dreaming tongues

7/28/2019 Dreaming Tongues

1/15

Dreaming tongues:journeys and observations through a sensitive and tempered

landscape

Keywords: Ecology, Sensitive, Landscape, Erotic, Body

Stuart Munro

[email protected]

http:///www.stuartmunro.net

(PHOTO 1 ON FACING PAGE)

(Caption) I (Naoshima Sento)Ohtake Shinro / graf, 2009.Abstract

If art, technology and landscape were thought of in the same sentence and the result of

this cocktail a relationship between body and landscape, then one by-product would be

place becoming placeless. The active agent in all of this would be complexity. Notcomplexity in a random sense where things come together in a dense and complexway but in a coming together or pulling apart that is experienced by a collection of

objects and world-views formed from the creation of artwork, architectural intervention

and technological convenience.

Through the following journey from city to island I give a snapshot of the sorts of

complex and diverse pieces that work, at times together and at other times apart, to

represent a landscape, urban and rural, that continuously reshapes itself through aresponse to art, commerce, science, politics and much more. The narration is shown in

italics throughout.

Parallel to this is a sequence of work, in its early stages, that pulls together some ofthese interests and observations where the liquid, the visceral, the actual and the virtual

all mediate between two distinct locations one in England and one in Japan coming

together in a developing photographic sequence.


2/15

At any given moment there are countless thoughts within each and every

one of us that intersect, overlap, influence and distort one another. If we

think about how we are thinking then we are aware of this process but we

are unable to say what is going on and why. Everything that we experience

adds to the complexity of our inner sea and to the world that is always in

the process of our making. This continuous process of translation,

transliteration, transparency and transposition is the energy that compels usto invent and create anew. Whatever we make shapes our experience ofthe world which in turn shapes our individual sense and being.

(Warwicker 2009: 11)


3/15

Introduction

Sushi, thats what my ex-wife used to call me cold fish (Blade Runner,1982)

This essay is a preview to a piece of work I am currently making. Its major concern is

ecology of art, technology and landscape that are intertwined and interconnected. Toldthrough a trip taken from Tokyo to the southern Japanese island of Naoshima, I begin to

describe what this ecology is made up of. I touch on ideas covered by Timothy Mortonin Ecology without Nature and The Ecological Thoughtand retell this journey through

an established sequence of viewpoints, some urban and some rural, as I travel from cityto sea.

This visual ecology is framed by my impressions of a place heavily mythologized by

such writers as Roland Barthes (Empire of Signs) and film-makers such as Ridley Scott

(Blade Runner) not through a direct reference to a familiar culture but by the particular

viewpoint cold and at times emotionally sterile. In fact both Barthes and Blade Runneror the novel by Philip K. DickDo Androids Dream of Electric Sheep observe anddescribe the clinical and the sentimental through their characters view of a world

growing in ever-increasing complexity. Barthes describes the culture he dreams of akinto his experience of culinary revelation, a twilight of the raw. For Blade Runner Rick

Deckard, he alludes to the possibility through his own empathic loss that he is nothuman. As the film slowly reveals, although his origin is conflicted, his emotion is very

much a reality.

These observations are the beginnings of a dematerialized world, a world of cold fish,

of people and objects mixed together and a displaced connection with the world around

them. This ecology of art and technology is retold through an industrialized heart of acity in this case Tokyo and the mechanisms flowing from within, gradually breakingdown and becoming redundant. As places and objects become reoccupied and

refashioned they begin to change along with their re-use and abuse as well as their ownmaterialism.

I aim to describe this visual ecology as a visual rematerialization framed by impressions

of a place and a culture witnessed over a period of ten years, from journeys back and

forth, walking through what at times has felt like a film set or a novel of someone elses

making. I see this landscape reframed as animate and inanimate, via the surrealist motif

of the doll and the mannequin, the writing of J.G. Ballard, as a result of the industry of

the motor car and what I call commuter archaeology, developed from the photography

of American landscapes and Japanese sea and rebuilt and celebrated by bricolage

buildings made by Japanese-noise punk artists.

The photographs of American photographer Todd Hido and the carefully framed

coastline of Sugamoto Hiroshi alongside the beached works of Ohtake Shinro allborrow from symbols and figures of their own respective local community recasting

nets back over native suburban hollow lands, shipyards and seashores.

At the heart of this is a search to define what I do and why I do it or perhaps more

accurately how I respond to such a shifting landscape. As the built landscape is mainly

static and unaccommodating my own shifting centre navigates a way through what

could be considered the beginning of an ecological framework for transforming the coldand sterile into something altogether hot and reflexive.


4/15

The more ecological awareness we have, the more we experience the

uncanny. Any environmentalism that edits this out is incomplete. If there

is an inevitable experiential dimension of ecology, there is an inevitable

psychological dimension. The psychological dimension includes weird

phenomena that warp our psychic space. There is no smooth, flat,

immediate ecological experience. Its all curved. (Morton 2010a: 55)


5/15

(MAP 1 map_01.jpg IMPORTANT: refer to smde1_notes.pdf for page position)

Commuter archaeology:fragmented bodies, technology and the spatial brilliance ofimages

a narrative of love and adventure [] focused on space [] as the true

territory of love, adventure, art, politics and, not least, the culture industry.(Diederichsen 2010)

This journey is a trip made from Tokyo to the small island of Naoshima, nestled

between the main island of Shikoku and the mainland region of Chugoku. The island

itself is home to a privately funded museum. In fact, most of the islands in the Seto

Inland Sea form an art archipelago funded by their benefactor the Benesse Corporation,

an educational publisher that has its headquarters on the mainland in Okayama City.

I arrived on a ferry on an overcast Monday morning in April. It was like descending

into some huge sinkhole in the earth the bottom of which was festooned with pocketed

islands, like drops of oil in water. I had been up the night before and not slept and so

was on the verge of falling asleep, that was until I spotted the huge objectile shaped like

a pumpkin that proudly sat on the shoreline of a slowly approaching port. The purpose

of the trip was part pilgrimage, part escape and part romance. The very existence of

such a place; an island devoted to ideas rendered real described as art suggested to me

visions of Dr Moreau and a place bereft of morality, resplendent in transfusions and

experiments, dedicated to experimentation where the landscape was the spectator and

the island the examining table. These visions were to be more accurate than I had

imagined and the hybrid began to form the best way of experiencing the mundane and

fantastic within the few short days I stayed within the Seto Inland Sea on the island of

Naoshima. The circumscribing ocean surrounding the Seto islands produces the effectof a continuously watching and waiting audience presiding over the evolving ontologyof these art islands. The effect is disarming and enough to induce paranoia in the heart

of anyone lost in a citys daily swerve and drive. The sudden expanse opens you to anew experience of constant surveillance not from cameras or control booths but from

the disappearing horizon, lost in mist and revealed thereafter.


1. Cigarette machines in conversation

The journey from city heading south had been a hop, a skip and a jump in the early

hours. From Ikebukero we took the subway to Hamamatsucho station where we boarded

the monorail to Haneda Airport. The beginning of the week, overcast and grey, fewpeople dared speak to one another. The language of suspended roads and elevated tracks

formed clusters of garden space sitting at the feet of vast apartment blocks, some 20 or

30 floors tall.

(PHOTO 2)

(Caption) Photo:Rush Hour, 2009.

The journey navigated its way through city plaza and office buildings, the train lurching

from left to right as the train moved from station to station. Apartment block and office

complex were gradually replaced by low-rise factories and markets bringing in

material and goods, fish and meat by truck from the nearby container port. The activitydown below happens in such a way that suggests the same patterns form themselves

hour after hour, day after day, people and trucks, cars and goods all moving in familiar


6/15

trajectories over and over again. The most apparent thing was not a frantic movement

but a silence found between speeding objects. Cigarette machines and drinks dispensers

would sit quietly on every corner lit from within by faint strip neon. At the low light of

the morning these small and illuminated objects silently screamed, waiting for the next

flurry of people catching a quick smoke between shifts and a gently warmed can of

syrupy Boss coffee. Drinks dispensers and cigarette machines sit on street corners by

themselves. Removed from the cognitive world their autonomous existence throwinglight onto the surrounding streetscape that echoes their emitted chatter.

Regardless of the fact these machines of convenience are placed on street corners, their

parallel with the surrealist motif of the doll or mannequin emerges. They emote, this

emotion disturbed only by their function. When inanimate they begin to suggest and

provoke something altogether more surreal than simply their contents gradually

dispensed. As with the automata of BellmersLa Poupee, drinks dispenser and cigarette

machine share an animate/inanimate status (Taylor 2001) though without the overtly

erotic imagination.

He once rang me from Tokyo, and I could barely hear him above a

background babble of Japanese voices. He explained that he was near abank of cigarette automats with voice-actuated brand selectors. He shouted

above the din: Its midnight, theres no one here. The machines break

down and start each other talking (Ballard 2008: 221)

(PHOTO 3)

(Caption) Photo: DeLorean, Venus Fort Car Museum.

As the train whistled further on Tennozu Isle approached, home to two further examples

of animate/inanimate experiences: MEGAWEB Toyota City Showcase and Venus Fort.Both caught on the periphery of shipping dockyards, science museums and an

Immigration holding facility, the land formed like a massive car park, echoed by the

shape of off-duty taxis, chauffeur-less limousines, the countless containers waiting to

depart for destinations far and wide. Both Toyota City and Venus Fort exist on a

physical edge staring out to sea, with each place echoing the other both looking out to

countries like Britain, Germany or America searching for their own twin in the form of

another city, a potential automotive paradise of equal measure.


2. The dream of Venus Fort

the excitement of an endlessly self-renewing technology lay at thecentre of the Japanese dream. (Ballard 2008: 221)

MEGAWEB Toyota City Showcase is technically a car showroom, albeit a very large

one. At its centre is a circuit for test-driving a vehicle of your choice albeit under the

supervision of a diligent computer. For many years my father worked for British

Leyland, one of the largest automotive company at that time in the Britain and the UK.

He was born in Coventry, a prosperous post-war city propelled towards an inescapable

future of automotive excellence. If Coventry was Tokyo, MEGAWEB would have been

its very own automotive cathedral, driving in and out of itself on the edge of the citystaring out to sea. Although an exaggerated showroom, the place felt alien and

detached, looking for something to give it reason beyond being simply a shoppingcentre or funfair. Is it any wonder that George A. Romero chose a desolate and isolated

shopping mall as the place of refuge for the band of refugees fleeing the ensuing zombieonslaught in his filmDawn of the Dead?


7/15


We trickle through an engineered landscape. Shopping arcades and conveniencemachines romantically quiver as they talk to one another. Venus Fort concludes its

various floors of shopping mall full of sensory deprivation and overloaded sensation

with a car museum at the very top, a DeLorean parked centre stage, gull-wing doors

firmly extended, sitting in front of an enormous poster ofBack to the Future. John

Delorean, inventor of the Delorean car, was born in Detroit, Michigan and once lived inthe US steel town of Gary, Indiana. He is perhaps an ideal inhabitant of this fluidic

landscape.

A drifting back and forth as Araki calls it is maybe the best way to describe thisrepeated episodic ecology. The dream as with Salvador Dalis 1939 Worlds Fair

pavilion The Dream of Venus describes a spectacle as much as a haunting edifice anderotic emporium of burlesque divers dressed as sea urchins. This spook house

(Patience 2010) literally brought his painting of the same name to life and used anAmerican nightmare, not dream, to shock and seduce, the irony of which was not lost

on the Fairs corporate sponsorship. The pavilion caused such protest, mostly from

other exhibitors, that Dali left the project in disgust; the pavilion was eventuallyrenamed 20,000 Legs Under the Sea.

thats where I learned about life and death and how theyre mixed

together. That concept has been burned into me ever since. Thats the coreof my Tokyo. A place where life and death exist side by side. You walk

down a busy street filled with noise and full of life but then you turn acorner and find a quiet back alley as still as death. That mixture of life and

death exists everywhere in Tokyo. I feel drawn to it [] thats why I dontever want to leave Tokyo. Its the way I live my life. Ill enter the world of

monochrome and experience death [] and then I enter the world of

colour and experience life. I drift back and forth between the two.(Arakimentari, 2004.)

These places MEGAWEB, Venus Fort they change, transmogrify. Both placeless.

Mall ceilings painted in radiant blue, a sky that would set every half hour. Fittingperhaps then that they both exist on Tennozu Isle, an echo on the edge of containers and

shipyards in the Shinagawa district of Tokyo, forever looking outward, towards theever-expanding horizon, asking themselves what are they and where did they come

from.

It was as the monorail train slowed on approach to Haneda Airport that another

famous son of Gary, Indiana began singing over the muffled public address system. As

Michael Jackson broke into chorus bidding us farewell, the train doors opened andcommuters dispersed as I too left to board my own express flight to nowhere.


3. Photographs from the edge

(PHOTO 4)

(Caption) Photo: View from Naoshima towards the main island of Shikoku and the Seto OhashiBridge that connects the island with the mainland.

The plane landed at Takamatsu Airport a little over an hour later, the flurry of new

arrivals frantically rushing to get the next available taxi, the next available bus into

Takamatsu itself. The journey from airport to island involved a ferry ride and yet morewaiting. The weather had cleared but only slightly. Our flight nearly never made it and

the threat of an aborted flight was a constant concern as announcement after


8/15


9/15

Walking from my room towards the beach looking out to sea the flotsam and jetsam of a

distant ship washed ashore. Driftwood and odd containers; an old drawer and a

balloon bounced over the breaking waves and past me towards the dunes and then who-

knows-where.

The continuous shoreline broke as the outline of an upturned hull draws into the sand

and sea grass. These pieces by artist Ohtake Shinro Shipyard Works 1990 appeared

in fuller form the closer I got. Fragmented into scattered sections they appeared washedup and abandoned. The boats hull inverted and cut into by hundreds of holes presenting

the boat more like a totem to the sky or more specifically the stars. Each piece of boat

strewn across the beach had become one of Ballards automats each silently

whispering to one another as the tide lapped the fibreglass half-buried in the sand.

Another work, Dreaming Tongue/Bokkon Nozoki orHaisha, reminds me of AnselmKeifers boat paintings inspired in part by futurist poet Velimir Chlebnikov a boat

hung from the wall of one room surrounded by photos encapsulated in resin on thesurrounding floor. An external downpipe fashioned into a periscope protrudes from

another painting to spy an image of a tree caught within the framed architecture of a

neighbouring house. Concave spaces formed from space-black boat hulls recessed intothe outer wall appear disturbed and hysterical at the same time. A Statue of Liberty

stands at the rear of the house, not outside but contained within, her torch lit red and

pointing out to sea maybe as some sort of mythical beacon.


The journey ended at the foot of Ohtakes Haisha, his dreaming tongue. Ohtake

reminds himself of the dream he recalls of remnants of tastes and aromas, his tongue the

creative detective piecing together these fragments not for the sake of truth within but

for the collaged scrapbook they generate both within his mouth and the built structure.

The building, once a dentists home and office has become de-plagued and filled, the

shadow of its past occupant now licking the floors and walls drenched in ceramic,timber, steel and neon.

Haisha shares an affinity with feelings of immediacy and a sense of scale.

Uncompromising in its content, it sits proud of its accomplishment of nestling silently

and violently into the landscape. Its curiosity with other surrounding buildings and their

curiosity with it subside, similar and alien both at the same time.

Like much I noticed as I left the landscape seemed to truly reject an architectural

objectivity in favour of speculative viewpoints and total subjectivity. Any architectureas reportage (factual and true, where vernacular dictates and classical ways of looking

back onto a landscape, fetishized and industrial) was made redundant by a simple

expression of form and function, incapable of responding to the mode of the inert andinanimate spaces seen from the monorail in Shinagawa and beyond.

PerhapsHaisha just like Dalis The Dream of Venus or even Venus Fort uses a brand of

nightmare neither nostalgic nor futuristic but immediate. Much of my relationship withthe built environment has been with its representation, either as photograph or as

sculpture. The stories of industries that shape both my own country but also thelandscape Ballard occupies, that of the motor car merged with soft technology such as

the body, have in their own part been responsible not only for shaping the landscharacter but also forming in its wake a characterless landscape; a void. It is maybe

fitting that as Ballard dreamed across phone lines with friends in Tokyo, the featureless

space created by the maudlin Mecca such of MEGAWEB Toyota City Showcase andVenus Fort becomes a new character-rich place, afforded the opportunities of dreams

and un-classical views afresh, unframed by the classical technology and explicit vantage


10/15

points of the Zen Buddhist garden or geometries of the modern equivalent embedded

within a Le Corbusian Unit for living.

Some sort of psychological repression dominates this individual whose

face is as ugly as his conceptions of the world such that he wants to

squash people under ignoble masses of reinforced concrete, a noblematerial that should rather be used to enable an aerial articulation of space

that could surpass the flamboyant Gothic style. His cretinizing influence isimmense. A Le Corbusier model is the only image that arouses in me the

idea of immediate suicide. He is destroying the last remnants of joy. Andof love, passion, freedom. (Chtcheglov 1953)

My trip back the way I came was quicker as if everything I had seen was now familiar

but I knew that I would drift back and forth between the smells, the tastes and aromas of

a continuous narrative; fetishized and metallic (Tennozu Isle), nomadic and cerebral

(Shipyard Works), psychological yet alluring (Haisha), redundant yet romantic(Megaweb Toyota City Showcase and Venus Fort).

(PHOTO 5)

(Caption) Summit(Process), 2008.


11/15


The re-eroticized landscape: nether regions, dreaming tongues and sensitive space

We see everything in this world as nothing but a dream. (Minamoto noSanetomo, Japan, 11921219)

As with Foucaults Regime of Truth the island observes its place amongst the other

islands in the Seto Inland Sea with photographic precision and employs the image to

full effect, negotiating carefully with the reality of the surrounding landscape. The

introduction of geometry through photography surrounds the island quite literally with

photographs by Sugamoto Hiroshi placed at strategic points along cliff edges, their

Cartesian perspective (Jay 1988) purposely at odds with other fragments scattered

throughout Naoshima and neighbouring islands. This view of a visual reality supplied

by landmarked photography of the very sea they live within is the desensitized space of

automata. The photographically precise landscape is now de-eroticized and stripped of

suggestion while other elements work to re-eroticize the island. Ohtakes Haishaimports discarded and found objects, frames random images from neighbouring hillsand wraps a story of local economy and culture within four walls. It is this wavering or

drifting gaze as opposed to the static precision of the photograph and even the shyconcrete of Ito Toyos Benesse House or Chi-Chu Museum that gives a language to

such abstract form.

Moving from mainland to island serves as a way of describing the drift through

ecological thinking (Morton 2010a) not to define something but merely outline it and

there is a very distinct difference between the two. The way John Warwicker describes

his method in The Floating World or the particular means by which Ohtake Shinro

encapsulates and freezes matter cardboard, photos, the hull of a boat, for example both work to define not the thing or collection of things but outline the world they aresensitive to. This outline is really their language that defines the world around them.

The surrealists were active agents of this. Salvador Dali conceived his paranoid criticalmethod as a way of destroying preconceived notions both of object and objectification.

Dali attempted the same architecturally, and this goes without saying, he would havesucceeded if it were not for the fragile sanity of his paymasters and attentive patrons

that saw his pavilion in New York as mere folly.

(PHOTO 6)

(Caption) -33 (Process), 2009.

(Description) Summitand 33.

These photographs, in the early stages of development, are looking for parallels with one another. A

series entitled Summitand another entitled 33 group together two distinct and disparate places, Tokyo in

Japan and the Cumbrian Lake District in England.

They are not the same, not even similar. Through photography they start to overlap. The urban and rural

are shared and the emptiness of one is replaced with the cacophony of the other. At the moment, they are

black and white but when colour is introduced the challenge will be how the madness of downtown

metropolis migrates to cover the rolling hills of an English countryside. A psychological landform ensues

and neither urban nor rural is manifest.


The sensitive space is a layer that covers all latent pieces scattered across urban and

rural landscapes alike. Asmachines break down and start each other talking (Ballard


12/15

2008: 221)the language of sensitive space develops, informing those machines of their

place within a pretty abstract world that is increasingly frustrating. The use of image,

photography, film all start to make more sense not only as simple tools for

communicating but as the very space they desperately desire to represent.

This journey from city to sea, land to island, exposed ways of viewing and experiencing

the world physically, visually and graphically that exhibit polar opposites in their

intention. One fixed and god-like, the other flippant and carefree, a language ofsensitivity is described, a dreaming tongue licking between experiences. Spatially,

architecturally, visually this drift, this ecology, ultimately exposes a mixture of mediated

concerns, some technological, some philosophical, some artistic, spiritual and some

nearly always political a dream language afforded by literature and image but also

the physical and social realm of architecture itself.

In many ways this essay has been about me coming to terms with the way I work, the

way I make things and the world to which they relate. This particular journey reallydescribes a view of industrial processes. From the urban manufactured mechanisms of

rail and air travel distributed and deposited on the Seto islands. Collectively they

create a very reflexive archipelago through their mixture of industry and culturetransforming through a brilliance of imagery. Traditionally a fishing economy,

Naoshima is also home to heavy industry, being a base for one of Japans primary

material mining research and smelting plants. The smelting of copper and lead and the

subsequent material generated has been a major source of export for both the local and

wider Japanese economy ever since 1917.

To me this is amazing, supporting an idea that a commuter archaeology and erotic

landscape are equal forms of by-product as much as the raw lead and copper sulphatemined and processed on Naoshima. Though not really by-products of any industrial

process, both artwork and intervention are something unlike anything native to the

island. Be it image, architecture or sculpture, they constantly refer back to the mainland,back to the city just as the city and its by-products of an uncanny and curved variety

Tennozu Ilse seek to migrate. There is nothing natural here on Naoshima or anything

we should call nature. Rather we should consider the collection of flightless built space

and sensitive architectural discourse as purely ecological.

(PHOTO 7)

(Caption) 33 (Process), 2009.


The island as a speculative proposal for spatial brilliance moves back and forth between

heavy industry and idealism and this drift is at times subtle and at other times not. Thisnegotiation is at the heart of what becomes a sensitive intervention between purely

urban and purely rural. It is this move between the two that for me suggests an approach

to designing anything physical or visual, practical or visceral.

The speculative gaze of this essay does not make for a very productive act smoothed

and split between disparate places urban and rural, cityscape and countryside,

simultaneously attracting and repelling.

there are no fields. Only fields of operation and observation, only fields

of electromagnetic attraction and repulsion, only fields of hatred andcoercion. Only Force Fields. (Amis 1989: 134)

If I were to make a proposal for a new type of intervention be it spatial or flat it wouldneed to be constantly moving and changing, split in two by the way it lives differently

in different places. If I am to intervene through making something then I will inevitably


13/15

be caught between both pragmatism and imagination. A tentative approach to an

intervention would only be successful if it made sense to both local and disparate

communities. This negotiation between the disparate relies solely on degrees of

sensitivity, very different to that of Rick Deckards wife viewing her husband as

emotionless and cold to the will of the world (Blade Runner, 1982). Split sites and

smooth aesthetics, as Neil Spiller states in his article of the same name, go hand in

hand, the charm and charisma of one place governed by the look and appearance of theother with a touch of chance and creative opportunity elusively producing uniqueness in

place of banality. Such technology would gather fragmented bodies by working with the

human and the romantic while negotiating the stationary and inert. If Martin Amis isright and urban experience is a series of unforgiving force fields then the attraction and

repulsion of places such as Naoshima and Tokyo are inevitably in constant flux. Aspeople, politics, regimes and truth all evolve so do their respective sensing and sensual

environment.

(PHOTO 8)

(Caption) 33 (Process), 2009.


14/15

References

Amis, Martin (1989), London Fields, London: Jonathan Cape Ltd.

Ballard, J.G. (2008),Miracles of Life, London: Harper Perennial.

Barthes, Roland (2005),Empire of Signs, New York: Anchor Books.

Chtcheglov, Ivan (1953), Formulary for a New Urbanism (Translated),http://www.bopsecrets.org/SI/Chtcheglov.htm. Accessed April 2006.

Dezeuze, Anna (2004), Unpacking Cornell: Consumption and Play in the Work of

Rauschenberg, Warhol and George Brecht,Papers of Surrealism, 2 (Summer),

http://www.surrealismcentre.ac.uk/papersofsurrealism/journal2/. Accessed September

2010.

Diederichsen, Diedrich (2009), Polyphilos Dream,Frieze Magazine, 122 (April),

http://www.frieze.com/issue/article/polyphilos_dream/. Accessed 10 November 2010.

Jay, Martin (1988), Scopic Regimes of Modernity, in Hal Foster (ed.), Vision and

Visuality, Seattle: Bay Press, pp. 323.

Klose, Travis (dir.) (2004),Arakimentari [Motion picture], USA: Troopers Films.

Morton, Timothy (2010a), The Ecological Thought, Cambridge, MA: Harvard

University Press.

________ (2010b), Materialism Expanded and Remixed,http://newmaterialismconference.blogspot.com/2010/01/materialism-expanded-and-

remixed.html. Accessed January 2010.

Noe, Gaspard (dir.) (2009),Enter the Void[Motion picture], France/Germany/Italy:

Fidlit Films.

Patience, Stephen (2010), Salvador Dalis Dream of Venus,

http://www.stephenpatience.co.uk/Essays/Salvador_Dalis_Dream_of_Venus.html.

Accessed 10 November 2010.

Romero, Georgo A. (dir.) (1978),Dawn of the Dead[Motion picture], Italy/USA:Laurel Group.

Scott, Ridley (dir.) (1982),Blade Runner[Motion picture], USA/Hong Kong: Warner

Brothers.

Taylor, Sue (2001),Hans Bellmer in The Art Institute of Chicago: The WanderingLibido and the Hysterical Body, http://www.artic.edu/reynolds/essays/taylor.php.

Accessed 10 November 2010.

Warwicker, John (2009), The Floating World: Ukiyo-e, London: Steidl Mack.

Artworks

Dreaming Tongue (Bokkon Nozoki/Haisha), Ohtake Shinro, 2009.

I (Naoshima Sento), Ohtake Shinro/graf, 2009.Time Exposed, Sugimoto Hiroshi, 198097.

Pumpkin, Kusama Yayoi, 2009.


15/15

Websites

http://www.mmc.co.jp/corporate/en/corporate/message.html. Accessed 22 September2009.

http://www.mmc.co.jp/sren/Naoshima.htm. Accessed 22 September 2009.

Photographs

1. Photo of I (Naoshima Sento) Stuart Munro, 2009.2.Rush Hour, Stuart Munro, 2009.

3.DeLorean, Venus Fort Car Museum, Stuart Munro, 2009.

4. Seto Inland Sea, Stuart Munro, 2009.

5. Summit(Process), Stuart Munro, 2008.

6. & 7. 33 (Process), Stuart Munro, 2008.

8. Summit(Process), Stuart Munro, 2008.

dreaming tongues

Documents