たぶん誰でも１枚くらいは自分で描いた絵を持っているのではないでしょうか？　高齢になってからそういう絵と再会すると、猛烈に恥ずかしいという心理がだんだんと薄らいできて、ようやく「対話」が成り立ってくるように思える。この絵は今の今まで手許にあったということは、自分史のなかのひとつの「句読点」という認識対象であったことが明らか。
　わたしは学生運動に明け暮れた高校をなんとか卒業して東京の大学に入り、その後東京の会社勤めをする期間、都合８−９年ほどは札幌を離れていた。この絵のことはうっすらと記憶があってその時期、東京に行って暮らし始めることが決まった頃の心象のままに描いたという記憶がある。
　絵というものは、描く動機のようなものが必ずあるだろう。風景画というようなものでもその描き方にその時点での作者の心理が反映して、しかし徐々にその絵のテーマ本来の場所に集中し回帰していって最後は無心になって描き上げていくものなのでしょう。
　しかしシロウトはけっこうナマな心理がそのまま表れてしまうので、恥じらいの感情が高まってしまうのではないだろうか。「あらま、こんなこころがそのまま出てしまっている」というような、怖れの心理。
　この絵でも、なぜか自分の暮らしていた札幌の土地地形が、石狩湾の海までが切り取られて、空中にまるで「ひょっこりひょうたん島」のように浮かんでしまっている。変わった「人工太陽」の近くの山は、いかにも札幌を郷愁させる藻岩山が描かれている。
　どうして自分の暮らしていた土地をこのように切り取ったのか、それはきっとなにかの心理表現だろうと思う。ひょっこりひょうたん島に擬しているので決して否定的に捉えてはいないと思う。むしろ、そこで完結可能な生態系世界認識が強くあったように思う。描いた人間からすると、この「人工太陽」は「どうしようかなぁ」と思案していた記憶がある。結果として照明器具のように可動式アームの先に太陽を位置づけた。そして描き手としては空に星があったり、雲があったり、夜空まで多様な季節の輪廻を表したかったように思う。
　そういう「故郷」に対してアクションマンガ風のポージングで全体重を掛けたパンチを繰り出そうとしている。・・・ように見えるけれど、そのパンチの向かう先は、やや方向が違うように意識したと思う。
　まさかこの絵をわたし自身が後生大事に東京暮らしでの「相棒」にしたとは到底考えられない。
　たしかこの絵は、母がわたしの部屋を整理整頓してくれて、そのさまざまな人間痕跡を丹念に保存してくれていたときに保存対象となったのだった。
　まぁ、絵というのはヘタなりに味わい深く、面白いなぁと思う次第であります。

English version⬇

[Embarrassingly [laughs], a mental landscape painting I did when I was around 18 years old.
Thank you, my mother carefully preserved this heta drawing from my youth. It is basically a manga expression. I think the present form of Japanese painting is still manga. I think manga is the current form of Japanese painting.

　Probably everyone has at least one painting that he or she has done themselves.　When we are reunited with such a painting at an older age, the psychology of intense embarrassment seems to gradually fade away, and a “dialogue” finally takes place. The fact that this picture has been in my possession until now clearly indicates that it was an object of recognition, a “punctuation mark” in my personal history.
　After graduating from high school, where I spent most of my time in the student movement, I entered a university in Tokyo and then worked for a company in Tokyo. I have a vague recollection of this painting, and I remember that I painted it as it appeared in my mind when I decided to go to Tokyo to start living there.
　A painting must have some kind of motive for being painted. Even in the case of a landscape painting, the way it is painted reflects the artist’s psychology at that point in time, but gradually the artist concentrates on the original theme of the painting, returns to it, and finally completes the painting with an absent mind.
　However, for a novice, the artist’s psychology is expressed as it is, and the feelings of shame may be heightened. The artist’s mind is filled with a sense of fear, as if to say, “Oh my God, my mind has come out as it is.
　In this picture, the topography of Sapporo, where I used to live, has somehow been cut away to the sea of Ishikari Bay, floating in the air like Hyokkori Hyotan-jima. The mountains near the unusual “artificial sun” depict Mt. Moiwa, which evokes a sense of nostalgia for Sapporo.
　I wonder why the artist chose to depict the land where he used to live in this way, which must be some kind of psychological expression. I don’t think he is taking it negatively because it is a simulation of Hyokkori Hyotanjima. Rather, I think there was a strong perception of an ecological world that could be completed there. From the perspective of the artist, I remember thinking, “What should I do with this ‘artificial sun’? As a result, I positioned the sun at the end of a movable arm like a lighting fixture. And as a painter, I think I wanted to show the stars in the sky, clouds, and even the night sky, as well as the diverse cycle of the seasons.
　The artist is trying to punch such a “hometown” with all his weight in an action manga style posing. It looks like a punch, but I think I was conscious that the direction of the punch is slightly different from the direction of the original.
　It is hard to imagine that I myself would have made this picture my “partner” in Tokyo for the rest of my life.
　I remember that this painting became the object of my mother’s preservation when she rearranged my room and meticulously preserved the various traces of human life in it.
　Well, I think that painting is interesting and tasteful in its own way, even if it is not very good at it.

Posted on 8月 31st, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

Screenshot

Screenshot

English version ⬇

The evolution and routinization of nature’s fury
I am getting older and my life time is getting longer, but the recent climate change is almost beyond my empirical knowledge. I pray for the safety of everyone in the wider area. ・・・・・.

　I rarely watch TV in real time. My wife records only the programs she likes (or will like), so most of my real-time information comes from the Internet. When it comes to newspapers, I only occasionally buy an evening paper when I go out to Tokyo. Rather than checking the contents of the paper carefully, I only check a few articles with flashy headlines. I am in the minority among the elderly who mainly rely on media information.
　Even I, however, sometimes find myself glued to NHK’s “weather forecast” for Typhoon No. 10. I am moved by the situation of the people in the areas that are currently in danger. I pray that everyone in the Kyushu area and the areas where the typhoon is expected to pass, above all, avoid danger and act accordingly.
　The unpredictability of this typhoon is still surprising. The westerly winds from the continent have changed so much that it is difficult to measure the percentage of typhoons involved in their paths. From the day before yesterday to the day after yesterday, the typhoon traveled at about the speed of a human walking. As of 5:00 a.m. when I am writing this blog, the real-time report says that the speed was 15 km/h, so it may have started to “move” a little today. In any case, I would like to pray for the safety of everyone in the wide area.

　In such a situation, Hokkaido has been little affected so far. The maximum temperature has cooled down from the 30s for a while and is now hovering around 28 degrees Celsius. Well, it is not like before where the autumn wind blows all at once after the Bon Festival, but we can feel that we are definitely heading toward autumn.
　According to the common sense of Hokkaido people, typhoons rarely come to Hokkaido, but the current forecast is that typhoon No. 10 may traverse the archipelago and hit Hokkaido in the end. The day before yesterday, there was a downpour of rain in Hokkaido, which is unthinkable according to conventional wisdom, so it is important to be cautious about such climate change. I guess we need to make safety decisions first and foremost.
　

Posted on 8月 29th, 2024 by 三木 奎吾
Filed under: 状況・政治への発言 | No Comments »

　ここ１-２ヶ月ずっと掛かりきりの案件があります。ある行政側への「申請」業務なのですが、いろいろに便利な反面、緻密な行政手続き作業とIT対応レベルの社会的不均衡が強く感じられます。行政側とは電話での話合いなのでいちいちの内容確認もしながら、超複雑な手順をくぐり抜けていかなければならない。なんとか「対面で」と希望してもそうはしてくれない。
　そういう作業の中で、ブラウザが保存してくれている「履歴」を消去してからでないと新規ユーザーとして行政側サイトにログインできない、という事象のやむなきに至りました。それを承知の上で進まなければパソコン上での申請作業が進展させられない。「やってください」とのこと。
　で、それでそのこと自体は昨夕遅く役所の時間17:00直前に進展したのだけれど、そこまでの作業過程に疲労困憊してアタマを冷やさねばならなかった。
　で、今朝になってブラウザを立ち上げたら、危惧した通り、いろいろな他のビジネス上の「環境」がすべて「消去」されていた。もう一回、延々と「ID＋パスワード」入力を迫られるサイトが続出してくる。すでにPC利用して30年近い時間が経過しているので自分自身の登録情報も千差万別。
　まぁ行政の対応、IT化と公的情報管理の両面から妥当性はあることだと冷静に判断はできるのだけれど、各人でIT対応力レベルには差異もあるなかで、これははたしてどうかと疑問が湧き上がる。
　IT化というのは日本語文化の１領域としてまだ導入過程だと思います。たぶん古事記・日本書紀の時代の「書き言葉・日本語」の創出期や、西欧社会の文明受容の必要に迫られた日本語の拡張期〜明治の「文豪」の時代と並ぶ大変革。そして現代のITはまだ共通言語化のプロセスなのではないかと思う。
　【隔靴掻痒・かっか-そうよう】という言葉があるけれど、詳細で緻密な部分について具体的なポイントをあきらかにして、その書き方、表現を共通化させるというのは、なかなかの難事。そういうことをパソコンのブラウザ操作の共通理解もあやしいなかで、対応して行くのはさらに困難だということ。
　こういう経験から、行政対応のためのブラウザと、一般使用のブラウザは分けて使った方がよさそうだ、ということはひとつの仮説として浮かび上がってくる。行政対応だけのブラウザであれば通常使用のサイトなどの情報は不要なので遠慮なく「履歴消去」を決断できる。
　しかしこういう情報は多くの経験知に裏付けられているものか、まだわからない。わたしの環境では生起したことだけれど、多くの検証が必要かも知れない。
　しかしつくづくと、日本語（より正しくは日本語コミュニケーション文化総体）というのは常に変化し続けていることが実感させられた。

English version⬇
　
Firefox Browser “Erase History” – IT-ization and Socio-Cultural Friction
Public IT is an inevitable trend. However, will the difficulties multiply in the area of “rigor”? Efforts to create a common language are required. …….

　For the past month or two, I have been working on a case that has been consuming me. It is an “application” to a certain government agency, and while it is convenient in many ways, I feel a strong social imbalance between the detailed administrative procedures and the level of IT support. I have to go through a very complicated procedure while confirming the contents of each and every conversation with the government side over the phone. Even if we somehow hope for a “face-to-face” meeting, they won’t let us do so.
　In the process, we had to clear the “history” stored by the browser before we could log in to the administration site as a new user. I had to know this before I could proceed with the application process on the computer. Please do it.
　So, the application itself made progress late last evening, just before 17:00 government time, but I was so exhausted by the process that I had to cool my head down.
　When I launched my browser this morning, I found that all my other business “environments” had been “erased” as I had feared. Once more, a series of sites that force me to enter my “ID + password” endlessly. I have already been using PCs for almost 30 years, so my own registered information is also very different.
　I can calmly judge the government’s response as reasonable from the perspective of both IT and public information management, but I wonder if this is really the case, given that each individual has different levels of IT skills.
　I think that IT is still in the process of being introduced as an area of Japanese culture. It is probably a major transformation, comparable to the creation of “written Japanese” during the period of the Kojiki and Nihonshoki, the expansion of the Japanese language due to the necessity of accepting Western civilization, and the period of the “great writers” of the Meiji era. And I believe that IT today is still in the process of becoming a common language.
　There is a word “kakka-souyou,” which means “to scratch a itch on one’s own shoe,” but it is quite a difficult task to clarify specific points about detailed and precise parts and to standardize the way of writing and expressing them. It is even more difficult to deal with such a situation when there is little common understanding of how to operate a computer browser.
　Based on this experience, one hypothesis that emerges is that it is better to use separate browsers for administrative use and for general use. If you use the browser only for administrative purposes, you can make the decision to “clear history” without hesitation, since you do not need information about the sites you normally use.
　However, I am not sure if this information is backed up by much empirical knowledge. This happened to me in my environment, but it may require a lot of verification.
　However, it made me realize that the Japanese language (or more correctly, the Japanese communication culture as a whole) is constantly changing.

Posted on 8月 27th, 2024 by 三木 奎吾
Filed under: 状況・政治への発言 | No Comments »

　昨日の「ヒグマ」情報について、いつもわたしの情報発信に対してさまざまにご意見や貴重な知見情報提供をいただく読者のShigeru Narabeさんから、以下のような情報がブログへの「コメント」欄投稿として寄せられたので、とくにご紹介いたします。
　〜・・・札幌市では大学や研究機関と協働してヘアトラップなどで採取した体毛から個々のヒグマのDNAを分析して個体識別を計っている。この三頭のヒグマは春先に山頂付近で冬ごもりのところを見つかった母子と思われる。「さっぽろヒグマ基本計画2023」によると三角山は「ヒグマ対策重点エリア」とされ、ヒグマの定着を抑制すべきエリアとなっているのだが、市の行動は「抑制」に向かっているようには見えない。〜
　おお、であります。三角山山頂付近で「冬ごもり」していた個体群だとすると、ほぼこのエリアを営巣地としていることが推定でき、この母親個体が「定住」しているとすると、そこに「コロニー」がやがて形成される可能性がある。また、この三角山は当然、その後背として札幌南側の山地地域とは同一エリアと見なせるので、単に局地的な動物動態とは言えない広範囲に影響のある状況。とくに周辺住民としては自治体の適切な対応を求めたいところだと思います。
　ただ、ハンターのみなさんに出動をお願いするにしても、人家のある地域なので、とっさのタイミングで求められる発砲判断は非常に困難であることは確かでしょうね。う〜む。
　という追加情報でしたが、わたし的には昨日は早朝散歩もやや迷いが生じて休止しておりました。今後、エリアをより注意深くチェックしていきたいと思っています。
　・・・というところですが、お馴染みの食品買い物スーパー店頭では、新鮮な生ものの「真ほっけ」や「道産のホッケの開き」が目を楽しませてくれていた。読者のみなさんからは生ものから自分で「開き」を作られる方情報が寄せられたりしていますが、いまのところは「また頑張ります」ということでやや腰が引けています。蕎麦打ち・ホッケ背開きと修行の叱咤激励雨あられというところ（笑）。だんだん逃げ場がなくなってきている（泣）。

　道産のホッケの開きと、アメリカ産のホッケは同じ値段で売られていましたが、モノの違いや冷凍して輸送するタイムラグなどいろいろな条件の違いはもちろんありますが、見た目的にはやはり「開き方」に大きな違いがある。道産モノでは「背開き」だけれど、アメリカやロシア産では写真のような「腹開き」が普通。
　たぶん包丁捌き文化の違いがあるのでしょう。あらためて気付かされる。

English version⬇

Additional brown bear information & 3 views of hokke in Sapporo’s market
We received valuable information on brown bears in the neighborhood from a reader. Is a resident brown bear colony in danger? On the other hand, three photos of hokke as a blessing of nature. …

　Regarding yesterday’s “brown bear” information, I received the following information from Shigeru Narabe, a reader who always provides various opinions and valuable knowledge to my information transmission, as a post to the “Comments” section of my blog.
　〜The city of Sapporo is working with universities and research institutes to identify individual brown bears by analyzing DNA from body hairs collected from hair traps and other methods. These three brown bears are believed to be a mother and her cubs that were found at the top of a mountain in early spring while hibernating for the winter. According to the “Sapporo Brown Bear Basic Plan 2023,” Mt. Triangle is designated as a “priority area for brown bear control,” an area where brown bears should be controlled, but the city does not seem to be moving toward “control. ~.
　Oh, yes. If the population was “wintering” near the top of Mt. Triangle, we can assume that this area is almost exclusively used as a nesting area, and if these mother individuals are “settled” there, it is possible that a “colony” will eventually be formed there. In addition, this triangular mountain is naturally considered to be the same area as the mountainous region to the south of Sapporo as its hinterland, so this is not simply a local animal dynamic, but a situation that affects a wide range of areas. I think the local government should take appropriate measures, especially as a resident of the surrounding area.
　However, even if we were to ask hunters to go out to the area, it would certainly be very difficult for them to make the right decision to fire at a moment’s notice in an area where there are houses and people. Hmmm.
　I had to stop my early morning walk yesterday because I felt a little lost. I would like to check the area more carefully in the future.
　However, at a well-known food shopping supermarket, fresh fresh raw “mahi hokke” and “Hokkaido hokke” were a feast for the eyes. I have received some information from readers who are making their own “hokke” from fresh fish, but so far I have been somewhat reluctant to “try again”. I am getting a lot of encouragement for my training in buckwheat noodle making and hokke-birakiraki (back breaking hockey). I am running out of places to escape to.

　The Hokkaido hokke and the American hokke were sold at the same price, but while there are of course differences in the products and the time lag between freezing and transportation, there is still a big difference in the way they are “opened” for visual purposes. The hockey produced in Hokkaido is usually cut open on the back, whereas the hockey produced in the U.S. and Russia is usually cut open on the belly, as shown in the photo.
　Perhaps there is a difference in knife handling culture. I am reminded of this once again.
　
　

Posted on 8月 25th, 2024 by 三木 奎吾
Filed under: おとこの料理＆食 | No Comments »

　きのうは一昨日から掛かりきりの「難航」案件に引き続き対処。状況が見通せないプロセスが続きます。国家行政組織との対応案件。さまざまな制度上の推移経験の結果、現状の機構構造があるのでしょうが、省庁間の縦割りの実態をもいろいろ実感させられる次第。
　一方で民間企業との対応案件では「大きな会社」の最終的社長決裁が降りた、という知らせ。おお、であります。やっぱりなにごとも決して諦めず、淡々と向かい続けるしかないことを、ありがたく知らされた。ご助力いただいたみなさん、すべてに感謝であります。
　というようなビジネスでの日常があるのですが、すべてが終わらなければ途中経過段階では発表は出来ない、いや結局は「終わらない」ので、日々のブログテーマにはムリ。
　ということでテーマ避難。写真はことし奈良の興福寺に行って円安＋コロナ明けの異常な海外旅客集中・大混雑ぶりにいたたまれず、飛鳥地方に避難行に向かったとき、最初に発見して参詣した閑静な神社「大和神社」。そちらの拝殿に掲額されていた飛龍の絵の一部であります。
　神社などではこういう「やまと絵」が基本的に採用される。伝統的な絵画技法で、こういう技法が現代の後藤純男さんの絵のような日本画のベースになっているのでしょう。添え書きなどはなかでは見られなかったので、いわば名もなき額絵。
　こういう額絵の「寄進」の社会習慣というのは、日本社会では相当古くからあったのでしょう。地域が農業開発されて人口規模が拡大していくのが日本の普遍的社会形成でしょうが、基本的に「八百万」という地神は各地に伝承されて、神社に祀られ、そうした地神への奉納として地域での成功者たちが感謝の意味を込めて贈ったモノでしょう。こういう「芸術者」たちには、そういう機会が貴重なビジネスチャンスであって、このような作品を残した。
　西洋社会でのキリスト教の教会などに聖母マリアの絵を寄進するというようなことと同様なのでしょうが、そういった「定型化」が日本の場合にはこうした飛龍の絵なのでしょう。たぶん寄進した個人・家に対してその勢い・勢力を表現するのに、躍動感たっぷりのこうした飛龍が画題として、一般的に選択されたのでしょう。
　そんなことを考えながらいつも参観させていただいています。現世での生々しい権力ゲームがいま繰り広げられていて、メディアも明白にその権力機構の一部である実態も赤裸々になっている。そういう光景に対して、俗世をやや離脱した歴史事物には、ふしぎと癒される空気感がありますね。日本の歴史にはそういう「濾過装置」が仕組まれているのでしょうか。

English version⬇

[The clear and bizarre reality of the media in relation to power struggles and the framed picture of a local shrine
The naked and bizarre reality of the media in relation to the struggle for power. Let’s take a look at the “Hiryu” (flying dragon) frames of Yamato-e paintings and try to heal our hearts. The “flying dragon” of the Yamato-e painting is a little comforting.

　Yesterday, we continued to deal with the “difficult” case that we have been working on since the day before yesterday. The situation continues to be unpredictable. This is a case of dealing with a national administrative organization. The current structure of the organization is the result of the experience of various institutional transitions, but it also makes me realize the reality of the stove-piping between ministries and agencies.
　On the other hand, in the case of dealing with the private sector, I received the news that the final decision of the president of a “big company” had been made. Oh, yes, that’s great. I am grateful to have been informed that we must never give up on anything and continue to face the situation without hesitation. I am grateful to everyone who helped me.
　I have a daily business life like this, but I can’t make an announcement in the middle stage unless everything is finished, and in the end, it won’t be finished, so I can’t use it as a daily blog theme.
　So, the theme was evacuated. The photo is of Yamato Shrine, a quiet shrine that I first discovered and visited when I went to Kofukuji Temple in Nara this year to take refuge in the Asuka area due to the unusually high concentration of foreign passengers and large crowds after the depreciation of the yen and the Corona. This is a part of a picture of a flying dragon displayed in the hall of worship there.
　Yamato-e” is a traditional painting technique used at shrines. It is a traditional painting technique, and this kind of technique is probably the base of modern Japanese paintings such as Sumio Goto’s. The accompanying notes were not seen in the painting. Since there were no accompanying inscriptions, so to speak, this is a framed painting without a name.
　The social custom of “donation” of framed pictures like this must have existed in Japanese society for quite some time. The “eight million” local deities were basically handed down from generation to generation and enshrined in shrines, and the successful people of the region gave them as an offering to these local deities as a token of their gratitude. For these “artists,” such an opportunity was a valuable business opportunity, and they left behind such works.
　This is probably similar to the Western society of donating a painting of the Virgin Mary to a Christian church, but in the case of Japan, this type of painting of flying dragons is a “formulation” of such an occasion. Perhaps the lively flying dragons were generally chosen as subjects to express the vigor and power of the individual or family who donated the money.
　I always visit the exhibition with this in mind. The raw power game in this world is now being played out, and the reality that the media is clearly a part of the power structure is also laid bare. In contrast to such scenes, historical events that are somewhat removed from the mundane world have an air of mystery and healing. Is there such a “filtering device” built into Japanese history?

Posted on 8月 23rd, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »