ECKHART GARDEN 1 2020.1 / エックハルトの庭1 2020.1

ECKHART GARDEN 1 2020.1 / エックハルトの庭1 2020.1

[Short Poem / 詩]

“A long time ago, I felt I went up to the ground as a “Mermaid“. When I was sinking in the water of the sea, various memories revived in my mind. There is also a legend that the mermaid is the ghosts of the animals who had returned to the sea and become dolphins and whales long ago when they didn’t remember anymore. I don’t know if they regret or they are  inviting the humans to the sea?”


We edited “ECKHART GARDEN 1 2020.1” with “DESIGN PHOTO; Animals in the Memories“, “VIDEO; Space Dance in the Robotic Universe 1“, and “STORY; A Story constited on the Million Hypotheses“.

エックハルトの庭1 2020.1』を『デザイン写真~記憶の中の動物たち』『動画~スペースダンス・イン・ザ・ロボティックユニバース1』『物語~百万の仮説の上に成立する一つの物語』によって構成しました。

■ DESIGN PHOTO; Animals in the Memories
(デザイン写真; 記憶の中の動物たち)

■ VIDEO; Space Dance in the Robotic Unierse 2020.1
(ビデオ; スペースダンス・イン・ザ・ロボティックユニバース1)

■ STORY; A Story constited on the Million Hypotheses
(物語; 百万の仮説の上に成立する一つの物語)


MY SPACE DANCE 4 / 私のスペースダンス4

MY SPACE DANCE 4 / 私のスペースダンス4

Tetsuro Fukuhara / 福原哲郎

I uploaded “My SPACE DANCE 4”. Its theme is “Sense of Distance in Space”. This a record when I danced with Leo at a campus of University of Tokyo. He is one of my students and studies there. In that time I could find a very interesting structure that connects the rooftops of 2 buildings, so we danced at a step of the structure. I edited this record together with past photos of Space Dancers that fit into this theme.


[Dance Video / ダンスビデオ]

[My Dance Philosophy / 私のダンス哲学]

Around 1990. Since I started to perform in various cities in Japan and overseas, I felt that the theaters in every city had the same coditions inside, so they were boring for me. If I go outside of the theater I can find a lot of different information and various unique scenery in the city, but inside of the theater is homogenized, so I see almost same little information. In order to form my dance, I need my own “Story” essentially. However, its story will be able to update when I breathe the current surrounding information that fills my body. If the information lacks freshness, my “Story” will not be updated. On 1996, when I performed at a big theater in Beirut, Levanon, it has just ended the civil war, I was supprised to the disparity of information between inside and outside of a theater, and suddenly I woke up. About a reason of “Boredom”. About a fact that my “Story” becomes thin as I dance every time.

Such me, when I returned to Japan I could meet with Jun Aoki, architect, who proposed “Slanted Floor” and Shusaku Arakawa, artist who said furiously that he will make an architectural revolution by constructing all floors in the world with “Curved Surfaces”. Same time I could meet with Masako Sasaki who intruduced a theory of “Affordance” to Japan. Even though it was a short time, I could learn from the exchange with them that they were looking the same theme from different angles, and I knew that there a big wave of change inside the world and I knew I was one of those people who were swept away by its wave. Through these experiences I could start my “SPACE DANCE”.

SPACE DANCE is a “Method” for dancers to update their “Story” every day by breathing the fresh information. The core of SPACE DANCE is “Dance with Affordance” which treats the body as an object, and a dance with a concept of “Dance & Design”. And the fresh information can provide the necessary environment for this work.

Only after having a “Story” that is updated and enriched, dancers can also enjoy and can dance from inside with a big “Rapture”. The decline in age and physical function is not an obstacle. Because, “Rapture” reorganizes the body necessary for dancing, and “Maturity of Fruit” increases with the age. Why we leave the theater and dance in the city and nature? Its reason is symple because it is just easy to get the fresh information. SPACE DANCE is not aimed at “Natural Regression”. Because a final station of SPACE DANCE is the building a “New Theare” which guarantees “Reserving Fresh Information” on the knowledge through these experiences.



スペースダンスは、ダンサーが自分の「物語」を新鮮な情報を呼吸することで日々更新していく為の「方法」である。スペースダンスの核心は、身体を客体として扱う「アフォーダンス的ダンス」と「ダンス & デザイン」のコンセプトにあるが、それに必要な環境も周囲の新鮮な情報が提供してくれる。


My Space Design 1 / 私のスペースデザイン1

My SPACE DESIGN 1 / 私のスペースデザイン1

I uploaded “APAROS & DESIGN, production note by image“.  I could start to develop “APAROS – AI Robot as My Alter Ego” together with Merve Akdogan.

When we can install APAROS in “Space Dance School“, the effectiveness of this school as an online version will chage drastically. Because APAROS will be developed as a single unit for personal use, and starts to “Remember” the space dancer’s movements, “Reproduce” it, and “Develop” the new movements as if it express the human potential desires. When such a virtual idol begins to play an active role as the Virtual Reality or the Mixed Reality, what will happen? I am looking forward to it.

The major different point between APAROS and many other virtual idols is that APAROS is developed based on Space Tube Experience. Therefore, APAROS is “Physical” as a digital existence that is inseparable from the space, and can always grow up as “Aleter Ego” of each space dancers, finally APAROS can contribute to “Evolution of Body“. Since the developments of other virtual idols don’t start with the humans physical desires, simply satisfying the people’s ideal desires, then the body should be deserted behind. So, we need to start it with the physical desires. When we take “Evolution of Body” as our theme we should consider carefully about this difference.

アパロス&デザイン、イメージによる制作ノート」をアップしました。私は、Merve Akdoganと、「アパロス- 私の<分身>としてのAIロボット」の開発を開始しています。

APAROSを「SD-School」に搭載できると、online版としての「SD-School」の有効性は激変するだろう。それは、APAROSが、個人用として一体づつ開発され、スペースダンサーの動きを「記憶」し、「再現」し、人間の潜在的願望を表現したかのような新しい動きの「開発」を始めるからである。こんなバーチャルアイドルがVRやMRとして活躍を始めると、一体どうなるだろう? 私にはそれが楽しみだ。


MY SPACE DANCE 3 / 私のスペースダンス3

MY SPACE DANCE 3 / 私のスペースダンス3

This video is a record when I danced in Byobugaura and Istanbul. Like an architect who has received an order for a new architecture, I go sometimes in the nature, sometimes in the people. 


[Dance Video / ダンスビデオ]

[My Dance Philosophy / 私のダンス哲学]

J.J.Gibson, a founder of the concept of “Affordance“, said “Humans are in contact with the earth through a Bone Space in which almost 100 bones and muscles are linked and act as a system. How we touch the ground and the floor well? Humans are always looking for its good and comfortable way as the behavior of Bone Space.”

In dance, when we can organize our body as a “Object” we can get conscious of this Bone Space well. And when we can get the energy for the dance through a collaboration between the body and the environment, not by ourselves, our Bone Space can get touch the ground and the floor very well. Also, its energy arise like the growth of a snowball depend on the condition as we use it more, it increas more. When I can dance well, when I am in this state, in this time my body is like a “Fluid Body“. No matter how much I dance, I am not tired basically, because I don’t force a dance to me. Sometimes I can get the unexpected strong power, and I can continue my dance beyond the age. Now my real age is 71, but I feel I am so young in my dance. So, I can say  that I have the “Universal Age 17” to people.

アフォーダンス」という概念をつくったギブソンは、「人間は、 ほぼ100個ある全ての骨と筋がリンクし一つのシステムとして働くボーンスペースによって大地と接触している。大地や床にいかにうまく接地するか? 人間は、それをこのボーンスペースの動作として常に探っている」と言っている。


ECKHART GARDEN – new / 新・エックハルトの庭

“ECKHART GARDEN / Shrine with Alone”
エックハルトの庭 / 一人の神殿

Eckhart Garden” is a “Sign” and a “Map” that I send to my looking for “Them“. Why I needed to call myself “Universal Age 17“? Because I felt I need a time to meet with them. As 17, as a dreaming boy, I need to wait well with them, and in high spirits. Also, when I meet them it will no doubt be required to have more strong mind and more great energy.


September 2019, we started “SD-School” and “SD-Museum” by “Tetsuro Fukuhara + Ayumi Toyabe + Merve Akdogan”. Taking this opportunity, we re-started the previous “Eckhart Garden” and relaunched it as the “Eckhart Garden – new”.

2019年9月、「福原哲郎 + 鳥谷部歩美 + Merve Akdogan」により『SD-School』および『SD-Museum』をスタートしました。それを機に、それまでの『エックハルトの庭』を再編集し、新しく『新・エックハルトの庭』として再出発することになりました。


ECKHART GARDEN n-1 / エックハルトの庭 n-1

“In a dream. I am left alone on a certain planet. Now, assuming a shared life with my lost prematurely dead girlfriend, Elena, I am striving to build a “ECKHART GARDEN – Shrine with Alone” by myself everyday. I don’t know she will come to this planet tomorrow”.

「夢の中で。ある惑星に一人残された私は、早死にした恋人エレナとの生活を夢見て、毎日一人で孤独に『エックハルトの庭 / 一人の神殿』の構築に励んでいる。彼女が明日ここにやって来ることも知らないで。」

We edited “ECKHART GARDEN n-1” with “PHOTO; Image of Fluid Furniture“, “VIDEO; DANCE DIARY TETSURO n-1“, and “CRITICISM & STORY; INTERSTELLAR and Lisa Randall – We are also living in Surplus Dimension?“. 

エックハルトの庭 n-1』を『写真~流体家具のイメージ』『動画~ダンス日記 / 福原哲郎 n-1』『批評 & 物語~インターステラーとリサ・ランドール – 私たちは余剰次元にも住んでいるのか?』によって構成しました。

■ PHOTO; Image of Fluid Furniture
(写真; 流体家具のイメージ)

(ダンス日記 / 福原哲郎 n-1)

■ STORY – INTERSTELLAR and Lisa Randall / We are living in Surplus Dimension too?
(物語~インターステラーとリサ・ランダル / 私たちは余剰次元にも