Like Herbert W. Franke, Frieder Nake, and Manfred Mohr, Hiroshi Kawano was also influenced by Max Bense’s work on rational aesthetics, publishing designs calculated using an OKITAC 5090A computer as early as September 1964.
Thanks to Sony’s Portapak, a portable video camera launched in 1967, what had previously been the preserve of professionals was now accessible to everyone, democratizing video as an alternative to the mass media power structure.
The spread of new programming languages such as Arduino, Processing, and openFrameworks soon normalized open source code across the internet, which fired the creative exploits of a new generation of digital creators.
These developments represent a shift from an era in which art served as a critical window on society to a moment when both economic mobility and social implementation are now crucial components.
With thanks to Alex Estorick.
Junya Yamamine is a curator and CEO at NYAW inc. After working as a curator at the Tokyo Metropolitan Museum of Photography, at 21st Century Museum of Contemporary Art, Kanazawa, and at Contemporary Art Centre | Art Tower Mito, he became the director of ANB Tokyo. Previous curatorial projects include “Hello World — for the Post-Human Age,” “Resistance of Fog — Fujiko Nakaya,” and “The World Began Without the Human Race and It Will End Without It.” In addition to planning and consulting on art-related projects such as Meet Your Art Festival, Music Loves Art in Summer Sonic, and the Agency for Cultural Affairs’ Cultural Economy Strategy Promotion Project, he also supervises art programs, featuring in magazines and on television. He is also a writer, jury member, and, in 2015, served as an overseas trainee for curators from the Ministry of Education, Culture, Sports, Science, and Technology.
This article is also available in Japanese via Massage Magazine.
¹ Quoted in G Bell, “Touching the future: stories of systems, serendipity and grace” in Griffith Review, No. 71, February 2021, 251-262.