• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.335-341
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• 2020

As life, once immersed in labor, changes with values and lifestyles, individuals consume or participate in culture and arts for learning, meeting of intellectual needs, pleasure, and exchange. As culture and art spaces have increased in recent times, these spaces have been transformed into places to create, view and exchange culture and art, and to consume cultural goods. Culture and art spaces have created and developed new genres and technologies that give viewers the opportunity to communicate and participate, allowing them to understand and accumulate works of media. A media façade thus gives a preference to places for visitors by giving an impression over a short period of time in culture and art spaces that are not areas for exhibitions and performances, and providing an opportunity to more easily approach and understand works and culture and art spaces. A media façade is a type of medium that imparts aesthetics and information by installing LED lighting on the exterior wall of a building for the realization of media functions. In order to analyze the effect of the media façade on preferences for culture and art spaces, a research model was established with media façade characteristics as independent variables and preferences for culture and art spaces as dependent variables. As a result, media façade design and media features influenced satisfaction, while the media characteristics of the media façade influenced recommendation and revisiting, suggesting that many changes will take place in culture and art spaces.

• Conservation Science in Museum
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• v.3
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• pp.71-78
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• 2001

The airtightness of museum cases in museums was measured by using CO₂ tracing gas, but it has been pointed that it has a problem with measuring the airtightness of a museum case which has a hole inside before it is used or while is being used. So studies tried to come up with alternatives which make it possible to measure the airtightness of a museum case before it is used or while it is being used if necessary by indirectly measuring the airtightness of the museum case without changing its form. Indirect measuring is done by measuring the change of Art-sorb weight and the change of temperature and humidity inside the museum case. Experiments were made for 12 days with three builtin wall case installed at the same place without turning on the lights but with Art-sorb and the data logger of temperature and humidity put into museum case. The change rate was produced with the change of temperature and humidity inside the museum case divided by that of those around museum case. As a result, the temperature change rate of museum case A(0.67) was lower than that of museum case B(0.69) or museum case C(0.79). The humidity change rate of museum case A(0.12) was lower than that of museum case B(0.19) or museum case C(0.72) showing that its airtightness was the best. Also in the direct airtightness measurement by CO₂ tracing gas, the air exchange rate was compared with the humidity change rate by Art-sorb in the indirect measurement.

• (The) Research of the performance art and culture
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• no.33
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• pp.243-271
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• 2016

When an aggressive war reached at the climax in 1940, a commemorative event called celebration' was held on a large scale in Japan for 'beginning former 2,600 years. It was performed for the policy that was going to break off the fatigue that was tired for nation dissatisfaction and war for the politics. I considered Urayasu-no-mai Dance played as part of a celebration event in a Shinto shrine of the all over Japan how was created and spread by this article Urayasu-no-mai Dance was created newly and was played in Shinto shrines of the whole country. The Urayasu-no-mai Dance was created based on Gagaku and Miko Mai (shrine maiden's dance) that has been read aloud not to go out of the ancient times. It was created in the situation of the war and spread and was spread. It will be said that Urayasu Dance is a typical example of 'forged traditional'. Urayasu Dance is a tradition made at modern time and remains for an unfortunate inheritance used again by the advertising tool of the national ideology. The Urayasu-no-mai Dance is expanded more now, without enough consideration about the historic procession other words, It played under a strong-arm society atmosphere is placed as new folk performing arts all too soon. In the complicated world situation at the time, Urayasu-no-mai Dance that emphasized a Japanese tradition for the inside and outside were spread. Urayasu-no-mai Dance created in modern times substitutes a traditional shaman dance, and there is even the tendency that ritual performing arts peculiar to each local Shinto shrine is unified to Urayasu-no-mai Dance. Such a movement shows a new aspect of the culture power that social turning to the right in Japan is not unrelated to becoming it. It is a traditional reinvention, or do you forge the tradition? I examined a process of a process and the spread of traditional creation produced consistently.