端山貢明のメディア論考～作曲からコンピュータアート、ネットムセイオンへ～ (Hayama Kōmei's Media Thought: From Composition through Computer Art to Net Museion)

Notes

From the 端山貢明アーカイブ (Hayama Kōmei Archive), item 133469 in the アーカイブプロジェクト (archive project) category, registered 2026-06-01: https://d-commons.net/hayama/?c=&p=133469. 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: 日本映像学会第52回全国大会研究発表（於 愛知淑徳大学）, 31 May 2026; presenter 前川道博, 中京大学人工知能高等研究所特任研究員／端山貢明アーカイブプロジェクト代表. Dated: 2026年5月31日 (presented 31 May 2026). Forty-four slides for the 52nd annual conference, Aichi Shukutoku University, 31 May 2026, by Maekawa, who heads the Hayama Kōmei Archive Project. The trail began at the Yamagata cable station Diversity Media in February 2020; 85 boxes were sorted in May 2021, just after Hayama's death, and 13 more came from the family home, including sealed original scores. Almost all was digitised and, bar valuable creative material, the originals destroyed, on the principle that guaranteeing access matters more than keeping the object. The scores went to Tokyo University of the Arts under CC licences. The periodisation has four stages. Composition, 1950s–70s: Tokyo University of the Arts from 1952; the Viola Concerto of 1955 (Minister of Education's Prize), Paris Conservatoire under Messiaen 1957–59, the Piano Sonata (1960) and TAO (1975), then nothing until 2000. Computer art, 1970s: CAC in 1972 and the exhibitions from 1973, aimed at interactivity, real time and social media; the 1975 edition ran 30 September to 12 October on the eighth floor of the Ginza Sony Building with five film works (16 mm, FORTRAN), three sound works and twenty-seven graphic works, mostly plotted. Social dynamics: the institute of 1974, INFORUM, Image Synthetics (1983); then education and local activation from 1993. He anchors the thought in Image Synthetics: a great characteristic of modern art is determinacy, information completing itself on the sending side (p. 91); indeterminacy moves that point, raises participation and enlarges the receiver's right of access, individualising experience and value (p. 94). Hayama applied this to a region: Yamagata Net-Expo in 1995 put the documentary film festival and local culture online with citizens and students as senders, and from 1997 to 2008 he appeared 111 times on a cable talk show. The culmination is the 2000 paper "Toward a Net Museion I", defining a knowledge-circulating institution beyond school and museum — a model, Maekawa argues, fifty years early. Contents as the document gives them: 本研究の背景 (Background: the Hayama Kōmei Archive Project from 2021; the Chukyo University project from 2026) · 【０】資料整理とアーカイブ化 (Sorting the material and making the archive) · 資料デジタイズ／楽譜デジタル化 (Digitisation; score digitisation — 『オーボエとビオラのための奏鳴曲』1956, 『10 Proc』, 『Concerto_PRC_ORC_MUSIC-A』1971) · 原本(楽譜)は東京藝大に寄贈 (Original scores donated to Tokyo University of the Arts) · 端山貢明・メディア論の通時的視座 (A diachronic view of Hayama's media thought) · 【１】作曲活動 1950s～1970s (Composition) · 端山貢明、作曲からの転回／ジョン・ケージからの啓示 (The turn away from composition; the revelation of Cage) · 「決定性」と「非決定性」―近代と現代の違い (Determinacy and indeterminacy: modern vs contemporary) · 非決定性→アクセス側の主体性 (From indeterminacy to the agency of the access side) · 【２】コンピュータアート 1970s — CAC, 国際コンピュータ・アート展 Cybernetic ARTRIP 1973～1978, コンピュータアート展'75の出品状況 · 著書『イメージシンセティクス』(1983) with its table of contents · 【３】社会動学(ソシアルダイナミクス) — INFORUM (1974), 「技術と社会意識の関連に関する調査研究」1976/05 財団法人機械振興協会, 企業戦略分析研究報告書 · 【４】教育・社会励起 1993～2000s — 東北芸術工科大学, 山形Net-Expo (1995), 『トーク番組 今日とは違う、世界がある。』(1997–2008, 111 episodes) · 山形における地域励起化支援 (Supporting local activation in Yamagata) · メディア論の集成「ネット・ムセイオン論」(2000, 東北芸術工科大学紀要第7号) — 1 原論 原理としてのHRD; 2 主体的なHRDを支える社会的技術的環境とその与件; 3 試行形態・移行形態としての講義・演習、自由学習; 4 新しい体系への移行; 5 展望 ムセイオン、知の遺伝体系 · 端山貢明のメディア論を現代の視座から捉えてみると（まとめ） (Conclusions). People named: 前川道博 (Maekawa Michihiro) — presenter, 端山貢明 (Hayama Kōmei, 1932–2021), 幸村真佐男 (Komura Masao), オリヴィエ・メシアン (Olivier Messiaen), ジョン・ケージ (John Cage), 吉村和文 (Yoshimura Kazufumi) — executive director, Cable Television Yamagata; co-host of the talk programme. Noted: Many slides are images (scores, photographs, CG experiments on facial physiognomy and noh masks, the 1990 corporate-strategy report, the Yamagata Shimbun clipping) that are not in the text layer and could not be read; several are marked 現時点では非公開 (not yet public). As in the 2025 paper, the exhibition series is dated both 1973–1978 and 1973–75 on different slides. The talk-programme quotation is dated [1998/10] but the episode is not otherwise identified. 幸村真佐男 appears only in the project title and the comparative chronology; this paper is about Hayama. Hayama's listed works (ピアノソナタ 1960, メタボリズム 1969, 道「TAO」1975, 曲舞 1978/80) are given as a slide list without catalogue detail; 曲舞 is read as 'Kusemai' but the reading is not given in the slides.