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IWAKI Akihisa

    Department of Cultural Design　Associate Professor
Last Updated :2024/04/23

Researcher Information

Degree

  • Ph.D. in Aesthetics（Kwansei Gakuin University）

URL

Research funding number

  • 60725076

ORCID ID

J-Global ID

Research Interests

  • Aesthetics   

Research Areas

  • Humanities & social sciences / Aesthetics and art studies / Aesthetics

Published Papers

  • Akihisa Iwaki
    Art Style, Art & Culture International Magazine 12 (1) 41 - 73 2023/09 [Invited]
     
    Traditionally, art works have been created for human beings. In this milieu, an interdisciplinary project titled “Art × Science in Kyoto City Zoo: Sensing the Feelings of a Chimpanzee Through Art” (first period, 2018-2019; second period, 2019-2020; and third period, 2020-2022), is one of the challenging projects that presupposes a nonhuman audience. From the second period of this project, “Interactive Art and Environmental Enrichment”—two relatively new research fields in human history—collaboration began with a new twist to the project. Although the original project started with the question, “What do chimpanzees feel about human art?” it would be better to say that the main focus of the project changed to “What can human artists create for chimpanzees?” from the second period. It is estimated that the divergence between human and chimpanzee occurred more than 5 million years ago. If sensibility is the faculty of receptivity of external/internal stimuli, then how is sensibility different among species? According to Henri Bergson’s argument about intelligence and instinct in his work Creative Evolution (1907), can it be assumed that sensibility also diverged and evolved from a common ancestor? Do segments or linkages of perceptionaffection-action that are targeted by interactive art play a common role in human beings and chimpanzees? How about interaction based on sexual selection? From the perspective of environmental enrichment, can human artists’ creativity contribute in some way to enrich other species in the zoo? The research and interactive art exhibitions for chimpanzees at Kyoto City Zoo, organized collaboratively by artists (second period, Kazuki Hitoosa; third period, Ryoko Aoki + Zon Ito), scientists, and engineers, guided us through the various questions. The aim of this study is to take first step toward a more than human aestheticskanseigaku while learning from the project.
  • Immersion and Floating Sensation: Thinking with an Artistic Approach to the Virtual
    Akihisa Iwaki
    Virtual Images: Trilogy of Synthetic Realities Ⅰ 166 - 191 2021/12 [Refereed]
  • Akihisa Iwaki
    Art Style: Art & Culture International Magazine Volume 4 (Issue 4) 89 - 109 2596-1810 2019/12 [Refereed][Invited]
     
    Following the “aesthetic turn” in the 1980s, analyzing human experiences on technologically constituted environment has become an important subject of aesthetics study. Since an outer space environment is a specific biosphere created using advanced technologies, it represents a model case for addressing the questions. In this study, we introduce the term “inter-space” to examine a situation where relatively and artificially closed space environments coexist in the universe. Then, we focus on a specific experience of the microgravity environment with regard to the research by artists for the “Pilot Missions of Utilization for Culture/Humanities and Social Sciences” project of the International Space Station (ISS) (1996–2013). Although these studies resulted in several findings, they are not well-known in the western space art context. Finally, we turn our attention to the multi-gravity space environments and try to arrange materials in terms of interspace aesthetics. What do living organisms feel in multi-gravity environments?Proposing questions regarding inter-space life and analyzing it in collaboration with artists who can sensualize it in their own way and researchers in other genres is one of the concerns of inter-space aesthetics.
  • Akihisa Iwaki; Nobuhiro Masuda; Yosaku Matsutani
    Bulletin of the School of Literature, Arts and Cultural Studies, Kindai University 近畿大学文芸学部 31 (1) 47 - 84 1344-5146 2019/08 [Refereed]
     
    Introduction: “Creative Evolution in Deleuze’s Cinema?” by Akihisa Iwaki Chapter 1: “Chronophotography and Plasmatic Cinema” by Nobuhiro Masuda Chapter 2: “Deleuze’s Cinema and Lumière Films” by Yosaku Matsutani Chapter 3: “Flickering Worlds” by Akihisa Iwaki Since their first publication, in France, the impact of Gilles Deleuze’s Cinema1（ 1983） and Cinema 2（ 1985） has gradually spread to various research areas. In addition, there might be several links from Cinema to aesthetics and visual culture studies in a wider sense. Furthermore, it would be interesting to examine the experience of movement and time in new media environments （e.g., that of computer technologies or that of new media art）; new arrangements of perception, affection, and action occurring through technologies （e.g., neurotechnology and neuroart）; completely different and renewed sensorimotor schema in the space of micro-gravity （e.g., space engineering and space art）; life as time machine （e. g. biotechnology and bioart）, and so on, with reference to Deleuze’s perspectives in Cinema. The panel focused mainly upon the impact of moving images from the end of the nineteenth to the early twentieth centuries, which Deleuze discussed briefly in Cinema 1. We employed the term “pre-cinema” to refer to moving images before “movement-image”（ pure movement extracted from the movement of objects） was actualized through the use of camera mobility and montage―Deleuze summarizes this point by reference to the Bergsonian philosophy of evolution. Examining the point of divergence of “movement-image（ image-mouvement）” and “image in movement（ image en mouvement）”（ movement of objects） or that of “any-instant-whatever（ instant quelconque）”（ represented by modern science）and “privileged instant （instant privilégié）” （represented by ancient science） in visual culture, can we trace other divergent lines in the evolution of moving images? Given such questions, we focused on the seeds and the milieux of movement-image and time-image, and presented some ideas.
  • The Issues of Aesthetics and Art Studies in the Era of Globalization: From the Viewpoint of Kanseigaku (Aesthetics after the Aesthetic Turn), Visual Cultural Studies, and Media Theories [in Japanese]
    Akihisa Iwaki
    Journal of Foreign Languages (College of Foreign Studies, Jinan University ed.) 3 (2) 147 - 152 2019/06
  • Yosaku Matsutani; Koichi Mori; Takehisa Mashimo; Akihisa Iwaki
    総合文化研究所紀要 =Bulletin of Institute for Interdisciplinary Studies of Culture, Doshisha Women's College of Liberal Arts 同志社女子大学総合文化研究所 35 1 - 44 0910-0105 2018/07 [Refereed]
  • Akihisa Iwaki
    Proceedings of ICA 2016 “Aesthetics and Mass Culture” 556 - 561 2017/07 [Refereed]
  • Akihisa Iwaki
    Literature, Arts & Cultural Studies : Bulletin of the School of Literature, Arts and Cultural Studies, Kindai University 近畿大学文芸学部 28 (1) 1 - 22 1344-5146 2016/09 [Refereed]
  • Akihisa Iwaki
    Naturalizing Aesthetics 167 - 177 2015/09
  • 岩城 覚久; 真下 武久; 堀 翔太
    美学芸術学論集 神戸大学文学部芸術学研究室 8 73 - 95 1880-1943 2012/03
  • Akihisa Iwaki
    Japanese Journal of Image Arts and Sciences 日本映像学会 0 (0) 21 - 40 0286-0279 2012 [Refereed]
  • 岩城 覚久
    Humanities review 関西学院大学人文学会 61 (1) 171 - 194 0286-6773 2011/05
  • Akihisa Iwaki
    Japanese Journal of Image Arts and Sciences 日本映像学会 (85) 56 - 74 0286-0279 2010 [Refereed]

Books etc

Conference Activities & Talks

  • The Possibility of Interspecies-Interactive Art: What Can Human Artists Create for Chimpanzees?  [Not invited]
    Akihisa Iwaki
    22nd International Congress of Aesthetics, Belo Horizonte, Brazil, 2023  2023/07
  • Toward an Aesthetics of Inter-space: Focusing on Life in Multi-gravity Environments  [Not invited]
    Akihisa Iwaki
    21st International Congress of Aesthetics, Belgrade, Serbia, 2019  2019/07
  • Creative Evolution in an Outer Space Environment: Towards Space Bioart  [Not invited]
    Akihisa Iwaki
    "Quite Frankly: It's a Monster Conference", organized by Symbiotic A, held at the University of Western Australia, Perth, Australia  2018/10
  • Aesthetics of Outer Space: from Micro-gravity Environment to Multi-gravity Environment [in Japanese]  [Not invited]
    Akihisa Iwaki
    International Conference of "Japanese Education and Japanology in East Asian Chinese Character Cultural Sphere" at Jinan University, Guangzhou China  2017/12
  • Bodily Experience and Life in A Microgravity Environment: Thinking with Space Art  [Not invited]
    Akihisa Iwaki
    "20th International Congress of Aesthetics",Seoul National University, Seoul, Korea  2016/07
  • Challagens of Aesthetics in the Age of Globarization [in Japanese]  [Not invited]
    Akihisa Iwaki
    International Congress of "Japanese Education and Japanology in the Age of Globalization", Jinan University, Guangzhou, China  2015/12
  • “Creative Evolution in Cinema?”(Introduction by the Panel) and “Flickering Worlds” [in English]  [Not invited]
    Akihisa Iwaki
    The Second International Deleuze Studies in Asia Conference, Osaka University, Osaka, Japan  2014/06
  • Brain Incorporated into the Machine  [Not invited]
    Akihisa Iwaki
    19th International Congress of Aesthetics, The Jagiellonian University, Krakow, Poland  2013/07
  • "Necomimi and Future Neuroculture," in the Panel of “Prosthetic Utopia: Archaeologies of the Future in Japanese Popular Culture”  [Not invited]
    Akihisa Iwaki
    "Mecamedia in Seoul Conference", Korean Film Archive (KOFA), Seoul, Korea  2012/11

MISC

Research Grants & Projects

  • 日本学術振興会：科学研究費助成事業
    Date (from‐to) : 2023/04 -2026/03 
    Author : 前川 修; 岩崎 秀雄; 水野 勝仁; 大橋 完太郎; 加須屋 誠; 松谷 容作; 岩城 覚久; 増田 展大; 細馬 宏通
  • 日本学術振興会：科学研究費助成事業
    Date (from‐to) : 2022/04 -2025/03 
    Author : 松谷 容作; 岩城 覚久
  • 日本学術振興会：科学研究費助成事業
    Date (from‐to) : 2020/04 -2023/03 
    Author : 前川 修; 岩崎 秀雄; 水野 勝仁; 大橋 完太郎; 加須屋 誠; 松谷 容作; 岩城 覚久; 増田 展大
     
    今年度はデス・アートの理論研究・事例研究に強調点を置いて活動を行なった。研究会を３回（5/10、9/05、３/22）開催し、以下の課題について各チームが検討した。第一にライフ／デス班がデス概念の哲学的言説を整理し（大橋）、デス・アート班は近代脱近代のデス・アートの系譜を整理（前川・加須屋）、双方のチーム間で討議を行い、ライフ・アート班との議論へと拡張した（岩崎・増田）。第二に、アート／テクノロジー班は生政治をめぐる作品を制作する作家にインタヴューし（水野・松谷）、ライフ／デス班がこれを受けて生政治概念とライフ概念の拡張について討議を行った（岩城・大橋）。以下３回の内容である。 ・第１回研究会：増田展大「ポストヒューマンから動物へ──その生と死」／松谷容作「《土をつくる》におけるライフ／デス」 ・第２回研究会：水野勝仁「インターネットアートを通して，何か新しいものに再接続する試み」／大橋完太郎「死と喪、およびそれをめぐる文化と表象についての現代思想・哲学」 ・第３回研究会：加須屋誠「仏教的宇宙観と身心観-構造とその崩壊-」／前川修「没後写真論―カタリーナ・ズュコラ『写真の複数の死』を読む1―」
  • Japan Society for the Promotion of Science：Grants-in-Aid for Scientific Research
    Date (from‐to) : 2017/04 -2020/03 
    Author : Maekawa Osamu
     
    The life / nature team organized the theoretical discourses gathered up to the previous year and summarized some viewpoints on discourses on art and life. / The image-media team has been proceeding with the organization of theoretical discourse up to the previous fiscal year, and has clarified the potential of image media as art (art = technology). / The perception / brain science team has advanced the discourse of the theoretical discourse up to the previous year, and has revealed the theoretical singularity that brain art / bio art has on existing art as the convergence point of the three teams.
  • Japan Society for the Promotion of Science：Grants-in-Aid for Scientific Research
    Date (from‐to) : 2014/04 -2017/03 
    Author : Maekawa Osamu
     
    We examined the possibilities of art in the age of globalization by approaching three aspects of art (media / bio / space art). In the first year, we exchanged opinions with experts on brain science and media art (Mori and Seiyama), in the second year, with experts on bio art and artists (Iwasaki, Saito, Shitamichi), in the third year with a media artist/researcher (Salter) and a psychologist/space life scientist (Koga). At the same time, we organized the discourses（about the relation of art and body/machine/affect）from the 19th century to the end of the 20th century examined some theoretical frameworks for thinking the current arts.

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