By Paul Roquet
Ambient Media examines tune, video artwork, movie, and literature as instruments of atmospheric layout in modern Japan, and what it capacity to take advantage of media as a source for private temper rules. Paul Roquet strains the emergence of ambient kinds from the environmental tune and Erik Satie growth of the Sixties and Seventies to the newer healing emphasis on therapeutic and relaxation.
Focusing on how an environment works to reshape these residing inside it, Roquet exhibits how ambient aesthetics promises affordances for reflective float, rhythmic attunement, embodied protection, and concrete coexistence. Musicians, video artists, filmmakers, and novelists in Japan have improved on Brian Eno’s concept of the ambient as a mode producing “calm, and an area to think,” exploring what it skill to domesticate an ambivalent tranquility set opposed to the doubtful horizons of an ever-shifting social panorama. providing a brand new means of realizing the emphasis on “reading the air” in jap tradition, Ambient Media files either the adaptive and the alarming aspects of the expanding deployment of mediated moods.
Arguing opposed to reviews of temper legislation that see it basically as a sort of social pacification, Roquet makes a case for figuring out ambient media as a neoliberal reaction to older modes of collective attunement—one that allows the oblique shaping of social habit whereas additionally permitting participants to consider like they're those eventually in control.
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Ambient Media examines tune, video artwork, movie, and literature as instruments of atmospheric layout in modern Japan, and what it skill to take advantage of media as a source for private temper law. Paul Roquet lines the emergence of ambient kinds from the environmental tune and Erik Satie growth of the Sixties and Nineteen Seventies to the newer healing emphasis on therapeutic and rest.
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Extra resources for Ambient Media: Japanese Atmospheres of Self
The purposefully limited tonal, dynamic, and emotional range of the music pulled me toward feelings of emotional claustrophobia. I felt my range of possible responses narrowing to a thin selection of noncommittal pleasantries. The lack of musical ambiguity and complexity left no room to enter the music and move around in it. The more I tried to find a place for myself to emerge within these sounds, the more frustrated I became. The music allowed no gap between audience and sonic mood that might allow a relationship to develop between the two.
The concerts featured Akiyama’s wife, Takahashi Aki, and her brother, Takahashi Yūji, on piano, along with a wealth of other musicians, dancers, and artists; poetry readings; a lecture on Dada by critic Nakahara Yūsuke; and a screening of René Clair’s short experimental film Entr’acte (1924), with its Satie score and cameo appearance. The series was a smash hit and ran for over two years, at which point a fullscale Satie revival was well under way. ”36 The many Satie concerts following this initial outing are remarkable not only for their quantity but also for their multimedia character, as if the Japanese avant-garde’s earlier interest in “intermedia” FIGURE 2.
Satie’s music allowed for the molding of a disciplined emotional self while hinting at both the allure and uncertainty of unknown mysteries lying just below the surface. This is perhaps the source of the remarkable ubiquity of the first Gymnopédie, used to sell a wide range of products, serenade shoppers and urban strollers, and lend mood to all manner of visuals from the 1970s onward, making it one of the most frequently heard classical compositions of late twentieth-century Japan. Satie’s music allowed Japanese to feel better and, also, better about themselves—whether fantasizing in front of one of the many Satie-scored luxury car commercials, picturing themselves driving free and easy across the countryside, or watching Kitano Takeshi’s film Violent Cop (Sono otoko, kyōbō / 46 / BACKGROUND MUSIC OF THE AVANT-GARDE ni tsuki, 1989), in which a wayward police officer lumbers down the street socially isolated but accompanied by Kume Daisaku’s version of Satie’s first Gnossienne.
Ambient Media: Japanese Atmospheres of Self by Paul Roquet