By Yvonne Spielmann
This booklet grew out of Yvonne Spielmann's 2005--2006 and 2009 visits to Japan, the place she explored the technological and aesthetic origins of jap new-media art--which used to be recognized for pioneering interactive and digital media purposes within the Nineties. Spielmann found an important hybridity in Japan's media tradition: an inner hybridity, a mix of digital-analog connections including a non-Western improvement of modernity break away yet no longer resistant to Western media aesthetics; and exterior hybridity, produced by way of the foreign, transcultural go back and forth of aesthetic options. Spielmann describes the leading edge know-how context in Japan, within which builders, engineers, and artists collaborate, and strains the japanese fondness for precision and performance to the poetics of unobtrusiveness and element. She examines paintings by means of artists together with Masaki Fujihata, whose paintings is either officially and thematically hybrid; Seiko Mikami and Sota Ichikawa, who construct specified units for a brand new experience of human-machine interplay; Toshio Iwai, who connects conventional media kinds with computing; and Tatsuo Miyajima, who anchors his LED art in Buddhist philosophy. Spielmann perspectives hybridity as a good aesthetic value--perhaps the defining aesthetic of an international tradition. Hybridity deals a conceptual technique for contemplating the ambivalent linkages of contradictory parts; its dynamic and fluid features are neither conclusive nor express yet are supposed to stimulate fusions.