Yukitomo hamasaki - the garden

Data ( download only )


"the GARDEN" by Yukitomo Hamasaki

"The GARDEN" is a work based on the methodology of field recording. However, the natural and urban sounds in this work were not recorded by the artist himself. Instead, all sound materials were recorded or downloaded from various websites in the Internet. Yukitomo considers the inside of the Internet as one of the new fields for “behaviors”.  The field recording sound, both natural and social sound, can be regarded as traces of “behaviors.” In other words, the “behaviors” include all phenomena in our community, on the earth. The “behaviors”, which are done in the real world, are done in the online world as well. The Internet can’t make natural sound by itself. However, we can listen natural sounds in the Internet world. The real and online world is not contrasting structure, and the Internet world is the new field, new locality and new domain/territory/region for the “behaviors.”

In “the GARDEN,” all sound materials were selected arbitrary from the online world, and there are no relationships between each sound. All natural sounds in this piece were recorded in various time and space, and all performed sound were created based on various thoughts, tastes, genres and cultural background. Then, all these sounds were edited to compose as one piece. “The GARDEN” is the work with removing personal ID and locality of sound files, then, reconstructing them in the new context based on the aesthetic of the artist

The working method of “the GARDEN” followed models of planting process of Japanese and European gardens. The gardeners gather stones and plants from various places in the natural world. The stones and trees in the gardening process have similarity with the sound files, which are edited and processed in the composing process. Like sound files in “the GARDEN,” the temporal and spatial meanings of building materials are detached and modified in the gardening process. The garden is constructed as the new land as the result of bricolage of natural materials coming from various time and space, which is conducted by the aesthetic of creator.  

The process of making gardens is directed by the form of personal aesthetic ultimately and has the similarity with the concept and working method of this work. The title, "the GARDEN," comes from this reason.

" the GARDEN "はフィルドレコーディングという手法をベースに制作された作品です。しかし、ここで使用されているサウンドファイルは、外の自然や街中で作者自身によって録音されたわけではなく、全てオンラインの様々なwebsiteから録音およびダウンロードされたものです。

Yukitomo Hamasakiは、インターネットを新しいフィールドのひとつとして捉え、オンライン上に存在する音をcaptureし、プロセッシングし、今回の作品すべての音をcomposeしました。フィールドレコーディングの対象となる音は、自然の音も社会的な音も、すべて「営み」だと言えます。つまりこの「営み」とは、地球という共同体の中で起こっている全ての事象と言い換える事もできるのです。そして、現実の世界で行われている営みは、オンライン上でも同様に行われています。インターネットは、こういった営みの中の1つの存在です。インターネットそのものは、自ら自然(の/に)音を発することはできません。しかし、我々がインターネット上で自然の音を聴く事は出来ます。実社会とインターネット社会は対比構造なのではなく、場所的・領域的な意味での新しい1つのフィールドが立ち上がったと考えています。インターネットの世界は「営み」のための新しいフィールドのひとつなのです。

Yukitomo Hamasakiが今回素材として使った音は、それぞれのサウンドファイルの間には関連性が一切なく、恣意的に選ばれたものです。使われた自然音は様々な時間や場所で録音されたものですし、演奏されている音はプレイヤーの趣味思考/宗教観/思想が様々なものをチョイスしました。こういった音が、最終的に作者によってエディットされひとつの形に構成されています。言い換えるなら、今回の作品は、そのサウンドファイルの持つ場所性やパーソナルなIDを最終的に排除し、作者自身の美意識に従って変容され構築されたのです。今回の作業行程は、日本庭園やヨーロッパの庭の制作プロセスを模範しています。「庭」という空間は、作者が他の土地からの石や木々を一カ所に集め穴を掘り水辺をつくって空間を変容させて行くという行程によって、出来上がります。この庭園製作行程における石や木々は、composingにおけるサウンドファイルのエディットやプロセッシングにおきかえることができるでしょう。


これらに着目し制作された本作は、最終的に個人的な美意識の形式(form of personal aesthetic)に回帰するというコンセプトと庭を作るプロセスの類似からヒントを得て、" the GARDEN"というタイトルにされました。

PRICE :: 1,100 JPYEN

01. untitled (the GARDEN #1)
02. untitled (the GARDEN #2)
03. untitled (the GARDEN #3)
04. untitled (the GARDEN #4)
05. untitled (the GARDEN #5)
06. untitled (the GARDEN #6)

FORMAT :: data ( download only )
RELEASE DATE :: 01 May 2012

Mastering :  Yu Miyashita (UNDERARROW) www.underarrow.com
Photo : Michal Martychowiec
Sleeve design : Yukitomo Hamasaki

An Art piece of cover "the GARDEN" : Michal Martychowiec  "Pictura et imago" 2009

Born in 1987 in Lublin, Poland. He studied visual arts at Central Saint Martins College of Art and Design in London (2009-2011) (graduated with a Distinction).

In 2012 he moved to Berlin, where he lives and works.

From 2007 Martychowiec has been creating a number of topical photographic series, as well as video projections and extensive installations using diverse media: photography, film, drawing, objects, text, neons.

Artist’s practice is a means by which to explore, by alternative means, philosophical ideas that complement his research. He applies notions of Eastern philosophy with a direct reference to the European aesthetics. He is concerned with historic phenomena brought into contemporary contexts, by creation of which he questions and reinterprets existing forms and ideas. His work is characterised by minimalistic aesthetics.

At the same time, Martychowiec collaborates on opera productions creating installations, which are specific reinterpretations of time and space, and incorporate different media.

The artist creates documentations of considerable problematic exhibitions by raising an individual dialogue with history and art.