This record contains ten poignant perspectives on animating the inanimate. A range of objects, from young bamboo to 100-yen shop ephemera, become instruments to be played, or rather sounded, forming an assemblage of Japan’s interior lives.
This excerpt from the text on the tape sleeve, written by philosopher Motoaki Iimori, explores the concept of monooto as a genuine encounter with objects:
"The whispers of countless items draw us into an unfamiliar realm, directing our ears toward the shadows where they reside. This is the emerging music genre known as monooto.
Interestingly, the Japanese term mono (もの), meaning 'thing' or 'object,' carries a subtle eeriness. According to the Nihon Kokugo Daijiten, mono can also denote deities, spirits, or objects of fear and reverence, including ghosts and vengeful spirits. Terms like mononoke (vengeful spirit or monster) reflect this notion of mono as entities that transcend our understanding."
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This record contains ten poignant perspectives on animating the inanimate. A range of objects, from young bamboo to 100-yen shop ephemera, become instruments to be played, or rather sounded, forming an assemblage of Japan’s interior lives.
This excerpt from the text on the tape sleeve, written by philosopher Motoaki Iimori, explores the concept of monooto as a genuine encounter with objects:
"The whispers of countless items draw us into an unfamiliar realm, directing our ears toward the shadows where they reside. This is the emerging music genre known as monooto.
Interestingly, the Japanese term mono (もの), meaning 'thing' or 'object,' carries a subtle eeriness. According to the Nihon Kokugo Daijiten, mono can also denote deities, spirits, or objects of fear and reverence, including ghosts and vengeful spirits. Terms like mononoke (vengeful spirit or monster) reflect this notion of mono as entities that transcend our understanding."
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