Yutaka Inagawa
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Seating for both the artists and the audience was dispersed throughout Art Gallery Miyauchi. This seating configuration encouraged the audience to become an integral part of the artwork in the space.

FUSS TALK (2017)

Designed and led by Yutaka Inagawa & Kiyohito Mikami.

This spoken word performance took place on 19 November 2017 at Art Gallery Miyauchi as a 'hybrid poetry reading'.

Photo by: Kiyohito Mikami and Kenichi Okada

All images: Courtesy of Yutaka Inagawa and Kiyohito Mikami

Soundscape

Seating for both the artists and the audience was dispersed throughout Art Gallery Miyauchi. This seating configuration encouraged the audience to become an integral part of the artwork in the space.

Seating for both the artists and the audience was dispersed throughout Art Gallery Miyauchi. This seating configuration encouraged the audience to become an integral part of the artwork in the space.

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Texts used for the performance included;

 

1) extracts from the project's curatorial text. 

2) 'cut-ups' (in Japanese and English); these derived from fragmented source texts by six poets and writers from Japan and the UK (Martin Thomas /Megumi Iwafuchi / Peter Yoah / Rupert Loydell /Ryota Yamada /Soshi Matsunobe). These cut-ups were originally generated through the online FUSS Countdown.

3) excerpts from the gallery director's notes for the project.

4) extracts from an artist statement by Kiyohito Mikami. 

5) a series of scripts improvised during the performance. 

The approximately two-hour performance was highly improvised, and the speakers were randomly invited into a glass booth to read from the scripts. Numerous texts were also Google-translated and then read aloud by a computer's text-to-speech functio

The approximately two-hour performance was highly improvised, and the speakers were randomly invited into a glass booth to read from the scripts. Numerous texts were also Google-translated and then read aloud by a computer's text-to-speech function. The computer-generated audio and the live voices of the artists were heard in succession, creating a virtual "ensemble" of computer-generated and human voice sounds.

This performance's entire audio loop in the gallery was designed to accommodate unexpected leaps in both sounds and meanings.

This performance's entire audio loop in the gallery was designed to accommodate unexpected leaps in both sounds and meanings.

The computer's auto-reading was performed by a voice that read the code-like scripts with a very smooth pitch and perfect fluency. Simultaneously, the artists who were speaking had to contend with reading from unknown and broken texts, so their pr

The computer's auto-reading was performed by a voice that read the code-like scripts with a very smooth pitch and perfect fluency. Simultaneously, the artists who were speaking had to contend with reading from unknown and broken texts, so their presentation was characterised by turmoil, confusion, and frustration.

"Humming" (2013) by Soshi Matsunobe (consisting of 60, one-minute-long recordings of unstructured humming) was played in the gallery throughout the duration of the exhibition and also served as the base layer of sound for the spoken word performan

"Humming" (2013) by Soshi Matsunobe (consisting of 60, one-minute-long recordings of unstructured humming) was played in the gallery throughout the duration of the exhibition and also served as the base layer of sound for the spoken word performance.