端山貢明の肖像 (写真提供：ル・マルス) (Portrait of Hayama Kōmei (photograph supplied by Le Mars))

Notes

From the 端山貢明アーカイブ (Hayama Kōmei Archive), item 9792 in the 略歴・業績 category, registered 2022-09-20: https://d-commons.net/hayama/?c=&p=9792. 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. Source: Black-and-white photographic portrait; credited by the archive to Le Mars (ル・マルス), taken in Hayama's research room at Tohoku University of Art and Design. Dated: June 1998 (date given by the archive; no caption appears on the print). The archive publishes this item as 1 separate page scan rather than as a PDF; the download here was assembled from those scans in page order, each taken at the higher of the two resolutions the archive serves. A single black-and-white photograph that serves as the archive's standard likeness of the composer. Hayama is shown in a dark suit, white shirt and dark tie, wearing heavy square-framed glasses, caught in mid-sentence with his mouth open and his gaze off to one side. Behind him a wall of shelves is packed with books and journals, some spines in English; the corner of a computer monitor intrudes at the right edge. The frame is cropped very wide and shallow, so the sitter occupies the centre band of a long horizontal image. Nothing is printed on the sheet itself — no caption, credit or date. The archive's catalogue record supplies the circumstances: the picture was made in June 1998 in Hayama's laboratory at Tohoku University of Art and Design, where he had been a professor since 1993, during an interview for the magazine GRAPHICATION, and the photograph was supplied by Le Mars. It therefore shows him at sixty-six, two decades after 《曲舞》 (1978), his last composition, and in the middle of the academic phase of a career that had moved from composition through the founding of the Computer Art Center (1972) to the teaching of information environment studies. The bookshelves and the monitor at his elbow are the setting of that later work rather than of the composer's life documented elsewhere in this group of papers. Noted: ル・マルス (Le Mars) is named only as the supplier of the photograph; whether it is a studio, an agency, a publication or an individual photographer is not stated, and no photographer is credited. The June 1998 date and the GRAPHICATION connection come from the archive's description, not from anything written on the print.