Daisuke Tajima - Beyond the Lines

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This land of millennia-old wooden temples and hundreds of tame bowing deer will sound like a Ghibli-esque fairytale to many, beautiful and unreal, but it’s the ordinary world where Tajima grew up. For him, conversely, the land of fantasy was a concrete maze of skyscrapers reaching for the heavens like those shown in his favorite animated works, namely Akira and Ghost in the Shell. “That was a different world I could not experience,” Tajima explains. “And only when I was a bit older did I realize these urban spaces are real and exist elsewhere.” Rosén B., Ehrsson H. H., Antfolk C., Cipriani C., Sebelius F., Lundborg G. (2009). Referral of sensation to an advanced humanoid robotic hand prosthesis. Scand. J. Plast. Reconstr. Surg. Hand Surg. 43, 260–266. 10.3109/02844310903113107 [ PubMed] [ CrossRef] [ Google Scholar] Tajima creates giant hand-drawn megalopolises all from his remote studio in the Nara countryside By Even the Los Angeles of Blade Runner is awash with Asian imagery, as many visionaries have been imagining the future as multicultural. “Hong Kong is a city of immigrants from everywhere, so there is an element of internationality,” Tajima says. “It’s a blend of cultures. I think Tokyo is becoming a little bit more like Hong Kong.” As a library, NLM provides access to scientific literature. Inclusion in an NLM database does not imply endorsement of, or agreement with,

Daisuke Tajima Beyond the Lines” Publication Commemorative “Daisuke Tajima Beyond the Lines” Publication Commemorative

The first collection of works by Daisuke Tajima, an artist who draws an imaginary city where aggressive lines run vertically and horizontally and spread infinitely with overwhelming imagination and transcendent drawing power. Tsakiris M., Carpenter L., James D., Fotopoulou A. (2010). Hands only illusion: multisensory integration elicits sense of ownership for body parts but not for non-corporeal objects. Exp. Brain Res. 204, 343–352. 10.1007/s00221-009-2039-3 [ PubMed] [ CrossRef] [ Google Scholar] Another world that Tajima frequently inhabits is the digital one, where we meet for the interview. He had graciously invited me to visit him in Nara, but he expected that I wouldn’t be able to go.And if limitless connections are the bright side of technology, the dark side is human replacement and the very recent and controversial AI art bulldozing over artists and the very humanity of art. In the mirror condition, the participants were seated very near the mirror, so that their bodies almost touched it. They tilted their heads to the left slightly to look into the mirror. The participants' left hands were placed on the same side as the mirror. Their left index fingertips were approximately 30 cm vertically and 30 cm horizontally from the lower right corner of the mirror and 90 cm above the floor. Participants' left hands were fixed during the experiment. In contrast, their right hands were placed in a preferred position on the reverse side of the mirror. They could change the position of their right hands at will at the beginning of every trial. Participants were required to maintain the angles of both wrists. They were instructed to look at the reflection of the left hands in the mirror. After placing their right hands in new positions, the participants pressed the middle button of the foot pedal and started to tap the both hands synchronously at 1 Hz. They were required to tap more than six times. A previous paper reported that it requires at least 6 s visual stimulation to obtain sufficient amount of mirror illusion (Holmes et al., 2004) and six times tapping was almost equivalent to the 6 s stimulation since the tapping was 1 Hz. Therefore, we concluded that more than six times tapping was enough for our participants to observe sufficient amount of mirror illusion. After more than six taps, participants were required to answer two alternative forced choice questions (2AFC) by pressing the right or left button on the foot pedal. The question was, “Do you feel that both hands are in the same position?” When the foot pedal was pressed, participants' responses and the positions of their right hands were recorded, and a beep sound served as a sign to change the position of their right hands for the next trial. This process was repeated for a maximum of 200 trials per condition.

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Nakamura S., Shimojo S. (2000). A slowly moving foreground can capture an observer's self-motion–a report of a new motion illusion: inverted vection. Vision Res. 40, 2915–2923. 10.1016/S0042-6989(00)00149-8 [ PubMed] [ CrossRef] [ Google Scholar] Tajima shares a fascination with Asian cities beyond Tokyo with one of his idols, Mamoru Oshii, the director of Ghost in the Shell. He was slightly surprised, however, at the exact overlap when I shared a quote from Oshii published in Kodansha’s Young Magazine in 1995: “When I was in search of an image of the future, the first thing that came to my mind was an Asian city.” Oshii was referring to Hong Kong and how he modeled the future cyberpunk city in Ghost in the Shell after it.Farrer C., Valentin G., Hupé J. M. (2013). The time windows of the sense of agency. Conscious. Cogn. 22, 1431–1441. 10.1016/j.concog.2013.09.010 [ PubMed] [ CrossRef] [ Google Scholar] Gallagher S. (2000). Philosophical conceptions of the self: implications for cognitive science. Trends Cogn. Sci. 4, 14–21. 10.1016/S1364-6613(99)01417-5 [ PubMed] [ CrossRef] [ Google Scholar] Look, I think artificial intelligence is important and can help with many things — but not art. I don’t want to just hand over art to AI,” Tajima says. “I’m not giving it away.” He repeats this twice. Fischer M. H., Kornmuller A. E. (1930). Optokinetisch ausgeloste bewegungswahrnehmungen und optokinetischer nystagmus. J. Psychol. Neurol. 41, 273–308. [ Google Scholar] PDF / EPUB File Name: Beyond_the_Lines__An_Autobiography_-_Kuldip_Nayar.pdf, Beyond_the_Lines__An_Autobiography_-_Kuldip_Nayar.epub