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TEF Vol.9 Open Call Program (Performance/ Sound Installation) Jury members' comments

To some extent the submitted works in the performance division lacked a feeling of scale. It troubled me that many of them were quite tame. Works that are called experimental should not only reflect the existing state of affairs; they should convey an assertive approach with an outlook on the future, an attitude ahead of its time and society. In that respect, I felt that the sound installation, which cannot yet be regarded as fully defined or established in terms of content, has unconventional and groundbreaking experimental possibilities.

Toshi Ichiyanagi (Composer/ Pianist)

It can be said that each edition of TEF has asked the question "What is experimentation?" Once again this year I have encountered works which undoubtedly aim to be more "experimental," works born of the necessity of the current times. This year the installation division was especially competitive. Unfortunately, there were a lot of interesting works that did not make it into the selection. Considering that this is the ninth edition of TEF, it seemed to me that the question "What is experimentation?" is also the question of whether or not TEF can be experimental as a program.
Minoru Hatanaka (Senior Curator, NTT InterCommunication Center [ICC])

In the judging process, I vaguely felt that the relationship between technology and art is falling into a state of stagnation or deadlock. It's somehow placid. But I don't think this is a bad thing at all. I think that a kind of newness fundamentally different from what occurred in the first half of the 2000s is being quietly pursued. As a result, the works that left a lasting impression on me were all "low-tech." I'm looking forward to experiencing the actual presentations.
Yuji Numano (Musicologist/ Professor, Toho Gakuen School of Music)

The environment surrounding music and sound is changing rapidly. With the development of digital technology and the post-medium condition, the experience of listening to one piece "music" in a fixed time period is becoming exceedingly rare. As "sound" becomes more fragmented it fuses with life, affecting people's bodies as well as their sense of hearing. In an age like this, what can one do? This is what I thought about constantly during the judging process. In its own way, each of the selected projects searches for an approach to music and sound in the 21st century. I look forward to the continued realization of these experimental endeavors.
Yoshitaka Mouri (Sociologist/ Associate Professor, Tokyo University of the Arts)

In the judging process this time, various questions were repeated. What is "experimental"? What is the meaning of TEF, which calls for wide-ranging submissions from inside and outside Japan, regardless of genre? Is there a possibility that unconscious things that even creators cannot identify will be fostered in the future? Are there things that become apparent, or things that are hidden, when people make full use of digital technology? Hasn't the same kind of thing been attempted in the past? I expect that in the presentations that turn out to be the answers to these questions, new questions will emerge.
Minori Kuroda (Director of Arts Program and Residency Division, Tokyo Wonder Site)


★For details of TEF Performance, please click here

★For details of TEF Sound Instaration, please click here