2014.01-12 TCAC 關鍵議題駐村計畫 III : 黃大旺 – 無主體性的主體性聲音-日本關西屎槓（scum）文化生成史的行動考察
2014.01-12 TCAC Burning Issue III : Non-subjectivity of the voice in subjectivity by Huang Dawang
(For English please scroll down)
成員為一群1994年左右出生的男生，在2008年出道時被譽為具有核子彈頭一般毀滅威力的表演，是此群人中最年輕一群。主唱Beat從小透過網路吸收各種音樂知識，中學二年級即出道，以電子噪音（預錄）詮釋他喜好的動畫歌曲。演出形式與日本知名的噪音團體，如非常階段、The Gerogerigegege或C. C. C. C.的現場有許多共通之處。
5-5 クリトリック・リス（Clitoric Ris）
5-6 河合カズキラングレー（KAWAI Kazuki Langley）
學院派電子音樂家，但出社會後以微薄的收入與零星的演出發行過生活。經過一次不美滿的跨國婚姻（曾與旅日中國留學生結婚）之後，開始擔任京都與大阪幾所大學的約聘講師，並成為日本多聲道音響投射音樂（musique acousmatique）的首席演奏者之一。會找上他的原因，是他曾在2009至11年間發行噪音同人刊物《DARRA GAPPA》，光碟部分收錄了多位噪音創作者的作品，平面則是這些創作者的「漫畫」，這些漫畫毫無「商業價值」，甚至不知所云，反而形成一種趣味。
Non-subjectivity of the voice in subjectivity
1) Reflection on scum
It is generally believed in the society that imitation is an ability that should eventually lead to original creations. During the process of imitating artworks, we can often discover different features, advantages, and disadvantages, and proceed to produce original works. In fact, not only individual artists encounter this kind of issue and decision, but so does a society when developing its character. Any developing country is faced with a question: How to through current means of development find its own suitable way?
Japan in the process of modernization has widely implanted western systems and displayed its own features. It is a specific example of going from imitation to creation.
However, among collective imitation there must exist various styles and imitators who deviate from their goals. According to the guidance of “regarding creation as the ultimate goal of imitation,” we can further divide the deviates into two categories: one is those who cultivate great abilities of imitation and simply decide to express themselves through others’ work; the other kind is those who fail in the beginning stage of imitation because of different unexpected obstacles or their own purposeful refusals. They cannot (or would not) present either new work or old ideas and can only distortedly use others’ work, fragments of information in the society, or remains of consumer products. Despite this, a subjectivism without subjects still can exist. If we take audial or music creations and performances for example, to hold band or pop songs imitation contests and to reinterpret classical and jazz classics both fall in the former category. These kind of artists and musicians and their work certainly do not aim to set a new model, but they still gain public approval with their good performances in a specific field. As for the latter category, being ignored for a long period, they have also gradually established their own identity in the past twenty years, which is exactly what we are curious about.
3) Black Wolf Nagashi
I have performed in the name of Blackwolf Nagashi since 2004. Maybe it did not start with the above-mentioned issues, but the methods resonates with messages I brought up. With the stage name only one word different from Black Hand Nakasi, Blackwolf Nagashi presents work aiming at “emulating others,” and with unsuccessful imitation and ideas grabbed from other creations, it mocks and criticizes the differences between imitation and creation, establish the Blackwolf school, and wins audiences’ appreciation. I try to play attentively certain musical instruments and existing numbers, and the reaction of audiences usually resembles that of Nakashi’s. I often play the songs I like or that I have edited with weird physical movement going with them, and the occasion appears similar to a self-satisfied fan presenting his private ecstatic conditions to the public. Blackwolf Nagashi exactly falls in the second category mentioned in the previous paragraph, and it is aware of it. This kind of artists neither admit themselves as artists nor accept the label of artist. Because they resemble more spectators who sway with the stars while at the same time also want to rush on stage to attract attention.
4) Questions and subjects
I decided to reside and explore in Japan because the country must have accumulated a lot of thoughts and experiences in the past one hundred years exemplifying “from imitation to creation” in East Asia. And though the artists who cannot even imitate well, let alone create have attracted attention recently, how did they come to their state today? How did they form their identity, perform in a general society (Does that count as a performance?), and come to develop into a community? How do they regard the dialectical relation between imitation and creation and the condition of being isolated (if they think they are) by the society? How do they evaluate each other and view original artists and excellent imitators (re-interpreters of traditions)? Do they regard themselves as performers or “audience/fans on stage”? These artists usually lack the professional backgrounds of audio art or music, and does it mean that the criteria of performing has loosened? But why they are not a lot in number? Apart from their daily work, how do they produce creations? We hope to think about these questions by observing Kansai Otaku Generation. Doing so is also beneficial to the self-reflection of Black Wolf Nagashi on its works.
5) Introduction to the subjects
One of the representative figures of Kansai Otaku Generation. During the times at Kansai University, No.305 created using the allusions of Japanese animation and released original songs or cover versions of animation songs. He currently owns a T-shirt store
5-2 Demon Daikon
A planner of subcultural performances (specifically those related to animation) known for the performances spoofing Internet topics. Some of the shows have touched upon the field of performance art.
5-3 NAKADASHI DAIHYAKKA
The members NAKADASHI DAIHYAKKA are a group of boys born around 1994. They were regarded as having the destructive power of a nuclear bomb when making their debut in 2008, and they are the youngest among these artists. The lead vocalist Beat has acquired a variety of knowledge in music on the internet since he was young. He made his first performance in the second year at high school and interpreted the animation songs he likes with electronic noises (prerecorded). The forms of their performance are similar to the live shows of famous Japanese noise groups including Emergency Staircase, The Gerogerigegege, and C. C. C. C.
5-4 Hiyu Nonaka (Hiyu)
Born in the province of Nara, Hiyu in the early years entered the field of underground idols in Osaka as a gravure idol and then started to make songs and engage in special makeup effects for movies. As one of the elder members of Kansai Otaku Generation, Hiyu later left (but did not break off) with Otaku Generation because of different opinions. Currently, apart from work, Hiyu is also a member of photography associations, a consultant to the younger generations of underground idols, and a make-up artist.
5-5 Clitoric Ris
A bold, middle aged, and married male, Clitoric Ris wears only a tiny pair of swimming trunks on stage and sometimes with small electronic musical instruments or Christmas LED lights on his waist. His shouting rap songs and clumsy dancing along with the straightforward lyrics often surprise the audiences and even bring them to tears. The forms and numbers of Clitoric Ris’s performance are fixed, but the content is mostly about the embarrassing events he experienced when growing up or his suspicious experiences of one night stand. After being laid off by his former employer, he has devoted himself to his tour within Japan. He is one of the typical artists of Japanese scum music.
5-6 KAWAI Kazuki Langley
KAWAI Kazuki Langley is the standard-bearer in Kansai scum. In early years, as the founder of Ultra Fuckers, which was known in the international circle of noise music, KAWAI Kazuki Langley has been invited to perform in the USA and Israel, and their work has been included in the collection of Taiwanese noise music publication NOISE. Former members of the group include Akutagawa Prize winner Mob Norio, subculture writer Matsumoto Kameyoshi, and myself.
5-7 ISIGAMI KAZUYA
An academic electric musician who lived on little income and irregular performances and releases after graduating. Having been through an unhappy marriage (with a Chinese international student), he later took the job as a contracted lecturer at several universities at Kyoto and Osaka and became one of the major players of musique acousmatique in Japan. The reason to cooperate with him is that he has launched noise music publication DARRA GAPPA during 2009-2011. The compact disc of the publication included works of many noise music creators, while its paper content consisted comics of those creators, which had little commercial value or even meaning yet conveying a sense of amusement.
I am going to hold events at Osaka, inviting these bands or artists to perform and talk with them about the questions mentioned in the fourth part. Since the performers all have other vocations (not related to art) in their daily lives, I need to make appointments with them prior to the performances to understand their lives. Specific ways include to stay together with each band or artist for two to three days before the appointed date of their performance and to understand profoundly related questions through chitchat. Besides, I will try to meet some online acquaintances or audience who lacks stage experiences but belongs to the same communities of these performers and encourage them to perform on stage (or just to pay tribute to their idols.) Even if they refuse to do so, we can also try to understand their reasons.