Tuesday, May 23, 2006


Video sent by d-k

song by Yosui INOUE,
video by Akira HASEGAWA, CPM, Japan

CPM_sumitomo_bank (TVCF)

CPM_sumitomo_bank (TVCF)
Video sent by d-k

song by Nana Mouskouri, ' Quand tu chantes'
video by Akira HASEGAWA, CPM, Japan


Video sent by d-k
CPM_video_TV_Cover (TV-Titles)
- 5 clips -

1.NHK (Jap.TV) Sports Cover

2. NHK Saturday Sports

3. Atlanta Olympic 1996

4. DirecTV Japan Cover (1)
"Entertainment and Emotions, all are within you.
You are DirecTV." (narration)

5. CCTV (China Central Television )

6. DirecTV Japan Cover (2)

*all the videos are created by Akira HASEGAWA (aHA),
CPM, Komatsu city, Ishikawa Prefecture, Japan

Monday, May 15, 2006

Tokyo International Forum -Dec2005

Tokyo International Forum -Dec2005
Video sent by d-k
d-k live installation performed at
Tokyo International Forum, Yuracho Tokyo
Dec.21 - Dec.23 (Test Projection )
Dec.24 - Jan.01 ( in public )

Friday, May 12, 2006


Video sent by d-k

Akira HASEGAWA on NHK television documentary film,
titled ' Kodawatte Furusato' ( my sweet hometown ).

aHA's working atelier, CPM studio in Komatsu city.
Interview: Feeling so good
The source of river, a small fountain

CPM, Akira HASEGAWA's working studio
His works of commercial films are more than 4,000 clips.
aHA interview_01
-Feeling good-
-I do not send any message to people on the film.
I do not creat a commercial message that a certain
product is good.
I just tell people that a certain product looks good,
an introduction, as if knocking on the door. After all,
the product manufacturer sells it.-

-At the interval, between the very previous image and
the one you are looking just now, when you 'feel good'
that commercial message leaves 'feeling of good' to audience.-

aHA driving his car on the forest road.
-As you hurry up so much, a bear will come to you.
In the forest here, any kind of life are existing, you just
don't see them. Life alives.-

-Hasegawa thinks the the origin of all life belongs to water.
More pure water its origin is, more power it contains.
Hasegawa took us to the mountain site where his birthplace is.-

aHA walking up the forest hill covered with snow.

The source of river, a small fountain

-Just waling down from the fountain site,
we found a fish farm of 'Iwana' and 'Yamame'.
( Salvelinus pluvius, mountain trout and ..... )

Video sent by d-k

Akira HASEGAWA on NHK television documentary film,
titled ' Kodawatte Furusato' ( my sweet hometown ).


Video sent by d-k

Akira HASEGAWA on NHK television documentary film,
titled ' Kodawatte Furusato' ( my sweet hometown ).

Wednesday, May 10, 2006


Video sent by d-k


Video sent by d-k

Kaga Tradional Cultural Amenity Hokuriku
Traditional Handicrafts Village
Experience the heart and soul of Japan through the culture of Kaga.
The Tradional Handicraft Theme Park: Yunokuni no mori
Located in over one hundread acres of prime natural forest,
a cluster of traditional Japanese houses.
Within each dwelling lies an introduction to Japanese traditional handicrafts and Kaga culture.
Precious and valuable items are hand made using the most refined skills anywhere in Japan. Become part of the tradition and try these handicrafts for yourself.
Come see the fascinating handicrafts and outstanding skills
that are admired throughout the world.

Rest House - Restaurant Jindaiko
A wonderful location to enjoy the best hand-made
udon and soba noodles; perfect for a full meal or a refreshing cup of tea.
Restaurant Ryoshi-no-Yakata
(Fisherman's House)
Serving original dishes made from
abundant natural ingredients from the sea and the mountains of Kaga and Noto. The restaurant can accommodate 700 guests.

Music Box House
This little cottage is full of fairy tales. You can see how the music boxes are made.
Traditional Cake House
Here you can see how the famous “Isuke Manju” steamed buns of Yunokuni no mori are made. Be sure to take some delicious sweets home with you.

Merchant House
This is the place to come for a complete range of gifts - chosen from traditional handicrafts, Japanese confectionary and famous Japanese sake.
Gallery Sho
Treat yourself to a visit to this exhibition of artwork and photography.

Tea Ceremony House
Here you can experience the beauty and mystery of the Japanese Tea Ceremony.
The building itself, a 300 year old farm house, also has to be seen to be believed!

Traditional Art House
This traditional landlord's house was relocated and now features an exhibition of historical Kutani ceramicware.
House of Kutani Ceramicware
Here you are able to try out a potters wheel, or you can simply paint your own design onto one of the items of ceramicware.

House for Making Japanese Paper
You can make traditional washi Japanese paper by using natural resources such as flowering grasses and gold leaf.
Glassworks House
Customize ashtrays, small containers, plates and glasses yourself by carving your own drawing or decorative design onto one of these glass artefacts.

Gold Leaf House
A breathtaking line-up of items covered with gold leaf. Try the gold leaf experience yourself!
Noren House
This small dwelling has been created with children in mind. Choose the perfect gift from the items on show.
Kutani Ceramicware
Toshiharu Maeda, lord of Daishoji established thea kiln at Kutani village in Kaga during the early years of the Edo era.

Wajima Lacquerware
Over one hundred steps have to be carried out to complete this handmade product. It takes approximately one year for one item to be produced.

Washi Japanese Paper
Japanese paper is made from raw materials including kouzo (a type of Japanese longgrass) and mitsumata (paper bush).

Gold Leaf
Ishikawa produces 99% of Japan's gold leaf. It is worked until it is 1/10,000th of a millimeter thick.

Kaga Yuzen Printed Silk
The Kaga printed silk is on a par with Japan's most famous yuzen from Kyoto.
The design detail is characterized by natural beauty, such as floral patterns, etc.

Yamanaka Lacquerware
The Yamanaka lacquering process harnesses the beauty of natural materials.


Na 3-3 Awazu-onsen, Komatsu City, Ishikawa
Prefecture 923-0393

Tel: �761-65-3456
Fax: �761-65-3344


Video sent by d-k

The Art of Lighting and Sound at Uchikawa Canal

TV-Toyama broadcasting, the evening news informed
of the live performance of Digital-Kakejiku (d-k) that
would be taken place at Uchikawa River,
Shin-Minato city,Toyama Prefecture
on 12th of October, 2003.

The news broadcaster said;
-On coming Sunday evening at Uchikawa River, Shin-Minato city,
an illusion show of lighting and sound will be taken place.
That is "Digital-Kakejiku" art, which we haven't heard before.
What is "Digital-Kakejiku"? Let's take a look at it.-

Akira HASEGAWA ( aHA)'s comment:
-The site of Uchikawa, it itself has already a -power-
and I think that the performance would be better done
by utilizing its nature's power. We would take a ride on
the site's power.

Site-Uchikawa, Shin-Minato ( a fishing port )

-Last week, an artist visited the town, Shin-Minato.
Akira HASEGAWA. A media artist, who lives in a Komatsu,
a countryside of northern part of Japan, Ishikawa Pref.
He has been creating thousands of television
commercial films and title covers, clips..

This live performance will be the very first time in Toyama
Prefecture and they have been elaborating a location hunting intensively.-

-One million digital images are prepared to be projected
on the building surface or the scenes of a town. The art is
originally created by Akira Hasegawa.-

-D-K is not just an entertainment show.
It is to create a space.
A man who is in the space is also one of the space.-

-Hasegawa has been looking for the only place for projection.-

-Boats... and the canal...
I like to maximize the effect of these things.
They belong to this place. So the absolute condition
of the performance is to cast image projection over them.-

-Finally, he found a place in a second floor of an empty house,
where he looks over the Uchikawa River.

As he connected to the projecter, digital images of fluorescent colour
come up over the canal and the boats.-


-D-K... it is not a -show-. Into the picture, we enter... we stand,
such a feeling we sense. We become a part of the picture.
By this, a frame dissapear.-

-We lose the feeling of time, the feeling of space.
Finally, it become infinite.-

-When we stand at the infinite space, we realize the infinity of ourselves.
It is an ecstacy that we become infinite. -

-At the event on Sunday, they play the Japanese Harp (Koto)
and the violin. A Chinese composer, LIU HONGJUN, who participated
-Last Emperor-'s film music, would join the event.-

-Hasegawa said that he had been attracted by the
smell of life at Uchikawa. D-K is an equipment with which we find
its fascination again.-


-It is very important thing that D-K is 'Live'.
It is a matter of 'being LIVE' for oneself and for each personality.
The sense of 'LIVE' is within an individual. In front of D-K, everyone
becomes 'LIVE' and 'INDIVIDUAL'.

D-K performance will be taken place on Sunday evening,
12th of October. 19:00-21:00
At Kagura-bashi bridge, Uchikawa river, Shin-Minato city.

Tuesday, May 02, 2006


-d-k live installations

Athens, 31 December 2004
-what is d-k?

D-K concept
Exposure Time: by Thomas Daniel
(an atricle from "ARCHI" magazine, #01 2004)

D-K introduction in Japanese High-School TextBook; D-K 高等学校教科書コラム

voice of aha


D-K Installations with Gagaku Music
D-K Installations with Gagaku Music
Athens, 31 December 2004
d-k: records of installation since 1996

TRUST - Sumitomo TRUST BANK (Japan)
Release - Wacoal New Office Bulding 1999

-6 senses

D-K Installations with Gagaku Music

Video sent by d-k

-Kanazawa Castle
-21st Century Museum of Contemporary Art, Kanazawa
-Osaka Castle
-Keta-Taisha Shrine
-The Miyagi Museum of Art
-Sakurajima, Kagoshima Pref.
-Shiretoko, Hokkaido Pref.
-Hotel Meridien Grand Pacific
-Roppongi Hills City View
-Acropolis, Athens, Greek
-Nata-dera Temple

video duration: 3m 25s
d-k created by aha Akira HASEGAWA

Monday 5 to Saturday 10 June, 2006
ZeroOne San Jose: A Global Festival of Art (ISEA2006)
AUGUST 7-13, 2006
D-K ( D i g i t a l - K a k e j i k u )


D-K (Digital Kakejiku), which in English can be translated as " a moving Digital-Hanging Scroll", arises in one's mind, specifically relative to what one views. It is the combination of sensory perception and subconscious awareness. The changing scenery of the sunset, the "space" between haiku lines, the "space" between sounds, and the "space" between times - none are tangible, but all are part of experiencing "the moment". When experiencing D-K, the things that you see and feel all come from you. If they didn't exist in you, you would not be able to perceive them in the first place.

At a glance, D-K seems to consist of the visual elements seen on paintings. However, this is a completely new art form that uses a different communication style from other art forms which utilize the story telling approach. D-K is a sensitizing instrument that is generated by discontinuous data, and that makes us aware of the time, image, and the idea of a "living present".

This live picture is not continuous and has no meaning in itself.

aha Akira Hasegawa

D-K (Digital Kakejiku) is an original concept developed by the artist Akira
Its purpose is to regain the rhythm of life for 21stCentury humanity.
It is an entirely new living art form that transcends time and engulfs

D-K emerges from your relationship with what you see.
Your vision and your subconscious resonate within your mind, naturally
awakening images.

It is the interval between one moment and the next. By existing in the
"now", you understand the present.
Through this perception, you understand the simultaneity within your
subconscious without nostalgia for the past.
Through time itself, the infinite world may be understood in a single

In other words, there is only "now". All times are simultaneous.

It is like a sunset, like the space between the lines of a haiku, between
colors, between sounds, between times.
To enjoy perceiving the emptiness in of all these places is to encounter
the spirit of Japanese art, and only humanity can comprehend and traverse
this distance between East and West.

D-K is discontinuous data; it gives us time and spirit, and the sensation of
"being alive here and now".

aha Akira Hasegawa

TRUST - Sumitomo TRUST BANK (Japan)

TRUST - Sumitomo Trust Bank (Japan)
Video sent by yokonov
A Japanese commercial film
directed by Akira HASEGAWA.
Song by Nana Mouskouri, "Quand tu chantes"

Video Runtime: 00:29
Tags: Flower, chanson, Sumitomo, Hasegawa, Akira, Nana, Mouskouri
Categories: Arts & Animation, Music

Monday, May 01, 2006

Exposure Time: two media art installations
by Thomas Daniel, an architect nad partner of FOBA, Kyoto, Japan
(an atricle from "ARCHI" magazine, #01 2004)

Although very different in execution and expression, two recent media art installations in Japan (Akira Hasegawa's "Digital Kakejiku" and Rafael Lozano-Hemmer's "Amodal Suspension" shared a number of characteristics: both were nighttime, outdoor public spectacles, both used digital data as the raw material and artificial light as the expressive medium, and both partially relinquished artistic control to computer randomization. In each case, invisible aspects of the digital realm were made visible, rendered in light at scales and speeds available to human perception. Immanent global networks were localized, instantaneous electronic transitions were decelerated; space was shrunk as time was stretched. Ephemeral events rather than physical objects, their magnitude was more temporal than spatial. Their existence relied on duration, or more precisely, on delay: a slowing of the speed of light.

The "refresh rate" of the human brain is somewhere around 1/16th of a second. Above this threshold, sequences of individual events can no longer be consciously distinguished. A clicking sound faster than 16 Hertz becomes a low bass note; an animated cartoon slowed to fewer than 16 frames per second resolves into a series of individual images. The illusory movement of cinema is the result of interpolation between still pictures by the viewer's brain. Media artist Akira Hasegawa jokes that Disney should return half our money, as we are doing half the work.

Digital Kakejiku-
The theme of Hasegawa's own artistic project, entitled 'Digital Kakejiku' (or D-K), is the perception of that interval. Over three
nights in April 2003, Hasegawa projected a series of unrelated abstract pictures (all previously created by him with a computer) onto the exterior surfaces of Kanazawa Castle, complemented by music from composer Ryoji Ikeda piped through thirty speakers distributed across the castle grounds - the intent was to totally immerse the audience.
Although the images were changed at one-minute intervals, there were no abrupt transitions. They were smoothly blended into one another by a computer constantly calculating the intervening states and updating the projection. The source images were lost in the flux, merging into a single seamless animation. There was no goal, no evolution, no climax. The beginning and end moments were arbitrary. The gradual movement was barely noticeable. At a glance, it seemed perfectly still, but look away for a minute, and it would be totally transformed.

The Kanazawa Castle installation was the first major D-K event, repeated in October at the construction site of Kanazawa's 21st Century Museum of Contemporary Art (designed by Kazuyo Sejima and Ryue Nishizawa). Several other D-K installations have been realized or are in planning, but Hasegawa has been developing the technique itself for a decade. His early experiments used computer monitors, and later shifted to video projectors. Hasegawa sees D-K as an architectural material, able to actively engage and transform any context, applicable at scales ranging from urban event to computer screensaver. It is practically impossible to freeze-frame exactly the same image twice, and the possibilities of infinite variation have already attracted wide attention: D-K images have been commissioned to convert identical, mass-produced items into unique artifacts, from Mitsubishi Bank credit cards to Issey Miyake fabrics to the billboards at the Nagano Winter Olympics.

The kakejiku is a hanging scroll, usually found in the tokonoma alcove of the traditional Japanese house. They are changed frequently, according to the season, the mood or the guest that particular day. Like the original kakejiku, Hasegawa sees D-K as fundamentally relational and participatory: "It is the combination of sensory perception and subconscious awareness. The changing scenery of the sunset, the 'space' between haiku lines, the 'space' between sounds, and the 'space' between times - none are tangible, but all are part of experiencing 'the moment'. When experiencing D-K, the things that you see and feel all come from you."(1)

There is a composition by Frank Zappa entitled 'The Girl in theMagnesium Dress' which he describes as being made of 'digital dust'.(2) It was created on the Synclavier (a combined synthesizer / sampler / sequencer) by taking the digital file of an existing composition and stripping away the numbers representing pitch and duration (ie melody and rhythm), leaving only peripheral data indicating the specific dynamics for each note. This became the rhythm file for the new piece; by assigning pitches to the 'dust', the composer shifted inaudible, abstract data into the realm of audibility.

Analogous to Zappa's musical construction, Rafael Lozano-Hemmer's 'Amodal Suspension' project used digital data streams as 'found objects' to provide rhythms for the modulation of light, thereby shifting invisible electronic information into the realm of visibility. E-mail messages sent via the Amodal Suspension website were encoded into
sequences of light pulses at a rate of four letters per second (two per second in the case of Japanese characters). Variations in brightness were determined by the statistical frequency of the given letter in its original language, and the spaces between words became moments of darkness. The messages were not forwarded; instead, their addressees were notified by e-mail that messages were 'waiting for them in the sky of Yamaguchi'.

'Amodal Suspension' was in operation for three weeks in November 2003, to mark the opening of the Yamaguchi Center for Arts and Media (designed by Arata Isozaki in collaboration with the performance art troupe Dumb Type). Reminiscent of the artist's earlier 'Vectorial Elevation' (Mexico City, 1999), the installation hardware was an array of twenty computer-controlled searchlights distributed around an empty field adjacent to the YCAM. The encoded messages were passed amongst the searchlights at random: two beams would intersect, and the pattern would be picked up by the second beam as the first was extinguished. Up to ten messages were in circulation at any given moment, a 'literal flash mob', as Brian Massumi described it.(3) With each exchange, the lights were angled higher and the beams faded in intensity, until the message was accessed from the website by its addressee, or possibly by another observer. The original text was then briefly displayed on an electronic billboard fixed to the exterior of the YCAM, using computer software to translate between English and Japanese. Anyone anywhere with a PC or mobile phone was able to contribute, and dedicated access pods were installed at the YCAM and at sympathetic institutions from San Paolo to New Delhi, including V2 in Rotterdam, ZKM in Karlsru"he, Eyebeam in New York, the Sendai Mediatheque, the Dessau Bauhaus and the MIT Media Lab. A realtime view of the sky over Yamaguchi City was projected on the ceiling of each venue.

The visual impact of this robotic choreography was simultaneous fluid grace and nervous energy, a web of random strobing that appeared to be on the brink of emergent order. The installation was like a holding pen for delayed communication, rendered temporarily illegible; it was not information that was suspended in the sky, but more like its aura: the shadow of the network.

The messages being used were all triggered by the installation itself (and the majority were trivial or nonsensical); if no one had participated, nothing would have happened. This perhaps explains why the artist says the work is about loneliness rather than communication - he was not tracing existing connections, but revealing the desire to make contact. However, Lozano-Hemmer did not intend the participatory aspect of 'Amodal Suspension' as an abdication of his own artistic control:
'Like other artists who grew up with Postmodernism, I used to believe that we were finally being liberated from authorship [...] now I argue that there are crucial decisions made in the creation of an interactive platform that are intensely personal and directed. One's obsessions, myths, nightmares, values, and biases are clearly reflected even in the most open pieces [...] the pleasure of the work is still in seeing how surprising behaviors might emerge during interaction. We engineer a platform, but people build their own relations, be it party or funeral.'(4) Indeed, his input was mostly parametric rather than direct, a gentle guiding of the viewer in the hope that the results would be mutually entertaining. You could not wish for a more affable media artist; Lozano-Hemmer said goodbye to the citizens of Yamaguchi with an outdoor barbecue party where he took the role of DJ.

Exposure time-
The communal, public nature of both 'Amodal Suspension' and 'Digital Kakejiku' contained a hint of ritual, like modern-day secular ceremonies. In adding yet another layer of imagery to the saturated urban environment, their virtue is to be both unnecessary and inexplicable, pure spectacle for its own sake. Lozano-Hemmer again: 'Cities - especially cities like Tokyo - need more images. My notion is that our globalized cities are infested by the same image. This image
has a very well-defined 'topdown' commercial purpose. My call is for a radical departure: more images! More self-representation, more questions, more destabilization of prevalent patterns, more uncontrollability, more silence, more abstraction, more uselessness.'(5)

Both installations used digital technology to introduce vitality and unpredictability, apparently transcending Walter Benjamin's famous assertion that mechanical (and by extension, digital) reproduction erodes the singularity, or 'aura', of the work of art. It seems that here singularity is ensured by animation, something that Benjamin himself intuited in his essay 'Little History of Photography'.(6) He suggests that the artistic value of photography is a function of how
well it captures the temporal dimension, equating the shrinking of exposure time with a corresponding loss of 'aura'. The exposure times of early photographs were measurable in hours, and the resulting stills were unavoidably imbued with traces of turbulence, a virtual dynamism collapsed into static images; there is no such thing as a still life.
Reproducing time-dependent art in the pages of a magazine is problematic to say the least. Ideally, these photographs capture a sense of the original continuity and movement, but they are still no substitute. This is work that must be experienced in its full singularity, locality and temporality: media art, unmediated.

Tom Daniell

1. See, for example, Tor Norretranders, "The User Illusion: Cutting
Consciousness Down To Size", Penguin Books 1999, pp138-139.
2. Akira Hasegawa, Digital Kakejiku project statement.
3. 'The Girl In The Magnesium Dress' was originally released on Ensemble Intercontemporain, 'Boulez Conducts Zappa: The Perfect Stranger' (EMI,1984), and later on Ensemble Modern, 'The Yellow Shark' (Rykodisc, 1993).
4. Brian Massumi, from a lecture at YCAM on November 2, 2003.
5. Rafael Lozano-Hemmer, from a conversation with the author at YCAM on October 26, 2003.
6. ibid.
7. Walter Benjamin, 'Little History of Photography' in Selected Writings: 1927-1934, Harvard University Press 1999, pp 507-530.