Podcasts about Hokusai

durée : 00:10:49 - Les journaux de France Culture - Un exemplaire de 'La Grande Vague de Kanagawa', adjugé à 1,6 million d'euros chez Christie's, fait partie des premières estampes, sur "une centaine", réalisées vers 1830. "Leur nombre, incertain, participe au mythe de cette icône universelle", selon la spécialiste d'art asiatique Camille de Foresta. - réalisation : Benoît Grossin - invités : Camille de Foresta Commissaire-priseur spécialiste d'art asiatique, vice-présidente de Christie's France Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

In this special bonus episode of the Anglotopia Podcast, Jonathan Thomas launches an experimental new monthly format: a London events guide covering what's actually on in the city this month. June is arguably London's finest month — 16 to 17 hours of daylight, the longest evenings of the year, and an events calendar absolutely bursting at the seams. Jonathan walks through everything worth knowing about June in London: the major royal events including Trooping the Colour and Royal Ascot, the blockbuster summer exhibitions at Tate Modern, Tate Britain, the Royal Academy, the National Portrait Gallery, the V&A, and more, plus what's on in London theater from Shakespeare's Globe to the West End, live music at Wembley and the Roundhouse, and practical tips for surviving — and thriving in — a London heat wave. If this episode proves popular, Jonathan will make it a monthly fixture. Let him know what you think in the comments. Links Royal Events ~Trooping the Colour — Official Info~ ~Royal Ascot~ ~Wimbledon Tickets & Ballot~ ⠀Exhibitions — Book Ahead ~Frida Kahlo at Tate Modern~ ~Royal Academy Summer Exhibition (opens June 16)~ ~Anish Kapoor Retrospective at Hayward Gallery (opens June 16)~ ~Marilyn Monroe at National Portrait Gallery~ ~Barbara Hepworth at the Courtauld Gallery (from June 1)~ ~Schiaparelli: Fashion Becomes Art at the V&A~ ~Wes Anderson Exhibition at the Design Museum~ ~James McNeill Whistler Retrospective at Tate Britain~ ~The Queen's Fashion at The King's Gallery~ (sold out through 2026 — book 2027 dates now) ~Inside Aardman: Wallace & Gromit at Young V&A~ ~Hokusai: 36 Views of Mount Fuji at Dulwich Picture Gallery~ (closes June 30) ⠀Theater ~A Midsummer Night's Dream at Regent's Park Open Air Theatre (from June 20)~ ~Much Ado About Nothing at Shakespeare's Globe (from June 11)~ ~To Kill a Mockingbird — New West End Adaptation (opens June 25)~ ~Cyrano de Bergerac — West End (opens June 13)~ ~Buy West End Tickets via Anglotopia's Link~ (supports Anglotopia) ~TKTS Booth at Leicester Square — Half-Price Day Tickets~ ⠀Long-Running West End Shows The Lion King Hamilton Wicked Les Misérables Matilda Mamma Mia Six Harry Potter and the Cursed Child (almost always sold out — book well ahead) Sinatra — The Musical ⠀Live Music Harry Styles at Wembley Stadium (from June 12) Olivia Dean at the O2 (from June 12) Orville Peck at the Roundhouse, Camden ⠀Practical Resources ~National Gallery Extended Summer Hours (from July 1)~ ~Londontopia London Events Calendar~ ~Argos UK — Buy a Fan on Arrival~ ~Anglotopia June London Events Article~ (link to article) ~Friends of Anglotopia Club~ ⠀ Takeaways June is arguably London's best month to visit — 16 to 17 hours of daylight, reliably pleasant weather, and the richest events calendar of the year, though it is also peak tourist season with hotel prices running 20 to 40 percent above spring rates. Trooping the Colour — the monarch's official birthday parade — is the major royal event of the year in 2026. Even without a ballot ticket to Horse Guards Parade, you can experience the procession on the Mall and the balcony appearance at Buckingham Palace by arriving very early and staking out a good spot. Every major summer blockbuster exhibition in London requires advance booking — some, like The Queen's Fashion at The King's Gallery, are already sold out through 2026. Book tickets as soon as you finish listening, even if your trip dates aren't confirmed yet. The Frida Kahlo survey at Tate Modern, the James McNeill Whistler retrospective at Tate Britain, and the Marilyn Monroe exhibition at the National Portrait Gallery are Jonathan's top three must-book exhibition picks for the month. The Royal Academy Summer Exhibition — the world's largest open submission art show, running since 1769 — is a uniquely chaotic, democratic, and wonderful experience where everything on the walls is for sale and any artist can enter. Shakespeare's Globe is staging Much Ado About Nothing from June 11, and Regent's Park Open Air Theatre opens A Midsummer Night's Dream on June 20 — watching Shakespeare outdoors on a long June evening is one of the quintessential London summer experiences. London generally does not have air conditioning in older buildings, hotel rooms, or most tube lines. The first thing you should do after arriving in summer is buy a fan — Jonathan recommends going straight to Argos, Britain's version of a catalog store, for an affordable one. The tube's older lines (Central, Piccadilly) get brutally hot in summer due to London clay absorbing and retaining heat underground. The Elizabeth line is fully air conditioned and runs east-west across the city — use it as much as possible in a heat wave. The National Gallery is experimenting with extended summer evening hours, staying open until 7 PM most evenings and until 9 PM on Fridays from July 1 — Jonathan's suggestion: have an early dinner, then walk over for a free evening of world-class art. Don't try to pack too much in. Pick three or four things you genuinely care about, build your days around those, and leave time to wander, sit in Green Park with a deck chair, or walk along the Thames in the long evening light. June in London is as much about the atmosphere as the attractions. ⠀ Soundbites "The light is the headline for June. You get sixteen to seventeen hours of daylight. Twilight stretches from around eight PM to nearly ten PM. You can have a full day of exploring, sit down for dinner, and still walk home along the Thames and have some daylight." — Jonathan on why June is London's best month. "If you've ever wondered what the best month to visit London is, a lot of people will quietly tell you it's this one." — Jonathan on June in London. Plan your day around it. Get up stupidly early — three, four, five in the morning — get your spot on the Mall and soak up the atmosphere. It'll be like a party atmosphere." — Jonathan on how to experience Trooping the Colour without a ticket. "The Queen's Fashion at The King's Gallery is sold out for the rest of the year, and I know a lot of people are gonna be really disappointed when they try to get tickets and they simply can't." — Jonathan's warning on the most in-demand exhibition of the summer. "The walls are packed from floor to ceiling and everything is for sale. It's chaotic and wonderful. And it's a great way to see up-and-coming artists and established artists side by side." — Jonathan on the Royal Academy Summer Exhibition. "Shakespeare under the open sky in one of London's loveliest parks on a warm June evening — it doesn't get dark till ten PM anyway. Enjoy some champagne, enjoy some theater out in the green. That's my top theater pick for the month." — Jonathan on Regent's Park Open Air Theatre. "The first thing you should do after you land is go to what the British call an ironmonger — a hardware store — and buy a fan. Don't skimp. It is essential for Americans traveling in Europe." — Jonathan's number one summer travel tip. "The London clay is a heat sink. It absorbs heat and then it doesn't let it back out. So the tube gets really hot in the summer. If you are prone to heat issues, avoid the tube except the Elizabeth line, which is fully air conditioned." — Jonathan on navigating London in a heat wave. "I sat there in the rain in the 40s, got soaking wet. And I — not exaggerating — almost got hypothermia. It was July. I could not warm up when I got back to the hotel because the heating wasn't on and there weren't enough blankets because it was July." — Jonathan's cautionary tale about British summer weather. "Argos is exactly like Service Merchandise — you go in, there's a big catalog, you pick your thing, and it comes out on a conveyor belt. Get a fan. Don't even look at the weather forecast first. Just trust me — you're going to need a fan." — Jonathan's most practical London summer tip. ⠀ Chapters 00:21 Introduction — Jonathan launches the experimental monthly London events format 01:15 The Feel of June in London — Long days, the light, and why June is special 02:20 June Weather — What to expect, heat waves, and the maritime humidity problem 03:45 Peak Tourist Season — Crowds, hotel prices, and why June still beats July 05:00 Trooping the Colour — What it is, how to see it without a ticket, and Jonathan's tips for getting a good spot 08:30 Royal Ascot — Fascinators on the tube, the royal procession, and how to get tickets 10:00 Wimbledon — The ballot, resale tickets, strawberries and cream, and what to do if you can't get in 11:30 How to Book Exhibitions — Why advance booking is non-negotiable and the Queen's Fashion sellout warning 13:00 Frida Kahlo at Tate Modern — Jonathan's pick and why Tate Modern is worth seeing for the building alone 14:30 Royal Academy Summer Exhibition (June 16) — The world's largest open submission art show 15:30 Anish Kapoor at the Hayward Gallery (June 16) — The Cloud Gate connection and why it's worth seeing 16:15 Marilyn Monroe at the National Portrait Gallery — Just opened, book fast 17:00 Barbara Hepworth at the Courtauld Gallery — And why Somerset House is worth a visit anyway 17:45 Schiaparelli at the V&A — Fashion exhibitions and why the V&A excels at them 18:15 Wes Anderson at the Design Museum — A treat for film fans 18:45 James McNeill Whistler at Tate Britain — A sellout show, book immediately 19:30 Wallace & Gromit at Young V&A — The Aardman exhibition Jonathan is hoping to catch in August 20:15 Closing This Month — Mikalojus Čiurlionis at the Royal Academy (closes June 21) and Hokusai at Dulwich (closes June 30) 21:00 Theater — Why June is the best time for London theater 21:30 Regent's Park Open Air Theatre — A Midsummer Night's Dream, Jonathan's top pick of the month 22:00 Shakespeare's Globe — Much Ado About Nothing from June 11 22:30 New West End Openings — To Kill a Mockingbird (June 25) and Cyrano de Bergerac (June 13) 23:00 Long-Running Shows — Lion King, Hamilton, Wicked, Six, Les Mis, and how to get discount tickets 24:00 Live Music — Harry Styles at Wembley, Olivia Dean at the O2, Orville Peck at the Roundhouse 25:00 Practical Tips: Heat — Does London have air conditioning? (Mostly no) 26:30 The Fan Imperative — Buy one at Argos, the British Service Merchandise 28:30 Pack for All Weathers — The July outdoor concert near-hypothermia story 30:00 Humidity and Heat — Why British summer heat hits differently than dry American heat 31:00 Use the Long Days — 17 hours of light, late museum hours, rooftop bars, evening walks 32:00 National Gallery Extended Hours — Stay open till 7 PM, Fridays till 9 PM from July 1 33:00 Don't Overpack Your Itinerary — Pick three or four things, leave time to wander 34:00 Wrap-Up — Londontopia events calendar, listener feedback request, Friends of Anglotopia Video Version

Pourquoi joue-t-on ? Et qu'est-ce qui peut transformer une activité ordinaire en un jeu amusant ?Dans cet épisode Sarah-Lou Lepers enquête sur les mécanismes du jeu. Théâtre, jeux vidéo, culture japonaise : trois terrains pour comprendre ce qui nous pousse à jouer, à explorer et à nous laisser surprendre.Quand le théâtre (re)devient un terrain de jeuAu théâtre, tout semble réglé d'avance : le texte, le décor, les répétitions. Alors comment entretenir une part de spontanéité ?Avec Geoffrey Rouge-Carrassat, docteur SACRe et diplomé du Conservatoire national supérieur d'art dramatique (CNSAD-PSL), comédien, dramaturge et metteur en scène, nous découvrons les conditions du « jeu ludique » sur scène. Règles, choix, imperfections : quels ingrédients permettent aux acteurs de continuer à jouer, au sens propre du terme, devant le public ? Avec un extrait du documentaire réalisé par Louise Guillaume.Ce que les jeux vidéo disent de nos préférencesPourquoi certains adorent explorer les recoins d'un monde virtuel tandis que d'autres s'en lassent vite ?À l'Institut Jean-Nicod (ENS – PSL), le chercheur Edgar Dubourg étudie les préférences et les motivations humaines à travers les jeux vidéo. Avec Valérian Chambon, directeur de recherche au CNRS, et Toni Zian, étudiant en CPES Sciences des données, Art et Culture et stagiaire, ils développent des outils pour mieux comprendre les comportements des joueurs.Nous explorons comment les sciences cognitives utilisent les jeux vidéo pour étudier la psychologie humaine, et comment ces recherches pourraient un jour contribuer à personnaliser des recommandations de santé.Des jeux cachés dans les images japonaisesPeut-on jouer simplement en regardant une image ?Marianne Simon-Oikawa, professeure en études japonaises à l'Université Paris Cité et chercheuse au Centre de recherche sur les civilisations de l'Asie orientale (CRCAO), sous la tutelle notamment de l'EPHE-PSL et du Collège de France, nous fait découvrir les moji-e, des images composées de caractères d'écriture japonais.À travers ces documents fascinants, elle explique que le jeu peut naître de l'interprétation, du regard et du lien entre texte et image.L'illustration de l'épisode est un moji-e : Le marchand de vaisselle (setomono-uri), Moji-e zukushi (Recueil d'images en écriture), 1836 (reprise d'un ouvrage de 1685), coll. Marianne Simon-OikawaUn voyage des scènes de théâtre aux mondes virtuels, jusqu'aux estampes japonaises, pour comprendre pourquoi jouer est bien plus qu'un simple divertissement.Tangram est un podcast sur la recherche, scientifique comme artistique, accessible à toutes les oreilles. Ce podcast est produit par l'Université PSL (Paris Sciences & Lettres), et présenté par Sarah-Lou Lepers. Pour nous écrire : tangram@psl.euLa recherche est plus proche que vous ne le pensez, et Tangram vous permet de l'écouter.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:28:46 - Les Pieds sur terre - par : Sonia Kronlund - À Saint-Dizier, l'équipe municipale a transformé tous les panneaux publicitaires en œuvres d'art. À la place des réclames, des reproductions de Cézanne, Van Gogh, Hokusai, Manet, Delacroix, Botticelli… La ville devient un musée à ciel ouvert pour contourner la morosité ambiante. - réalisation : Élise Andrieu, Emmanuel Geoffroy, Victor Kandelaft, Mélissa Foust Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:28:46 - Les Pieds sur terre - par : Sonia Kronlund - À Saint-Dizier, l'équipe municipale a transformé tous les panneaux publicitaires en œuvres d'art. À la place des réclames, des reproductions de Cézanne, Van Gogh, Hokusai, Manet, Delacroix, Botticelli… La ville devient un musée à ciel ouvert pour contourner la morosité ambiante. - réalisation : Élise Andrieu, Emmanuel Geoffroy, Victor Kandelaft, Mélissa Foust Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Cos'è il sublime? Cosa accade quando l'immagine supera ciò che possiamo comprendere? In questa nuova puntata, Carlotta e Alisia ci guidano in un percorso che fa incontrare l'Oriente di Hokusai con l'Occidente di Jean-François Lyotard. A Palazzo Bonaparte arriva per la prima volta una grande mostra dedicata a Hokusai, il maestro che ha trasformato l'onda in visione e il paesaggio in esperienza dell'infinito. Per Lyotard, il sublime nasce proprio da questa tensione: dal tentativo di rappresentare ciò che eccede ogni rappresentazione. Interviene la direttrice scientifica, la dottoressa Francesca Villanti.

This week, we explore two forces that shape every creative journey: constraint and uncertainty. Drawing on the remarkable artistic reinventions of Hokusai, we look at how creative legends transitioned from running from the box to thriving within it—and how that same process plays out in creative work today.Our first guest, David Epstein, author of Inside the Box, systematically dismantles the myth of the blank canvas and shows why true creative breakthroughs happen inside carefully constructed boundaries. He shares frameworks used by artistic innovators and practical strategies for leaders and teams to define the right limits—especially in an era of generative AI and limitless toolsets.We then talk with Simone Stolzoff, whose book How Not to Know tackles the fog of uncertainty head-on. He makes the case that tolerating, and even harnessing, uncertainty is not a liability but the lifeblood of all meaningful creative work. Together, David and Simone reveal why “embracing the box” and “rowing in the fog” are not problems to solve, but the permanent address of anyone doing real creative work.Five Key LearningsIntentional Constraints Fuel Creativity: Constraints are not the enemy; they're the engine. Strategic limits—on format, palette, or process—block the most familiar solutions and force genuinely new connections.Define the Boundaries Early: Projects that begin with rapid execution but no clear boundaries almost always bog down. Slow, deliberate thinking at the outset (setting priorities and constraints) leads to faster, more focused execution.Constraint is not Suffocation—It's Clarity: The most productive creative environments, whether in art, business, or writing, use narrow briefs and paired constraints to drive original outcomes.Our Tolerance for Uncertainty Is Eroding: As answers become more instantly available, we lose the ability to sit with the unknown. Microdosing uncertainty—through small experiments and unfamiliar choices—helps rebuild that vital tolerance.Progress is Acting in the Fog: The work that matters is rarely created in total freedom or certainty. Leaders who admit what they don't know and take action anyway (with humility and open curiosity) model the mental flexibility required to innovate.Get full interviews and bonus content for free! Just join the list at DailyCreativePlus.com.Mentioned in this episode:The Brave Habit is available nowMy new book will help you make bravery a habit in your life, your leadership, and your work. Discover how to develop the two qualities that lead to brave action: Optimistic Vision and Agency. Buy The Brave Habit wherever books are sold, or learn more at TheBraveHabit.com.Apply for Creative Leader Roundtable What if you had a space every month to sharpen your leadership edge without the fluff? The Creative Leader Roundtable is where smart, driven, creative leaders gather to exchange ideas, solve real challenges, and grow together. So if you lead a team of thinkers, makers, or dreamers, this is your lab. We're launching soon with a new group of leaders. So, if you're interested, check it out and apply at CreativeLeader.net.

In this episode, we examine the mophie Gallery Edition Powerstation Plus 10K featuring Hokusai's iconic "The Great Wave off Kanagawa" artwork. This 10,000 mAh portable charger retails for $120 and includes integrated Lightning and USB-C cables built directly into the unit, eliminating the need to carry separate charging cables. The device offers up to 30W output through its USB-C port and can charge three devices simultaneously, with the ability to bring an iPhone 15 Pro to approximately 50% battery in 25 minutes. The aluminum frame features a soft-touch silicone exterior, and the integrated cables use Eduraflex silicone rated for 30,000 bends. With an estimated capacity to fully charge a phone twice and dimensions of 5.7 x 2.8 x 0.6 inches at 0.6 pounds, this power bank sits at the intersection of functional charging solution and artistic accessory, backed by a two-year limited warranty. Follow AndroidGuys(X) Twitter: https://www.twitter.com/androidguysInstagram: https://www.instagram.com/androidguysTikTok: https://www.tiktok.com/@androidguysofficialYouTube: https://www.youtube.com/@AndroidGuyscomOfficialWebsite: http://www.androidguys.comFollow Scott WebsterInstagram: https://www.instagram.com/scottwebsterFollow Luke GaulInstagram: https://www.instagram.com/lukegaul

Manga didn't begin in the 20th century — it emerged from a rich, inventive world of illustrated books in early Japan.

Ķīmijas ābece – elementu periodiskā tabula – palīdzēja mums salikt pa plauktiņiem elementus, no kuriem esam veidoti mēs un pasaule mums apkārt. Tā ir gan leģendām apvīta, gan aizvien mainīgs zināmo elementu apkopojums, kas stāsta ne tikai par bieži sastopamiem materiāliem, bet arī ar retiem un sintētiskiem materiāliem, kurus dabā novērot praktiski nevaram. Ko zinām par periodisko tabulu senāk un kā tā attīstās mūsdienās? Raidījumā Zināmais nezināmajā stāsta ķīmijas zinātņu doktors Jānis Jaunbergs un Rīgas Stradiņa universitātes Farmācijas ķīmijas katedras vadošā pētniece Agnese Brangule. Īpašā krāsviela „Prūsijas zilais” aizvien ir pētnieku uzmanības lokā Izmantots mākslā, radiācijas slimības ārstēšanā, ražošanā un senāk pat karavīru tērpu krāsošanā – „Prūsijas zilais” aizvien ir pētnieku uzmanības lokā. Kas īsti šī ir par vielu un kāds ir tās pielietojums? „Prūsijas zilais”, citviet saukts arī „Berlīnes zilo”, ir krāsviela, ko krāsu ražotājs Johans Jakobs Dīsbahs nejaušības pēc atklāja 1704. gadā, vai kā citviet minēts, 1706. gadā Berlīnē alķīmiķa Johana Dipela laboratorijā. Dīsbahs, nepareizi sajaucot reaģentus, radīja piesātinātu tumši zilu krāsu. Vizuālajā mākslā „Prūsijas zilo” piemin, runājot par japāņu gleznotāja Kacušikas Hokusai ļoti atpazīstamo gleznu „Lielais Kanagavas vilnis”. Tāpat šo krāsu var labi redzēt van Goga  darbā „Zvaigžņotā nakts virs Ronas”, bet ar šo krāsvielu mūsdienās ļoti daudz darbojas ķīmiķi, fiziķi, tā tiek izmantota  rūpniecībā, medicīnā, farmakoloģijā. Vairāk par šīs zilās krāsas daudzveidīgo dabu  un lietojumu stāsta ķīmiķis Latvijas Universitātes Medicīnas un dzīvības zinātņu fakultātes asociētais profesors Ingars Reinholds. -- Latvijas Ornitoloģijas biedrības pārstāve Ance Priedniece stāsta par skanīgo dziedātāju – melno mežastrazdu.

En la 1466-a E_elsendo el la 20.04.2026 ĉe www.pola-retradio.org: • Komence, tuj post la historifoliaj datoj, ni prezentas  informon, ke Aŭstrio fariĝis la tria lando, kiu oficiale agnoskis Esperanton kaj registris ĝin en sia Listo de la Nemateria Kulturheredaĵo. • Nian felietonon ni dediĉas al la establinto de la mondfama aŭkcia firmo Bukowskis, spurante la vivhistorion de la pola insurgento el la kontraŭcara Januara Insurekcio 1863. • La kulturkronikaj informoj rilatas al la antaŭnelonga ekspozicio dediĉita al unu el la avanaj polaj afiŝistoj, Jan Lenica en Tokio; al la ekspozicio de Hokusai en Romo, al kio konribuis la Nacia Muzeo en Krakovo. • En la E-komunuma segmento ni informas pri la 1-a E-Safaro en Tanzanio organizata de Esperanto Afriko kaj Didi Weidmann, al kiu eblas aliĝi ĝis la fino de aprilo. Detaloj troviĝas en la kongresa broŝuro https://allsprachendienst.ch/esperanto/files/Unua-Tanzania-Esperanto-Safaro-Broshuro_5zmly0dz.pdf. • Hodiaŭ por muzikaj minutoj ni proponis la originalan E-kanton de Hirosi Nobukuni „Vidante la stelojn”. La programinformon akompanas la foto de la lignogravuraĵo de Hokusai „Drako”. • En unuopaj rubrikoj de nia paĝo eblas konsulti la paralele legeblajn kaj aŭdeblajn tekstojn el niaj elsendoj, kio estas tradicio de nia redakcio ekde 2003. La elsendo estas aŭdebla en Jutubo ĉe la adreso: https://www.youtube.com/results?q=pola+retradio&sp=CAI%253D Interalie pere de Jutubo, konforme al individua bezono, eblas rapidigi aŭ malrapidigi la parolritmon de la sondokumentoj; eblas transsalti al ajna serĉata fragmento de la elsendo.

De prent van de golf voor de kust van Kanagawa is een van de meest iconische prenten in de wereld. Maar de Japanse kunstenaar Katsushika Hokusai staat vooral bekend om zijn landschappen. Matthi Forrer, kunsthistoricus en Japanoloog, neemt ons mee in de wereld van de landschapsprenten: Kyoto en de Tokaido. In de serie ‘Op zoek naar Japan' gaat presentator Paul Maas in gesprek met conservatoren en onderzoekers over hun fascinatie voor Japan, hun onderzoek en hun favoriete stukken uit de Leidse Japan-collecties. Aan de hand van kaarten, reisboeken en prenten gaan zij samen op zoek gaan naar bijzondere verhalen over Japan en zijn geschiedenis. De jonge Japanoloog Sam Kuivenhoven vertelt elke aflevering een anekdote over Philipp Franz von Siebold: de kleurrijke Duitse arts die in de negentiende eeuw werkzaam was bij de Nederlandse handelspost op het eilandje Dejima.

In So Deep, It's Love Already on Reida Soragakin kepeä romanssi, jossa nörttityttö alkaa fanittaa poikaa, joka piilottelee ujosteluaan äksyilyn alle. Kuulumisissa käymme läpi Japanin-matkamme Tokion-osuuden, lukujonossa taas katsastamme reissulta kertyneen mangasaaliin. Ajankohtaisaiheina raportoimme kuulumiset Desucon Frostbite 2026:sta ja Lappeenrannan Manga Hokusai Manga -näyttelystä sekä puhumme siitä, miten uusi suomalainen mangakustantaja Fuyuki on lisensoinut Dinosaur Sanctuaryn. --- Kommentoi | Bluesky | Mastodon | X | Threads | Instagram --- (01:00) – KUULUMISET: KÄYTIIN JAPANISSA 3/3 – TOKIO – Ikebukuron Sunshine City -ostari – Jirai-kei eli maamiinatyyli – Bataatti-monaka-jäätelö (kuva) – Shoya-izakayaketjun Uenon-liike – CoCo Ichibanya – Shabu-shabu – Ueno – Asakusan Kappabashi-doori (keittiövälinealue) – Senso-ji-temppeli – Asakusan kolme ikonista nähtävyyttä: Skytree, Asahin oluttuoppipäämaja ja kultainen kakka (kuva) – Leiji Matsumoton suunnittelema jokilaiva – Shosen Book Tower – Uenon Ameya Yokochou eli Ameyoko-ostoskatu – Nipporin Yanaka Ginza -ostoskatu – Harajukun Takeshita Street on absoluuttinen ryysishelvetti (kuva) – Harajukun Cat Street on kivempi vaihtoehto nykyisin – Idolish7-crepe (kuva) – Harajukun Kinji Used Clothing -kauppa myy hyvälaatuisia käytettyjä vaatteita – Nipporin Edwin-kauppa – Hotel Balian Resort Shinjuku Glamping – Japanilainen näkemys retkeilystä? (kuva) – Kabukicho – Näyttää siltä, että vain yksi host club Kabukichossa tarjoaa poikia aikuisempaankin makuun (kuva) – Tokyo Metropolitan Government Building – Fuji näkyi rakennuksesta (kuva) – …joskaan emme ehtineet näkemään "timantti-Fujia" – Myös Blue Lock näkyi rakennuksesta (kuva) – Hiroshi Kamiya – Kazuki Ura – Shibuyan Modi-nörttiostoskeskus – The Guy She Was Interested in Wasn't a Guy at All -popup-kauppa (kuva) ja sen oheistuotteita (kuva) – Odaiban Small Worlds -pienoismallisisäteemapuisto – Yleiskuvia (Bluesky) – Evangelion-hangaari ja Tokyo (Bluesky) – Tokyo DisneySea – Uusi Fantasy Springs -alue (Bluesky) ja lisätietoja Wikipediassa – Magellan's-ravintola (Bluesky) – Tower of Terror -laite – 20,000 Leagues under the Sea -laite – Sinbad's Storybook Voyage -laite – Showa Kinen -puisto (Google Maps) – Neidonhiuspuiden yövalaistus (kuva) – Lasten leikkimaan sumulaakso (kuva) – Japanilaisen puutarhan ruskanäkymät päivällä ja illalla (Bluesky) – Bonsaimuseo (kuva) (41:36) – IN SO DEEP, IT'S LOVE ALREADY: ESITTELY – In So Deep, It's Love Already – Tokyopopin printtijulkaisu kirjoitetaan pilkulla, K Mangan digiversio ilman pilkkua –Sarjan lähtöasetelma (kuva) (44:12) – IN SO DEEP, IT'S LOVE ALREADY: PÄÄHENKILÖT JA ROMANSSI – Colleenin X-ketju nykyshoujon isoista trendeistä – Idoli x fani -sarjoja: – Tamon's B-Side – Star⇄Crossed!! (K Manga) – My Idol Sits the Next Desk Over (K Manga) – It Takes More than a Pretty Face to Fall in Love – Gazing at the Star Next Door – Kynsienlakkauskohtaus (kuva) – Leimautunut kuin ankanpoikanen (kuva) – Kametanin mitätön traaginen menneisyys (kuva) – Kirinon mitätön traaginen menneisyys (kuva) – Jakso 42, jossa puhuimme sarjasta Horimiya – Kametani muuttuu täydelliseksi poikaystäväksi (kuva) – Sarjan ensimmäinen kakkospoika Sakurai (kuva) (1:08:32) – IN SO DEEP, IT'S LOVE ALREADY: ISOVELI-HIJACK – Ahdistava fritsu äh öh (kuva) – Isoveljen valokuvausharrastus (kuva) – Isoveljen rakkaudentunnustus (kuva) – Isoveli saa Kirinon miettimään tulevaisuuttaan uudella tavalla (kuva) – Jakso 115, jossa puhuimme sarjast You Got Me, Sempai! (1:19:14) – IN SO DEEP, IT'S LOVE ALREADY: TYYLI JA VISUAALIT – Kirinolla on paljon hauskoja ilmeitä (kuva) – Isoja tunnehetkiä korostetaan usein tekemällä kuvasta vähän epätarkan näköinen lisäämällä sotkua ääriviivojen ympärille (kuva) – Muutama esimerkki luvunaloituskuvista (kuva) (1:22:46) – IN SO DEEP, IT'S LOVE ALREADY: KANNET – Sarjan kannet (1:23:59) – IN SO DEEP, IT'S LOVE ALREADY: JULKAISUT – KÄÄNNÖSEROT – Sarja K Mangassa – Jakso 120, jossa puhuimme sarjasta Tower Dungeon – Esimerkkejä käännöseroista: – K Mangan versiossa sanotaan "fangirl" ja "best boy" (kuva) – Tokyopopin versiossa sanotaan "otaku" ja "oshi" (kuva) – Tokyopop myös kääntää "oshittamisen" verbiksi "stannata" (kuva), toisin kuin K Manga (kuva) – Jakso 96, jossa puhuimme sarjasta Fake ja Tokyopopin vanhasta vapaammin sovittavasta käännöstyylistä (1:31:55) – IN SO DEEP, IT'S LOVE ALREADY: JULKAISUT – SENSUURI – K Mangan valtavat sensuuripalkit saavat seksuaaliset kohtaukset näyttämään tuhmemmilta kuin ovatkaan (kuva) – Sama kohtaus pokkarijulkaisussa (kuva) – Mielenkiintoista kyllä sensuuripalkkeja ei ole vain raa'asti vedetty kuvien päälle, vaan puhekuplien muodot on huolellisesti säilytetty (1:39:21) – IN SO DEEP, IT'S LOVE ALREADY: JULKAISUT – LUVUT VS POKKARIT – Pokkarijulkaisussa on muokattu kohtauksen dialogia ja tunnelmaa verrattuna alun perin julkaistuihin lukuihin: – Kohtaus lukujulkaisussa (johon K Mangan englanninkielinen versio perustuu) (kuva) – Pokkarijulkaisussa Kametanin tilanteenkeskeytys ja Kirinon poisjuokseminen ovat visuaalisesti humoristisemmat, ja dialogia on muutettu niin että Kametani ei sanokaan "en halua mennä pidemmälle", vaan "haluan puhua kanssasi" (kuva) – Jakso 56, jossa puhuimme mangan lukemiskokemuksesta luku kerrallaan vs pokkari kerrallaan – Lukujen väliset stripit ovat kanonisia ja muuttavat lukukokemusta jonkun verran (kuva) – Jakso 84, jossa puhuimme sarjasta Fullmetal Alchemist (1:48:43) – IN SO DEEP, IT'S LOVE ALREADY: JAPANIKSI LUKEMINEN – Furiganat auttavat lukemaan kanjeja eli kiinalaisia kirjoitusmerkkejä selittämällä yksinkertaisemmilla kana-merkistöillä auki, miten kanji on tarkoitus lausua – Vanitaksen kirjassa puhutaan kanonisesti ranskaa (Bluesky) (1:58:56) – IN SO DEEP, IT'S LOVE ALREADY: YHTEENVETO – Sarja sisältää hauskan kivaa seksuaalisuuteen tutustumista (kuva) (2:03:10) – DESUCON FROSTBITE 2026: MAARETIN LUENTO – Desucon Frostbite 2026:n ohjelmakartta – Maaretin ohjelma: Ihanan kamalat ongelmalliset parisuhteet BL-mangassa (YouTube) (2:10:42) – DESUCON FROSTBITE 2026: PETTERIN LUENTO – Petterin ohjelma: Japanin erityinen luontosuhde (YouTube) (2:20:51) – DESUCON FROSTBITE 2026: MUUT OHJELMAT – Tyttöys ja sen mieskeskeisyys shoujomangassa (YouTube) – Dandadanin yokait (YouTube) – One Piece - Wano ja onnistunut sovittaminen (YouTube) – Kunniavieras Ryootaroo Okiayu – Petterin cossi Okiayun ääninäyttelemästä Usamimi Kamen -hahmosta Animeconissa 2007 (kuva) – Onegai My Melody on Sanrio-sarja vuodelta 2005 (YouTube) – Mangan epätyypilliset naishahmot – Papa Told Me – Journal with Witch – I Want to Be a Wall – Shiawase wa tabete nete mate – Is Kichijoji the Only Place to Live? – Apothecary Diariesin historiallisuus ja hierarkiat (YouTube) – Ohjaustekniikat ja leikkaus sarjassa The Summer Hikaru Died (YouTube) – Kiitti supervoimista faija – Vanhemmuus HeroAcassa (YouTube) – Animurot-podcast – Heike Monogatari uudelleenkerrottuna (YouTube) – The Heike Story – Naoko Yamada – Huumori animessa (YouTube) – Sayonara, Zetsubou-sensei – BL- ja GL -mangan sovitus live actioniksi (YouTube) – Happy of the End – BL-gachakirjasto – Delivery Cupid – How to Deal When Your Intimidating Neighbor is Actually an Omega (2:46:44) – MANGA HOKUSAI MANGA -NÄYTTELY – Manga Hokusai Manga -näyttely – Yleiskuva näyttelystä (kuva) – Toinen yleiskuva näyttelystä (kuva) – Katsushika Hokusai – Ylen artikkeli – Hokusai Manga oli Hokusain nimissä julkaistu 15-osainen kuvakokoelmajulkaisu, joka popularisoi vielä nykyäänkin käytettävän sanan "manga" – Vaikka sanan "manga" (漫画) ensimmäinen kanji "man" (漫) on perinteisesti käännetty sen modernin merkityksen mukaan "huolimaton" tai "hullunkurinen", on kyseessä tulkintavirhe – 1800-luvun kontekstissa parempi käännös olisi "kokoelma" tai "valikoima" – Hokusain julkaisuja voi selata netissä – Yhtymäkohta moderniin mangaan löytyi piirtämisen kodifioinnista ja piirto-oppaista (kuva) – Manganpiirto-oppaita vuosikymmenien varrelta (kuva) – Hokusai teki muitakin piirto-oppaita – Näyttelyn isoin visuaalinen elementti olivat Sawa Sakuran tekemät potretit Hokusaista ja hänen lähipiiristään – Hokusain omakuva ja Sakuran tekemä piirros hänestä (kuva) – Sakuran sarja Momo & Manji – O-Ei, Hokusain tytär (kuva) – Elokuvat Miss Hokusai ja Hokusai's Daughter perustuvat molemmat mangaan Sarusuberi – Utagawa Kuniyoshi, toinen saman aikakauden kuuluisa taiteilija (kuva) – Tetsuzoo Okadaya (joka haluaa että hänen nimensä kirjoitetaan "Tetuzoh"), The Man of Tangon tekijä, on itse asiassa valinnut nimimerkkinsäkin Hokusain aiemmin käyttämän taiteilijanimen "Tetsuzoo" mukaan – Hokusai esiintyy hahmona myös mangoissa Blade of the Immortal, Kazuo Kamimuran Kyojin kankei ja Shotaro Ishinomorin Hokusai – Efektiviivojen käyttöä Hokusain puupiirrostaiteessa (kuva) – Puhe- ja ajatuskuplia aikakauden puupiirrostaiteessa (kuva) – Isobe Isobee Monogatari, vuosina 2013-2017 ilmestynyt Shonen Jump -sarja… – …jonka keskeinen vitsi on se, että se on piirretty 1800-luvun tyyliin (kuva) – Futatsu Makura, vuonna 1986 ilmestynyt kaksipokkarinen manga… – …jonka idea on se, että piirrostyyli matkii aina nimenomaisesti jonkun tietyn Edo-kauden puupiirrostaiteilijan yksilöllistä tyyliä (kuva) – Tetsuzoo Okadayan lyhäri (kuva) – Haruko Ichikawan lyhäri (kuva) – Näyttelyesittelykansio oli todella vaikeasti luettavaa tekstiä, ja lisäksi todennäköisesti konekäännetty (kuva) (3:18:52) – DINOSAUR SANCTUARY – Uusi mangakustantaja Fuyuki – Ubunchu – Dinosaur Sanctuary – Kuulemma Lehtipisteen kanssa on käyty jo keskusteluja (Bluesky) (3:22:15) – KUULIJAKOMMENTTI: OMPPUPOMPPU – Kaiju No. 8, josta puhuimme lukujonossa jaksossa 35 –Contradict tekijältä Kamome Oshima (3:28:40) – LUKUJONOSSA: OSTOKSET JAPANISTA – Sutosuto – Stalker ga stalker sareteru hanashi – Manga UP!:issa nimellä Stalker Stalks Stalker – Kuma to usagi wa tomodachi de wa irenai – Himokuzu Hana-kun wa shinatagari – K Mangassa nimellä Hana-kun Can't Live Without Me – Tokoton kuzuna Watarase nanoni – Lulu's Hellhouse – 1999 Shanghai – Shinyuu no "dousei shite" ni "un"te iu made – Oni wa kyou mo ame wo matsu – Ryokudo nasu – Pinky Nightmare – Ore no seito wa kawaikunai – The Betrayer's Love Song – Sasaki and Miyano – Gakuran naka made sawatte hoshii (3:44:13) – LOPETUS

LIsa McGee on her fresh spin on the murder mystery genre How To Get to Heaven from Belfast, and on the impact of the Derry Girls phenomenon. At this month's Grammy Awards, Olivia Dean, Lola Young and FKA Twigs - all alumni of The Brit School in Croydon - walked off with prizes. We speak to the school's Principal, Stuart Worden, about how the school prepares students for a career in the music industry. And as the world premiere of The Great Wave, a new opera inspired by Hokusai's iconic print, takes place, composer Dai Fujikura talks to us about the man behind the art, and writer Fi Leith discusses the cultural love affair between Scotland and Japan. Presenter: Kirsty Wark Producer: Mark Crossan

Les collections des Beaux-Arts de Paris détiennent un tirage du célèbre cycle des huit gravures sur bois des Cascades de différentes provinces d'Hokusai. Réalisé autour de 1830, cet ensemble au caractère à la fois visionnaire et synthétique est un jalon essentiel de l'art japonais de l'époque Edo et au-delà, l'objet de multiples ramifications ou réinterprétations encore vivantes aujourd'hui. Au cours de cette « Collection parlée », conçue comme une rencontre sensible autour de l'œuvre, quatre spécialistes vont en proposer des lectures complémentaires ainsi qu'un éclairage contemporain.Sophie Basch, professeure de littérature française à la Faculté des Lettres de Sorbonne Université, évoque l'engouement pour l'art japonais dans les milieux artistiques parisiens de la fin du XIXᵉ siècle, en mettant notamment en lumière le rôle déterminant des Beaux-Arts de Paris lors de la grande exposition d'estampes japonaises de 1890. Giulia Longo, conservatrice des estampes et photographies aux Beaux-Arts de Paris, revient sur les circonstances de son entrée dans les collections en 1908. Marianne Simon-Oikawa, professeure d'Études japonaises à Paris Cité, évoque la figure d'Hokusai et Clélia Zernik, professeure de philosophie de l'art aux Beaux-Arts de Paris, en propose une mise en perspective contemporaine.Amphithéâtre d'HonneurMardi 27 janvier 2026Crédit photo : Katsushika Hokusai, Cascade de Kirifuri au mont Kurokami dans la province de Shimotsuke, gravure sur bois en couleur, vers 1833, Beaux-Arts de Paris, Est 4659

Burcu Ozcelik and Quentin Peel discuss the US-Russia-Ukraine trilateral in Abu Dhabi. Plus: the AfD’s role at the Munich Security Conference and Dai Fujikura on his Hokusai opera, ‘The Great Wave’.See omnystudio.com/listener for privacy information.

durée : 00:01:43 - Les 80'' - par : Nicolas Demorand - 80'' pour une visite guidée dans un nouveau musée, d'un genre fascinant. Le musée du 1. Vous connaissez ce formidable hebdomadaire qui se déplie, le 1 se décline maintenant avec une nouvelle collection qui est une invitation à la contemplation d'une œuvre d'art. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

My boyfriend has a meter long slightly shiny wooden print of Hokusai's The Great Wave off Kanagawa. I hate it. This text is about why. read it here

The Great Wave is perhaps the most famous piece of Japanese artwork: a roaring blue wave and three boats on the ocean. And far in the background is Mt. Fuji. And that's actually what Hokusai's famous woodprint is about: Mt. Fuji, volcano and Japan's tallest mountain. Andrew Bernstein tells the story of Mt. Fuji–from its geographic origins as a violent volcano through to its present day status as Japan's national symbol and a world heritage site—in his latest book Fuji: A Mountain In The Making(Princeton UP, 2025). Andrew is professor of history at Lewis & Clark College and the author of Modern Passings: Death Rites, Politics, and Social Change in Imperial Japan (University of Hawaii Press: 2006) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fuji. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

The Great Wave is perhaps the most famous piece of Japanese artwork: a roaring blue wave and three boats on the ocean. And far in the background is Mt. Fuji. And that's actually what Hokusai's famous woodprint is about: Mt. Fuji, volcano and Japan's tallest mountain. Andrew Bernstein tells the story of Mt. Fuji–from its geographic origins as a violent volcano through to its present day status as Japan's national symbol and a world heritage site—in his latest book Fuji: A Mountain In The Making(Princeton UP, 2025). Andrew is professor of history at Lewis & Clark College and the author of Modern Passings: Death Rites, Politics, and Social Change in Imperial Japan (University of Hawaii Press: 2006) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fuji. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Great Wave is perhaps the most famous piece of Japanese artwork: a roaring blue wave and three boats on the ocean. And far in the background is Mt. Fuji. And that's actually what Hokusai's famous woodprint is about: Mt. Fuji, volcano and Japan's tallest mountain. Andrew Bernstein tells the story of Mt. Fuji–from its geographic origins as a violent volcano through to its present day status as Japan's national symbol and a world heritage site—in his latest book Fuji: A Mountain In The Making(Princeton UP, 2025). Andrew is professor of history at Lewis & Clark College and the author of Modern Passings: Death Rites, Politics, and Social Change in Imperial Japan (University of Hawaii Press: 2006) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fuji. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The Great Wave is perhaps the most famous piece of Japanese artwork: a roaring blue wave and three boats on the ocean. And far in the background is Mt. Fuji. And that's actually what Hokusai's famous woodprint is about: Mt. Fuji, volcano and Japan's tallest mountain. Andrew Bernstein tells the story of Mt. Fuji–from its geographic origins as a violent volcano through to its present day status as Japan's national symbol and a world heritage site—in his latest book Fuji: A Mountain In The Making(Princeton UP, 2025). Andrew is professor of history at Lewis & Clark College and the author of Modern Passings: Death Rites, Politics, and Social Change in Imperial Japan (University of Hawaii Press: 2006) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fuji. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon.

The Great Wave is perhaps the most famous piece of Japanese artwork: a roaring blue wave and three boats on the ocean. And far in the background is Mt. Fuji. And that's actually what Hokusai's famous woodprint is about: Mt. Fuji, volcano and Japan's tallest mountain. Andrew Bernstein tells the story of Mt. Fuji–from its geographic origins as a violent volcano through to its present day status as Japan's national symbol and a world heritage site—in his latest book Fuji: A Mountain In The Making(Princeton UP, 2025). Andrew is professor of history at Lewis & Clark College and the author of Modern Passings: Death Rites, Politics, and Social Change in Imperial Japan (University of Hawaii Press: 2006) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fuji. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-review

The Great Wave is perhaps the most famous piece of Japanese artwork: a roaring blue wave and three boats on the ocean. And far in the background is Mt. Fuji. And that's actually what Hokusai's famous woodprint is about: Mt. Fuji, volcano and Japan's tallest mountain. Andrew Bernstein tells the story of Mt. Fuji–from its geographic origins as a violent volcano through to its present day status as Japan's national symbol and a world heritage site—in his latest book Fuji: A Mountain In The Making(Princeton UP, 2025). Andrew is professor of history at Lewis & Clark College and the author of Modern Passings: Death Rites, Politics, and Social Change in Imperial Japan (University of Hawaii Press: 2006) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Fuji. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

For many of us, travel to Japan is something we do once in a while. We save and plan, then journey to a country that offers so much to our mokuhanga practice. But for others, the trip becomes extended, and Japan becomes a place to build a life and make work. Japan becomes central to who they are and how they see the world. On this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with Sarah Brayer, a visual artist who has made her home in Kyoto, where she has created a wide range of visual art such as mokuhanga, poured washi, fusuma murals, and aquatint. In our interview, we focus on Sarah's mokuhanga history, her studies with Toshi Yoshida, her life in Kyoto and how the city shapes her work. We also discuss her mokuhanga work, how she views the medium and where it fits into her life today.  Sarah Brayer - website, Instagram River Mist Kyoto (1982) 7" x 21" aquatint - is an intaglio printmaking technique used to create rich tonal effects rather than lines alone. By dusting a metal plate with fine resin particles and then heating it to adhere the grains, the artist creates a textured, acid-resistant surface. When the plate is placed in acid, the exposed areas etch around the resin particles, producing a range of tones similar to watercolor washes. By stopping out areas and etching in stages, printmakers can build subtle gradients, deep shadows, and layered atmospheres, making aquatint especially popular for expressive, painterly prints. etching - is an intaglio printmaking process in which an image is created by using acid to bite lines into a metal plate. The plate is first coated with a waxy, acid-resistant ground, and the artist draws through this ground with a needle to expose the metal beneath. When the plate is submerged in acid, the exposed lines are etched into the surface. After the ground is removed, ink is worked into these incised lines, the surface is wiped clean, and dampened paper is pressed onto the plate with a high-pressure press, transferring the inked image. Etching allows for incredibly fine detail, expressive line quality, and a wide range of textures. raku yaki - raku ware is a traditional Japanese pottery style that originated in 16th-century Kyoto and is closely tied to the tea ceremony. Characterized by hand-shaped forms, low-temperature firing, and simple glazes that embody wabi-sabi, it was historically cooled in the open air and produced by the Raku family lineage. In contrast, Western raku refers to a later adaptation in which red-hot pieces are placed into combustible materials to create dramatic crackle and metallic effects, a process distinct from the original Japanese method.  Kyoto Seika University - located in Kyoto, Japan, is a leading private institution specializing in art and design education. It offers undergraduate and graduate programs in fields such as painting, sculpture, graphic design, and manga. Known for its rigorous curriculum, Kyoto Seika emphasizes both practical skills and creative expression. With a strong tradition of nurturing talented artists and designers, the university fosters a dynamic environment that encourages innovation and artistic growth. ukiyo-e - is a multi colour woodblock print generally associated with the Edo Period (1603-1867) of Japan. What began in the 17th Century as prints of only a few colours, evolved into an elaborate system of production and technique into the Meiji Period (1868-1912). With the advent of photography and other forms of printmaking, ukiyo-e as we know it today, ceased production by the late 19th Century. Torii Kyomasu II (1706-1763)  Mary Cassatt (1844–1926) was an American painter and printmaker who became a prominent figure in the French Impressionist movement. Known for her intimate portrayals of women and children, she used soft yet expressive color, loose brushwork, and innovative printmaking techniques to capture everyday domestic life. Living much of her career in Paris, she exhibited with artists like Degas, who influenced her approach to composition and perspective. Cassatt's work remains celebrated for its sensitivity, modernity, and groundbreaking representation of women's experiences. Ren Brown Collection -  is gallery in Bodega Bay, California featuring contemporary Japanese prints, handmade ceramics and jewelry, Japanese antiques, and works by California artists and sculptors. Each piece reflects a dedication to quality, cultural heritage, and creative expression. Micah Schwaberow (1948-2022) - was an American mokuhanga printmaker who fused Western and Eastern imagery to create a unique perspective. His work often featured landscapes, portraits, and cultural themes. Celebration (2015) 10" x 5 1/2" bokashi - is a mokuhanga technique, where the pigment fades from a heavy colour to a softer, broad colour. Made famous by prints designed by Hokusai and Hiroshige, this technique is, for me, the most popular technique utilized by  mokuhanga printmakers. There are various types: Ichimoji-bokashi or straight line graduation, used in the above mentioned Hiroshige and Hokusai prints. Ichimoji-mura-bokashi or straight line gradation with uneven edge. Ō-bokashi or wide gradation, Ate-nashi-bokashi or gradation without definition. Futa-iro-bokashi or two tone gradation, and ita-bokashi or softer-edge gradation, where the block is cut in a specific way to achieve this style of gradation. All of these styles of bokashi technique take practice and skill but are very much doable. A wonderful example of bokashi in the sky can be found below, in a print by Paul Binnie.  Acropolis - Night (2007) 11.85" × 16.46" Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here.  Sumidagawa (from Forty-Eight Famous Views of Edo)  (ca. 1861) 8 7/8" x 6 7/16" Kawase Hasui (1883-1957), a designer of more than six hundred woodblock prints, is one of the most famous artists of the shin-hanga movement of the early twentieth century. Hasui began his career under the guidance of Kaburaki Kiyokata (1878-1971), joining several artistic societies early on. However, it wasn't until he joined the Watanabe atelier in 1918 that he began to gain significant recognition. Watanabe Shōzaburō (1885-1962) commissioned Hasui to design landscapes of the Japanese countryside, small towns, and scenes of everyday life. Hasui also worked closely with the carvers and printers to achieve the precise quality he envisioned for his prints. Honmonji Temple in Snow at Ikegami (1931) 15.5" x 10.25" Daniel Kelly - is a visual artist and printmaker based in Kyoto, Japan. Daniel Kelly has shown all over the world, and is many museum collections as well. More information can be found, here. Three Persimmons (2015) 12″ x 40.5″ nezumi ban - otherwise known as the "mouse block" or "grey block," this is usually the first base color in a mokuhanga design. Because mokuhanga relies on building color through layered printing, the grey block forms the foundation of the image. This technique was widely used during the golden age of ukiyo-e in the Edo period (1603–1868) and the shin-hanga (new print) period (1910-1960). Mendocino Art Center - is a creative retreat and cultural landmark and is a place where artists and visitors alike can explore art, and connect in a profoundly inspiring coastal environment. More info, here.  sizing/dosa - is a liquid form (prepared) animal glue which is brushed onto your washi, hanji, or other natural papers to stiffen the paper and prepare it for keeping the colour in your woodblock print. It has come to pass that size tends to be acidic and will break down the print over time. It's a bit of a double edged sword. Recipes for size can be found, here. arches - is a brand of Western watercolour paper that is acid-free. Tōsai Pigment Paste - is a brand of pigments manufactured by Holbein, Japan. They were conceived by mokuhanga printmaker Richard Steiner. Tōsai is the name given to Richard by his teacher. Richard's invteriew with The Unfinished Print can be found, here. Kathy Caraccio - is a master printer, artist, curator, professor, and collector who has collaborated with hundreds of artists from around the world. Through her studio, she has fostered a vibrant, supportive community rooted in shared creativity and craft. More info can be found, here.  Oriental Bleak  - mixed media collage 22" x 22" fusuma - is a traditional Japanese sliding panel used as a door or room divider in homes, temples, and tea rooms. Made with a wooden frame covered in layers of paper or cloth, fusuma slide along wooden tracks and can be removed or rearranged to change the layout of a space. They are often decorated with painted landscapes, patterns, or calligraphy.  © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)    

Welcome to the Art, Life, Faith Podcast, and I’m your host, Roger Lowther. Today, I’m excited to share with you a project that our team has been working on for quite some time now. Our new children’s book, The Tsunami Violin, comes out on November 24, 2025. Back in 2020, I wrote my first children’s book called “Pippy the Piano and the Very Big Wave”. Based on a true story, it tells how a church finds their beloved piano upside down and covered in mud and debris. But rather than throw it out, they decide to spend the enormous amounts of time and money necessary to fix it, and they give the piano new life. And even today, the church continues to tell this story through the many concerts they host there. Now we are releasing our second children’s book, which this time tells the story about a violin. A young tree protects her town from the cold and harsh ocean winds. But when the tsunami comes, everything is washed away: family, friends, town. She's lost everything, but then a master craftsman comes, a violin maker from Tokyo, and transforms her into something beautiful. Through her music and through her story, she brings encouragement and healing to all who hear it, a story of hope out of despair, life out of death, and new beginnings. Like Pippy the Piano, this book too is based on a true story. I'm fortunate to know Nakazawa-sensei, the violin maker, and also to have had the privilege of being involved in quite a few concerts with that violin. It’s such a powerful story of redemption that I had to get it out there. This is a story worth telling. In this episode, I have a conversation with some of the members of our team who made this book possible, the beginnings of the book and the process along the way, and especially with the very talented Holly Rose Wallace, whose images and illustrations so powerfully tell this story. So anyway, I know you’re going to love the book, and I hope this conversation into some of the background will help you enjoy it even more. Roger Well, today we are excited to share with all of you about this project we’ve been working on for quite some time now called The Tsunami Violin. And we have a number of us who are key players in getting this project together with us on the podcast. Can you all introduce yourselves one by one? Maybe Diane, you served as the project manager for this. Can you tell us a little bit about yourself? Diane Yes, I’m Diane Bakelaar, and I live in Nagoya, Japan. My husband and I run an arts ministry through an art gallery and meet people through the art gallery. I served as the project manager for this book. Roger Awesome. Now, most importantly, Holly Rose Wallace as the illustrator. Can you introduce yourself? Holly I don’t know about most important, but I’m Holly. I’m from Cleveland, Ohio. I did about a two-year internship in Nagoya, Japan, working with Diane and Peter Bakelaar, and then working on this project with Roger and others. This is my first illustration project, so it was really exciting to get to add this to my resume and work with the team on this project. But I’m a self-taught illustrator, and I’ve always loved the arts, so this is an exciting project for me. Roger Awesome. And, Verity, you’re on this call. Can you tell us your role in this project? Verity Hi, I’m Verity. I’m a London-based illustrator and designer specializing in book design. And I’m also preparing to move to Tokyo next year to work with Community Arts Tokyo as an arts missionary. Roger Very cool. Last but not least, we also have Tsumugu Misugi on the call. Can you introduce yourself? Tsumugu Yeah. Hello. My name is Tsumugu. I’m a violinist and a composer living in Japan. I write music and record for Japanese animation and Korean dramas and things like that. I was happy and so privileged to be able to play on the tsunami violin with Roger a couple of years ago. Roger Now, in the introduction to this episode, I’ve given a little summary of what this book is about. But really to capture the essence of it, I wanted all of us here together because I think there’s something really special about this project, in how it all came together. There were many pieces. It wasn’t like I wrote this story and then passed it on to Holly to illustrate and then published it, but there were so many moving parts. And as each part came in, it made the book all that much more special. So why don’t we just start right at the beginning? So, Tsumugu, why don’t you tell us a little bit about how you were first introduced to the tsunami violin? Tsumugu I served as a volunteer in Ishinomaki from 2012 and went back every summer until 2016. And so I had first-hand experience helping with relief work. And then I went to the States for college, and then I decided to move to Japan after college to pursue my work. And that was when I reconnected with Roger. And within the first, I think, maybe three months of me moving back to Japan, Roger was like, “Hey, there’s this project where we want to give about 10 concerts in Japan, and it would be awesome if you could play on this tsunami violin.” And that was the first time I had heard of the violin, but it’s very famous here in Japan, and I was very honored to be asked to play on the violin. Roger Yeah, I had gotten to know it at previous concerts, and then there was this church, a group of churches actually, up in Iwaki, who asked us to come and give concerts on the violin. And it really wasn’t until that time that it came together. I was like, “this is an amazing story to be told.” I mean, everywhere the violin goes, it doesn’t just give a concert, but its story is an essential part of that concert. Just bringing that hope, bringing that idea that there’s life out of death, that all things can be redeemed, even when you’re in the pit of despair. And to continually bring that violin into any crowd of people, really, it spoke, it said something. And I was like, “How can we tell this to more people, not just those at the concerts. What would that look like?” And that was when the idea came forth about making a children’s book. Now, of course, I am not a visual artist. I don’t have the means to do that, but it just so happened that God provided Holly at just the right time to begin having this conversation. Holly, what do you remember about those early conversations about this book? Holly I remember the first time that I met you, I was showing you some of my work, and you looked really excited. You’re like, I have an idea for my next children’s book, and I’ve been looking for an illustrator. And you asked if I do that. I was like, “Well, I haven’t, but it’s always been a dream of mine.” And so it was this perfect partnership of you needed an illustrator, and I wanted to illustrate. It all came together from there. Roger It started first with the two of us working on this project, but then I think things really got special when we brought in Anna, who isn’t on this call, and Diane to be part of the process as well. Actually, Diane, just before we started recording, you said something about that, just the idea of having more people involved in the project somehow made it better. Diane Yes, I’ve always been fascinated with the idea, the wisdom of the group, and how it’s statistically shown that when people as a group, when they’re working together well, they can make better decisions than an individual, even if that individual is an expert in the area. I certainly saw that with this project. Everybody was bringing their strengths to the table, and everyone in the group was able to listen and not hold on to their parts so tightly that they weren’t able to hear suggestions and improvements. That was really impressive to me how everyone was very humble and very willing to work together, and it just made the project so much better. Roger Yeah, I really enjoyed our times together. Once every two weeks or so, we all had our roles. Mine was officially words. Holly was images. Verity was, I think, everything artistic. Verity Not at first… Roger At first, what was your role? Verity At first, I was thinking when I came in that I'd be taking on a design role of doing stuff with how the text looked and how the cover looked. Then my input grew from there, for sure. Roger Yeah, it sure did. It was fun to see this project be born out of our time together. The idea was, how do we tell this story in the best possible way? What words do we use? What images? Are there things we can do with the text? Maybe we should add a frame here or take one out here. To be talking about that creatively as a group was some of the magic of this project, I think. Verity Yeah, definitely. I think the first ever meeting we had about this project, Diane was there on Zoom, we were sitting on the floor in this apartment which had no furniture, which is why we were sitting on the floor. But we were going through some of the sketches that Holly had done and some of the writing and stuff. For a while, I’d been working in the creative industries. In the creative industries, I definitely feel like your role gets isolated from the rest of the creative process, particularly as a designer, where you do your thing that you’re told to do, but you don’t have any input in how the rest of a creative project, a book, for example, looks like. I was coming from that into this project where we were all like, you were asking my opinion on the text and stuff, and I was a little bit worried about stepping on your toes. That was a really special moment for me. It was, I think, maybe my first week or two in Japan. I was like, Oh, this is something different here. What the team is doing here is different. It was a good moment. Roger Yeah, it was. Anna said you can’t publish a book without a cat in it. And that was just so much better. So we had this cat, and there’s this yellow bird that flies through the scenes and came to represent the Holy Spirit flying through and having a presence all throughout the story. And I think we were just having fun with it. It wasn’t just about practical things, but about what we can creatively do that would be fun, not just for us, but for the reader as well. Verity For me, I feel like it is something that’s natural to the creative process, but I feel like it came together in quite a non-linear way. I remember we brought in the idea of the music as in the images of music in the text, not right at the beginning, one of the opening paragraphs of the book is about the music of nature that the tree hears, which obviously it’s a book called the Tsunami Violin, so it makes sense to have those musical images. But it wasn’t something that we came up with until we talked through the project a little bit, and then we started thinking about how we could bring in those images and make it flow more cohesively. Roger Yeah, it became a theme throughout the whole book. It was actually someone else who wasn’t on this call who came up with an idea. They said, “One of the special things about children’s books is when phrases are repeated over and over.” It has a special power when you’re reading a children’s illustrated book. And I was like, oh, that’s like choruses in songs, right? I mean, you sing the verse and then the chorus, verse, chorus, verse, chorus, and the chorus keeps getting repeated. And I think that’s one of the beauties of this book now. It didn’t start that way at all, but to have this repeating course of the music of the town. In fact, we have it on the back cover here, “The rhythm of the waves, the song of the birds, the whistling of the wind, and the hum of the town,” She has it in the beginning, and then she loses it because of the tsunami. And then how does she get that back? And it’s through the work of this master craftsman, this violin maker who makes her into this beautiful thing that she didn’t know was possible. Through her music and through her story, the people are hearing the music of her town again. Verity I think that was another thing that I found quite exciting about working on The Tsunami Violin. I've never done a kid’s book before. Community Arts is not like a publishing house that specializes in children’s books. But it was quite exciting to just be like, “Well, let’s figure out how to do this,” exploring all of these ideas. I guess, I think for me, coming into that, I felt like I was breaking new ground creatively, having to think outside of the box that I find it easy to put myself in, having to think more broadly about what could I do and what can we do as a team. Diane Two creative challenges that I remember: the one in particular was when the violin maker looks into the box and visually how to do that and how poor Holly was trying so hard to do this. Verity Yeah, we really messed her up. Diane But anyway, and I think that is an example of where the group working together really helped. The page, I think, is very successful looking. But boy, that was a lot of hard work. Then the other aspect was because this is both in English and Japanese and how when it’s translated into Japanese, the words are longer, takes that much more space. Then again, having to adjust visually for creating more room. Anyway, there are just a lot of challenges along the way. Roger Holly, what do you think about all that as the illustrator of this book? Holly It’s all true! It was hard, but it’s all part of the creative process, is the back and forth and trying to work out how to make it look best. I think for me, it was a challenge because I wouldn’t really consider myself a digital artist, primarily. That’s not really my preferred medium. So this was a new experience for me in that sense. I had done digital work before, but I have very little experience and all self-taught. So that was one learning curve for me. And then the theme of the book being with a violin, but she starts out as a tree. For me, that was another challenge because I haven’t spent much time drawing trees. And so I’m like, Okay, I need to figure out the anatomy of a tree, and not just any tree, but specifically a Japanese pine. So there was a lot of back and forth trying to figure out what style to use and how to translate that into a children’s style. And then when she becomes the violin, coming up with that character design was a lot of fun for me. I had to watch a documentary on how violins are created because that was another thing. I don’t usually draw violins for fun. So that was another challenge to overcome, but it’s so much fun to do. And I think the cat, too, was a lot of fun to incorporate. And I went back and forth a lot with thoughts and ideas of how to design the cat and the bird. But I think what I finally came down to was just designing the cat to look like my cat, especially since I was living in Japan at the time, and my cat was back in America. So it was a fun way to feel connected to my cat. Verity My favorite is at the back when the cat is actually playing the violin. Roger It’s like one of my favorite scenes in the whole book. Holly That was one of my favorites to draw. Roger Actually, to the right of the cat is a young man that looks like Tsumugu to me. I don’t know, Holly, if you were actually looking at a picture of Tsumugu at the time, but it looks really like him. So that makes me happy. Verity Your moment of fame, Tsumugu. Tsumugu Yes, just happy to make a cameo in the book. Verity Yeah, you’re not getting any commission for this, by the way. We’re just using your image. Tsumugu That’s fine. I give full consent. Verity How generous. Actually, one of the things that I really like that you did, Holly, is the illustration of the tsunami. And that was something that we went back and forth on quite a lot. But there’s a scene in the book where the tsunami first appears, and it’s quite scary. I’m holding up a picture for these guys. It’s supposed to be quite a scary moment of this huge wave towering on the horizon. We went back and forth a lot on how to… First of all, how to make it look scary, but also should this tsunami be sentient? Should it be anthropomorphic the way that the tree and the violin are? We ended up settling on a design that references the Great Wave, the Hokusai famous woodprint. I think that it’s a really effective image as a result because it’s a very clear reference. The image in the Great Wave is also tsunami, I think. But then I think it’s interesting to how that connects people who aren’t as familiar with Japan and with Japanese culture because it’s such an internationally recognized image. I was speaking in front of a church on Sunday and I showed them the cover. People came up to me at the end and they were like, Oh, yeah, the wave. We reused the image in a composite with some other illustrations on the cover. And people were like, Oh, yeah, the wave is really cool. They remembered the connection with the great wave. And I feel like it’s just an interesting way of how you can connect with different audiences through those visual references. Holly Yeah, I agree. I’m so glad that people recognized it and saw that that was the inspiration. That panel was so challenging because I didn’t want to do a direct copy of the Hokusai wave, but I definitely wanted to draw inspiration from it. And it’s also the angle that it’s at, the wave is coming right at you. And I think that adds to make it scarier, make it more frightening for readers because it’s like, Oh, the wave is coming directly at me, off the page in a sense. But typically when you see illustrations of waves, like when I was looking for references, there are no pictures of waves coming directly at you. It’s always at some angle. And so that was something that took a lot of time to figure out, Okay, how do I interpret this into a visual representation of just this? But I’m really happy with how it turned out and happy for all of your guys’ input. Roger When I’ve shown that image to beta readers, they’re like, wow. I mean, wow. They were just speechless because it’s just so effective. But my favorite image is the one where you only did the two big eyes, where she’s at the low point of her life. She’s lost everything, and now she’s been cut up, and she’s thrown in this box, and doesn’t know where she’s going. The way you’re able to express all of that in just the two eyes, I think, is so effective. When I’ve been showing it to people, that’s always the page I show first. Like, look at these eyes. They’re like, oh, it’s just so cool. In this whole medium of children’s illustrated art, how you’re not trying to be literal. You can through the medium, through the language of children’s art, you can tell something in different ways. I think just looking at the eyes tells the whole story. Holly That’s so funny that’s your favorite page because that was the easiest one to do. That was one of the things in the character design for me that it’s so important, the eyes, because that’s what people are going to look at the most and what’s really going to bring the character to life. So I spent a lot of time trying to design those eyes and the eyelashes specifically, I was inspired by the F hole on the violin, so you could see that on the eyelashes of the character. But I thought that that was a fun little thing to add. Diane Holly, I was wondering about the colors that you chose. I love the colors in the book. Just what was your hope or thinking behind how you chose your colors? Holly I feel like it was really a team effort choosing the colors. But then, of course, some of the colors just come naturally. Because this is based on a true story, I was pulling colors a lot from just the reference images, but then trying to brighten them to make it more visually pleasing and more exciting for children. And all readers. But it was really interesting how naturally a palette came to be. It was a lot of browns and blues and greens, and just looking at them all side by side, it was like, yeah, there’s definitely a clear palette. But that came about really naturally, which was cool. Roger Yeah. Verity I have the actual physical book with me now, and the colors feel very alive. So it’s really nice to see it. Very vibrant. Tsumugu Nice. Can I talk a bit about the audience? I find it really interesting that you picked a children’s book as the medium to publish this because people who are older than teenagers would have experienced or would have seen the tsunami. But children, the target audience for this book, are people who’ve never experienced. They haven’t seen the tsunami. Roger They weren’t alive when it happened. Tsumugu Yeah, exactly. I think it’s so interesting that you picked children to spread this story and this message. I feel like it’s a good way for them to learn about the tsunami as well as the aftermath of what happened. Also, especially for international audiences, I feel like it might be something that is so far away and so detached from them, but there’s still such a powerful story in the aftermath of it. Roger Yeah, the violin maker, he met with the Emperor himself, and the Emperor said, “Oh, I’m so glad that you’re doing this because people are going to forget, and they need to remember what happened.” And that is essentially what his project, the violin, tsunami violin, continues to do, and that’s what we’re trying to do through this. Diane I was telling one of my Japanese friends that this was in the middle of the project, and I’m working on this project. She’s Japanese, and she had no idea about the tsunami violin. She didn’t know what it was. So I explained the story. She just looked at me and said, This is such an important story. This is part of our history. We’ve got to keep it alive. That was her reaction to the whole thing. Verity I think that it’s interesting. Perhaps we haven’t talked about this as a group, but it’s interesting to think about how this being a real event that really shapes people’s lives, all of the tragedy. And also, I feel like shapes the Japanese consciousness as well. I feel like it’s very much something in the minds and hearts of Japanese people. When we think about going through such a traumatic event, even as children, when children go through traumatic events, then there is this process of not being able to go back to what you were before. So experiencing something that is irreversible and coming out of that as a changed person. And that’s what happens to the tsunami violin is that the story is of her, not like she’s able to go back to the way she was when she was a happy and innocent child, but that she goes through something and she becomes something beautiful and something recognized by other people, but that she’s not able to go back to the way that she was. I feel like that’s actually a realistic view of trauma. I think that that’s quite a good thing to acknowledge, even for children, that just because you go through something doesn’t mean that you’re irreversibly broken, but that you can become something else. Roger Yeah, so good. I think we better end our time here. Thank you all so much for sharing with me and with our listeners. It’s just really a special project. We are excited to be able to launch it to all of you on November 24, and I hope that you’ll be able to pass it on to your friends as well. This story of redemption in a way that I think can reach audiences in any culture, any country, is just so important and we need to be repeating this story to others as well. You’ve been listening to the Art, Life, Faith podcast. The Tsunami Violin is available for sale on November 24 wherever you buy your books online. Please pick up a copy for yourselves and tell your family and friends about it as well. In fact, maybe it will also make a great Christmas present. As we say in Japan, “Ja, mata ne!” We’ll see you next time. BUY “THE TSUNAMI VIOLIN”

LW1479 - Photography Lessons from Japanese Woodblock Prints I've been an admirer of Japanese woodblock prints (known as ukiyo-e) for quite some time now. Everyone is familiar, for example, with Hokusai's image The Great Wave Off Kanagawa from his project 36 Views of Mount Fuji. One of the things that's fascinating about these artists' work is how many times they did numbered series, e.g. 53 Stages of the Tokaido by Hiroshige, or one of my all-time favorites, 100 Aspects of the Moon by Yoshitoshi. There's a great deal to learn that we can adapt to photography about working in series. All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships are only $10. Instant access, terabytes of content, inspiration and ideas that expand daily with new content. Sign up for instant access! You might also be interested in. . . Every Picture Is a Compromise, a series at www.brooksjensenarts.com. and... "How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online.

Collecting mokuhanga has never been easier. You no longer need to visit galleries as often; you can purchase prints online from anywhere in the world, all from the comfort of your own home. But you'd be doing yourself a disservice to stop there. Seeing prints in person at galleries is a wonderful experience — it allows you to get up close to the work, to see what your potential investment looks like under the lights, and to speak with the people who work in the galleries and collections, who can help guide you toward the right decision. One such gallery is in Tokyo and New York and has a long history of showcasing wonderful contemporary prints — from mokuhanga and aquatint to lithography and other mediums. The Tolman Collection Tokyo, located in the Shibadaimon district of Minato, Tokyo, has been operating for over 50 years and enjoys a strong reputation both in Japan and around the world. In this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with Allison Tolman of The Tolman Collection Tokyo. We discuss how the gallery began — from the hope and a dream of Allison's parents, Mary and Norman Tolman, who built a life and a    business in a new country, to their friendships with many of the most important printmakers of their time. Allison shares why prints remain so vital today, emphasizing their democratic nature. She also discusses the differences between contemporary printmakers in Japan and those in the West, as well as the unique experiences of selling prints in Tokyo versus at The Tolman Collection in New York. Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known.  The Tolman Collection - Tokyo, New York Machida City of Graphic Arts - is a print gallery located in Machida City, Tokyo, Japan. More info can be found, here.  Kitaoka Fumio (1918-2007) - was a painter who moved onto mokuhanga later in life. Kitaoka was a sōsaku hanga printmaker whose works touched on anti-war themes and Japanese society, emigres and the working class.  Tsukiji Fish Market (1988)  Tadashige Ono (1909-1990) - was a socially conscience printmaker of Post-War Japan. Tadashige's early works were influenced by the west with German Expressionism and later in his career, as his personal politics began to change, Tadashige;'s prints began to focus on an industrial Japan.  House (Hiroshima) (1957) Tōkō Shinoda (1913-2021) - was a calligrapher and painter in Japan. Shinoda saw herself as an artist who combined painting and calligraphy together defying categorization. More information can be found, here from The Royal Ontario Museum, Toronto.  Sound (ca 1990) lithograph on paper 17 5/8" h x 23 3/8" w Clifton Karhu (1927-2007) -  was a mokuhanga printmaker based in Japan. Karhu lived in Japan for most of his life after studying with Tetsuo Yamada and Stanton Macdonald-Wright. HIs themes were of his home city of Kyoto, Japan. More information can be found, here.  Black Robe (1976)  shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945). Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.  Kawamura Sayaka - is a mokuhanga printmaker based in Japan. Her work has an ethereal quality of mystery and fantasy. More information can be found on her Instagram.  Bon Voyage IV (2019) 27.56 " × 27.56 " AP - stands for Artist's Proof. When a printmaker is almost ready to print an edition, they will create a few prints that serve as proofs of the final image before the edition is printed. Gotō Hidehiko (b.1953) - is a mokuhanga printmaker and tool maker based in Japan. He makes and teaches seminars about the construction of the mokuhanga tool, the baren.  Sound Of The Waves (2016) 15" × 12" Zōjōji Daimon - is a Buddhist temple in Minato, Tokyo of the Jōdo-shū (Pure Land) sect of Buddhism David Rockefeller (1915-2017) - was an American economist and investment banker who led Chase Manhattan Corporation as its chairman and CEO. From 2004 until his passing in 2017, he was the oldest living member of the Rockefeller family. The youngest of five sons, he was the child of John D. Rockefeller Jr. and Abby Aldrich Rockefeller, and the grandson of John D. Rockefeller and Laura Spelman Rockefeller.  Hasegawa Yuichi (1945-2025) - was a woodblock printmaker from Aizu in Fukushima Prefecture. He was from a family of lacquerware makers. Hasegawa incorporated lacquer resin and metallic paints into his reduction woodblocks, giving them a distinctive texture and gleam. Deeply influenced by Zen and the natural world, he aimed to capture the power and splendor of nature in his prints.  Night Sky No. 5 (2000) Seiko Kawachi - is a mokuhanga printmaker and painter based in Japan. His work is known for its rich use of color and dynamic energy. A longtime printmaking instructor at Tama Art University, he experienced a turning point in his middle age when he began exploring the influence of Hokusai. Using contemporary materials, his large, powerful prints capture the movement and vitality of the natural world. Object: The Flying: Ki (The Flying: Introduction) (1985) mokuhanga and intaglio, 65" × 36" Tama Art University - located in Tokyo, Japan, is one of the country's leading institutions for art and design education. Founded in 1935, it offers programs in fine arts, design, architecture, and media arts, fostering both traditional and contemporary approaches to creativity. Known for its strong emphasis on experimentation and individual expression, Tama has produced many influential artists, designers, and educators who have shaped Japan's modern art scene. More info, here.  © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)    

Living life means opening ourselves to the wounds that come with it. Jan shares the story of a Japanese artist whose approach to his art carries lessons for how to live life with everything we have.

On this edition of The Arts Section, host Gary Zidek profiles a Chicago organization dedicated to keeping the tradition of film projection alive. He'll talk to executive director of the Chicago Film Society. The Dueling Critics, Kelly Kleiman and Jonathan Abarbanel, join Gary to review the musical adaptation of CATCH ME IF YOU CAN. Later in the show, Gary catches up with bestselling author Kerri Maher. And we'll revisit the Cleve Carney Museum of Art's Hokusai exhibit before it closes.

The Daily Quiz - Art and Literature Today's Questions: Question 1: Which author wrote 'J'accuse…!'? Question 2: What is the name of the sculpture by Rodin that portrays Paolo and Francesca, lovers from the Middle Ages? Question 3: Whose smile remained after the rest of it had vanished? Question 4: The painting "The Great Wave off Kanagawa" by Hokusai is a part of which art movement? Question 5: The painting "The Gleaners" by Jean-François Millet is a part of which art movement? Question 6: Which piece of written work starts with the line 'The family of Dashwood had been long settled in Sussex.'? Question 7: In which book series would you find the character 'Jacob Black'? Question 8: Who is the protagonist of Milton's Paradise Lost? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

#137 La gran ola” de Hokusai – Historia del arte con KenzaUn episodio dedicada a la famosa obra del Maestro Katsushika Hokusai. Historia del arte con Kenza - Obras que encienden el asombro. Una serie sobre el arte a través de la historia y las culturas. Se presentarán obras que trascienden el tiempo por su belleza y por lo que nos cuenta. En youtube y spotify. Nos puedes seguir a través de la página www.historiadelarteconkenza.wordpress.com para descubrir las obras del podcast y muchas más. Para mayor información sobre los cursos en línea favor de escribir a arte.kenza@gmail.com Producido por @RojoVenado #historiadelarte #historiadelarteconkenza #podcastdearte #podcastenespañol #HistoriaDelArte #ArteClásico #ArteVisual #ArteCultural #HistoriaYArte #MuseosDelMundo #GrandesArtistas #ArquitecturaHistórica #MovimientosArtísticos #PinturaClásica #EsculturA #HistoriaDeLaPintura #ArteYCultura #CuriosidadesDelArte #ArtistasFamosos #ObraMaestra #CulturaVisual Hosted on Acast. See acast.com/privacy for more information.

Welcome back to Artbit , we're diving into the heart of Tokyo's Sumida Ward—a place that's not only home to the modern hustle and bustle but also to an iconic artist whose influence is felt not just here, but across the globe. We're talking about none other than Katsushika Hokusai, the master of ukiyo-e, whose work has shaped not only the landscape of Japanese art but also the world of manga and modern visual storytelling.

The Daily Quiz - Art and Literature Today's Questions: Question 1: Who wrote "The Ugly Duckling" and "The Emperor's New Clothes"? Question 2: Which author wrote 'The Master and Margarita'? Question 3: The painting "The Great Wave off Kanagawa" by Hokusai is a part of which art movement? Question 4: Which author wrote 'The Labours of Hercules'? Question 5: Which author wrote 'And Quiet Flows the Don'? Question 6: Which author wrote 'Gulliver's Travels'? Question 7: Which artist painted "Portrait of Madame Recamier" Question 8: Who is the protagonist of Milton's Paradise Lost? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Hal LaCroix discusses with Ivan six things which should be better known. Hal LaCroix lives outside Boston with his wife, Elahna. He has worked as a journalist at newspapers in New England, a reporter and editor at Harvard Medical School, a conservation writer for non-profits and an instructor at Boston University. Here and Beyond is his first novel, which is available at https://www.bloomsbury.com/uk/here-and-beyond-9781526678249/. Senator Charles Sumner. Sumner was a mid-19th century senator with laser focus on one issue: slavery. He had a profound impact on Lincoln, pushing him to expand rights of African Americans after emancipation. Sumner became epic villain in Confederacy, where souvenir canes commemorated the beating were hot items. Hokusai's 36 Views of Mt. Fuji. Fuji is sacred, a symbol of Japan. The 36 mostly long-range views, all around the compass, provide a wraparound view of Japanese life in 1831. Exoplanets. More than 5,000 have been confirmed so far, out of hundreds of billions of planets in the Milky Way galaxy. Until the 1990s no one even knew if there were any planets outside our solar system! Wingspan. This is a board game about birds that my wife and I are a bit obsessed with. Each player has a board with forest, grassland and water habitats. Boston Cream Pie and Boston Cream Donuts. My grandfather used to bring cakes and pies when he visited us on Cape Cod. He'd pull up in his Oldsmobile Cutlass with all these white boxes tied with string from Montilio's bakery. We Need a Global, Unifying Mission. We live on a planet with 8.2 billion people and the vast majority of us just know our neighborhood, our route back and forth to work. But on the spinning ark ship in Here and Beyond, the entire world is visible within the sphere. You look up and see buildings upside down, people upside down. This podcast is powered by ZenCast.fm

Dans cette édition :Le président Macron reçoit le Premier ministre et des ministres clés pour discuter des pistes d'économies budgétaires envisagées par Matignon, dans un contexte de pression permanente sur les finances publiques.Le ministre de l'Intérieur prépare un projet de loi visant à étendre et renforcer les pouvoirs de la police municipale, suscitant des réactions contrastées de la part des syndicats.Le vice-président des Républicains, François-Xavier Bellamy, dénonce l'ignorance de l'Union Européenne sur le cas de l'écrivain franco-algérien Boualem Sansal, toujours détenu en Algérie.Le président américain Donald Trump se dit confiant sur la libération prochaine d'otages israéliens retenus à Gaza, alors que des négociations sont en cours.Une influenceuse marseillaise a été violemment agressée à son domicile par trois hommes, un acte qualifié de "barbarie" par son avocat.Le musée du Château des Ducs de Bretagne à Nantes accueille une exposition consacrée aux œuvres du maître japonais de l'estampe Hokusai.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Presentación de Maxi Guerra en vivo en el Festival Estación Podcast (Madrid).Libros citados:Tata Vizcacha y Hokusai, Washington BenavidesEl secreto de la comida japonesa, Ryoko SekiguchiCanciones:El instrumento, Darnauchans/BenavidesSuzanne, You Want It Darker y The Goal, Leonard CohenInfinitas gracias a Maxi Martínez, Vermut Flores y a los colegas podcasters y equipo técnico del Festival.

On this edition of The Arts Section, host Gary Zidek sits down with the new artistic director of the 90-year-old Grant Park Music Festival. The Dueling Critics, Kelly Kleiman and Jonathan Abarbanel, stop by to preview all the summer plays and musicals they're most looking forward to seeing. Later in the show, Gary previews the new Hokusai exhibition that's opening in the western suburbs.

La vita e le opere principali di Katsushika Hokusai, celebre artista giapponese, autore della Grande Onda. Stile, temi e analisi della sua arte.

We'd love to hear from you. Send us a text! The Naked Texture Artist is a podcast where VFX/animation veterans have deep and honest conversations about their challenges and growth as working artists.  Welcome to the sixth and penultimate slice from my conversation with the Dragon Lady. In this part I finally bring up the reason I wanted to talk to her: Is Myriam Catrin the world's best texture artist? Her work speaks for itself, but more than ability and talents, it is Myriam's humanity that make her one of the great and truly special artists. I am sure you will agree, when you have listened to her take on all the greatness talk. There is no sunshine without occasional darkness: Myriam shares a very personal episode, where her work broke her and how she managed to steer herself back to health again.  If you want to know the innerworkings of one of the best texture artists in VFX today, the highs and the lows, Myriam shares very generously and fearlessly of her experience. Enjoy! Myriam is a fantastic artist, who's work and interests reach far beyond VFX.  Do yourself a favour, please, and explore and support the amazing work Myriam also does:  https://www.artstation.com/myriamcatrin  Sadly her amazing comic book, Passages, is currently sold out. But look out for new print runs here:  https://shop.publicdomain.paris/product/passages-myriam-catrin  Myriam has also recently contributed beautiful artwork to the Modern Calligraphy Bible:  https://schifferbooks.com/products/modern-calligraphy-bible  As well as the exciting project Nariko's Voyage, which is in development for TV: https://www.narikosvoyage.com/  We also talk about the multi-facetted Martin Hill, who's excellent pottery can be found here: https://www.martinhillceramics.com/ Hokusai of legend:  https://images.app.goo.gl/S1PvUoHf7wVptqNJ6  We refer back to Steven Pressfield's indispensable book The War of Art. Read it many, many times. It will enable you to do your best work: https://stevenpressfield.com/books/the-war-of-art/  Myriam refers to the breakthrough style of Alberto Mielgo, who of course created the seminal Jibaro episode for Love Death + Robots  https://www.albertomielgo.com/  The Naked Texture Artist is produced by Marque Pierre Sondergaard. Support us on https://ko-fi.com/thenakedtextureartist Contact us on thenakedtextureartist@gmail.com Follow us on https://www.instagram.com/thenakedtextureartist/ Music copyright belongs to Tycho for the song Awake - https://tychomusic.com/ Additional sound effects from https://www.zapsplat.com

Before Monet painted water lilies or Degas sketched ballerinas, a wave was crashing in from the East. In this episode, we explore how Japanese woodblock prints—especially Hokusai's ‘The Great Wave off Kanagawa'—reshaped the way Western artists thought about space, subject, and form. From flattened perspective to everyday scenes, ukiyo-e wasn't just decorative—it was revolutionary. We'll unpack the rise of Japonisme, its deep (and sometimes uneasy) influence on Impressionism, and how one iconic wave helped turn the tide of art history. Today's image: Katsushika Hokusai, ‘Under the Wave off Kanagawa (Kanagawa oki nami ura),' (1830-32). Woodblock print; ink and color on paper. Metropolitan Museum of Art, New York. ______ New episodes every month. Let's keep in touch! Email: artofhistorypod@gmail.com Instagram: @artofhistorypodcast | @matta_of_fact

It's time for some hidden history, dear one!! Did you know one of Japan's most famous artists had a secret weapon? And no, it wasn't just his paintbrush! In this episode, we uncover the fascinating, overlooked story of Katsushika Oi, the daughter (and possible secret collaborator) of the legendary Hokusai! Oi wasn't just any artist—she was a bold, brilliant painter who worked in the shadow of her famous father. Her work, including the stunning 'Night Scene in the Yoshiwara,' showcased her mastery of light and color. But was she merely an assistant, or did she play a far bigger role in Hokusai's masterpieces? Join us as we dive into her life, her art, and the reasons history nearly erased her. Spoiler: This is hidden women's history at its finest! What You'll Learn in This Episode:

durée : 00:04:01 - L'ami.e du vendredi - par : Guillemette Odicino - Hommage à O-Ei, la troisième fille du peintre japonais Hokusai, ensevelie sous la vague de l'Histoire et de l'invisibilisation des femmes.

Vielen Dank an alle, die uns auch diesmal wieder so viel spannendes Feedback geschickt haben. Wir besprechen in diesem FeedGAG die Folgen ab GAG477 bis GAG489. Aus Zeitgründen haben wir die Postkarten aufgeteilt, der andere Teil landet im nächsten FeedGAG. Alle Infos zur 500. Folge: https://www.geschichte.fm/allgemein/jubilaeumsfolge-gag500/ /// Podcasts des Monats * MAMMUT - Ein Mord in meiner Familie und meine Suche nach Antworten: https://www.ardaudiothek.de/sendung/mammut-ein-mord-in-meiner-familie-und-meine-suche-nach-antworten/13862515/ * Food Crimes - Was schmeckt dahinter? – https://food-crimes.podigee.io/ /// Tools * GAG Tools – https://gag.tools * Chronologisch Hören – https://docs.google.com/spreadsheets/d/1NTHLJ2dXjYzTl28tmD_aj-8g-lZU00N_I18T0v9nFoo/edit?gid=681791364#gid=681791364 * Zufällige Folgen Bookmarklet: Hier der Code als `copy-paste-fire-and-forget` Version (öffnet neuen Tab): ``` javascript:(()=>{var url="[https://www.geschichte.fm/archiv/](https://www.geschichte.fm/podcast/)";var maxEpisode;var now=new Date();var first=new Date("2015-10-01");var diff=(now.getTime()-first.getTime())/1000; diff/=(60*60*24*7);maxEpisode = Math.abs(Math.round(diff));var episode = Math.floor(Math.random()*maxEpisode);if(episode270){url=" "+url+"gag"+episode;}window.open(url,"_blank");})(); ``` // Museen & Ausstellungen Okinawa Prefectural Museum & Art Museum – Ausstellung zur Geschichte Ryukyus und Okinawas Website des Museums: https://www.museums.pref.okinawa.jp/en/oki_museum Brooke Heritage Museum, Kuching – Über die weißen Rajas von Sarawak Website des Museums: https://www.brookemuseum.com/ Bayerische Staatsbibliothek, München Ausstellung: https://www.bsb-muenchen.de/veranstaltungen-und-ausstellungen/article/farben-japans-holzschnitte-aus-der-sammlung-der-bayerischen-staatsbibliothek-6502/ Sumida Hokusai Museum, Tokio – Alles über Hokusai & Ukiyo-e Offizielle Website: https://hokusai-museum.jp/ British Museum: „The Great Wave and its 111 Versions“ YouTube-Video: https://youtu.be/U_025NB8alw Artikel Japan Times: Warum die Ryukyu-Sprachen vom Aussterben bedroht sind Artikel lesen: https://www.japantimes.co.jp/community/2020/06/15/voices/okinawan-language/ BBC: Der schwierige Status Okinawas in Japan Artikel lesen: https://www.bbc.com/news/world-asia-49182716 Der Halley'sche Komet und die Panik von 1910 NASA-Artikel: https://solarsystem.nasa.gov/asteroids-comets-and-meteors/comets/halley/in-depth/ „Der Jupiter-Effekt“ – Das Pseudowissenschafts-Buch von 1974 Wikipedia-Seite: https://en.wikipedia.org/wiki/The_Jupiter_Effect DailyArt: „How Japanese Woodcuts Were Made“ Artikel lesen: https://www.dailyartmagazine.com/how-japanese-woodcuts-are-made/ Popkultur & Empfehlungen Film „Profound Desires of the Gods“ (1968) IMDb-Seite: https://www.imdb.com/title/tt0063538/ „Europa Universalis IV“ – Three Mountains Achievement Spielinfos auf Paradox: https://www.paradoxinteractive.com/games/europa-universalis-iv/about Dokumentation „The Pen: Mightier Than The Sword“ – Die Geschichte des Kugelschreibers YouTube-Video: https://www.youtube.com/watch?v=w6wCrBqHdxs TV-Serie „Sandokan – Der Tiger von Malaysia“ (1976) – Über Piraten und britische Kolonialherrschaft in Borneo IMDb-Seite: https://www.imdb.com/title/tt0073977/ Film „Edge of the World“ (2021) – James Brooke als Abenteuerfilm mit Jonathan Rhys Meyers Trailer & Infos: https://www.imdb.com/title/tt3006472/ Animationsfilm „Miss Hokusai“ (2015) IMDb-Seite: https://www.imdb.com/title/tt3689910/ Fast Forward Science: Die Ausschreibung läuft noch bis 30. April 2025 https://fastforwardscience.de/ Methodisch inkorrekt! sprechen in ihrer Folge über die IG-Nobelpreise über eine Studie, in der es um die Blauen Zonen geht https://minkorrekt.de/mi328-ig-nobelpreise-2024/

Wir springen in dieser Folge in die 1830er Jahre. Es ist jenes Jahrzehnt, in dem der zu jenem Zeitpunkt schon über 70-jährige Künstler Katsushika Hokusai ein Bild kreiert, das bald nicht nur in Japan, sondern auf der ganzen Welt Berühmtheit erlangen wird. Wir sprechen in dieser Folge über die sogenannte "Große Welle", einen Holzschnitt, der wie kaum ein anderes Kunstwerk die Fantasie der Menschen beflügelt – und zwar bis heute. //Erwähnte Folgen - GAG228: Berliner Blau – die Erfindung einer Farbe - https://gadg.fm/228 - GAG255: Die 47 Ronin - https://gadg.fm/255 - GAG311: Der Imjin-Krieg - https://gadg.fm/311 - GAG478: Das Königreich Ryukyu - https://gadg.fm/478 - GAG323: Die Republik Ezo und das Ende des Shogunats - https://gadg.fm/323 - GAG34: Tee, Silber und Rauschmittel - https://gadg.fm/34 Literatur - Christine M. E. Guth. Hokusai's Great Wave, 2015 - C.J. Holmes. Katsushika Hokusai, 2023 - Diverse Hokusai Manga Ausgaben gibt's auf archive.org. Eine davon ist diese hier: https://archive.org/details/hokusaimangathes10kats/mode/2up Das Episodenbild zeigt einen Teil des Holzschnitts "Unter der Welle vor Kanagawa" von Katsushika Hokusai. //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer Becher, T-Shirts oder Hoodies erwerben will: Die gibt's unter https://geschichte.shop Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt! Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

This week: the Los Angeles wildfires. The Art Newspaper's West Coast contributing editor in LA, Jori Finkel, tells our associate digital editor, Alexander Morrison, about the devastation in Southern California, and its effect on artists and institutions. The World Monuments Fund (WMF), the independent organisation devoted to safeguarding global heritage has released its biennial World Monuments Watch, a list of 25 sites that are potentially threatened. The aim of the list is, according to the WMF to “mobilise action, build public awareness, and demonstrate how heritage can help communities confront the crucial issues of our time”. Ben Luke talks to John Darlington, the director of projects for WMF Britain, who also reflects on the future of the organisation's project to train Syrian refugees in stonemasonry skills, in the wake of the change in government in Syria. And this episode's Work of the Week is All About Painting in Colour: An Illustrated Book, a portfolio in two volumes made by the leading artist of the late Edo period in Japan, Katsushika Hokusai. The last of his drawing manuals, made by the artist at the very end of his life, it features in a new book, Hokusai's Method. We talk to Ryoko Matsuba, one of the authors of the new book.Hokusai's Method, with texts by Kyoko Wada and Ryoko Matsuba, is published by Thames and Hudson. It is out on 23 January in the UK, and priced £35, and on 4 February in the US, priced $45.The Art Newspaper's book The Year Ahead 2025, an authoritative guide to the year's unmissable art exhibitions, museum openings and significant art events, is still available to buy at theartnewspaper.com for £14.99 or the equivalent in your currency. Buy it here. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:28:58 - Les Pieds sur terre - par : Sonia Kronlund, Elise Andrieu - À Saint-Dizier, l'équipe municipale a transformé tous les panneaux publicitaires en œuvres d'art. À la place des réclames, des reproductions de Cézanne, Van Gogh, Hokusai, Manet, Delacroix, Botticelli… La ville devient un musée à ciel ouvert pour contourner la morosité ambiante. - réalisation : Emmanuel Geoffroy

Wir springen in dieser Folge ins 14. Jahrhundert. Ort unserer Geschichte ist das Ostchinesische Meer, wo sich in jener Zeit zwischen China und Japan ein kleines Königreich zu einer der größten Wirtschaftsmächte der Region emporschwingt. Wir sprechen in dieser Folge über das Königreich Ryukyu, das in den Jahrhunderten seiner Existenz eine der wohl außergewöhnlichsten Positionen der Zeit innehatte. //Erwähnte Folgen - GAG311: Der Imjin-Krieg – https://gadg.fm/311 - GAG323: Die Republik Ezo und das Ende des Shogunats – https://gadg.fm/323 - GAG151: Manjirō, der erste Japaner in Amerika – https://gadg.fm/151 //Literatur - George Kerr. Okinawa: The History of an Island People. Tuttle Publishing, 2018. - Gregory Smits. Maritime Ryukyu, 1050–1650. University of Hawaii Press, 2018. - Mamoru Akamine. The Ryukyu Kingdom: Cornerstone of East Asia. University of Hawaii Press, 2016. - 白瑞唐 Thomas P. Barrett トーマス・バレット. „Okamoto Takashi, “Rethinking the ‘Dual Dependence' of the Ryukyu Kingdom,” Trans. Thomas P. Barrett, The International History Review (August 2024): 1–13.“ The International History Review, 1. Januar 2024. Das Episodenbild zeigt eine Darstellung Ryukyus von Hokusai aus dem 19. Jahrhundert. //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer Becher, T-Shirts oder Hoodies erwerben will: Die gibt's unter https://geschichte.shop Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt! Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

Ο Δημήτρης μιλάει για την εμπειρία του στην Ιαπωνία και σχετικά με το ταξίδι με γκρουπ σε σύγκριση με το τα ταξιδεύει κανείς μόνος του. Σημειώσεις εκπομπής Calle 13 από Ματίλντ (https://www.youtube.com/watch?v=DkFJE8ZdeG8) Spotted by Locals (https://www.spottedbylocals.com) Tzapanesk (https://www.facebook.com/tzapanesk/?locale=el_GR) Hokusai (https://en.wikipedia.org/wiki/Hokusai) Βίντεο με ελάφια Νάρα (https://www.youtube.com/watch?v=UQ3yFq9vWM8) Miyajima (https://en.wikipedia.org/wiki/Itsukushima) Atom Bomb Dome (https://en.wikipedia.org/wiki/Hiroshima_Peace_Memorial) Απομαγνητοφώνηση Δημήτρης: [0:16] Γεια σας και καλώς ήρθατε στο Easy Greek Podcast, το podcast που σας μαθαίνει ελληνικά με καθημερινούς αυθεντικούς διαλόγους. Είμαι ο Δημήτρης και έχω μαζί μου σήμερα μετά από κάποιες εβδομάδες την... Μαριλένα: [0:34] Πολύ καιρό, ε; Πόσος καιρός έχει περάσει; Δημήτρης: [0:37] Δεν είπες το όνομά σου, δεν πειράζει όμως. Μαριλένα: [0:38] Α, ναι. Γεια σας, παιδιά! Είμαι η Μαριλένα του Easy... Ε, έφυγε και η βέρα. Είμαι η Μαριλένα τoυ Easy Greek! Μετά από καιρό πίσω στο στούντιο μαζί με τον Δημήτρη. Δημήτρης: [0:53] Πώς το λένε στα ιαπωνικά... είναι μια λέξη που μ' αρέσει πολύ. «Hisashiburi». Μαριλένα: [1:00] Α, ξεκινήσαμε! Τι είναι το «Hisashiburi»; Δημήτρης: [1:05] Σημαίνει «σαν τα χιόνια», κάπως έτσι. Καιρό έχουμε να τα πούμε. Μαριλένα: [1:08] Α, οκέι! Τέλεια. Δημήτρη, γιατί έχουμε τόσο καιρό να κάνουμε podcast; Πού ήσουνα; Τι έκανες; Δημήτρης: [1:16] Κοίτα. Έγινε ένα μπέρδεμα γενικά. Το podcast που 'χαμε βγάλει το τελευταίο που ήτανε για τους κήπους (α!) που είχα πει ότι θα έβγαινε όσο ήμουνα στο Κιότο, τελικά δεν βγήκε όσο ήμουνα στο Κιότο, γιατί έγινε μια βλακεία και δεν πήρα μαζί μου τη μέρα που έφυγα τα αρχεία του podcast, οπότε... και δεν κατάφερες να μου τα στείλεις εσύ, οπότε έπρεπε να το βγάλω τώρα που γύρισα, χτες γύρισα από την Ιαπωνία... (Τι ωραία!), όπως αναφέραμε την τελευταία φορά. Ναι, ήμουνα στη Ιαπωνία δύο εβδομάδες, γύρισα σήμερα... ε, όχι σήμερα, γύρισα χθες. Για την υπόλοιπη απομαγνητοφώνηση, γίνετε μέλη μας! (https://bit.ly/EaGrPodcast)

Timecodes: 0:00 - Start 17:29 The Whale has the funniest opening scene 22:05 Feits almost got k*lled 36:34 Jackie went door to door looking for a charger 46:05 Was Ted Kaczynsk.... 56:54 The world isn't ready to hear about aliens 01:07:28 Taylor Swift may be bigger than The Beatles 01:13:43 I-95 Overpass Collapsed 01:14:18 Bridge inferno Video - https://twitter.com/stefanielaine/status/1667933663605161985?s=20 01:14:25 Philly Guy Interview - https://twitter.com/MarcusFOX29/status/1667914696534507520 01:17:03 British Guards Passed Out - https://twitter.com/itvnews/status/1667568403073171458?s=20 01:20:48 Zion is getting called out 01:26:03 Feits' Hokusai museum trip 01:29:56 Freddie Gibbs 01:32:42 Bill Murray and Kelis Are Dating 01:36:32 VanderPump Rules 01:47:15 A Day in the Life Guy 01:54:33 Video Voicemails 02:19:31 Feits ate a BAG of apples at The Dozen Live ++++++++++++++++++++++++++++++++ Omaha: Don't wait - go to https://OmahaSteaks.com and type KFC into the search bar and order the Dad's Favorite Gift package for Father's Day today! Pirate Water: Go to drink piratewater.com to find pirate water in a location near you or order on gopuff Turo: Find your drive. Forget boring rental cars at https://bit.ly/3Lwerc1You can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/kfcr