Tokyo University of the Arts

www.geidai.ac.jp/english/
Taito-ku, Japan

Tokyo University of the Arts or Geidai is an art school in Japan. Located in Ueno Park, it also has facilities in Toride, Ibaraki, Yokohama, Kanagawa, and Kitasenju, Adachi, Tokyo. The university owns two halls of residence: one in Nerima, Tokyo, and the other in Matsudo, Chiba. Wikipedia.


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News Article | November 30, 2016
Site: en.prnasia.com

SAITAMA, Japan, Nov. 30, 2016 /PRNewswire/ -- "Art Olympia," a new international open art competition held once in every two years, aims to discover young talented artists and to support them so that their global art careers may flourish. The competition will give away a total of approximately $500,000 in cash awards and prizes to 180 selected artists from around the world. The second Art Olympia will accept two-dimensional artworks only. This time, photographic works will be also accepted. Artworks, submitted from around the world, will first be reviewed at regional entry bases and then finally in Tokyo. A primary review will be done by using the images of artworks and the final review with real artworks. Moreover, the final review will use a point-rating system, allowing the public to check the reviewing process. With an eye to supporting young artists, Art Olympia has created the Student Category, allowing students to apply for both All-Entrants and Student Categories. A panel of jurors, comprising experts from various fields, provides aspiring artists with a rare chance to get their artworks reviewed by art experts. -Overseas-Based Jurors- Florence Derieux: Curator of American Art, Centre Pompidou Foundation Brett Littman: Executive Director, The Drawing Center Simon Njami: Writer and independent curator, lecturer, art critic and essayist Chu Teh-I: Artist, Director, Kuandu Museum of Fine Arts, TNUA Kara Vander Weg: Director, Gagosian Gallery -Tokyo-Based Jurors- Akiko Endo: Painter, Professor of Musashino Art University Toyomi Hoshina: Vice President, Tokyo University of the Arts Aomi Okabe: Art critic and curator Hiroshi Senju: Artist Akira Tatehata: President, Tama Art University -Awards- Total amount of cash and extra prizes: Approx. US$500,000 Total number of winners: Approx. 180 persons All-Entrants Category: First prize US$120,000 (one winner) Student Category: First prize US$20,000 (one winner) In addition, special prizes will be awarded by jurors and Art Olympia Executive Committee. -Schedule- 1. Entry period: From October 1, 2016, to March 15, 2017 2. Announcement of winners: June 7, 2017 3. Exhibition: Toshima Ward Office Building on June 17-25, 2017


News Article | November 30, 2016
Site: www.prnewswire.co.uk

SAITAMA, Japan, Nov. 30, 2016 /PRNewswire/ -- "Art Olympia," a new international open art competition held once in every two years, aims to discover young talented artists and to support them so that their global art careers may flourish. The competition will give away a total of approximately $500,000 in cash awards and prizes to 180 selected artists from around the world. The second Art Olympia will accept two-dimensional artworks only. This time, photographic works will be also accepted. Artworks, submitted from around the world, will first be reviewed at regional entry bases and then finally in Tokyo. A primary review will be done by using the images of artworks and the final review with real artworks. Moreover, the final review will use a point-rating system, allowing the public to check the reviewing process. With an eye to supporting young artists, Art Olympia has created the Student Category, allowing students to apply for both All-Entrants and Student Categories. A panel of jurors, comprising experts from various fields, provides aspiring artists with a rare chance to get their artworks reviewed by art experts. -Overseas-Based Jurors- Florence Derieux: Curator of American Art, Centre Pompidou Foundation Brett Littman: Executive Director, The Drawing Center Simon Njami: Writer and independent curator, lecturer, art critic and essayist Chu Teh-I: Artist, Director, Kuandu Museum of Fine Arts, TNUA Kara Vander Weg: Director, Gagosian Gallery -Tokyo-Based Jurors- Akiko Endo: Painter, Professor of Musashino Art University Toyomi Hoshina: Vice President, Tokyo University of the Arts Aomi Okabe: Art critic and curator Hiroshi Senju: Artist Akira Tatehata: President, Tama Art University -Awards- Total amount of cash and extra prizes: Approx. US$500,000 Total number of winners: Approx. 180 persons All-Entrants Category: First prize US$120,000 (one winner) Student Category: First prize US$20,000 (one winner) In addition, special prizes will be awarded by jurors and Art Olympia Executive Committee. -Schedule- 1. Entry period: From October 1, 2016, to March 15, 2017 2. Announcement of winners: June 7, 2017 3. Exhibition: Toshima Ward Office Building on June 17-25, 2017


SAITAMA, Japón, 30 de noviembre de 2016 /PRNewswire/ -- "Art Olympia", un nuevo concurso de arte abierto internacional celebrado una vez cada dos años, pretende descubrir a jóvenes artistas de talento y apoyarles para que sus carreras en el arte global puedan prosperar. El concurso dará un total de aproximadamente 500.000 dólares en premios de efectivo y premios a 180 artistas seleccionados de todo el mundo. El segundo Art Olympia aceptará obras bidimensionales solamente. Esta vez, también se aceptan obras fotográficas. Las obras de arte, presentadas desde todas partes del mundo, se revisarán primero a nivel regional y finalmente en Tokio. Se hará una revisión primaria utilizando las imágenes de obras de arte y la revisión final con obras de arte reales. Además, la revisión final utilizará un sistema de calificación por puntos, que permitirá al público comprobar el proceso de revisión. Con vistas a apoyar a jóvenes artistas, Art Olympia ha creado la categoría Estudiante, que permite a los estudiantes presentarse a las categorías Todos los participantes y Estudiante. Un panel de jueces, formado por expertos de varios campos, ofrece a los artistas aspirantes con una escasa oportunidad de que sus obras se revisen por expertos en arte. -Jurado con sede internacional - Florence Derieux: conservador de American Art, Centre Pompidou Foundation Brett Littman: director ejecutivo de The Drawing Center Simon Njami: escritor y conservador independiente, conferenciante, crítico de arte y ensayista Chu Teh-I: Artist, director de Kuandu Museum of Fine Arts, TNUA Kara Vander Weg: directora de la Gagosian Gallery -Jurado con sede en Tokio- Akiko Endo: pintora y profesora de Musashino Art University Toyomi Hoshina: vicepresidente de la Tokyo University of the Arts Aomi Okabe: crítico de arte y conservador Hiroshi Senju: artista Akira Tatehata: presidente de la Tama Art University -Premios- Cantidad total de efectivo y premios adicionales: aproximadamente 500.000 dólares estadounidenses Número total de ganadores: aproximadamente 180 personas Categoría Todos los participantes: primer premio de 120.000 dólares estadounidenses (un ganador) Categoría Estudiantes: primer premio de 20.000 dólares estadounidenses (un ganador) Además, se entregarán premios especiales por el jurado y el Comité Ejeutivo de Art Olympia. -Programa- 1. Periodo de entrada: del 1 de octubre de 2016 al 15 de marzo de 2017 2. Comunicado de los ganadores: 7 de junio de 2017 3. Exposición: Toshima Ward Office Building del 17 al 25 de junio de 2017


News Article | December 1, 2016
Site: www.prnewswire.co.uk

SAITAMA, Japan, 30. November 2016 /PRNewswire/ -- „Art Olympia", ein neuer internationaler Wettbewerb, der alle zwei Jahre stattfindet, will junge talentierte Künstler entdecken und unterstützen, damit ihre künstlerischen Karrieren global gedeihen können. Der Wettbewerb vergibt insgesamt rund 500.000 US-Dollar in bar an Auszeichnungen und Preisen an 180 ausgewählte Künstler aus der ganzen Welt. Die zweite Art Olympia wird ausschließlich zweidimensionale Kunstwerke annehmen. Dieses Mal können auch fotografische Arbeiten eingereicht werden. Die Kunstwerke aus der ganzen Welt werden zunächst auf regionaler Eingangsbasis bewertet, die schlussendliche Überprüfung findet in Tokio statt. Die Bewertung erfolgt im ersten Schritt anhand von Abbildungen, für die finale Überprüfung werden dann die Originale hinzugezogen. Darüber hinaus wird bei der abschließenden Einschätzung mit einem Punktbewertungssystem gearbeitet, was den Begutachtungsprozess öffentlich nachvollziehbar macht. Mit Augenmerk auf die Unterstützung junger Künstler hat Art Olympia die Studentenkategorie kreiert, damit sich Studenten für sowohl die offene als auch die Kategorie Student bewerben können. Mit einer Jury, die sich aus Fachleuten aus verschiedenen Bereichen zusammensetzt, bekommen aufstrebende Künstler die seltene Chance, ihre Werke von Kunstexperten begutachten zu lassen. -Jurymitglieder im Ausland- Florence Derieux: Kuratorin für Amerikanische Kunst, Centre Pompidou Foundation Brett Littman: Executive Director, The Drawing Center Simon Njami: Schriftsteller und unabhängiger Kurator, Dozent, Kunstkritiker und Essayist Chu Teh-I: Künstler, Direktor des Kuandu Museum of Fine Arts, TNUA Kara Vander Weg: Leiterin der Gagosian Gallery -Jurymitglieder in Tokio- Akiko Endo: Malerin, Professorin an der Musashino Art University Toyomi Hoshina: Vice President der Tokyo University of the Arts Aomi Okabe: Kunstkritikerin und Kuratorin Hiroshi Senju: Künstler Akira Tatehata: President der Tama Art University -Auszeichnungen- Gesamtwert der Bargeld- und Sonderpreise: ca. 500.000 US-Dollar Gesamtzahl der Gewinner: rund 180 Personen Offene Kategorie: Erster Platz 120.000 US-Dollar (ein Gewinner) Studentenkategorie: Erster Platz 20.000 US-Dollar (ein Gewinner) Die Juroren und das Exekutivkomitee der Art Olympia werden zudem Sonderpreise vergeben. -Zeitplan- 1. Zeitraum für Einreichungen: vom 1. Oktober 2016 bis zum 15. März 2017 2. Bekanntgabe der Gewinner: 7. Juni 2017 3. Ausstellung: vom 17. bis 25. Juni 2017 im Toshima Ward Office Building


Kuniba A.,Tokyo University of the Arts | Okado M.,Osaka University
Journal of Physics A: Mathematical and Theoretical | Year: 2012

Soibelmans theory of quantized function algebra A q(SL n) provides a representation theoretical scheme to construct a solution of the Zamolodchikov tetrahedron equation. We extend this idea originally due to Kapranov and Voevodsky to A q(Sp 2n) and obtain the intertwiner K corresponding to the quartic Coxeter relation. Together with the previously known three-dimensional (3D) R matrix, the K yields the first ever solution to the 3D analogue of the reflection equation proposed by Isaev and Kulish. It is shown that matrix elements of R and K are polynomials in q and that there are combinatorial and birational counterparts for R and K. The combinatorial ones arise either at q = 0 or by tropicalization of the birational ones. A conjectural description for type B and F 4 cases is also given. © 2012 IOP Publishing Ltd.


Aoki H.,Tokyo University of the Arts | Kaneko K.,Tokyo University of the Arts
Physical Review Letters | Year: 2013

Coupled dynamical systems with one slow element and many fast elements are analyzed. By averaging over the dynamics of the fast variables, the adiabatic kinetic branch is introduced for the dynamics of the slow variable in the adiabatic limit. The dynamics without the limit are found to be represented by stochastic switching over these branches mediated by the collective chaos of the fast elements, while the switching frequency shows a complicated dependence on the ratio of the two time scales with some resonance structure. The ubiquity of the phenomena in the slow-fast dynamics is also discussed. © 2013 American Physical Society.


Savage P.E.,Tokyo University of the Arts | Brown S.,McMaster University | Sakai E.,Tokyo University of the Arts | Currie T.E.,University of Exeter
Proceedings of the National Academy of Sciences of the United States of America | Year: 2015

Music has been called "the universal language of mankind." Although contemporary theories of music evolution often invoke various musical universals, the existence of such universals has been disputed for decades and has never been empirically demonstrated. Here we combine a music-classification scheme with statistical analyses, including phylogenetic comparative methods, to examine a well-sampled global set of 304 music recordings. Our analyses reveal no absolute universals but strong support for many statistical universals that are consistent across all nine geographic regions sampled. These universals include 18 musical features that are common individually as well as a network of 10 features that are commonly associated with one another. They span not only features related to pitch and rhythm that are often cited as putative universals but also rarely cited domains including performance style and social context. These cross-cultural structural regularities of human music may relate to roles in facilitating group coordination and cohesion, as exemplified by the universal tendency to sing, play percussion instruments, and dance to simple, repetitive music in groups. Our findings highlight the need for scientists studying music evolution to expand the range of musical cultures and musical features under consideration. The statistical universals we identified represent important candidates for future investigation. © 2015, National Academy of Sciences. All rights reserved.


Inoue M.,Osaka University | Kaneko K.,Tokyo University of the Arts
PLoS Computational Biology | Year: 2013

Cells generally adapt to environmental changes by first exhibiting an immediate response and then gradually returning to their original state to achieve homeostasis. Although simple network motifs consisting of a few genes have been shown to exhibit such adaptive dynamics, they do not reflect the complexity of real cells, where the expression of a large number of genes activates or represses other genes, permitting adaptive behaviors. Here, we investigated the responses of gene regulatory networks containing many genes that have undergone numerical evolution to achieve high fitness due to the adaptive response of only a single target gene; this single target gene responds to changes in external inputs and later returns to basal levels. Despite setting a single target, most genes showed adaptive responses after evolution. Such adaptive dynamics were not due to common motifs within a few genes; even without such motifs, almost all genes showed adaptation, albeit sometimes partial adaptation, in the sense that expression levels did not always return to original levels. The genes split into two groups: genes in the first group exhibited an initial increase in expression and then returned to basal levels, while genes in the second group exhibited the opposite changes in expression. From this model, genes in the first group received positive input from other genes within the first group, but negative input from genes in the second group, and vice versa. Thus, the adaptation dynamics of genes from both groups were consolidated. This cooperative adaptive behavior was commonly observed if the number of genes involved was larger than the order of ten. These results have implications in the collective responses of gene expression networks in microarray measurements of yeast Saccharomyces cerevisiae and the significance to the biological homeostasis of systems with many components. © 2013 Inoue and Kaneko.


Goto Y.,Tokyo University of the Arts | Kaneko K.,Tokyo University of the Arts
Physical Review E - Statistical, Nonlinear, and Soft Matter Physics | Year: 2013

To explain the differentiation of stem cells in terms of dynamical systems theory, models of interacting cells with intracellular protein expression dynamics are analyzed and simulated. Simulations were carried out for all possible protein expression networks consisting of two genes under cell-cell interactions mediated by the diffusion of a protein. Networks that show cell differentiation are extracted and two forms of symmetric differentiation based on Turing's mechanism and asymmetric differentiation are identified. In the latter network, the intracellular protein levels show oscillatory dynamics at a single-cell level, while cell-to-cell synchronicity of the oscillation is lost with an increase in the number of cells. Differentiation to a fixed-point-type behavior follows with a further increase in the number of cells. The cell type with oscillatory dynamics corresponds to a stem cell that can both proliferate and differentiate, while the latter fixed-point type only proliferates. This differentiation is analyzed as a saddle-node bifurcation on an invariant circle, while the number ratio of each cell type is shown to be robust against perturbations due to self-consistent determination of the effective bifurcation parameter as a result of the cell-cell interaction. Complex cell differentiation is designed by combing these simple two-gene networks. The generality of the present differentiation mechanism, as well as its biological relevance, is discussed. © 2013 American Physical Society.


News Article | December 19, 2016
Site: www.sciencemag.org

Have you ever wondered why a strange piece of music can feel familiar—how it is, for example, that you can predict the next beat even though you’ve never heard the song before? Music everywhere seems to share some “universals,” from the scales it uses to the rhythms it employs. Now, scientists have shown for the first time that people without any musical training also create songs using predictable musical beats, suggesting that humans are hardwired to respond to—and produce—certain features of music. “This is an excellent and elegant paper,” says Patrick Savage, an ethnomusicologist at the Tokyo University of the Arts who was not involved in the study. “[It] shows that even musical evolution obeys some general rules [similar] to the kind that govern biological evolution.” Last year, Savage and colleagues traced that evolution by addressing a fundamental question: What aspects of music are consistent across cultures? They analyzed hundreds of musical recordings from around the world and identified 18 features that were widely shared across nine regions, including six related to rhythm. These “rhythmic universals” included a steady beat, two- or three-beat rhythms (like those in marches and waltzes), a preference for two-beat rhythms, regular weak and strong beats, a limited number of beat patterns per song, and the use of those patterns to create motifs, or riffs. “That was a really remarkable job they did,” says Andrea Ravignani, a cognitive scientist at the Vrije Universiteit Brussel in Belgium. “[It convinced me that] the time was ripe to investigate this issue of music evolution and music universals in a more empirical way.” In the new study, Ravignani and his colleagues focused on the six consistent features identified by Savage’s team. They gathered up 48 nonmusicians from the University of Edinburgh and asked them to play a mildly embarrassing game of telephone. Groups of eight students had to repeat a series of 12 random beats generated by a computer that adhered to none of the the six universals. The first person in each group tried to imitate the computer's “music,” the next person tried to imitate the drumming of the first, and so on. By the time the final person laid down their riffs, something remarkable happened: The random beats had transformed into easy-to-learn, highly structured patterns. What’s more, those patterns reflected all six universals, Ravignani and his team write online today in . “That was pretty amazing,” Ravignani says. “In a nutshell, we could find that what you get in the lab … exhibits exactly the same features of the world music.” But do those similarities arise from biology, or from culture? Even if you aren’t a musician, your exposure to music as an adult is “massive,” writes William Tecumseh Sherman Fitch III, an evolutionary biologist and cognitive scientist at the University of Vienna, in an accompanying perspective. But he adds that although our musical preferences might not be “hard-coded” into the human genome, biology may still set the stage for later cultural selection: “Humans may have a … propensity to structure acoustic input in certain ways, leading over time to a cultural emergence of universals.” Ravignani agrees, citing working memory as one example of a biological constraint that could shape our musical preferences. If working memory can process just five to seven elements at a time, as many scientists say, it would be impossible for our minds to keep track of 12 beats in any given moment. But if we transform those beats into regular groupings of smaller, repeating elements, then we should be able to compress the information to fit the limited capacity of our working memory. “This is the best working hypothesis we have,” says Ravignani, who adds that the biological hypothesis “dovetails nicely” with other research in cognitive science and psychology. To reduce the influence of musical exposure, Ravignani is preparing to redo the experiment with subjects from different regions of India, China, Russia, Europe, and Africa. Ideally, those subjects would include people from isolated indigenous cultures that are not exposed to Western pop music, Savage says. After that, Ravignani’s next project is even more ambitious: to repeat the process with nonhuman animals. Figuring out how chimpanzees or harbor seals—some of the few species that can synchronize to a beat—transmit music might help us reconstruct the early steps in our evolution of musical cognition, he says, perhaps bringing us closer to understanding both how and why we create music as we do.

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