Ramen #26



Thoroughly delicious ramen for lunch – it was the second time I’ve been to this tiny ramen joint, but this time they had a poster proudly displaying they were in the top 50 ramen restaurants in Japan… and a quick search of Tabelog verified they are #26 for 2016… amazing when you think there must be hundreds of ramen shops in Japan!


If you are visiting Japan the Tabelog site is very useful for finding great restaurants… as is GuruNavi


Wandered past an excellent izakaya this evening, just as they had taken delivery of a massive 38.8kg Tuna, and got to watch as one of their chefs very skillfully dissected it….


A small crowd formed to watch & the little kids were hilarious, super aware of just how great this tuna was….


And the chef totally performed, engaging all of the onlookers and (i prsusme) explaining what he was doing….



The chef offered the tail & two small boys immediately put their hands up to have it, so the chef made them play a quick game of ‘rock, paper. scissors’ to decide who got it…. the victor was very proud of his new tail, you can see him on the left of the next photo


We all got to have some sashimi & sushi from it, super fresh!


It was one of those fantastic experiences you could never plan to have…


Osaka, from 22nd floor



shot with Sony a6300 from Higashi Osaka City Hall Building tonight

(click image for larger version)

XPan/TX2 first rolls of film

KYOTO Ryōgen-in
Fuji TX2 + 30mm lens + PRO400H

KYOTO Taizo-in
Fuji TX2 + 30mm lens + Velvia50

OSAKA Umeda SkyBuilding
Fuji TX2 + 30mm lens + Velvia50

HYOGO MukoRiver
Fuji TX2 + 30mm lens + PRO400H

click photo for larger version

Intensional Particle

Choreography & Dance: Hiroaki Umeda
Image Direction: S20
Visual Research: Ludovic Burczykowski
Image Programming: Shoya Dozono
Video Editing: Guillaume Gravier
Sound & Lighting Design: S20
Production: S20
Coproduction: Le Manège – Scène Nationale, le manège.mons, la Gare Numérique – Jeumont, la Maison des Arts de Créteil, Stereolux – Nantes, Mapping Festival – Genéve

A horizontal line projected on the screen tremors. Suddenly, for an instance, the line drastically multiplies as if to discharge its immanent energy. Similarly, when Umeda on stage trembles, covert energy withheld in his body is transmitted from the pelvis to the spine, to the arms, and lastly to the digital screen situated at the rear, in which the energy is visualized by curved lines reminiscent of a solar corona. When waterfalls and rivers are seen from afar, they seem to maintain static forms; yet, when one zooms into the same objects in a microscopic level, it is noticeable that they are consisted of ceaseless motions such as swells, waves, vortex and crosscurrents. Based on this creative concept, in Intensional Particle, Umeda reinterprets the particles in space as not static molecules but rather as ‘active particles (or, mass points)’; and, visualizes, in space, the ‘intensional force’ that particles conceal.
On stage, the corporeal, the photic and the sonar forces converge in exponential speed, and, at one point, it reaches the critical point of energy. Yet, the extremity is not sustained for long as it once again reverts back to a temporal equanimity by going through phase transitions. The transient shapes of digital particles which conjure images of dissolution of solids, sublimation of liquids, and algorithms of heat transference, synchronizes and synthesizes with Umeda’s movements – yielding an entire universe that dances like a living organism.
The audience will be experiencing a digital reality saturated with ‘unstable stability’: the raging streamlines vanishes after a minute, and the luminous waterfall vaporizes after a second. Therefore, despite the existence of an explosive canvas soaked with digital curvatures right before our eyes, it simultaneously gives us a fragile impression. When an evanescent expression per se of the body is embedded within the architecture of lights, which moves incessantly to maintain a split-second stability, sooner or later, the audience realizes that everything on stage will vanish in the next moment. As if to embody the ephemeral aesthetics underpinning the piece, here, on stage, the invisible forces come to the fore and the visual universe sink out of sight. Yet, the residue of heat still simmering after the experience of an informational overload will linger long in the audiences’ bodies.




Got 10 rolls of film back from ToyLab – super happy with my first rolls from TX2/xPan but love these snaps from my Contax T2 with TriX

That camera is permanently loaded with TriX now!

Industrial Sakai


After some Google earth vs maps research I headed off this morning to explore industrial parts of Sakai… Managed to find a train station that got me within 4 blocks, on a cute train line that was only 3 stops long – I guess built to deliver workers to & from the same industrial area I wanted to visit… Next step was crossing this bridge, where I found my first ambience to record


Through & under the bridge I could hear some huge loud clanks & bangs, and it soon became apparent a ship was loading itself with a crane & a big set of claws…


I recorded this perspective for 10 minutes but decided it was a sound worth pursuing so tried to get closer to it…. But after walking for 20 minutes it soon became apparent I couldn’t get closer from the factory side, but I did find this weird green compressor thing:


It seemed to be constantly building pressure, and then every 14 seconds would release a blast of air and carry on, ad infinitum… I recorded for 10 minutes and started to think of it as a weird set of lungs, wheezing away…


Any idea what could create these patterns? It was on the footpath, so couldn’t be vehicle wheels…. my only thought was… snails?


My super power = recording through security fences


Eventually I started to get tired – lugging my mics & recorder & camera in 28 degree heat takes its toll, so I wandered back across the bridge and walked along until I found a clear spot away from traffic & directly across the water from that ship! Set up the mics & proceed to lie down in the grass & shade & snooze for 20 minutes while I recorded it = best perspective yet!


Along from where I was set up, there were a few elderly gents fishing & one came wandering along to see what I was doing – without saying anything I gestured the headphones to him….


It is always so nice to see someones face light up when they realise what you are doing! Funnily enough in all of my recording in Japan plenty of people obviously see the mics and I see them glance at me & think WTF? But rarely does anyone approach me, the few previous times were two photographers in Ginza, and a security guard in Shinjuku (who asked me to leave) – the only other was an elderly lady in Amagasaki who was very sweet and I gave her my headphones for a listen but didnt have my camera ready to take a photo of the reaction….

One thing I do love with my little Song a6300 is silent mode – unlike DSLRs that have quiet mode which really is nowhere near silent, the a6300 being mirrorless can be truly silent. This helps if trying to stealthily capture a photo of someone, but also means that while I am recording I can potter around taking photos without having to edit out the shutter sound afterwards… WIN WIN!!



Caught the train back to Namba station & wandered outside and recorded some pedestrian & traffic ambiences…



Its my last week in Kansai so am rapidly making a to do list, and suspect I will come back to this intersection with my XPAN/TX2 and shoot some long exposures of those crazy diagonal pedestrian crossing markings…


its a very small truck, or those are very large road cones!


The Battle





Many battles


By Muko River today

OpenPaths Data

Ever since doing a data visualisation workshop at SemiPermanent last year I’ve had Open Paths installed on my iPhone, and I just had a look at the data it has collected from my travels…


Interesting to see where I’ve been in New Zealand recently too:


“Using our mobile apps you can track your location, visualize where you’ve been, and upload your data to the OpenPaths website. You can then download your data from the website in a variety of friendly formats, including KML, JSON, and CSV….

You can keep your location history to yourself, or you can share it with specific research initiatives, art projects, or educational programs as you so choose. The OpenPaths online interface allows you to manage who has access to your data. Regardless, your data is always encrypted on the OpenPaths servers, and cannot be accessed by anyone without your express consent.”

Open Paths