and journal articles in the area of non-representational
cultural studies, philosophy of technology, and the media industry. Contact: licjpsw@gmail.com

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Session 4

Space and Practices
Chair

Tomoko Shimizu
University of Tsukuba
BioDr. Tomoko Shimizu is an Associate Professor, Graduate School of Humanities and Social Science,
University of Tsukuba. She received MA in Sociology and Cultural Studies at Birmingham University, and
PhD from the Graduate School of Literature and Language Studies, University of Tsukuba. She is an authorof Culture and Violence: The Unravelling Union Jack (Getsuyo-sha, 2013) and a co-author of Regional
Art: Aesthetics, Institutions and Japan (Horinouchi-Shuppan, 2016). The publications she translated
include: Judith Butler’s The Psychic Life of Power: Theories in Subjection (Getsuyo-sha,2012);
Declaration (NHK Books, 2013) by Antonio Negri and Michael Hardt, amongst many others.

Speaker 1

Lik Sam Chan
University of Southern California
Title

Dating potential: The Forming of Desiring Subjects in Dating Apps inContemporary China
This paper concerns desire in neoliberal China in the context of mobile dating apps. I argue that theincreasing popularity of dating apps in China is due to their inherent privilege of multiplicities of relational
potentials: on dating apps, users do not fixate a singular relational goal. The multiplicities of relational
potentials fuel into the formation of, what cultural anthropologist Lisa Rofel calls, the “desiring” subject inneoliberal China.

Rofel argues that this new desiring subject is forming in post-Mao China because theneoliberal economic reform has given people a sense of new possibilities—the possibilities to imagine andpractice their various desires. My understanding of desire is in line with Gilles Deleuze and Félix Guattari’s.
They see desire not as a lack but as a productive drive, thus the term “desiring-machine.” Desiring-machinesconnect, disconnect, and reconnect to other machines to generate possibilities and multiplicities. According
to them, desire produces the subject; that is, the flows of desire intersect to produce the subject. Dating apps
are a relationship-forging machine to which the desiring-machines are connected. As such, the desiring
subject is formed by and through these flows of desires, which partly reside in the body and partly in theseapps. This paper contributes to the symposium by highlighting the logic of desire in an era where humans
are so much connected to “apps.”

I also stress the importance of empirical research in constructing
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cultural and media theory; this paper is based on my dissertation research’s fieldwork.
Bio
Lik Sam Chan (liksamch@usc.edu) is a Ph.D. candidate at the Annenberg School for Communication and
Journalism, University of Southern California. His current research addresses dating app culture in urban
China. He is interested in cultural and media theory. His work on ambivalence in networked intimacy
among gay men was published in New Media and Society. He received a BSSc in communication from the
Chinese University of Hong Kong and his MA in cultural studies from Goldsmiths, University of London.

Speaker 2

Gareth Morris Jones
University of Dundee
Title‘Readerly Shuttlings’: How New Materialism, Borrowed Scenery and a CrossCultural Community Walking Practice Contribute to an Attentive Engagementwith the City
This paper discusses how new materialist method and the Chinese design principle of borrowed scenery
contribute to an attentive engagement with the city. The discussion focuses on Widdershins Osaka, myannual community-walking project entangling the material and cultural narratives of Osaka, Japan andLeeds, England. New materialist Jane Bennett advocates a return to ‘discredited philosophies of nature’ 1
as a means by which to counter humanist theories of agency and causality, while walking artist Phil Smith
proposes a ‘radical nostalgia’2 with regards to our everyday encounters with place. With these ideas inmind, my own place-based praxis mobilises Yuanye, Borrowed Scenery, the final chapter of Jie Jing, the17th century treatise on garden design. Conventional western readings of this chapter have come to be seen
as overly-dualistic with scholars such as Stanislaus Fung preferring instead to align Yuanye withphenomenological theories of place such as those of Heidegger, Watsuji, and Berque3. It is my assertion
that Fung’s digressive approach to reading Yuanye, what he terms ‘a readerly shuttling’4, can be applied toour encounters with the city, contributing to individual, collective, and environmental well-being. This
paper first outlines Jane Bennett’s ideas in the context of new materialism before giving an overview ofcontemporary, creative walking practices. It will then discuss Jie Jing and borrowed scenery paying
particular attention to Fung’s essay Here and There in Yuanye (2003). Finally, discussion moves to theways in which Fung’s readerly shuttlings disrupt habituated encounters with the city when deployed within
my annual community-walk, Widdershins Osaka.

References:
Jane Bennett, Vibrant Matter, (Durham: Duke University Press, 2010), 17-18.
Phil Smith, Crab Walking and Mythogeography, Walking, Writing and Performance, ed. Roberta Mock (Bristol: Intellect,2009), 82.
3 Stanislaus Fung, Here and There in Yuan Ye, Design Philosophy Papers, 1:6, (2003), 309.
4 Fung, Here and There, 306.
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Bio
Gareth is a British artist, researcher and educator living in Osaka, Japan. His practice-based research is anenquiry into place and subjectivity. Aimed at promoting personal, cultural and environmental wellbeing,
this interdisciplinary practice entangles creative walking, drawing and theoretical analysis. Gareth presents
his research in a number of international contexts and is a member of the steering committee for theInternational Visual Methods Conference. He is currently a PhD candidate with the School of Humanities,
University of Dundee, Scotland, UK.

Speaker 3

Hyunjoon ShinSunkonghoe University
Title

The Roles of Social Media in 'Cut out' Seoul and Mobile Space-making by
Young Artists in Seoul, South Korea
This paper investigates how young and independent Korean artists and creative underclass use the social
media for their space-making. After the gentrification issue is wildly discussed in Seoul since the late 2000s,
the complicated roles of the artists in the process of gentrification and anti-gentrification struggles have notbeen sufficiently examined. Paying attention to the younger generation of artists and their practices ofspace-making, this paper investigates the physical locations (“dislocation”), aesthetic codes (“image
damage”), and making (sometimes inter-Asia) connections by newly emerging independent art spaces. In
the process, the contradictory role of social media is investigated. While it connects the spaces hidden in
the city, it also impedes wider communication with broader societies. Thus this research pays attention to
the practice of archiving in the neoliberal milieu where everything becomes volatile. Is it the starting pointof constructing ‘the common’?
Bio
Hyunjoon Shin is research professor in the Institute for East Asian Studies (IEAS) at Sunkonghoe
University. Having received his PhD from the Economics Department of Seoul National University with athesis on the transformation of the Korean music industry in the age of globalization (or: in a globalizedage), he has carried out research into popular culture, international migration and urban space. He was also
research fellow at ARI (Asia Research Institute) at the National University of Singapore in 2007, taught atLeiden University in the Netherlands as visiting professor in 2008, and invited to Duke University as avisiting lecturer in 2015.

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Session 5

Theorizing New Media
Chair

Mamoru Ito
Waseda University
Bio
ITO MAMORU
Professor of Faculty of Education & Integrated Arts and Sciences, Waseda University
Specialty: Media Studies, Sociology
He is the author of The Affective Power, Serica-Shobo, 2013, Sociology of Affect, Seido-sha,2017.

Speaker 1

Satofumi Kawamura
Kanto Gakuin University
Title[Im]possibility of "Asian" Media Theory?
Is it possible to envisage an “Asian” media theory? Almost all media studies in Japan are fundamentally
underpinned by concepts and theories that were developed in or oriented toward the West (such as DeleuzeGuattari, Foucault, Derrida, Simondon, etc.). Meanwhile, the necessity of Asian or Non-western ideas or
approaches in cultural and media studies has been often discussed.
However, we have seen difficulties in this attempt. Needless to say, researchers in postcolonial studies havededicated substantial efforts to the exploration of non-western alternatives. These inquiries have been aimed
at finding elements that emerged in the non-West, or may have imitated the West, but critically tried toovercome Western modernity and capitalism. In this sense, there has been a common understanding thatthe non-West or Asia were also fundamentally modernized, but insofar as the non-West may be subject toa colonial condition, they could not find elements beyond the West. However, what would we call suchelements? Asian-ness, Japanese-ness, Chinese-ness, Korean-ness, Indian-ness, or . . . ?
How might we find critical elements immanent in the non-West, and theorize them avoiding reactionary
tendencies such as cultural nationalism or essentialism? In order to pursue this possibility, I shall look at
the work of Orikuchi Shinobu, a prominent folklorist in modern Japan. In particular, I will examine hisanalysis of the relationship between “affect” and language, and try to clarify the possibility andimpossibility of a theory of affect in modern Japan.

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Bio
Satofumi Kawamura is Junior Associate Professor of Department of Communication at Kanto Gakuin
University. He received M.A. from Goldsmiths University of London, and Ph.D. from the Australian
National University. His major interests are Political and Cultural Theory, Cultural Studies, JapaneseIntellectual History. His recent publications include "Yanagida Kenjuro: A Religious Seeker ofMarxism", Confronting Capital and Empire: Rethinking Kyoto School Philosophy, eds. Viren Murthy,
Fabian Schaefer, and Max Ward, (Leiden: Brill, May 2017).

Speaker 2

Toshiro Mitsuoka
Tokyo Keizai University
Title

Screen as Method: Reframing Visual Experience in the age of Mobile MediaThe aim of this paper is to suggest a new theoretical way of thinking (‘Houhou’ in Japanese) on media in
the age of mobile lives (Elliott and Urry 2010).
As widely known, the arguments in cultural studies since the mid-1980’s had been illuminating our everyday media consumption mainly based on the ethnographic approach. However, their emphasis on audienceinterpreting media messages inevitably led to set the limitation that everything could be decoded as sign.
Thus, over the last two decades, media studies have been faced with a common theoretical challenge of
how our media practices could be understood beyond semiotics. Two theoretical viewpoints emerged toovercome this issue; ‘space’ and ‘affect’. Regarding ‘space,’ in Ambient Television (McCarthy 2001), Anna
McCarthy demonstrated the ‘site-specificity’ of media in public spaces by critically extending theachievements in cultural studies. On the other hand, Ito thoroughly delineated how the pre-signed affection
worked behind our media practice after the prevalence of internet in Sociology of Affect (Ito 2017 inJapanese). Although their arguments seem to shed light on different sides of current media environment,
they are intricately connected to each other on the interface called ‘(mobile) screen’
Based on the argument above, I would like to consider the possibility in envisioning a theoretical frameworkfrom the material aspect of media, by also drawing on another important discussion in this century, ‘media
archaeology’ (e.g. Huhtamo 2011; Parikka 2012) Through this process, the concept of ‘theory (Riron) andmethod (Houhou)’ will be also considered in Japanese context.

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Bio
Toshiro Mitsuoka is Associate Professor of Faculty of Communication Studies at Tokyo Keizai University.
He is the author of Museum Communication in Transition: Visitors, Exhibition Spaces and Media
Technologies (2017, in Japanese). His current research interest is how to understand our media experiencein the age of omnipresent screens. He is a co-editor of Screen Studies: Viewing / Media Experience in the
Digital Age (forthcoming, in Japanese).

Speaker 3

Jin-Woo PARK
Konkuk University
Title

Politics and Dispositif on the basis of Michel Foucault and Giorgio Agamben
This study examines the ways in which digital media operate in terms of 'dispositif'(apparatus). Based on
the pioneering work of Michel Foucault and recent advocacy by Giorgio Agamben, this study examines thepolitical dimension of digital technology through dispositif theory. To this end, firstly, this study examines
the most representative one of dispositf in Western modernity, Oikonomia, in Giorgio Agamben's Homo
Sacer series, and from this, how this concept is related with governmentality and biopolitics. Then, in the
recent discussion on digital media technology, we examine various theoretical points of connection withdispositif theory. On this basis, we will expand the horizon of digital media technology that is actively
developing in East Asia as well as in Korea through problem setting of dispositive theory.
Bio2013~ : Associate Professor, Dep. of Mass Communication, Konkuk University, Seoul
2010~13 : Research Fellow, Korea Press Foundation
2009~10 : Reserch Professor, Yeonsei University, Seoul.
2009 : Ph. D. Sociology, Faculté des Sciences Sociales, Université Paris 5(Sociology, Cultural Studies, Journalism Studies)
Translation in Korean : Homo Sacer (Giorgio Agamben, 2008), Arcade Project (Walter Benjamin, withanother 1 translator, 2005)
Recent Works : Studies on Agamben and Benjamin, Studies on digital technologies, Studies on thetransformation of journalistic field in Korea

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Speaker 4

John Wolfgang Roberts
University of Birmingham
Title

Metafictionality as Ethic: Affecting Change in our Narrative Ecologies
This short paper argues for metafictionality as a method for re-thinking and engaging the processual
entanglements and emergence of our material experiences. Materiality is understood here to be any living
or nonliving, physical or metaphysical, human or nonhuman entity which is something in the world that
does something in the world. These phenomenal materials are constantly entangled/ling with other objects,
and as such, we should understand materiality as actively reconfiguring object-systems thatcharacteristically (de/re)construct with other object-systems. In other words, identity and re-identification
constitute a differential process of emerging narratives of subversion and iteration.
Metafictional artifacts can be regarded as technologies that not only reflect this differential process, butwhich actively participate in its iteration-subversion—they are diffractive. Metafictions embrace an ethosof accepting differences within their sustaining narrative ecology, allowing themselves to be re-written in
the world and thus participate in re-writing the world. The implication is that our material experiences canbe understood as metafictional, and metafictions offer ways for understanding and participating in ourconstructed realities without falling for representational assumptions of fixed identities. Furthermore,metafictions teach us how to be present with the other object-systems of our narrative ecologies, which
includes people, societies, and the artifacts (technological and otherwise) that populate them—encouraging
ethical engagements with/in this phenomenal material fabric. My objective is to offer a different
paradigmatic and methodological approach for understanding the entanglements and emergence of people,
societies, and technologies through metafictionality.
Bio
John Wolfgang Roberts is from L.A., and teaches English language and literature at Mie University. He isa PhD student at the University of Birmingham, completing his thesis on metafictions as heuristics forengaging our narrative ecologies of people, societies, and technologies with diffractive and autopoietic
awareness. As such, his interests include exploring the interstices of experimental literatures, second-ordercybernetics, new materialism, and other performative approaches to posthumanism that embrace an ethos
towards actively re-writing cultural paradigms into the world.

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Session 6

Panel

Heterogeneous Voices: East Asian Video Art
and Intermedia in the 1970s and 1980s
The narrative of post-media within art history has primarily focused on the emergence of digital art thattook off with the Internet in the early 1990s, marked by re-appropriation of found images from the web andinteractive designs that call for viewer participation. The history of video art, on the other hand, hasprivileged Western Europe and North America as the primary sites of technological innovation and artistic
experimentation. The papers in this panel, however, propose that intermedia art practices in East Asia in the
1970s and 1980s can be understood as a post-media phenomena avant la lettre, by demonstrating how
artists in Japan, Korea, Taiwan and Hong Kong used video and performance to create an alternate channelof communication against the centralized flow of information in mass media and to critique technologicaldeterminism built within the western model of modernization. Rather than applying the discourse of postmedia to an Asian context, the authors of this panel seek to situate artistic experimentations at theintersection of local and international political developments of the Cold War that led to distrust in mass
media as reliable sources of information and a desire to create a collective that provided an outlet forheterogeneous voices. The objective of this panel is to use these case studies to envision a global media
history framed along Deleuze and Guattari’s rhizomatic model, in which experiments with different media
are interconnected like nodes in a network, each reinterpreting a set of core ideas exchanged with eachother, in contrast to the current tree-like structure of a Euro-centric history of post-media.

Chair

Yoshitaka MoriTokyo University of the Arts

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Speaker 1

Nina Horisaki-Christens
Sophia University
Title

Video Communication: Artists Redefining Media Publics in 1970s JapanThe origins of the term “video” in Japanese language artistic discourse were already oriented toward a postmedia situation as early as the 1970s. By tracing the activities of the collective Video Hiroba (1972-75), I
will show how they questioned the proper sites of media and art and redefined the role of the audience,
demonstrating a critical stance toward the centralization of mass media and a desire to find non-hierarchicalmodes of interaction through video. Specifically, I will examine collective projects including “Friends of
Minamata Victims: Video Diary” (1972), the “Contemporary Media Theory” symposium (1972), “Methodsof Using Video as a Means of Community Urban Renewal” (1973) and “Old People’s Wisdom” (1973),
and the ways these were framed within exhibitions and publications. Through this lens, I hope to address
the potential of Japanese video as a post-media paradigm not as rooted in a fundamentally different “Asian”
media culture, but rather as a result of specific historical circumstances and events. These include Japanese
video’s marginality in relation to an imagined “center” defined as Euro-American artistic andphilosophical/media theory discourses, the nature of venues available to contemporary art in 1970s Japan,
as well as the ethical crisis instigated by Expo 70, and the rapid expansion of mass media in 1960s Japan. I
will argue that processes of translation are key to the image of video developed by these artists, but thatthese processes also reveal the problematic post-humanist potentials and institutional reliance that underlay
attempts to realize a decentralized media structure through video.
Bio
Nina Horisaki-Christens is a 2017-18 Fulbright Graduate Research Fellow, Visiting Researcher at Sophia
University, and a PhD Candidate in Art History at Columbia University. She was a 2012-13 Helena
Rubinstein Curatorial Fellow in the Whitney Museum's ISP, Research Assistant for “Gutai: Splendid
Playground” at the Guggenheim Museum, Assistant Curator at Art in General (2008-10), and has also
curated exhibitions independently. She has contributed to publications produced by The Whitney Museum,
The Mori Art Museum, Hyperallergic, Art21.com, Phaidon, and Art-Phil.

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Speaker 2

Yu-Chieh Li
Tate Research Centre
Title

Intermedia in Taiwan and Hong Kong in the 1980s
In examining two intermedia moments in Taiwan and Hong Kong in the 1980s, I argue that media-based
practices in these places have not followed a linear development from film to video, or from theater toperformance. Instead, different media/mediums are interconnected and grow in proximity with one another.
The two media-conscious moments examined started with anti-media sentiment, with a critique of thepower structures of the East Asian Cold War and with reflections on micropolitics. First, I will talk about
exhibitions by the collective Living Clay in Taiwan in 1986 and 1988, in which issues of censorship andcapitalist power were addressed through interactive new media installations, which aimed at decentering
hegemonic information; second, I will address the performative work “Object-act-ivities” by Yan Chi Choiin Hong Kong in 1989, which involved spontaneous actions by professional performers and audiences in
response to the 1989 Tiananmen protest. A close examination of the performance shows that it combineddifferent media/mediums to represent segments of psychic states within a developing subjectivity. These
two examples turned informal encounters into an interactive, immersive experience, and can be seen as atransition to a more heterogeneous postmedia approach to these media after 1989. These case studies will
be contextualized within the local media environments and struggles with political and artistic subjectivity,
which shed light on how postmedia can be used as a framework to explore global media history.
Bio
Yu-Chieh Li is Adjunct Researcher at Tate Research Centre: Asia. Her research project for TRC Asia
concerns performativity and artistic networks in Taiwan, Hong Kong, and Mainland China from the 1970s
to the 1980s. Li’s other research interests include Dada, conceptualism, time-based media art, andtranscultural issues in modern and contemporary art. A Ph.D. candidate at Universität Heidelberg, Germany,
Li is completing her Ph.D. Dissertation on issues of audience participation, appropriation, andperformativity during the ’85 New Wave in Mainland China.

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Speaker 3

Haeyun Park
City University of New York
Title

Post-Technological Video:
Agency of Matter in Korean Video Art in the 1970s
The development of Korean video art in the late 1970s serves as a counter-example to the technologicaldeterminism built within the Euro-American narrative of post-media, which has advanced the notion thattechnological innovations in media can lead to radical changes in the configuration of the social. I argue
that limited access to electronic equipment and a collective anxiety towards the domination of technology
at the expense of pre-modern forms of knowledge brought on by the rapid pace of industrialization andurbanization provided the conditions for Korean video artists to foreground the agency of matter in video
art as holding equivalent importance to mechanisms of video technology, such as feedback. My argument
is centered on the fourth Daegu Contemporary Art Festival in 1978, the first exhibition that presented thework of Korean video artists, such as Park Hyunki’s TV Stone Tower (1978), which consists of a monitor
that shows a close-up image of a stone squeezed between a pile of real stones, and Lee Kangso’s Untitled(1978), in which the viewer’s gaze toward the monitor is obstructed by swathes of paint that cover the entire
surface. Demonstrating the ways in which Korean artists used technology to destabilize the arbitrary
distinctions between nature and culture, human and non-human, the organic and the technological, thispaper proposes 1970s Korean art as a moment that had already engaged with the issues raised in the recent
discourse of new materialism in North America.
Bio
Haeyun Park is a doctoral candidate in Art History at The Graduate Center, City University of New York.
Her dissertation examines the trans-Pacific development of video art through a network of artistic exchange
and collaboration among Korean, Japanese, and Asian-American artists in the 1970s and 1980s. She is arecipient of Asian Cultural Council Dissertation Grant, the Early Research Initiative Pre-Dissertation
Fellowship, and her work has been published in the Journal of Chinese Contemporary Art and the Museum
as Hub Paper.

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Session 7

New Subjectivities/New Identities
Chair

Ryosuke Hidaka
Tokyo Metropolitan University
Bio
Assistant Professor in the Division of Industrial Art at Tokyo Metropolitan University’s Faculty of System
Design. He specializes in the research of media culture and popular music. His interests lie in the culturalchanges brought about by digital media technologies and the ways they are utilized, and his work primarily
examines the online distribution of music.

Speaker 1

Maria Grajdian
Nagasaki University
Title

Japan's Paris, or: On Humanity as Extension(s) of MediaThis presentation focuses on Takarazuka Revue Company’s symbolical celebration in 2017 of the 90 th
anniversary of its own performance Mon Paris from 1927, by director Kishida Tatsuya (1892-1944).
(Takarazuka Revue is a Japanese popular all-female musical theatre company located north-western ofOsaka since 1913.) Mon Paris was Japan’s first revue patterned upon Western models and more specificallyemulating the Moulin Rouge-type of musical-theatrical mass entertainment. A typical “traveller’s tale”,
Mon Paris included a vast diversity of themes, from the orientalist worldview accompanying the politicalpreoccupation with military expansion and economic empowerment until the slightly sexualized freedomof Japan’s roaring 1920s (the so-called “Shôwa modernism”) and their ero-guro-nansensu movement. Mon
Paris has continuously provided nostalgic undertones and ideologic orientation since its world-premiere,in spite of never being re-staged after Japan’s surrender in August 1945.
In 2017, three out of nine original performances staged yearly at the Grand Theater in Takarazuka city
belonged to the parimono subgenre initiated by Mon Paris, with plots located in Paris: Le Chateau de laReine, All For One and Robespierre – On the Road Full of Light. Backed by extensive fieldwork andmeticulous archive research, this presentation analyses the inner-dialectics of the theatrical medium“Takarazuka Revue” as an instrument of reflecting, promoting, propagating, implementing, and thus
providing alternative role-models and existential paradigms within the neo-liberal undercurrents
crisscrossing Japan’s public discourse in 2017. Regardless if it tackles the experiences of a group of29

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Japanese tourists in Paris, the adventures of the three musketeers and of d’Artagnan in their unconditional
loyalty for France and Louis 14th, the Sun-King, or Robespierre’s efforts to bring up order in the aftermathof the French Revolution, Takarazuka Revue’s re-creation of “Paris” as the intellectual center of Westernmodernity based on Japanese artifacts turns into a political statement, clashing with, and possibly overriding,the economic project of the entertainment industry.
Bio
Maria Grajdian is Associate Professor of Media Studies & Anthropology of Media at Nagasaki University,
School of Global Humanities and Social Sciences. She holds a Ph.D. in musicology from Hannover
University of Music and Drama, Germany. Her research focuses on Japanese contemporary culture(Takarazuka Revue, anime, popular music), the history of knowledge (Japanese encyclopedias) and the
dynamics of identity in late modernity. Recent publications include a number of research articles inacademic journals as well as books on contemporary Japanese culture such as Liquid Identity: The
postmodern love, Takarazuka Revue and the quest for a new Enlightenment (2009) and Takahata Isao (inGerman, 2010).
Currently, she is preparing two books: The Archaeology of Desire: How Takarazuka Revue Has Impacted
the World and Beautiful New World: The Poetics and Pragmatics of the Japanese Cultural Imperialism.

Speaker 2

Lisander Martínez Oliver
Tsukuba University
Title

Mexijuku: Mexico City’s Harajuku and new Japanese identities
The history-long negotiation of othering and exoticizing national identity between the “West” and “Orient”
has had an impact on today’s portraiture of Japan as cool. However, Cool Japan nowadays is a global
phenomenon, and reaches beyond the boundaries of the countries entangled in the East-versus-West dual
narrative. The internet has potentiated the expansion of Japan exotic coolness, its re-contextualization andre-interpretation. The present research tackles the issue of the reception of othering images of Japan in acountry that has also been on the receiving end of othering.
We take the case study of Mexico, as a window to Latin America; and the Harajuku fashion community ithouses, as an example of an online circuit of innovators that adopt, mold, and diffuse discourses of Japanese
identity. We analyze the image of Japan that members of this community have built and diffused online
and offline, as well as the way they selectively construct their identities adopting a foreign culture, i.e.
Japan, while contrasting it with the local one. We conducted interviews with opinion leaders of thecommunity and revealed that their processes to construct their identities as individuals and as a community30

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have become battlegrounds for defining not only images of Japan but also of Japan in Mexico.
Our objective with this study is to shed light on the identity creation processes that take place in territories
where discourses about Japanese exotic coolness can take different shapes, and therefore propose different
modes of relating to Japanese images and adopting foreign identities through online interaction.
Bio
Lisander Martínez Oliver. Mexican Art Historian. Master in Japanese Studies by El Colegio de México,
currently enrolled in the Doctoral Program of International and Advanced Japanese Studies at the
University of Tsukuba.

Speaker 3

Ai KanoTokyo University of the Arts
Title

Re-finding the Concept of the 'Tactical Media' in the Post-media era in the
Terrain of Socially Engaged Art
This paper explores transformation of ‘Tactical Media’ between the 1990s and the 2010s to examine
bifurcated contexts to analyze Critical Art Ensemble. ‘Tactical Media’ emerged as a practical concept ofinternet technology and art activism coined by David Garcia and Geert Lovink in 1997 during the Next 5
minutes in Amsterdam. This concept clearly proclaimed transcending the old ideology of leftists as well as
subversion of dominant structures of media politics by using DIY cheap media which is open for everyone
in everyday life to invigorate counter culture movement of new digital technology to produce own
discourses. It became a movement at the dawn of Internet, though the website of “Tactical Media File” waslaunched in 2008 to be converged in a living archive.
Subsequently, ‘Socially Engaged Art(=SEA)’ upsurged as an art genre of direct engagement with audiences
which aims at social change; such as community building, gender, poverty, censorship, gentrification andimmigration entangled in political economy of the neoliberal/ neoconservative state. There are similar kindof terminologies and definitions with SEA supposed by art historians, artists, critics, philosophers and soon. Each context has different background; based on histories of community art, public art, performanceart, art education, thus it is possible that SEA’s discourse has convivial relationship with public institutions.
However, interestingly, Gregory Sholette and Nato Thompson conceive ‘tactical media’ within the streamof SEA which emphasizes activists’ perspective. This paper argues that re-positioning ‘tactical media’ in apart of SEA as a central column of anti-authoritative art activism.

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Bio
Kano Ai is a Ph.D candidate at Tokyo University of the Arts. She researches the relationships between art,
politics and participation between 1990 to 2010 in the intersecting fields of media art/activism, art activism
and socially engaged art. She has co-translated Ashley Mears’ “Pricing Beauty: The Making of a Fashion
Model” (2011) in Doing Sociology through Fashion (Yuuhikaku, 2017) and Matthew Fuller’s“Underspecified Dreams of Parts and Wholes” (2015) in 5: Designing Media Ecology, vol.4 (“5” editorial
office, 2015).]32

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Organizing Committee Members:
Yoshitaka Mōri (Tokyo University of the Arts)
Mamoru Ito (Waseda University)
Kazunori Mizushima (Osaka Sagyo University)
Tomoko Shimizu (University of Tsukuba)
Shinji Oyama (Ritsumeikan University)
Takeshi Kadobayashi (Kansai University)
Satofumi Kawamura (Kanto Gakuin University)
Toshiro Mitsuoka (Tokyo Keizai University)
Sachi Komai (University of Tsukuba)
Ryosuke Hidaka (Tokyo Metropolitan University)

Organized by
Graduate School of Global Arts, Tokyo University of the Arts
Post-Media Research Network (PMRN)

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