Current Events

Space Between / Aidagara: Landscape, Mindscape, Architecture

March 6th, 7th and 8th 2023; from 10am to 12pm
ARC, 11 Chapel Lane University of Glasgow, G11 6EW
Room 224 on 06/03/2023 and Room 223 on 07/03 – 08/03/2023
Hybrid workshop: Join Zoom Meeting
https://uofglasgow.zoom.us/j/87836218772

This workshop is devoted to the interdisciplinary exploration of the connections between space/landscape and mindscape/culture and between the natural and the spiritual resources of the environments we inhabit at a time of climate change and global energy crisis. As a follow-up to the Floating Worlds/ Seaweed Gatherers workshop organised jointly by the Islands in the Global Age ArtsLab at the University of Glasgow, the Department of Sound Design and Kyushu University and a group of artists, writers and performers from Glasgow and the Isle of Mull, this event aims to provide new opportunities for collaboration on the topic of space (both in its performative and everyday social aspect of built environment) between specialists of architecture and the avant-garde from the Faculty of Arts and Sciences at Kyushu University and researchers from across the College of Arts at the University of Glasgow. 

Participants will explore the connections between the Glasgow Style and Japanese traditional art and architecture, the exchanges between European and Japanese avant-garde artists, the influence of Nô theatre on modern and contemporary theatrical performances and mixed media installations in Scotland and the Scottish isles, the parallels between Japanese and Scottish traditional islandic arts and crafts, rituals and representations of space and landscape. Other approaches, inspired by Tetsuro Watsuji’s notion of betweenness (aidagara), Kenneth White’s geopoetics movement and by Gilles Deleuze’s conception of nomad space and nomad thought will also be introduced, along with explorations of the avant-garde creative reconfiguration of conventional exhibition spaces through transdisciplinary curatorial practices.

DAY 1: MONDAY 6TH MARCH – Room 223 (ARC – Advanced Research Centre) and Zoom

https://uofglasgow.zoom.us/j/87836218772

Landscapes

Welcome and opening address from the organisers and the Dean for Global Engagement in China and East Asia at the University of Glasgow and from the Dean of Internationalisation at Kyushu University

Presenters:

Dr. Graham Eatough 
Dr. Andre Dekker
Dr. Kevin Leomo
Dr. Erica O’Neill
Dr. Stephen Forcer

DAY 2: TUESDAY 7TH MARCH – ROOM 224 (ARC – Advanced Research Centre) and Zoom

https://uofglasgow.zoom.us/j/87836218772

Architecture, Exhibition Space, Travel as Aidagara

Presenters:

Dr. Yuko Ishii
Dr. Madoka Yuki
Dr. Gloria Yu Yang
Dr. Louise Barrington
Dr. Daryl Jamieson
Dr. Ramona Fotiade

DAY 3: WEDNESDAY 8th MARCH – ROOM 224 (ARC – Advanced Research Centre) and Zoom

https://uofglasgow.zoom.us/j/87836218772

Mindscapes: Philosophy, Dwelling, Image

Presenters:

Dr. Andrew Ka Pok Tam
Dr. Hitoshi Kuriyama
Dr. Amber Blanksma
Dr. Olivier Salazar-Ferrer

Presenters

Louise Barrington is a multidisciplinary artist based in Orkney using film, dance, textiles and sculpture.

I also lecture at the Orkney college part of the University of the Highlands and Islands. I have been working on an ongoing project titled Four Seasons: making the invisible visible, that focuses on the aesthetic and environmental aspects of the landscape experienced over the four seasons.  Part of the research has been informed by the Japanese concept of Ma in relation to the Orkney landscape, as well as taking into consideration the impact of the climate emergency. 

Official Website:     www.louisebarrington.com
E-mail address:        louisebarrington.art@gmail.com

Amber Blanksma, PhD student in French and Film Studies currently finishing a MPhil dissertation on Maurice Blanchot’s conception of the Orphic gaze in relation to cinema.

E-mail address:         2328874B@student.gla.ac.uk

Andre Dekker, co-founder and partner of artist group Observatorium (Rotterdam, Netherlands) will present three works of art which allow the audiences to distance themselves from the world. Het and his three partners create observatories, artistically staged to literally and figuratively make room for contemplation and observation. Observatorium's motto for public art is: “We are trying to evoke a contemplative moment in which the audience connects with the actualities of the site. At best, a public artwork creates a sense of wonder in places often already magical.“

Andre Dekker (Delft, 1956) will explore the paradoxes of being in the world on an island and of contemplation and engagement: a living bridge, a pilgrim’s shelter and a flood mound. They are very concrete design for solitude and imagination, ensembles of construction and site with a certain theatricality and decorum. They do not refer to the decline of ecological resources, polluted environments and social deprivation the subject of their ambitions in a deliberately political way. In the foreword of their book Public Art for Public Life the Chief Government Advisor on the Built and Rural Environment Wouter Veldhuis states “Public art can help us to overcome our fear of an unknown future. It can help us see new meaning and beauty in wind farms, solar plants, new delta works, circular industrial estates, production forests, climate swamps and all the other space-devouring systems that will change our cities, towns and landscapes beyond recognition. Observatorium’s works shows us how important it is to relearn how to look at the spatial manifestations of all the inevitable changes that are coming our way. Not with an eye to stopping them, but to take away our discomfort.“

Website:                   https://www.linkedin.com/in/andre-dekker-56437b42/?originalSubdomain=nl
E-mail address:        dekkerobs@gmail.com

Anaïs Delcol PhD student in French/SMLC (supervised by Dr Fotiade) at the University of Glasgow.

…Working on the question of identity and trans-cultural autofiction in the work of three nineteenth century female travel writers (Alexandra David Néel, Isabela Bird and Isabelle Eberhardt). Alexandra David Néel and Isabela Bird both travelled to Japan and documented their journeys through their writing and through photographs. Prior to her PhD, Anaïs Delcol  completed a MRes in French Literature at the University of Toulouse Jean Jaurès II, and defended a thesis about the eloquence in political speeches in the nineteenth century. She focused on the place of women in politics through the writer George Sand.  

Staff web page:       https://www.gla.ac.uk/schools/mlc/staff/anaisdelcol/
E-mail address:      Anais.Delcol@glasgow.ac.uk

Dr Graham Eatough Lecturer in Theatre Studies in the School of Culture and Creative Arts at the University of Glasgow, specialising in contemporary theatre and performance practices; directing, dramaturgy, interdisciplinary practice (particularly with visual art), playwriting/writing for performance, site-specific performance, theatre and autism, and tragedy.

Floating Worlds: towards an archipelagic dramaturgy
This project is a multi-disciplinary exploration of our relationship with the natural environment. The project offers an artistic response to some of today’s most pressing issues: our changing climate, rising sea levels, and an ageing and sometimes isolated population. An international collaboration made during the Covid-19 restrictions, it uses both analogue and digital technologies to tell its story and connect with its audience. The project was created during a residency carried out in the remote coastal landscape and island community of the Ross of Mull, and draws heavily on the artists’ continuing research into Japanese theatre’s relationship with landscape and the natural world. The research for this project is funded by Daiwa Foundation, Rotterdam Centre for Visual Arts and University of Glasgow.

Staff web page: https://www.gla.ac.uk/schools/cca/staff/grahameatough/
E-mail address:       Graham.Eatough@glasgow.ac.uk

Prof Stephen Forcer is the Co-Director of the Islands in the Global Age ArtsLab and the Head of the School of Modern Languages and Cultures at the University of Glasgow

Over time my interests in avant-garde culture have moved from single-author studies (Tristan Tzara, Luis Buñuel, Anne-Marie Miéville, Jean-Luc Godard) to the investigation of wider movements (Dada and surrealism) and comparative research. As a researcher and as an advocate for modern languages, I am interested in exploring relationships with disciplines outside the arts and humanities.
Funded by a UofG-SFC grant for Reinvigorating Research (£14K), since 2021 I have been developing a pilot project on surrealism and neuroscience with Frank Pollick (Psychology and Neuroscience), post-docs and PGRs. The project is based on the notion of 'surprise', and will use fMRI to test responses to a bank of stimuli that reflects the diversity of the surrealist canon as it is understood by modern research.
With colleagues and postgraduate students from the Universities of Bucharest, Athens, and Aix-Marseille, among others, I am part of an on-going CIVIS mobilities project that shares research into (post-)modernist cultural responses to social justice, homelessness, and other contemporary challenges.
In 2018-2019, with colleagues from anthropology, nursing and law, I co-devised a pilot project on the use of humour in social justice outreach in Sierra Leone. Developing out of work on the avant-garde, my angle is the relationship between dark humour, absurdity and violence, as well as the more general role played by language and culture in facilitating policy, meaning and progress in responding to major problems. Supported by the NGO Timap for Justice, the project brought together paralegals and professional local comedians for a public workshop on sexual and gender-based violence, followed by focus groups and interviews with local people.
Following the pilot, over 2020-2021 I was Co-investigator on an AHRC scoping grant (c.£150K) on performing arts and social violence (PI Susan Fitzmaurice) in partnership with Timap for Justice, and Clowns Without Borders (South Africa).

Staff web page:         https://www.gla.ac.uk/schools/mlc/staff/stephenforcer/
E-mail address:         Stephen.Forcer@glasgow.ac.uk

Dr Ramona Fotiade Reader in French/ SMLC (School of Modern Languages and Cultures) at the University of Glasgow, specialising in the interface between French visual avant-garde and philosophy.

Her recent book, Pictures of the Mind: Surrealist Photography and Film (2018) highlighted the relevance of Jacques Derrida’s notions of spectrality and trace, alongside the Freudian theory of the uncanny for assessing the impact of the Surrealist conception of photography and film as mental constructs on prominent post-war trends in art house cinema in Europe, the US and Japan. She is co-Director of the ArtsLab, Islands in the Global Age, which she created with Dr Graham Eatough (Theatre), Prof Stephen Forcer (SMLC) and Dr Philip Tonner (Education). Dr Fotiade has led the RSE-funded network Existential Philosophy and Literature (2017-2019) as PI (Principal Investigator) and has organised a series of events with the participation of the Consulate of Japan in Edinburgh during the Japan-UK Year of Culture in 2019-2020.

Staff web page:        https://www.gla.ac.uk/schools/mlc/staff/ramonafotiade/
E-mail address:       Ramona.Fotiade@glasgow.ac.uk

Dr Daryl Jamieson   Assistant Professor of Composition in the Department of Communication Design Science at Kyushu University. Dr Jamieson is principally a composer who works with classical and Japanese instruments, sometimes in combination with field recordings. His research is centred around the aesthetics of nō (especially Konparu Zenchiku) and the constellation of philosophical and religious ideas that fed into the aesthetics of nō, as well as contemporary Japanese philosophy and aesthetics which critically engages with that tradition (especially Ueda Shizuteru). This research leads to outputs in both aesthetics and composition, both of which attempt to answer the question 'how can experimental music (or music theatre) be meaningful in the present (ie. the Anthropocene)?’ by employing interpretive frames which privilege Japanese philosophy and aesthetics over western discourses. http://daryljamieson.com/en/research.html

Zenchiru’s Mekari: Staging Ambiguous and Hollow World
Konparu Zenchiku (1405-c.1470) was the son-in-law of Zeami Motokiyo. Zeami is the most famous nō actor-writer-composer-showman-impressario, but Zenchiku brought nō back from the shōgun’s court to the temples, effectively resacralising the art form for a troubled, violent age. This paper will ask whether Zenchiku’s approach to theatre has anything to teach us as contemporary directors and creators and audiences in our own unstable era.Focusing on the under-appreciated play Mekari – which dramatises a ritual cutting of seaweed at the strait between the islands of Kyūshū and Honshū as the new lunar year dawns – the paper will explore how Zenchiku’s work plays with – crosses back and forth over – multiple physical, temporal, and spiritual boundaries in both its text and performance, leaving the audience with a sense of ambiguity and questioning the received wisdom of conventional reality. The paper will conclude with a look at Kyoto School philosopher Ueda Shizuteru’s concept of the hollow expanse, a place of limitless possibility. The paper will argue that the audience viewing these ambiguities cultivated by Zenchiku’s sacred dramas – via the music, words, and staging together – might themselves be given a glimpse into the radically open place of the ‘hollow expanse’. For us in the late-capitalist world, Zenchiku’s theory and practice of sacralised music drama offers a model of a theatre which communicates with that which lies beyond the boundaries and limits of our conventional human way of thinking – a possibility of moving beyond the instrumental conception of the world that has wrought so much destruction throughout the Anthropocene.

Staff web page:         https://hyoka.ofc.kyushu-u.ac.jp/search/details/K007454/english.html
E-mail address:         jamieson@design.kyushu-u.ac.jp

Dr Andrew Ka Pok Tam  Post-Doctoral Fellow in European and Asian Philosophy (SMLC/ University of Glasgow). Andrew Ka Pok Tam has a wide range of research interests in both Continental philosophy, and East Asian philosophy, with a focus on Kierkegaard, Hegel, New Confucianism (Mou Zongsan), and the Kyoto School (Watsuji Tetsuro). He is also interested in the philosophy of culture, systematic theology, and the dialogues between Christianity and Confucianism. His area of competence includes Continental philosophy, Korean Silhak, philosophy of history, and hermeneutics.

In my research I consider Hegel and Watsuji’s emphasis on the interactions between geographical conditions and culture. While Watsuji only acknowledges climatic conditions, Hegel also acknowledges the impacts of landforms. Yet Hegel assumes that cultural spirits are eternal and unchangeable and pre-exist the interaction between society and nature while Watsuji argues that cultural spirits arise from the 間柄aidagara (interaction) between 人間Ningen (human world) and 風土 Fudo (nature). Therefore, unlike Hegel, Watsuji argues that cultures vary with geographical conditions. The Watsuji-Hegel theoretical framework adopts Watsuji’s insight that cultural consciousness arises from the aidagara between Ningen and Fudo yet expands Watsuji’s understanding of Fudo by including Hegel’s analysis of the impacts of the landscape. This leads to a new research question: to what extent do the geographical conditions limit cultural manifestations in the East Asian context? 

Yet the introduction of the Watsuji-Hegel theoretical framework leads to two significant questions: whether a culture can transcend geographical limitations and what are the impacts on an immigrant's community when they depart from the landscape of their homeland. These are important questions that require investigation because they relate directly to the question of how immigrants may preserve their cultural subjectivities and be integrated into the host society at the same time. To address these questions, this research extends Watsuji’s concept of aidagara to intercultural interaction by proposing the concept of 文間 Bungen (the short form for 文化の間柄 bunka no aidagara—the aidagara among cultures). Cultures do not only arise from the aidagara between Ningen and Fudo but also among cultures, e.g. Hong Kong culture arises from the aidagara between Chinese and British cultures. Moreover, historically, Bungen produces new philosophies that enrich both the East and the West. As the major bases for East and West cultural dialogues (remarkably Christian indigenisation, because both were the centres of Christian evangelisation in East Asia), Hong Kong and Macao witnessed the emergence of new thoughts, e.g. the indigenisation of Chinese Christianity. Therefore, Bungen also contributes to the main research theme in the study of modern East Asian history.

To articulate the process of Bungen, this research brings the concept of 物語Monogatari into the philosophy of culture. Monogatari philosophy is a recent movement in Japanese philosophy. Monogatari refers to the narration which contains both fictional and non-fictional elements. It is a process of preservation, remembrance and re-imagination. Noe Keiichi (野家啓一) even claims that human beings are animals of Monogatari because ‘Affairs constructed by us through memories will be re-organised in certain contexts. They will be re-ordered chronologically so that we may talk about the “world” and “history”.’ In other words, when immigrants reformulate their cultural subjectivities in the host country, they are required to create their Monogatari.

 A Monogatari is not only narrative but also normative because it expresses value judgement in its selection of material. Different Monogatari from different cultures expresses different values which may conflict with each other. Here Monogatari philosophy provides a methodology explaining Bungen: when a culture arises from the Bungen between two cultures, a new Monogatari which integrates the Monogatari of these two cultures should be created (物語構想 Monogatari Koso), i.e. there was a Hong Kong Monogatari that integrates Chinese and British values in the past, and there needs to be a Hong Kong diaspora Monogatari that integrates Hong Kong and British values; when Christianity is indigenised in East Asia, theologians must create new Monogatari that integrates Christian, Buddhist and Confucian values. Considering the historical relationship between Christian indigenisation and Hong Kong culture, the experience of creating a Christian Monogatari will provide insights into the creation of Hong Kong Monogatari.

Staff Web page:          https://www.gla.ac.uk/schools/mlc/staff/kapoktam/
E-mail address:          KaPok.Tam@glasgow.ac.uk

Dr Kuriyama Hitoshi Associate Professor in the Faculty of Design, at Kyushu University.

He specialises in contemporary art. “What is notion of nothingness (mu)?” In order to search for a solution to this tremendous question, he sublimates his interest in materials and natural phenomena such as light, sound, water and gas into experimental artistic expression by deepening and developing his knowledge of diverse fields such as physics, engineering, biology and philosophy while vigorously absorbing knowledge from these fields. Complete nothingness cannot exist in this world in which we live. Even in events that seem like nothing, where nothing exists at all, there is something that exists. Furthermore, it has the potential to give rise to the next action. On the other hand, if it does exist but no one recognises it, it is treated as nothing. He develops a multifaceted expression that focused on the fluctuation between nothingness and existence in relation to physics and consciousness.

Official website:          https://hitoshikuriyama.com/
E-mail address :           kuriyama@design.kyushu-u.ac.jp

Dr Yuko Ishii is Associate Professor in the Faculty of Arts and Sciences, at Kyushu University.

Her research field is modern art and the historical avant-garde, with particular emphasis on surrealist art in the 20th century. In 2014, she published a book that focused on the works of Max Ernst and his Collage. In 2019, The International Encyclopedia of Surrealism was published from Bloomsbury, to which she contributed articles on surrealism in Japan. Currently, she is engaged in a comparative study of the reception and development of surrealism both in the U.K. and Japan in the interwar period by investigating their international exhibitions and curatorial practice.

Staff Web page:        https://hyoka.ofc.kyushu-u.ac.jp/search/details/K003535/english.html
E-mail address:          yuko-ishii@artsci.kyushu-u.ac.jp 

Dr Kevin Leomo Project Assistant (The Dear Green Bothy) – School of Cultures and Creative     Arts/ University of Glasgow. I recently completed a practice-research PhD in experimental music composition, exploring sonic and cultural liminality. My practice involves collaboration, improvisation, non-standard notation, and working cross-culturally. My work is informed by post-Cagiean approaches to sound and silence, most notably through interaction with members of the Wandelweiser collective. 

One of the focusses of my PhD is how I situate myself within a liminal cultural space existing between different practices – as a composer with a background in Western music while also researching non-Western musics and collaborating with non-Western practitioners. Part of this included studying traditional Japanese aesthetics and philosophy, writing for shakuhachi and koto. An engagement with ma and conceptual thinking around silence and space has had a significant impact on my work. Other practice interests include exploring acoustic ecology, soundwalking, deep listening, and sound mapping.

I manage Sound Thought, a collective of experimental sound artists, composers, and audio engineers. We’ve curated concerts and performances and exhibited installations in a number of spaces across Glasgow including the Riverside Museum, Glasgow Botanic Gardens, and the Centre for Contemporary Arts. This includes developing site-specific soundscape compositions engaging audiences to rethink their relationship with listening and the natural environment. I also work as the Project Coordinator for The Dear Green Bothy, which programmes critical and creative approaches to addressing the climate crisis.

Staff web page:      https://www.gla.ac.uk/schools/cca/staff/kevinleomo/
E-mail address : Kevin.Leomo@glasgow.ac.uk

Dr Erica O’Neill         I am a researcher of modern and contemporary performance specialising in the twentieth-century avant-garde, specifically the Dada movement. My interdisciplinary research encompasses theatre and performance studies, art history, French studies, and literature.

Part of my PhD thesis (completed in 2021) involved examining the global diaspora of the European avant-garde, notably, and in connection to Space Between / Aidagara, exchanges between the Dada movement in France and Neo Dada in Japan. 

More recently, I have been exploring the application of avant-garde tactics to approach issues arising from social exclusion. The Scottish Index of Multiple Deprivation measures deprivation across 6,976 geographical zones. This zonal annexation separates deprivation from non-deprivation based on geography: across the Scottish urban landscape, socially mobility is determined by the physical space occupied. When mindscapes come to emulate landscapes that are designated deprived, social exclusion can magnify. I aim to test the efficacy of the avant-garde to counter such issues. This current research interest will be explored in conjunction with the Erasmus+ funded CIVIS project ‘Care, Agency, Repair, Engagement in Alternative Modern(c)ities’ (CARE). For CARE, I will facilitate workshops to introduce Avant-Garde Action: an innovative approach to confront the social divide. This project connects to the Space Between / Aidagara project’s intention to explore the avant-garde’s creative reconfiguration of conventional spaces. 

Staff web page:         https://www.gla.ac.uk/schools/cca/staff/ericaoneill/
E-mail address:         Erica.ONeill@glasgow.ac.uk

Dr Madoka Yuki is an Associate Professor in the School of Design, Department of Environmental Design at Kyushu University. She specialises in the Theory of Images, History and Theory of Photography, and Visual Cultural Studies. 

Staff web page:         https://hyoka.ofc.kyushu-u.ac.jp/search/details/K008296/english.html
E-mail address:         yuki@design.kyushu-u.ac.jp

Lucy McCormick is a PhD student in French/ SMLC (supervised by Dr Fotiade), at the University of Glasgow, writing a thesis on the interaction between Georges Bataille’s work and Buddhist traditions.

Zen and the Headless: Reconciling the Estrangement of Okamoto Taro and Georges Bataille
Renowned Japanese artist Okamoto Tarō’s time in interwar Paris (1929 – 1940) put him at the heart of some of the most formative artistic and intellectual events of the French avant-garde. During this period, he formed a particularly close friendship with writer and thinker Georges Bataille, becoming centrally involved in one of the latter’s most pivotal projects: the secret society Acéphale (literally: ‘headless’). Acéphale’s stated aim was the creation of a new religion founded on silent, solo meditation, as part of which I argue that Bataille drew on Zen Buddhist practices. Scholars have noted that Okamoto’s relationship with Bataille had a lasting impact on his work after his return to Japan, from recurring themes of social rupture, magic, fire and explosion to the headless imagery of the famous Tower of the Sun (1970). In spite of this, Anglo- and Francophone scholarship has left the opposite flow of influence – from Okamoto to Bataille – untouched, creating a false sense of estrangement between the pair’s ideas during the interwar period. This paper aims to reconcile this ‘estrangement’. I first show a chronological correlation between Okamoto’s initiation to Acéphale and a shift in the society’s meditation practices from Christian-dominated to Buddhist-influenced. I then bring Okamoto’s 1970s French essays into anachronistic conversation with Bataille’s late-1930s output, to propose a fresh understanding of Acéphale’s activities. Central to this reading is a strong Zen Buddhist influence, suggesting Okamoto as a conduit for the wealth of Zen themes emerging not only in Acéphale but across Bataille’s work through the late 1930s and beyond.

Staff web page: https://www.gla.ac.uk/schools/critical/staff/lucymccormick/
E-mail address: Lucy.McCormick@glasgow.ac.uk

Dr Olivier Salazar-Ferrer is a Senior Lecturer in French (SMLC) at the University of Glasgow specialising in twentieth-century French literature, and the interaction between literary writing, philosophy, and the visual arts, with particular emphasis on European avant-garde movements. 

He is the author of Benjamin Fondane (Oxus, 2004), and Benjamin Fondane et la révolte existentielle (De Corlevour, 2007) two monographic studies devoted to the life and work of the avant-garde poet, philosopher and essayist Benjamin Fondane (1898-1944).  He has also published articles and a book chapter on a range  of twentieth-century French authors at the crossroads between philosophy and literature, or between literature and the visual arts (Rachel Bespaloff, Marguerite Yourcenar, Vladimir Jankélévitch, Joyce Mansour, Louis Calaferte, Blaise Cendrars, Jean Giono).  He is the co-editor of Fondane, Ecrits pour le cinéma (Verdier, 2008) with Ramona Fotiade and Michel Carassou. More recently he co-authored a book on the French travel writer, Nicolas Bouvier, and his travels to Japan with Saeko Yazaki (TRS/ University of Glasgow): La chronique japonaise de Nicolas Bouvier (Infolio, 2018), which he presented at the Maison française de Kyoto in 2019. His most recent publications include two volumes devoted to the existential philosopher and essayist, Rachel Bespaloff, and the relationship between music, dance and philosophy: La verité que nous sommes. Lettres de Rachel Bespaloff à Léon Chestov et à Benjamin Fondane (Paris : Non Lieu, 2021) ; De la comprehension musicale à la métaphysique de l’instant: écrits sur la danse (Paris, Non Lieu: 2022).

Staff web page :         https://www.gla.ac.uk/schools/mlc/staff/oliviersalazar-ferrer/
E-mail address:          Olivier.Salazar-Ferrer@glasgow.ac.uk

Dr Philip Tonner is the Co-Director of the Islands in the Global Age ArtsLab theme.

He is a philosopher based in the School of Education at the University of Glasgow. He holds a PhD in Philosophy (on univocity, analogy, Duns Scotus and Martin Heidegger) from the University of Glasgow (2006), a DPhil in Archaeology (on 'dwelling' and prehistory), from the University of Oxford (2016), and a PGDE (Religious Education) (2006) from the University of Strathclyde. Philip's main published work has been in the history of philosophy and theology, in the development of the 'dwelling perspective' in anthropology/archaeology, and in heritage and the philosophy of museums. 

Staff webpage:         https://www.gla.ac.uk/schools/education/staff/philiptonner/
Email address:          Philip.Tonner@glasgow.ac.uk

Dr Gloria Yu Yang is an art historian and architectural historian of modern Japan at IMAP, Kyushu University. Her research focuses on the architecture and urban culture in modern East Asia, in particular, the circulation of people, material, and ideas among Japan, colonial Korea, and China in the first half of the twentieth century.

Research Project Title: Architecture and Urban Art in Modern East Asia. Circulation of people, materials, and ideas among Japan, colonial Korea, and China in the first half of the twentieth century

Staff web page:           https://www.imapkyudai.net/yu-yang
E-mail address:          gloriayangyu@lit.kyushu-u.ac.jp