The Ghost of Fukuda Aijiro By: Jonathan Faulkner The modern say setting is Kenai landing, a 100-year-old cannery at the mouth of Alaska’s famous Kenai River. In this former Kenaitez fish camp, ancient spirits dwell and Fukuda Aijiro, fifty years buried, is running out of time. Juxtaposing this timeframe is the WWII-era evacuation of Alaska’s Aleut population from their ancestral homeland. Transferred to squalid camps and abandoned mines in southeast Alaska, Aleuts suffered irreparable harm to their people, a “forgotten war” that is traced here through the family of Needra Kudrin. Keeno Kudrin, captured and imprisoned by the Japanese, is among those tragically displaces. As he struggles to recover his prewar existence, Keeno must confront the forces of good and evil and the ghost of Fukuda Aijiro. Forced to resign the prior year, following his admission that the ghost of Fannie Guthry-Baehm helped him indict Bill Brady for murder; Chief Callahan is called back into duty. As fact-based collection of evidence collides with his newfound faith, Chief Callahan is asked to investigate a suspicious death, which means unraveling the mysteries of the past.

This study examines the significance of the archetypal heroes and heroines of Japanese cinema and traces both their prior development in literature, drama, and folklore, and their subsequent variations in popular culture.

Nicolás Guagnini: Theatre of the Self is a hybrid catalogue-reader based on the exhibition of the multi-threaded performances of Buenos Aires-born New York-based Guagnini. Many of these works, spanning from 2005 until 2019, have never been seen before or have not been seen since their original live presentation. Raised in Argentina during the "Dirty War" and violent military dictatorship, Guagnini moved to New York in the late 1990s and co-founded the film production company Union Gaucha Productions with Karin Schneider in 1997. In 2005 Guagnini became co-founder of Orchard Gallery, an artist cooperative based on the Lower East Side. The work in Theatre of the Self is informed in part by autobiography, history, politics and through Guagnini's community itself. Some performances were participatory, some were not. But all were made polyvocaly in collaboration with a group of artists with shared interests and concerns around performance and the moving image including Ei Arakawa, Leigh Ledare, Jeff Preiss, Aura Rosenberg, Karin Schneider among others.This publication invites internationally acclaimed art historians, curators and artists to think about the material in Guagnini's work within a unique format. Readers of the publication will be interested in contemporary art, film, political science, performance studies, and Latin American studies.

Eros and Oneness / Tamara H. Schenkenberg -- Elective Affinities: Hannah Wilke's Ceramics in Context / Glenn Adamson -- Needed Erase Her? Don't. / Connie Butler -- Daughter/Mother / Catherine Opie -- Ha-Ha-Hannah / Jeanine Oleson -- Cycling Through Gestures to Strike a Pose / Nadia Myre -- Play and Care / Hayv Kahraman -- Cindy Nemser and Hannah Wilke in Conversation, 1975.

A cyborg detective hunts for a malfunctioning sex doll that turns itself into a killing machine. A Heian-era Taoist slays evil spirits with magic spells from yin-yang philosophy. A young mortician carefully prepares bodies for their journey to the afterlife. A teenage girl drinks a cup of life-giving sake, not knowing its irreversible transformative power. These are scenes from the visually enticing, spiritually eclectic media of Japanese movies and anime. The narratives of courageous heroes and heroines and the myths and legends of deities and their abodes are not just recurring motifs of the cinematic fantasy world. They are pop culture’s representations of sacred subtexts in Japan. Japanese Mythology in Film takes a semiotic approach to uncovering such religious and folkloric tropes and subtexts embedded in popular Japanese movies and anime. Part I introduces film semiotics with plain definitions of terminology. Through familiar cinematic examples, it emphasizes the myth-making nature of modern-day film and argues that semiotics can be used as a theoretical tool for reading film. Part II presents case studies of eight popular Japanese films as models of semiotic analysis. While discussing each film’s use of common mythological motifs such as death and rebirth, its case study also unveils more covert cultural signifiers and folktale motifs, including jizo (a savior of sentient beings) and kori (bewitching foxes and raccoon dogs), hidden in the Japanese filmic text.

Deep Listening: A Composer's Sound Practice offers an exciting guide to ways of listening and sounding. This book provides unique insights and perspectives for artists, students, teachers, meditators and anyone interested in how consciousness may be effected by profound attention to the sonic environment . Deep Listening(R) is a practice created by composer Pauline Oliveros in order to enhance her own as well as other's listening skills. She teaches this practice worldwide in workshops, retreats and in her ground breaking Deep Listening classes at Rensselaer Polytechnic Institute and Mills College. Deep Listening practice is accessible to anyone with an interest in listening. Undergraduates with no musical training benefit from the practices and successfully engage in creative sound projects. Many report life changing effects from participating in the Deep Listening classes and retreats. Oliveros is recognized as a pioneer in electronic music and a leader in contemporary music as composer, performer, educator and author. Her works are performed internationally and her improvisational performances are documented extensively on recordings, in the literature and on the worldwide web.