Copyright
Rights of the articles on No Man’s Land are reserved to the original authors or media. No Man’s Land is authorized to reproduce and distribute the articles freely. Users may distribute the articles on No Man’s Land accordingly to the above terms of use, and shall mark the author, and provide a link to the article on No Man’s Land .
「數位荒原」網站上文章之著作權由原發表人或媒體所有,原發表人(媒體)同意授權本站可自由重製及公開散佈該文章。使用者得按此原則自由分享本站收錄之文章,且註明作者姓名、轉載出處「數位荒原」與網頁的直接連結。
Contact
Please fill out your information to contact No Man’s Land .
The information you supply will only be used by No Man’s Land .




Subscribe No Man's Land
Please fill out your email to get the latest from No Man’s Land .
The information you supply will only be used by No Man’s Land .
Unsubscribe No Man’s Land
ISSUE 40 : A Nonnative Ecosystem
Traveler, Tourist, and Art Field – HOJOKI SHIKI as A Case Study
旅人、觀光客與大地祭─以《方丈記私記》為例
March 15th, 2019Type: Opinion
Author: Enkaryon Ang Editor: Rikey Tenn
里山美術館主題 / photo: Enkaryon
日本帝國海外旅券: 明治39年小孩護照 / Source: 國立臺灣歷史博物館
Publish-Fabric ~地球に編まれる立体 MAGAZINE, 透過各種田野紀錄描述津南一帶的水文特色; 此作既描述越後妻有一帶在過去因洪水發展出來的文化, 同時也描述在地自然的音響紀錄與視覺切片 / Photo: Enkaryon
村民: 單一的共同體中生活和思考的主體; 旅行者: 不斷地遊走於各種共同體的主體; 觀光客: 生活在特定的共同體中但時不時去其他共同體的主體
2018年越後妻有藝術祭的公車路線 / 翻攝大地藝術祭越後妻有三年展2018手冊
Leandro Erlich, "Lost Winter"; permanent installation in 三省house / source: www.cinra.net/interview/201707-leandroerlich?page=2
Footnote
[1]
[2]
See Also
Hojoki Shiki in 2018: The Universe of Ten Foot Square Huts