Philosophy in the Streets

Welcome to Yoshitaka Mōri's HP 毛利嘉孝研究室

Emergence of Trans-National Consciousness in Alternative Spaces in Asia

Marx and Engels once said ‘Workers of the world, unite!’ They believed that the transnational class consciousness of the proletariat would emerge through global spatial reformulation. Their proletarian class consciousness grew by sharing spaces such as a factory or a coal mine shaft and imagining those who were experiencing the same conditions as they were in the world. Today cognitariats may be too divided and individualized to establish class consciousness in a Marxist sense. We can feel, however, that a transnational collective unconsciousness may be about to appear through artistic practices in alternative spaces and their place-bounded politics. Mōri (2018) 'Mobility and Place: the Multiplying of Alternative Spaces in Asia'










Language Policy

Language Policy

Japanese language skills are not always required to apply for an MA or PhD under my supervision. In fact, some of my students have completed their MA in English only. It should be noted, however, that most of our seminars in the GA take place in Japanese. It would also be better to speak basic Japanese in order to survive everyday life.

For those who would like to apply for an MA or PhD in the Graduate School of Global Arts (GA)

For those who would like to apply for an MA or PhD in the Graduate School of Global Arts (GA)

Please have a look at the list of my publications and activities and then consider whether I could be the most appropriate supervisor for your research. Finding an appropriate professor is much more important than to choosing a university. If you have any inquiries, please send an e-mail via our HP:

 Research Students (Kenkyusei)

Research Students (Kenkyusei)

Due to the restriction on number, I do not accept any research students who are preparing to apply for our MA program in the future: I accept only (a) those who were able to receive a research scholarship such as MEXT (b) PhD candidates or researchers who have already obtained an MA degree or equivalent or (c) students recommended by my overseas research collaborator.




What is New?

Lectures, Conferences, Workshops and Exhibitions

Special Seminar with Dr. Marié Abe (Associate Professor of Music, Musicology and Ethnomusicology, Boston University)

On Marié Abe (2018) Resonances of Chindon-ya: Sounding Space and Sociality in Contemporary Japan, Wesleyan University Press

昨年『チンドン屋の響き:現代日本の音響空間と社会性』 Marié Abe (2018) Resonances of Chindon-ya: Sounding Space and Sociality in Contemporary Japan, Wesleyan University Pressを発表したボストン大学准教授の阿部万里江さんをお招きし、本書の魅力とその背景、そしてその方法論についてお話をいただきます。阿部さんは気鋭の音楽学者、民俗音楽学者として活躍する一方で、アコーディオンやピアノの演奏家としても知られ、ボストンのエチオピア・グルーヴ・コレクティヴのDebo Bandのメンバーでもあります。今回の演習は、毛利研究室の演習の一環で行われますが、興味のある方はどなたでもご参加いただけます。直接お話を伺う貴重な機会ですので、ぜひご参加ください。



毛利嘉孝 (東京藝術大学)



Marié Abe プロフィール:

Marié Abe is Associate Professor of Music in the Department of Musicology and Ethnomusicology, and an affiliated faculty at the African Studies Center and American and New England Studies Program at Boston University. Her recent book, Resonances of Chindon-ya: Sounding Space and Sociality in Contemporary Japan (Wesleyan University Press, 2018), is an ethnographic exploration of the politics of space and sound, affect, and Japanese popular performing arts. Other research interests include cultural advocacy, ritual music in Bali and Thailand, the accordion and immigrant communities in California, anti-nuclear movement and music in Japan, anti-U.S. military movement and music in Okinawa, and afro-futurism in the United States.

A recipient of a Faculty Fellowship at the Susan and Donald Newhouse Center for the Humanities at Wellesley College (2013-2014), during the 2018-19 year she will be a fellow at the International Research Center for Japanese Studies in Kyoto. Before coming to Boston University, Marié taught in the Department of Anthropology at Harvard University, where she was a postdoctoral fellow at the Reischauer Institute of Japanese Studies, and in the Department of Music and Asian Studies Program at UC Berkeley.

Marié is also interested in public ethnomusicology. She has co-produced the NPR radio documentary “Squeezebox Stories” (2011), which tells stories from Californian immigration history using the accordion as a common trope.

As an active performer and improviser of the accordion and piano, she performs and records with artists from the United States, Japan, and beyond. She is also a member of the Boston-based Ethiopian groove collective Debo Band (Sub Pop/Next Ambience), which has been featured in the New York Times, Rolling Stone Magazine, and NPR.

Marié holds an MA and a PhD in Ethnomusicology from the University of California, Berkeley, and a bachelor degree in sociology, anthropology, and ethnomusicology from Swarthmore College.

ソーシャリー・エンゲイジド・アート 琴 仙姫の『朝露』プロジェクトについて


このシンポジウムでは、 琴 仙姫を中心とするアートプロジェクト『朝露』(2019年度川村文化芸術振興財団ソーシャリー・エンゲイジド・アート支援助成事業)をめぐって現代のアートと政治の関係を考えます。

第1部では、琴 仙姫とコラボレーション・アーティストによるプレゼンテーションとキュレーター、プログラムコーディネーターを加えたディスカッション、第2部では、プロジェクト『朝露』に関心を持つ研究者、批評家を交えて、アーティストとキュレーターのプレゼンテーションを受けて引き続き議論を展開します。


■ プロジェクト『朝露』について


現在日本には約200 人あまりの北朝鮮脱北者が住んでいる。日本に住む脱北者の多くは1960 年代後半から70 年後半にかけて行われた「帰国事業」により北朝鮮に移住していった在日朝鮮人たち、或いはその子孫たちである。彼らは当時「地上の楽園」として報道された幻想を信じ移住した。殆どは現在の韓国出身の在日朝鮮人たちであった。見ず知らずの土地に移住した「帰国者」たちはその後、朝鮮戦争復興の貧窮真っ直中にある北朝鮮で過酷な生活を余儀なくされることになった。


プロジェクトのタイトルである「朝露」は、韓国の80 年代の学生運動で歌われた歌であり、暗い夜を過ごした後、純粋で美しいものに再生していく様子を象徴している。

■ イベント概要

日 時:6月22日(土)14時~17時
場 所:東京藝術大学上野キャンパス(音楽学部側)GA講義室
主 催:東京藝術大学大学院国際芸術創造研究科+音楽環境創造科(毛利嘉孝研究室)
協 力:「朝露」プロジェクト 川村文化芸術振興財団

■ プログラム スケジュール

○ 1部:14:00~15:30

– 概要説明(琴仙姫:写真や映像を交えたプレゼンテーション)
– コレボレーション・アーティストのプレゼンテーション:山本 浩貴 、竹川 宣彰
– プロジェクトコーディネーターを交えたディスカッション: 琴 仙姫+山本 浩貴+竹川 宣彰+濱 治佳 +岡田 有美子

○ 2部:15:30~16:30 「朝露プロジェクトのプレゼンテーションを受けて」

司会:毛利 嘉孝
李 静和+古川 美佳+琴 仙姫

16:30-17:00 含む会場とのディスカッション

全体進行:宮川 緑

Natalia Fuchs Lecture: Art, Science and Technology in Post-Soviet perspective

DATE: 10th June 2019 (Monday)
TIME: 18:30-20:00

VENUE: Global Arts Lecture Room, University Hall (Daigaku Kaikan) 2F, Faculty of Music Ueno Campus, Tokyo University of the Arts
(12-8 Ueno Park, Taito-ku, Tokyo)

Speaker: Natalia Fuchs (New Media Researcher, Art Historian and Curator, Moscow)

Chairs and Discussants:
Yoshitaka Mori (Tokyo University of the Arts)
Tanja Silman (Tokyo University of the Arts)

Organized by Graduate School of Global Arts (GA), Tokyo University of the Arts and Post-Media Research Network (PMRN).

Free Admission. No pre-booking necessary. English only: No translation available.

Art, Science and Technology in post-Soviet perspective

Intersections of Art, Science and Technology in Russia and other countries of the former Soviet Union examined the consequences of innovation in the industry, economy, culture and communications. This artistic research was conducted mainly by unofficial artists and creative communities often forming groups to collectively envision the unknown futures. In the XXI century art, science and technology interpretations of the Soviet times became an aesthetic framework for the severe ontological questions about art and science in Russia through the lens of media archeology. Finding interconnections between the two and focusing on the efficiency of interdisciplinary communication, lately post-Soviet society experienced the raise of the interest to the art, science and technology intersection from formal institutions that made this independent and non-conformist field of artistic production highly connected to the political agenda in modern official culture. “Art, science and technology relations in post-Soviet perspective shows how history dramatically changes the role of specific art practice and turns over its impact from the value of critic to propaganda”, considers Natalia Fuchs, media art historian and curator working across the fields of visual art and new media internationally.

Natalia Fuchs Biography

Natalia Fuchs is new media researcher, art historian, international curator and cultural producer. She obtained an MA in Cultural Management from the University of Manchester and another in Media Art Histories from Danube University in Austria.

Between 2009 and 2013, she developed the Media Forum at the Moscow International Film festival, and the contemporary art fair VIENNAFAIR, founded the art relations practice ARTYPICAL, and was appointed Curator of the Polytechnic Museum, Moscow. She was holding this position from 2013 to 2016 running international exhibitions (including “Earth Lab”, co-production of Ars Electronica Export) and“Polytech.Science.Art” interdisciplinary program that received diploma of the Ministry of Culture of Russia as the “Best educational project in the museum” in 2015.

In 2016-2018, as curator and head of the multimedia art department and deputy director of the National Centre for Contemporary Arts in Moscow, she launched the TECHNE platform for innovative art. In 2018 Natalia Fuchs also became one of the founders and activists of United Curators, together Maurice Jones (MUTEK.JP). She was curator of Input symposium on digital art in the frame of Lunchmeat Festival in Prague, Czech Republic, and co-curator of CTM Festival exhibition “Persisting Realities” and the workshop “The Work of Art in the Age of Artificial Intelligence” in 2019.

She has been teaching Media Art History at the Moscow State University since 2017, and Art & Science at ITMO University in Saint Petersburg, in 2018. She currently consults ZKM in Germany (“Open Codes”, curator Peter Weibel) and Barbican Centre in the UK (“AI: More Than Human”, curator Maholo Uchida) as an Art Advisor. And as a main activity, she produces Gamma Festival of music and contemporary art and Gamma_pro, annual art & technology forum, in St. Petersburg, Russia.

Besides curating and teaching media art as experimental art practice, Natalia is producing her own A/V performances and video artworks (“behaviors” w/Sonia Cillari, 2015; “Synaesthetic Symphony”, 2016).

This seminar is supported by JSPS KAKENHI Grant Numbers 17H02587