Leaflets

Kosai Hori, “Reading-Affair: Notes on the origin”

Tomotaro Kaneko, “Wavy boundaries: Kosai Hori, Memory-Practice (Reading-Affair)“

Minoru Hatanaka, “An Essay on Japanese Art Sound Archive: Review of “Tsukurukoto (Making)” with technologies seen in Kosai Hori’s Performance”

“Kosai Hori’s works around Memory-Practice (Reading-Affair) (-1977)”

Ken-ichiro Ina, “Reproduction after 45 years: something that is produced again”

Tomotaro Kaneko, “A desire for the fluid: Ken-ichiro Ina, record“

Fumio Takamizawa, “”Memory”, “Number of Sheep Who Jumped over the Fence”, “Ecriture of accident”, and “The river of Heraclitus””

Tomotaro Kaneko, “Jumping to memorize: Fumio Takamizawa, Number of Sheep Who Jumped over the Fence“

Hitoshi Nomura, “Around Chokaku-eizo”

Tomotaro Kaneko, “Sounds that become completely different: Hitoshi Nomura’s “Chokaku-eizo” in the 1970s”

Tetsuya Watanabe, “Manifest No.1”

“Tetsuya Watanabe (1947-2007) Data”

Tomotaro Kaneko, “Where did the waves come from?: Tetsuya Watanabe, Climax No.1“

“The transcript of Morihiro Wada’s Discourse on the Method in Cognition No.1, Self Musical“

Tomotaro Kaneko “Nameless voices: Morihiro Wada, Discourse on the Method in Cognition No.1, Self Musical“

Norio Imai “For example, on eyes and ears”

Tomotaro Kaneko “Other faces, other pulses: Norio Imai, TWO HEARTBEATS OF MINE”

Yoichi Niisato, “THE CAESAREAN OPERATION, March 12th-18th, 1973″

Tomotaro Kaneko “Sounds that stand by action: Yoichi Niisato, THE CAESAREAN OPERATION”

Naoyoshi Hikosaka, “”Great Concert – White Anthology”, 1972, Lunami Gallery”, 2008

Tomotaro Kaneko “Music and architecture as methods: Masako + Naoyoshi’s “Tape Duet””, 2019

Liner notes

Tomotaro Kaneko “The wind of endings and beginnings: Great White Light Concert”

Tomotaro Kaneko “The Heterogeneous world: Kosai Hori, Reading-Affair“

Papers

Tomotaro Kaneko “Sound Technology in Japanese Art after the Movement of “Environmental Art”: Bikyoto Generation in the Early 1970s”in Hyosho: Journal of the Association for Studies of Culture and Representation, vol.12, 2018, pp.169-183.

Tomotaro Kaneko “Kosai Hori’s Performances in the 1970s: Art after the Student Movement in the Late 1960s in Japan” in Kallista, vol.26, 2019, pp.4-46.