NORIYUKI KIMURA

Works

• 2017

  POLINKI

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  HD | Color | Stereo | 8 min 19 sec | 2017

  The film „POLINKI“ shows a dream story of a man who woke up in the dark room. He met a mother holding a baby in his dream, and was navigated to see the four lighting points. The baby called a triangular pyramid connecting those four lighting points „POLINKI“. It is a constellation of the starlights those will be observed in the extraordinary long timeline for 433 years 11 days 8 minutes and 19 seconds.

  映画『ポリンキー』は、暗闇の中で目覚めたある男の夢物語として展開する。その夢の中で男は母子に出会い、彼女らの言葉に導かれて４つの光点を見る。赤ん坊はそれら４つの光点を結んだ三角すい型の図形を、ポリンキーと呼んだ。ポリンキーとは、４３３年と１１日、８分１９秒という非常に長い時間をかけて観測される星座である。

  Still image from POLINKI, a view in my room size camera obscura, カメラオブスクラ化した私の部屋の光景

  
  

  Still Image from POLINKI, a pinhole image of a mother holdong a baby on a sheet of paper, 紙に映る母子のピンホール像

  
  

  Still Image from POLINKI , a man exposed to incident light in Camera obscura, カメラオブスクラへの入射光に晒される男

  
  

  
  

  I have been making experimental films under the theme of the conceptual use of sunlight since 2011 after the Fukushima nuclear disaster. The film POLINKI is an experimental short film taking over the theme too. In the film, I initially tried to treat an extraordinary long duration using the property of sunlight. In order to formulate the idea, I made up my flat into a camera obscura, stayed locked up there, and then started to analyze the Sun's movement by tracing and measuring the trajectory lines of an incident light in my Camera obscura. The film shows a process to construct a figure with an extraordinary long timeline based on the lines traced in my Camera obscura.

  ２０１１年に福島で原発事故が起きて以降、私は太陽光の概念的な使用をテーマにして実験的な映画を作ってきました。映画『ポリンキー』もまた、このテーマにおける実験的短編映画です。そもそもこの映画で私は、太陽光の性質を利用して、驚くほど長い時間を扱うことを試みていました。その試みの構想にあたって改めて太陽光の動きを分析すべく、自宅をカメラオブスクラ化して中にこもり、部屋へ入射する太陽光の軌跡をトレースして計測を始めました。この映画では、そうして描かれたトレースの線をたよりに、膨大な時間のタイムラインを図形として構築していく過程が示されています。

  Still Image from POLINKI, The Sun's image projected on the kitchen's tiled wall, 台所のタイル壁に映る太陽像

  
  

  Diagrams of POLINKI , ポリンキー のダイヤグラム

  
  

  In drawing scenes of POLINKI, the trajectory of sunlight was used, which reached at the kitchen's tiled wall in my Camera obscura (my flat). 8 minutes 19 seconds' trajectory of the sunlight was replayed on fast-forward in the film, and was traced as the first line. The second line on the same wall was appeared on a multiexposured image by interval photography which were recorded once (three photo-sequence) every 24 hours during 11 days. Those two lines of Sun's trajectories were folded, two pin holes were put at both ends, and then a line of sight through the holes were connected to the light from the North star of Polaris which would be viewed in 433 years.

  ポリンキーの描画にはまず、カメラオブスクラ内の壁（自宅の台所のタイル壁）に差し込む太陽光の軌跡が用いられました。映画では、その８分１９秒間の軌跡が早回しで再生され、最初の線として示されます。二本目の線は同じ壁に映る太陽の、日毎に変化する位置をつなげたものです。映画では、きっかり２４時間ごとにインターバル撮影した画像を１１日間分重ね合わせた、いわゆる多重露光イメージを用いて線が描かれています。こうして得られた二本の線が折り曲げられ、両端に二つの穴が開けられて、やがてそれらの穴を貫く視線の先で４３３年後に交わるはずの北極星ポラリスからの光と結びつけられることになります。

  
  

  Screen captured image of a simulation program for evaluating the consistency of the line's manipulations, 線の操作の整合性を検証するためのシミュレーションプログラムのキャプチャ画像

  Screen captured image of a simulation program which identifies the time, place and direction by calculating the sunlight's movement in a camera obscura, カメラオブスクラ内における太陽光のふるまいを計算するシミュレーションプログラムのキャプチャ画像

  
  

  The consistency of the procedure in the film has been evaluated with a computer simulation which calculates movements of sunlight in my Camera obscura (my flat). In the simulater, I calcurated backward from the setup condition in the middle of the film "A line of sight through the two holes will be facing the North star", and then the appropriate trajectories of sunlight on the kitchen's tiled wall and those specific dates were identified. The four lighting points of POLINKI will be actually observed if you comply with the instruction given by the narration in the film under the following conditions. [Initial observation period, 8:50:00 am, 21. Dec. 2017 / Initial observation point, 51˚12´58.5792¨ N, 6˚47´38.8536¨ E / Initial azimuth 337˚, NNW].(*It's already passed.)

  Incidently, 8 minutes and 19 seconds is a duration in which the sunlight arrives on the Earth from the outside of the Sun, 433 years is a duration in which the light of Polaris arrives on the Earth. The duration of 433 years to Polaris is quoted from Hipparcos Catalogue (1997), and there is another theory of ca. 323 years by David Turner (2012).

  こうした手順の整合性は、カメラオブスクラ（自宅）内の太陽光のふるまいをコンピューターでシミュレートしながら調整されたものです。そのシミュレーターを使って、映画中盤の「二つの穴を貫く視線が北極星に向かう」という設定から逆算し、台所のタイル壁に描かれるべき軌跡の線とその具体的な日時を特定しました。ポリンキーを構成する４つの光点は、以下の条件においてナレーションの指示に従うことで実際に観測されるでしょう。【初期観測日時：２０１７年１２月２１日８時５０分０秒、初期観測点：北緯５１度１２分５８.５７９２秒・東経６度４７分３８.８５３６秒、初期観測方角：北北西３３７度】（※現在では、すでに過去）

  ちなみに８分１９秒という時間は太陽光がその外殻を出て地球に到達するまでの間隔を、４３３年という時間は北極星ポラリスの光が地球に到達するまでの間隔を示しています。北極星までの４３３光年という距離は、１９９７年発行のヒッパルコス星表から採られたデータで、２０１２年以降は約３２３光年というデビッド・ターナー氏の説もあります。

  Observation Point on the map, 観測地点地図

  Show on Google Maps, グーグルマップで表示

  
  

  The words of narration
  Trace the light from A to B for 8 minutes and 19 seconds. Draw a circle at around B with a radius of the line AB. C is at the point where the light intersects with the circumference of the circle. Fold the image 90˚ along the line connecting B and the midpoint of CA. Put two pin holes at A and C. Look into hole C from hole A. You are now seeing the light of Polaris, the current North Star, which comes from 433 years ago. Follow the light for 433 years. Light D is there, point D is there. I call the triangular pyramid connecting those points A, B, C, D as a Polinki.

  ナレーションの言葉
  AからBへ、8分19秒の間、その光をなぞりなさい。Bを中心として、線分ABを半径とする円を描きなさい。Cは、その円と光との交点にある。線分ACの中点とBを結ぶ線に沿って、その面を90度折り曲げなさい。AとCにそれぞれ小さな穴を二つ開け、穴Aから穴Cを覗き込みなさい。いま、おまえはポラリスを見ている。現在の北極星、433年前からの光である。その光を433年間追いつづけなさい、Dはそこにある。光点ABCDを結んだ三角錐をポリンキーと呼ぶ。

  Still image from POLINKI, I call it a POLINKI, 私はそれをポリンキーと呼ぶ

      

      

  
  
  

  LONGYEAR'S OBSERVATORY

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  HD video | color | stereo | 8 min | 2017
  The short film portrays a fictional story about „LONGYEAR'S OBSERVATORY“. The observatory is a pair of structures consists of MOUND and STONE. Sunlight bounces off the mirror surface on MOUND, and pass through the apex of STONE.on the summer solstice at Longyearbyen, Svalbard, Norway, at 78˚10‘ 22.8“ N, 15˚28‘32.0“ E. MOUND and STONE were discovered in 1871 by John Manro Longyear, an American businessman who died in 1922. He left notebooks which contained a huge amount of materials about MOUND and STONE and those surrounding enviroment. The film is composed of the description in his notebooks and the video & sound sequences those the artist recorded at the venue in 2015.

  STONE (in front) and MOUND (far behind, right side of the stone) of LONGYEAR'S OBSERVATORY

  Computer-simulation for LONGYEAR'S OBSERVATORY

  Simulated MOUND of LONGYEAR'S OBSERVATORY

  MOUND of LONGYEAR'S OBSERVATORY

  
  
  

      

  2016

      

  A SYNOPSIS FOR A DOCUMENTARY, 10.11.2016

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  Series | HD video | Text on Paper | 2016
  Video documentations of reading performance of a written synopsis for an imaginary documentary film.

  A sheet of papers for A SYNOPSIS FOR A DOCUMENTARY

      

      

  
  
  

  TRACE

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  Installation | 2016
  The positions of the sunlight on a given day is computer-simulated and are printed on a tracing paper as circles with time stamps beforehand. The sunlight traces them on time as simulated at the venue of the exhibition.

  Computer-Simulated sunlight's position with time stamps for TRACE

  TRACE AT THE NIIGATA SAITOU VILLA, DOZO, Installation View at Japan Media Art Festival in Niigata

  
  
  

      

  NIJI

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  Performance | Video Documentation (6 min) | 2016
  A performer operates 2 triangular glass prisms's movement in accordance with predetermined orbits. Prisms reflect the sunlight and project various colors on walls in a camera obscura. The video documentation of the performance are used in the music video "NIJI" BY SECAI featuring PASTACAS.

           text

           simulation

  Still Image from Music Video, SECAI "NIJI" featuring PASTACAS

  
  
  

      

  IRIDIUM DIAGRAM

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  Live-Physics-Simulation | 2016
  A computer-simulation program of an imaginary operation for the Iridium Satelites those are 66 satellites surrounding Earth

           simulation

           video sequence of screen capture

  
  
  

      

  A MALLET AND BALLS

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  Live-Physics-Simulation | color | silent | 2016
  The video is screen-captured images of Live-Physics-Simulation by Blender Game Engine, Blender 3D. In the simulation program, a mallet and balls those have individual values of Gravity. A mallet is G=1. Bright Balls is changing values from G=0 to G=100 in a minute, then G=100 to G=1 in a minute, repeat. Dark Balls is changing values from G=100 to G=0 in a minute, then G=0 to G=100 in a minute, repeat.

  Screen Captured Image of Computer-simulation for "A MALLET AND BALLS"

  Screen Captured Image from "A MALLET AND BALLS"

  Screen Captured Image from "A MALLET AND BALLS"

  Screen Captured Image from "A MALLET AND BALLS"

  
  
  

      

  2015

  ANNUAL REFLEX

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  Performance | Video Documentation (8 min) | 2015
  A mirror on top of the mound reflects sunlight to the other top of the stone on the Summer Solstice.
  They are the monument for signals.

           video documentation

           simulation

  Still image from Annual Reflex

  
  

  The map of Annual Reflex at 78˚10'22.8"N, 15˚28'32.0"E, Longyearbyen, Svalbard

  
  
  

      

  CINEMA

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  Performance | Video Documentation (5 min) | 2015
  A performer in a camera obscura reflects the incident light with mirrors to write letters on a room's wall. He moves mirrors to the defined positions and angles every ten minutes. The performance takes totally 3 hours to finish. "CINEMA" is the video documentation of the performance on 21st April 2015 at Filmwerkstatt Düsseldorf. The concept of the idea is based on the artist’s experience in the blackout room after the accident of Fukushima Daiichi Nuclear Power Plant in 2011 in Japan. He shut all the windows, doors, and thick curtains of his house in Tokyo in fear of the radiation contamination. In addition, the electric power supply was limited. The regular cyclic movement of crack of sunlight had been strongly perceived in the dark room. He kept observing to follow an arcuate line traced on the floor at daily intervals. Then he started to reflect a part of the arcuate line with mirrors to the wall, and gradually got to know how to control the sunlight’s movement projected on the wall. He thought that was like a film editing in which the editor cut and pasted, organized fragments of original events in a timeline. The sunlight’s movement is analyzed and calculated precisely. Then all the process of performance were computer-simulated beforehand. In the video documentation, the performer just followed simulated values of mirrors’ positions and angles at Filmwerkstatt Düsseldorf.
  

           video documentation

           simulation

           materials

  CINEMA, Computer-simulation for the performance

  
  

  CINEMA, The score for the performance on the floor

  
  

  CINEMA , Photo Documentation of the performance

  
  
  

      

  2013

  UNSER HAUS FOR THE NEW ERA

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  Music Video | 5 min | 2013
  UNSER HAUS FOR THE NEW ERA is the music video. "The New Era" is the music that was automatically-generated through the algorithmic composition by Japanese composer Masahiro Miwa. The video "UNSERHAUS" is the documentation of incident lights in a camera obscura.

  Still image from UNSERHAUS FOR THE NEW ERA

  
  
  

      

  2011

  PER 1˚

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  Performance | Video Documentation (3 min) | 2011
  The dark room was exposured by the sunlight once for a second per 1˚ of Earth's rotation.

  Still Image from PER 1˚

  
  
  

      

  ROAD CUT THROUGH A HILL

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  HD video | 5 min | 2011
  The allegorical story which was motivated by the Fukushima Daiichi Nuclear disaster in 2011. It was told as a mysterious relationship between a man and his surroundings and those containers.

  Still Image from ROAD CUT THROUGH A HILL

  
  
  

      

  TRACKING FILM SERIES

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  DV | Color | Stereo | Series | 12 min each | 2004 - 2011

  DVD "TRACKING FILM 1 (軌跡映画１)" published by SOL CHORD
  

  
  Rules of "Tracking film"
  ● Shooting is done for 24 hours from 0:00 to 24:00.
  ● Shooting is done in the direction of movement at the points where the circumference with the radius of 3 kilometers is divided equally into 36.
  ● A cameraman shoots 36 cuts for 20 seconds each, every 40 minutes.(The reel of DV tape never be edited afterwards.)
  ● A cameraman should drive a screw on the wall or ground at the point of 90 degrees each where the circle is described.
  ● A cameraman must not see a map before shooting, but only time, azimuth, coordinate value.

           trailer

  
  

        TRACKING FILM #1.1

        TRACKING FILM #1.2

        TRACKING FILM #1.3

        TRACKING FILM #1.4

        TRACKING FILM #2.1

        TRACKING FILM #2.2

        TRACKING FILM #2.4

        TRACKING FILM #2.5

        TRACKING FILM #2.6

        TRACKING FILM #3.1

        TRACKING FILM #3.2

        TRACKING FILM #3.3

        TRACKING FILM #3.4

        TRACKING FILM #4

        TRACKING FILM #5

  
  
  

  Still Image from TRACKING FILM SERIES, A cameraman drive a screw
  
  Still Image from TRACKING FILM SERIES, Program
  
  Still Image from TRACKING FILM SERIES, the Numerical value
  
  Still Image from TRACKING FILM SERIES, the Numerical value
  
  Still Image from TRACKING FILM SERIES, Programmed circle
  
  Still Image from TRACKING FILM SERIES, the Numerical value of Tracking Film 3.1, DNF
  
  Still Image from TRACKING FILM SERIES, the Numerical value of Tracking Film 3.1, DNF
  
  Still Image from TRACKING FILM SERIES, Map of Tracking Film 3.1, DNF
  
  Still Image from TRACKING FILM SERIES, Mapping Data of Tracking Film series