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ARC-iJAC Activities


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On February 4 (Sat), 2023, Professor Ryo Akama--Director of the Art Research Center (ARC)--delivered a special lecture on The ARC Research Space: Aiming at Perfecting a Comprehensive Digital Research Space at the digital humanities conference Materials, Media, and Methods: Digital Issues in East Asian Studies.

The hybrid conference, which focused on the problems, challenges, and breakthroughs with digital technologies in East Asian Studies research, was hosted by the Institute of East Asian Art History (IKO) and the Heidelberg Center for Transcultural Studies (HCTS), Ruprecht Karl University of Heidelberg and organized in cooperation with Nanjing University of the Arts.

Poster design: Xiaojie Chang. Poster image: Xiaojie Chang, via AI image generator DreamStudio, 2023.

立命館大学アート・リサーチセンターは、新型コロナウイルス感染症によって生じた課題への対応や、海外の研究者に提供するデジタル研究ツールやリソースの利用方法についての情報を発信することの重要性を受け、プロモーションビデオ「カスタムメイドのオンライン研究データベース“My Database”」を公開しました。


この紹介動画は、北米日本研究資料調整協議会(NCC North American Coordinating Council on Japanese Library Resources)の要請に応えるかたちで、これまで2本のプロモーションビデオを英語で作成し、NCCのホームページの「Comprehensive Digitization and Discoverability Program CDDP」のサイトから公開を開始しています。 なお、1本目のビデオは、研究者個人や教室でも使用できる教育ツールとしての「ARCくずし字翻刻システム」を紹介しています。

CDDP Video Series Highlight: Custom-Built Online Research Database with 'My Database' (NCC website)

The ARC Kuzushiji Transcription Support and Archiving System

立命館大学アート・リサーチセンター 文部科学省 国際共同利用・共同研究拠点「日本文化資源デジタル・アーカイブ国際共同研究拠点」(ARC-iJAC)は、 国際オンラインシンポジウム「西洋における日本美術の受容を辿るー中欧のケーススタディを通して見る」を開催します。


主催 立命館大学アート・リサーチセンター 文部科学省 国際共同利用・共同研究拠点「日本文化資源デジタル・アーカイブ国際共同研究拠点」(ARC-iJAC)

>>参加登録は こちら



1. Opening Remarks: Prof. Ryo Akama (Director of the Art Research Center (ARC), Ritsumeikan University) & Emily Li (University Research Administrator, Ritsumeikan University)

2. Keynote Speech: Professor Hans B. Thomsen (Chair for East Asian Art History, University of Zurich)
Title: 'Academia and Museums: The Importance of Collaborative Projects'

3. Individual Presentations

A: Dr. Klaus J. Friese (Lecturer, Ludwig-Maximilians-University Munich)
Title: 'Siebold's Collection in Munich: A New Type of Museum?'

B: Sabine Sophia Bradel (Ph.D. Candidate, University of Zurich)
Title: 'Japanese Woodblock Prints in a Private Collection in Winterthur, Switzerland'

C: Matilde E. Tettamanti (MA, University of Zurich)
Title: 'A First Examination of the Japanese Art Collection of Monte Verità in Ascona, Switzerland'


With the establishment of the International Joint Digital Archiving Center for Japanese Art and Culture (ARC-iJAC) in 2019, the Art Research Center strives to push the internationalization of research activities that transcend disciplines and geographic boundaries.


Keynote speech by Prof. Hans B. Thomsen (University of Zurich) on Academia and Museums: The Importance of Collaborative Projects.
>>Program & Registration
We were delighted to welcome Her Imperial Highness Princess Akiko of Mikasa, and Professor Emeritus Henry Smith (Columbia University) to the ARC.
HIH Princess Akiko of Mikasa was previously a postdoctoral researcher at the ARC while Professor Emeritus Henry Smith is a member of the ARC-iJAC External Evaluation Committee.
Supported by the ARC-iJAC, a team led by Dr. Kelly Midori McCormick and Dr. Carrie Cushman has been conducting research under the theme Expanding the Study of Japanese Photography and Gender: Modules for Teaching and Public Access.
Resulting from this, they have launched the bilingual website Behind the Camera--part database, part educational tool--spotlighting a diverse range of international experts on the history of Japanese photography from the perspective of gender and power.
>>Read full interview.
This project is actively seeking contributors in Japan and around the world for new modules on the history of Japanese photography from new perspectives. If you have a proposal for a module, please reach out.

On November 28, 2022, a signing ceremony for the MoU was held at Akita International University. The MoU provides a stable framework to advance collaborative projects in digital humanities, such as integrating AIU's Akita Folkloric Performance Art Archives with audiovisual records of more than 300 folkloric performance arts in the ARC Portal Database System. >>Read full article.

In November 2022, we were pleased to welcome Prof. Adam Habib to the ARC where he discussed the possibility of establishing a partnership in digital humanities with Prof. Ryo Akama. >>Read full article.
Supported by the ARC, the Japan Foundation Kyoto Office organizes the annual event to provide an opportunity to experience traditional Japanese culture. The performances, filmed by the ARC, are available online for a year.
Upcoming Events
January 28 (Sat), 2023, 16:00-18:00 JST
International Online Symposium
Topic: Tracing the Reception of Japanese Art in the West: As Seen through Case Studies in Central Europe

<<Program & Registration>>


January 31 (Tue), 2023, 9:50-18:00 JST
Graduate Student Colloquium
Topic: Arts and Culture Studies of East Asia in the Post-Media Era: Themes and Perspectives

<<Zoom URL>>

(no registration required)
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Kelly Midori McCormick is an assistant professor of Japanese history at the University of British Columbia, Vancouver, specializing in the history of the material and visual culture of modern Japan.
Carrie Cushman is the Edith Dale Monson Gallery Director and Curator at the Hartford Art School. She holds a Ph.D. in Art History from Columbia University and is a specialist in postwar and contemporary art and photography from Japan.
Supported by the ARC-iJAC, their project team has created and launched the bilingual website Behind the Camera--part database, part educational tool--spotlighting a diverse range of international experts on the history of Japanese photography from the perspective of gender and power.

Thank you very much for your time today. Could you please tell us about your motivation to start your FY 2021 ARC-iJAC project Expanding the Study of Japanese Photography and Gender: Modules for Teaching and Public Access?

Kelly-McCormick-Edited-270x298.jpgProf. McCormick / Prof. Cushman: Conceived in 2017, Behind the Camera was established to address the lack of scholarship and access to primary sources on the histories of Japanese women in photography. The idea for Behind the Camera was sparked with a simple question: what resources existed on the roles that women have played in the history of Japanese photography?

Since the introduction of the first camera to Japan in 1848, women have been integral to the social constructions of photography as a visual technology, art form, and commercial practice.


Women photographers require a history that intersects social and political history with the close analysis of their work and its implications for visual culture in Japan.

Beyond accounting for historical omissions, we sought ways to interrogate the overwhelmingly male-centered historiography of Japanese photography and to address the ideologies that have consistently reinstated gendered hierarchies within the photography world.​​ We knew that these efforts could not be individual but would require a collaborative, multidisciplinary approach.

To that end, in 2019, we brought together a multidisciplinary group of scholars from Japan, the United States, the United Kingdom, and Israel for a two-part panel at the Association of Asian Studies (AAS) Annual Conference, sponsored by the Japan Art History Forum. The conversations generated at the AAS made clear that the histories of Japanese women in photography required a sustained platform that would allow for research to develop organically and collaboratively.

During the Covid-19 pandemic, the project transformed into a website where specialists share carefully researched arguments and source materials made available to the public in both English and Japanese. In times when travel to archives and conferences is difficult, this website seeks to bring photographs, scholarly perspectives, and historical resources directly to you.

We are delighted about the launch of your digital humanities website Behind the Camera: Gender, Power, and Politics in the History of Japanese Photography.

Can you share some of your experiences with us during the implementation of this project? Have you come across any particular challenges?

BtC Timeline Screenshot 2.pngProf. McCormick / Prof. Cushman: The Art Research Center at Ritsumeikan is an incredible resource for researching Japanese visual culture and producing new information about it. We were thrilled at the opportunity to work with the ARC but the challenges of the Covid-19 pandemic meant that our initial goals of using the recording facilities to conduct interviews with current Japanese women photographers were not possible.

We were able, however, to use the generous funding to produce an interview between the photographer Nagashima Yurie and art historian Handa Yuri. This interview will be the first to introduce a wide range of audiences to Nagashima's scholarly work on the history of the Japanese women photographers who gained recognition for their work in the 1990s and Nagashima's critical interpretation of the male photo critics who shaped the way the world saw this generation of women photographers.

Is there anything particularly fascinating you found while implementing this project?

Prof. McCormick / Prof. Cushman: To create the modules for the site, we approached historians of photography to present an issue from the history of Japanese photography from a gender studies perspective. One of the most gratifying things about this project is how many new angles scholars have approached and created their modules from. Many have seen the new format of a video lecture paired with an image archive as a structure that allows them to explore new topics or synthesize larger projects in a compelling and captivating way.


For instance, Dr. Elena Creef drew on networks of Japanese war brides that her mother is a part of to create a collection of family photographs that illustrate their experiences as they moved from Japan to the United States in the postwar period.

While the majority of the modules are focused on historical events, a selection of the modules has been created by curators who reflect on exhibition practices in relationship with the gender histories of Japanese photography.

Maggie Mustard's module on the exhibition she curated, The Incomplete Araki: Life, Sex, and Death in the Work of Nobuyoshi Araki, held at the Museum of Sex, New York in 2018, examines the many challenges with presenting work by the very controversial photographer in the context of the MeToo movement.

Do you have plans to expand this website, for example, by adding new modules? If possible, could you please tell us more about them?

Prof. McCormick / Prof. Cushman: We will be adding a new collection of modules to the website in 2023. We are excited to present lectures by Ayelet Zohar on Ishikawa Mao; Kerry Ross on marketing cameras to women in the Taisho and early Showa period; Judy Legewood on May Ebihara's anthropological photographs in Cambodia; Phillip Charrier's lecture, Shigeo Gocho, women, and everyday resistance in 1960s Japan; Miryam Sas on Rethinking Japanese media theory, and interviews with Eileen Smith on photographing Minamata; and an interview between Komatsu Hiroko and Franz Prichard.

How did you first connect with the Art Research Center (ARC) at Ritsumeikan University? / How did you hear about the International Joint Digital Archiving Center for Japanese Art and Culture (ARC-iJAC)?

We saw a call for applications and after investigating the resources at the ARC were excited to partner with Ritsumeikan in the hopes of spreading the word about the project and collaborating with Japanese scholars.

Is there anything else you would like to comment on or highlight?

We are actively seeking contributors in Japan and around the world who would like to contribute new modules on the history of Japanese photography from new perspectives. Please don't hesitate to reach out if you have a proposal for a module.

(This interview was conducted by Yinzi Emily Li.)




講師:安宅望氏 (立命館大学大学院 文学研究科 博士課程後期課程)


講師:戸塚史織氏 (立命館大学大学院 文学研究科 博士課程後期課程)




※ARCメンバー以外の方は Youtubeよりご参加いただけます。こちらからご覧下さい。

立命館大学アート・リサーチセンター 部科学省 国際共同利用・共同研究拠点「日本文化資源デジタル・アーカイブ国際研究拠点」(ARC-iJAC)協力のもと、「アフリカ× 日本 アレワ紡の時代 ―ナイジェリアと日本の繊維生産 1963-2005」が開催されます。



共催:国際共同研究採択課題「新しい近代京都機械捺染史構築に向けて―近代デザインと産業史をむすぶデジタル・アーカイブを一助として―」(プロジェクトリーダー:関西学院大学非常勤講師、同志社女子大学非常勤講師 上田 文)

協力:京都・大学ミュージアム連携/立命館大学アート・リサーチセンター 部科学省 国際共同利用・共同研究拠点「日本文化資源デジタル・アーカイブ国際研究拠点」

詳細はこちら ↓ ↓ ↓

Arewa Textiles of African Print「アフリカ× 日本 アレワ紡の時代 ―ナイジェリアと日本の繊維生産 1963-2005」


実施方法: 対面およびオンライン(Zoom)によるハイブリッド方式
会場:立命館大学 大阪いばらきキャンパス
  〒567-8570 大阪府茨木市岩倉町2-150   
応募方法: 2022年12月28日(水)までに、発表申込みフォーム より申し込むこと。
発表時間: 質疑込み20分程度。ただし発表者数により調整する。(発表時間および発表資料提出の要領は締め切り後、発表者に連絡します。)
参 加 費: 無料
研究分野: 1. 情報技術を使った芸術・文化分野やその他の分野の研究
2. 芸術・文化やその他の分野に応用できる情報技術の研究
1. 芸術分野やその他の分野の情報・知識の構造解析、モデル化、可視化、知識発見
2. 芸術分野やその他の分野の情報・知識の表現、生産、組織化・DB構築、検索、提供
3. 電子出版、電子図書館、電子博物館・美術館
4. 芸術分野やその他の分野の用語、シソーラス
5. 芸術分野やその他の分野の情報・知識の流通と知的所有権
6. オープンデータ、データパブリッシング、リンクトデータ
7. インターネット、セマンティックウエブ、Web x.0 など
8. その他、広く文化を対象とした情報・知識に関連する諸研究・開発
主 催: 知識・芸術・文化情報学研究会
世話役〔五十音順〕:赤間 亮(立命館大学)、阪田真己子(同志社大学)、田窪直規(近畿大学)、村川猛彦(和歌山大学)
共 催: アート・ドキュメンテーション学会関西地区部会、情報知識学会関西部会
協 力: 立命館大学アート・リサーチセンター 文部科学省 国際共同利用・共同研究拠点「日本文化資源デジタル・アーカイブ国際共同研究拠点」
問い合わせ: kacimeeting+2023■ (■を@に変えて下さい)




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