情報化週間に於けるコンピュータ・アート展に関する趣意書 (Prospectus for the Computer Art Exhibition during Information Week)

Notes

From the 端山貢明アーカイブ (Hayama Kōmei Archive), item 9874 in the コンピュータアート (computer art) category, registered 2022-10-02: https://d-commons.net/hayama/?c=&p=9874. Published by the 端山貢明アーカイブプロジェクト (Hayama Kōmei Archive Project), directed by 前川道博 (Michihiro Maekawa) of Nagano University, on the D-Commons platform, and licensed CC BY (表示). The source documents come from the 端山文庫, the papers kept in Hayama's laboratory at Tohoku University of Art and Design, digitised by the project with the agreement of his family; his autograph scores were given to the University History Archives of the Tokyo University of the Arts in 2026. Seven pages — five of typescript, two of freehand diagrams — written to win backing for the exhibition CAC mounted during Japan's Information Week in 1973. Hayama concedes that hostility to computers is not merely sentimental: what the technology has most lacked is a philosophy of its adaptation to society, the principle that it serves humanity. Audiences who have met only pattern-like graphics and thin low-bit sound have a ready target for the charge that this is machine art without humanity. The plan is a total sensory space of sound, image, light and colour under computer control, provisionally titled A TRIP BY COMPUTER, subtitled ENVIRONMENT ↔ HUMAN. The governing principle — unique, he claims, among computer art exhibitions so far — is interaction between the individual visitor and the computer as medium. A HOT space at the entrance has high event density and a legible link between act and result, a COOL space the reverse; input comes from sensors detecting movement. An 外延 ("extension") puts input and output outside the building: at the Sony Building the illuminated wall would serve, with coins thrown into a pool as input, altering the interior and returning as light art and sound on the facade. Real-time graphics let visitors feed variables to a figure program and watch the forms change. The budget totals ¥7,260,000, with lines for video works on VTR and film, real-time image and sound programs, equipment hire and 5,000 posters. The last two pages are hand drawings: a venue plan mapping the hall in dashed zones for live graphics, colour VTR and display units, graphic panels, the HOT and COOL spaces and the entrance, with the extension loop running to wall light art, an EX. node, INPUT and sound output; and a sound-system chart running an INPUT through four oscillators A–D (white noise, sine, saw wave), seven qualitative-addition units 1–7 (filter, echo, envelope), a DISTRIBUTOR and a 33-channel speaker system, under control lines from a COMPUTER. Contents as the document gives them: コンピュータと社会の適応関係 (The adaptive relationship of computers and society) · コンピュータ適応の基本原理 (Basic principles of computer adaptation) · テクノロジーと社会の相関 (The correlation of technology and society) · 芸術とテクノロジー (Art and technology) · 一般の理解の現況 (The present state of general understanding) · 現状の是正 (Correcting the present state) · 企画の目的：人間性へのアプローチとその技術 (Aim of the plan: an approach to humanity and its technology) · メディア運営上の問題 (Problems in operating the medium) · 相互的利益関係 (Relations of mutual benefit) · 企画内容 (Content of the plan) — 企画の目的 (aim), テーマ (theme: A TRIP BY COMPUTER / ENVIRONMENT ↔ HUMAN), 会場設計 (venue design), 原則 (principle) · 内容の例 (Examples of content) — COOL/HOT sensory spaces, 外延 (the 'extension' outside the building), リアルタイムのグラフィック (real-time graphics) · 製作費／会場設営／事業費 (Production costs / venue construction / operating costs; total ¥7,260,000) · 会場の概略 (Outline of the venue — hand-drawn plan, p. 6) · 音のシステム (The sound system — hand-drawn signal-flow chart, p. 7). Noted: No individual person is named in the typescript; no date beyond '1973年', and no signature. Page 6 carries a pencil note below the venue plan reading roughly 'Young blood music V → Hitac. 高橋研' — the handwriting is hard to read and its meaning (apparently a note about MUSIC V on a HITAC machine at a Takahashi laboratory) could not be verified. The venue plan's smaller labels are legible only in part; the sound-system chart's 'Q' box and 'OPT. DRUM' are not explained in the text. The Sony Building is named only as an example of a possible venue ('ソニービルの場合'), not as a confirmed one. The text PDF has OCR/transcription gaps marked with '？' (e.g. 'この？のマルチプルな組み合せ', '電光提示の？の大きな壁面').