關於 tokyo university of foreign studies ，我們在網路上蒐集到這些相關的討論、資訊與評價

轉載Chenchen Chen fb
🛠《大家來找碴welcome strict proofreader 》

看到Christopher Chen附在獨立觀察的連結，披露日本記者黑木亮著手調查東京知事小池百合子的埃及開羅大學學歴史，所以整理了文章一半的中英對照如下，另外一半預期周末整理好再另外貼新版。

大家可以比較東京知事和她的大貴人(埃及前副首相Dr Hatem)如何促使她主張她1976年確從埃及開羅大學畢業的做法。台灣媒體不敢報導此日本疑似假學歷的新聞，倒是刷了很多東京知事抗疫好棒棒的中文報導－想必是要洗嬰粉的腦「會做事就好了，學歷有什麼重要」哈哈😄⋯⋯

✳️原文連結： https://jbpress.ismedia.jp/articles/-/60643

🔥偽造大學學位的指控困擾東京都知事小池百合子（Vol.4）
Allegations of fake university degree haunt Tokyo Governor Yuriko Koike (vol.4)

💥自從現任東京都知事小池百合子（Yuriko Koike）於1992年成為國會議員以來，一直有謠言流傳稱，小池百合子（Koike）文飾美化她的學歷。
Ever since the incumbent Governor of Tokyo, Yuriko Koike became a Member of Parliament in 1992, rumors have been circulating that Koike embellished her academic credentials.

小池聲稱自己曾自開羅大學畢業，但是如果以阿拉伯語為母語的人去聽她的阿拉伯語，那麼她公開身為開羅大學畢業生的學歷，似乎就顯得更加可疑了。
Koike claims to have graduated from Cairo University but if an Arabic speaker listens to her Arabic, her published academic credentials as a Cairo University graduate seems more than dubious.

[我有]強有力的證據可以證明她偽造學歷，例如由室友提供的證詞－有紀錄片可查的證詞；小池的自相矛盾的說法表明，儘管第一年不及格，她仍然在四年之內畢業，她的初階程度阿拉伯語，以及關於畢業論文的謊言，和她拒絕向東京都議會提交畢業文件的頑強行為。
There are strong evidence about her fake academic credentials such as testimony by the flatmate supported by documentary evidence, Koike's self-contradictory statement in her book to have graduated in four years despite failing her first year, her rudimentary Arabic, her lie about the graduation thesis and her stubbornness in refusing to submit her graduation documents to the Tokyo Metropolitan Assembly.

身為一個通曉阿拉伯語並從埃及大學（開羅美國大學的中東研究專業）畢業的人，我自有一種任務感，因此我決定對這些指控進行調查。 經過兩年的調查，我找不到任何證據，甚至沒有一絲一毫的最低線索，可以證明小池是從開羅大學畢業的。
Feeling a sense of duty as someone who learnt Arabic and graduated from an Egyptian university (MA, Middle East Studies from the American University in Cairo), I decided to investigate the allegations. After two years of investigation, I could not find any evidence, nor even the slightest hint that Koike graduated from Cairo University.

在這個共由六大部組成的文章中，我詳細介紹了我的調查結果。這裡是第四部的內容：
In this six-part article, I present the results of my investigation in detail.Here is the fourth part of it;

💥小池有符合[埃及大學]轉學資格嗎？
Was Koike eligible to transfer?

"小池在她的書中和其他地方聲稱，她於1972年10月開學以一年級（新鮮人）生身分進入開羅大學。
Koike claims in her books and other places that she entered Cairo University as a first year student (freshman) in October 1972.

但是，她室友在＂假簡歷”紀錄片中說：“小池是於1973年10月以二年級學生身分進入開羅大學。
However, in the ""Fake CV"" the flatmate says, ""Koike entered Cairo University in October 1973 as a second year student.

「小池高興地對我說：“我父親先請當時的哈特姆博士，當時也是埃及副首相，還兼任文化和信息部長，依據我在關西學院大學－是一間日本兵庫縣的私立大學－所上課的幾個月[學程]，加上另外在開羅美國大學的上語言課程的幾個月，一起調整合併當成是我在開羅大學就讀的第一學年[學程時間]。」
Koike happily told me ‘My father asked Dr. Hatem, then Egypt's Deputy Prime Minister and Minister of Culture and Information, to swap my few months at Kwansei Gakuin University, a private university in Hyogo prefecture, and a few months at the language course at the American University in Cairo for the first year at Cairo University. ‘

「哈特姆博士接受了這一要求。此外，我的學雜費和申請費全免除了。 」
‘Dr. Hatem accepted the request. In addition, my tuition and admission fees have been waived’ .

這顯然是寫在室友1972年11月19日給她在日本母親的信中的。根據“假簡歷”該部分陳述的內容，她(室友)大部分信都附有信件日期和郵戳。 如果是這樣，他們這些人都將會被埃及法院起訴。
This is apparently written in the flatmate’s letter to her mother in Japan dated 19 November 1972. According to the ""Fake CV"" most of her letters were dated and postmarked. If so, they will be admissible to court."

呈現在“假簡歷”的內容中，含當時也正在埃及另一所大學就讀的另一名日本女性，她說，她對小池當時可以轉入開羅大學二年級就讀感到驚訝。 我(作者：黑木亮)所採訪過的另一位開羅大學的日本畢業生也記得：小池當年是[直接]轉入開羅大學二年級。
In the ""Fake CV"" another Japanese woman who was attending another university in Egypt at the time says she was surprised that Koike had transferred in the second year at Cairo University. Another Japanese graduate of Cairo University whom I interviewed also remembered that Koike had transferred to the second year."

然而，轉學到包括開羅大學在內的埃及國立大學訂有嚴格的規定。為了進行轉學，學生必須在另一所大學獲得與埃及國立大學課程相同或相似的內容和學習時數的學分，並且必須獲得一定程度的成績。 開羅大學轉學中心辦公室向我證實了這一點。
However, strict rules are in place to transfer to Egypt's state universities, including Cairo University. In order to transfer, a student must have earned credits at another university with the same or similar content and number of hours as the Egyptian state university’s curriculum and must have earned a certain number of grades. This was confirmed to me by the Central Transfers Office of Cairo University.

例如，在2016-17學年，如果學生希望：
－轉學到工程或醫學學院，則必須從其他大學獲得至少imtiyaaz（優秀）成績。
－轉學實務研究學院，則必須從其他大學獲得至少jaiid jiddab(非常好)的成績。
－轉學理論學習研究學院，則必須從其他大學獲得至少jaiid (好)的成績。
In the case of the 2016-17 academic year, for example, students are required to have at least imtiyaaz (excellent) grade from other university if the student wishes to transfer to the Faculty of Engineering or Medicine and at least jaiid jiddan (very good) grade in the case of faculties of practical study and at least jaiid (good) grade for those of theoretical study.

前面如曾經提到的記者，達莉亞·施貝爾（Dalia Shibel）這樣告訴我：“在埃及，國立大學和私立大學是兩個完全不同的系統。即使您在開羅的美國大學學習了10年並獲得了必要的學分，您還是必須從開羅(國立)大學的一年級學生重新開始。這是我國的法律”。 因此，像小池這樣沒有在另一所大學讀完一年（也沒有獲得任何學分）的人是完全不可能被核准轉學的。
The aforementioned journalist Dalia Shibel told me that ""In Egypt state universities and private universities are two completely different systems. Even if you study at the American University in Cairo for 10 years obtaining necessary credits, you have to start as a first year student in Cairo University. This is the law of our country"". Therefore it is totally impossible that a person like Koike who has not finished a year at another university (and has not earned any credits) would be allowed to transfer."

小池最多只在關西學院大學學習了幾個月。 她在開羅的美國大學CASA那裡學習阿拉伯語只是一所語言學校，不提供任何學分或學位。 如果像一些日本人指出的那樣，小池真果真是在1973年轉入開羅大學第二年級的話，那不過是欺詐性的轉學而已。 這意味著她從一開始就沒有資格畢業。
Koike only attended Kwansei Gakuin University for several months at most. CASA at the American University in Cairo where she learnt Arabic is just a language school and does not offer any credits or degrees. If, as some Japanese people point out, Koike actually transferred to the second year at Cairo University in 1973, that is nothing but a fraudulent transfer. That means she was not eligible for graduation from the beginning.

💥關於小池入學許可的問題並沒有得到答案
No answer to the question about Koike’s admittance

2019年，有51人因以慈善機構樂捐名義為幌子，賄賂美國一個組織而受到起訴，該組織通過提升名人和其他人的孩子的SAT（大學才能測驗）分數，以欺詐手段允許他們的子女因此能夠進入著名的大學。
In 2019, 51 people were prosecuted in the United States for paying bribes under the guise of charity to an organization that allows celebrities and others to increase their children's SAT (college aptitude test) scores and fraudulently admit them to prestigious universities.

其中一位女演員費利西蒂·霍夫曼（Felicity Huffman）曾出演電視劇《欲望師奶(台灣翻譯)》，被判處14天監禁，並於去年10月在加利福尼亞州的女性監獄中被監禁。 霍夫曼的女兒索菲亞（Sophia）尚未上大學，據報導他將重考SAT。
One of them, actress Felicity Huffman, who starred in the TV drama Desperate Housewives, was sentenced to 14 days in prison and was incarcerated last October in a women's prison in California. Huffman's daughter Sophia has not enrolled in college and is reported to be retaking the SAT.

斯坦福大學以’非合法入學申請’為由，開除一名中國學生，原因在於他的父母為了可以濫用體育贊助(入學)名額，使他得以註冊該校學習課程，向該(同一)組織支付了650萬美元。
Stanford University expelled a Chinese student, whose parents paid $6.5 million to the organization for misusing a sports endorsement slot to enroll in the program, citing irregularities in submissions.

由於小池似乎未達到轉學入埃及國立大學的要求，因此我致信小池，詢問小池是在1972年還是1973年被錄取，但未得到任何答复（有關我詢問的信件內容，以及小池回應的所有完整文件，將在此報告的稍後部分中顯示）。
As Koike does not appear to have fulfilled the requirements for transferring to a state university in Egypt, I sent a letter to Koike, to ask whether she was admitted in 1972 or 1973 but received no response (the full text of my questions to and response from Koike will appear later in this report).

開羅大學是阿拉伯世界著名的大學之一，醫學，工程學，經濟和政治學係有許多優秀的埃及學生。 但是，該校在全球地位並不是很高。
Cairo University is one of the prominent universities in the Arab world and there are many excellent Egyptian students in the Faculties of Medicine, Engineering, and Economics and Political Science. However, its global standing is not very high.

在英國Quacquarelli Symonds Ltd.發布的2020年QS世界大學排名中，開羅大學在全球排名521-530，在埃及排名第二，與日本的熊本大學和長崎大學相當。 埃及最好的大學是開羅的美國大學（私立和美國認可大學），在世界上排名第395（與日本神戶大學並列）。 埃及排名第三的是艾因沙姆斯大學，亞歷山大大學和阿修特大學（所有國立大學），在世界範圍內排名第801-1000。
In the 2020 edition of the QS World University Rankings published by Quacquarelli Symonds Ltd. in the United Kingdom, Cairo University ranks 521-530 in the world and second in Egypt, on par with Kumamoto University and Nagasaki University in Japan. The best university in Egypt is the American University in Cairo (private and American-accredit university) which ranks 395th in the world (tied with Kobe University in Japan). Third place in Egypt are Ain Shams University, Alexandria University, and Assiut University (all state universities) which rank 801-1000th in the world.

💥小池與Abdel-Kader Hatem博士的關係
Koike’s Connections with Dr. Abdel-Kader Hatem

協助小池進行了“可能是欺詐性轉學＂的埃及政客的名字出現在“假經歷”這部分的內容中。 這個室友證明，小池在1973年通過著名的埃及政治家阿卜杜勒·卡德爾·哈特姆博士的關係轉入開羅大學二年級。
The name of an Egyptian politician who assisted Koike's possible ""fraudulent transfer"" appears in the ""Fake CV"". The flatmate testifies that Koike transferred to the second grade at Cairo University in 1973 through the connections of Dr. Abdel- Kader Hatem, a prominent Egyptian politician."

Hatem於1917年生於亞歷山大。他畢業於軍事學院和開羅大學。 他參與了1952年的埃及革命（是一個推翻君主制的政變，次年埃及共和國成立），當時他是在由Gamal Abdel Nasser中校領導的自由軍運動中的一名年輕成員。
Hatem was born in Alexandria in 1917. A graduate of the Military Academy and Cairo University. He participated in the Egyptian revolution in 1952 (a coup to overthrow the monarchy which was followed by the foundation of the republic the following year) as a young member of the Free Officers Movement led by then Lieutenant Colonel Gamal Abdel Nasser.

他於1957年成為國民議會議員，總統府副部長，1959年廣播電視國務部長，1962年文化部長，國家指導和旅遊部長，1971年副首相兼文化信息部長 ，曾任全國專業委員會常務理事兼埃及-日本友好協會主席。 他於2015年去世，享年97歲。
He became a member of the National Assembly in 1957, Deputy Minister in the Presidential Office, Minister of State for Radio and Television in 1959, Minister of Culture and Minister of National Guidance and Tourism in 1962, Deputy Prime Minister and Minister of Culture and Information in 1971, then longtime General Supervisor of the Specialized National Councils and President of the Egyptian-Japanese Friendship Association. He died in 2015 at the age of 97.

1974年2月，當時掌控文化和信息的副首相，哈特姆，以正式外賓的身份訪問了日本，並會見了日本首相田中角榮，副首相三木武夫，並參觀了皇宮與天皇會面。 1982年，他被日本政府授予＂旭日東昇頭等大勳章”。
In February 1974, Hatem, who was then the Deputy Prime Minister in charge of Culture and Information visited Japan as an official guest and met Japan’s Prime Minister Kakuei Tanaka, Deputy Prime Minister Takeo Miki and visited the Imperial Palace to meet the Emperor. In 1982 he was awarded the Grand Cordon of the Order of the Rising Sun, First Class by the Japanese government.

"在1974年Hatem訪日之際，日本駐埃及大使Tsutomu Wada在1974年2月12日給日本外交大臣的正式電報中寫道：“埃及政治的最新發展，哈特姆副首相的職位（曾擔任首相的代理者）得到了進一步鞏固，正如我經常報導的那樣，埃及副首相在6名媒體記者的陪同下訪問日本，這是非同尋常的，這清楚地表明了哈特姆博士的權力，並表明了他認為這次訪問的重要性。”
On the occasion of Hatem's visit to Japan in 1974 the Japanese Ambassador to Egypt Tsutomu Wada wrote in an official telegram dated 12 February 1974 to the Minister of Foreign Affairs of Japan ""As a result of recent developments in Egyptian politics the position of Deputy Prime Minister Hatem (who had been acting as a substitute for the Prime Minister) has been further strengthened as I have often reported. It is remarkable for an Egyptian Deputy Prime Minister to visit Japan accompanied by 6 media reporters and that clearly shows Dr. Hatem’s power. It also shows how important he thinks this visit is."""

"哈特姆的阿拉伯文傳記《阿卜杜勒·卡德·哈特姆日記-十月戰爭政府首腦》於2016年在開羅出版（由埃及記者易卜拉欣·阿卜杜勒·阿齊茲撰寫）指出，哈特姆與中曾根康弘保持著良好的關係， 自1954年起擔任日本前首相，中曾根將當時的在校學生，小池百合子－他朋友的女兒，介紹給哈特姆，哈特姆照顧小池，小池稱哈特姆為教父，並給了小池零用錢， 每月14埃及鎊。(小池在《長袖和服的金字塔攀登》第250頁上寫道，她每月從埃及政府獲得12英鎊的獎學金）。
🌐Chenchen註：Furisode是日本年輕未婚女性穿著的最正式的和服風格－以長袖為其特色，小池應是以Furisode做為自己的意象代名詞，唯美的描繪她以一介日本年輕嬌嬌女，如何在陌生的中東環境－埃及地，逐步攀登權力金字塔。中東地區非常保守，不但男尊女卑，金字塔也不容許遊客任意攀登，更何況是穿著舉步維艱的長袖正式和服，所以小池以一個浮誇的畫面來增飾自己在埃及留學生活的映象。
The Arabic-language biography of Hatem “The Diary of Abdel-Kader Hatem - Head of the October War Government"" published in Cairo in 2016 (written by an Egyptian journalist Ibrahim Abdel Aziz) states that Hatem had been on good terms with Yasuhiro Nakasone, former Prime Minister of Japan, since 1954 and that Nakasone introduced Yuriko Koike to him, a student at that time, as the daughter of his friend. Hatem took care of Koike. Koike called Hatem a god-father, and he gave Koike an allowance of 14 Egyptian pounds a month (Koike wrote on page 250 of “Furisode Climbing the Pyramid"" that she received a scholarship of 12 pounds a month from the Egyptian government)."

Abdel-Kader Hatem與中曾根康弘
Abdel-Kader Hatem with Yasuhiro Nakasone

"另一方面，小池於1985年出版的書《音譯：Onna女性 no 的Jinmyaku-Zukuri人脈建立 (（我如何以女人的身分經營人脈關係）》指出，她的父親（小池裕郎）很早就認識中曾根。她本人是在小學時代即已見到中曾根，在每個冬天，中曾根都向家人送去了一堆在中曾根選舉區群馬縣產的韭菜，並與他的兄弟一起吃了。
On the other hand Koike's book, ""Onna no Jinmyaku-Zukuri (How I made personal connections as a woman)"" published in 1985 states that her father (Yujiro Koike) had known Nakasone for a long time. She herself first met Nakasone when she was an elementary school student, every winter Nakasone sent her family a bunch of leeks produced in Gunma prefecture, Nakasone’s electoral district, and she ate them with his* brother." 🌐*Chenchen註：應該是She ate them with HER brother.,,

1973年10月6日，埃及爆發了十月戰爭（Yom Kippur War）。 埃及和敘利亞軍隊對部署在蘇伊士運河和戈蘭高地的以色列部隊發動了進攻，試圖奪回1967年六日戰爭（六月戰爭）中以色列佔領的領土。
🌐Chenchen註：這是知名的第四次以阿戰爭，後來引發第一次石油危機，各界認為這是阿拉伯國家在二戰之後，第一次聯手反對西方帝國主義。維基百科：贖罪日戰爭，又稱第四次以阿戰爭、齋月戰爭、十月戰爭...起源於埃及與敘利亞分別攻擊六年前被以色列佔領的西奈半島和戈蘭高地。戰爭的頭一至兩日埃敘聯盟佔了上風，但此後戰況逆轉。至第二周，敘軍退出戈蘭高地。在西奈，以軍在兩軍之間攻擊，越過原來的停火線蘇伊士運河。直到聯合國停火令生效為止，以軍甚至包圍了埃及的主力部隊。 https://zh.m.wikipedia.org/zh-tw/%E8%B4%96%E7%BD%AA%E6%97%A5%E6%88%B0%E7%88%AD

On 6 October 1973, the October War (Yom Kippur War) broke out in Egypt. Egyptian and Syrian forces launched an attack on Israeli forces deployed in the Suez Canal and Golan Heights in an attempt to recapture territory occupied by Israel in the Six Day War (June War) in 1967.

"為了支持埃及和敘利亞，阿拉伯石油輸出國組織（OAPEC）將石油價格提高了1.4倍，並引發了第一次石油危機。 日本被OAPEC視為“不友好”國家之一，由於採取了削減石油供應的措施，日本遭受了經濟危機。 日本政府派副首相三木武夫和前外交大臣小坂健太郎等人前往沙烏地阿拉伯，埃及和阿爾及利亞，要求這些國家將日本改變為“友好國家”類別（所謂的“石油乞討外交”）。 。
In support of Egypt and Syria, the Organization of Arab Petroleum Exporting Countries (OAPEC), raised oil prices by 1.4 times and caused the First Oil Crisis. Japan was considered one of the ""unfriendly"" countries by OAPEC and suffered an economic crisis as a result of measures to cut oil supplies. The Japanese government sent Deputy Prime Minister Takeo Miki and former Foreign Minister Zentaro Kosaka and others to Saudi Arabia, Egypt, and Algeria to ask those countries to change Japan to a ""friendly country"" category (the so-called ""oil begging diplomacy"")."

(待續...或是直接點原文連結)
https://jbpress.ismedia.jp/articles/-/60643

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

「アメリカ人の彼女と国際恋愛＆遠距離恋愛を続けるべきか、悩む現役留学生からコメント/質問いただきました！今回はエキサイトし過ぎでちょっと暑苦しい答えになっていますが、また、言葉遣いがいつもより距離感近めの日本語になっていますが、ご了承いただければ幸いです。こんな感じで海外から情報発信していくのでチャンネル登録よろしくお願いします！」
#国際恋愛 #遠距離恋愛 #外国人 #海外 #日本人

【 サンティVlog：平日午後6時（日本時間）に動画を１本アップ 】
ニューヨーク州立大学バッファロー校卒業後、エミレーツ航空CA、研修講師/コンサルタント、大学の非常勤講師として働いた後、トリニティカレッジダブリンでMBAを取得。2017年9月からアイルランドでスタートアップを立ち上げようと起業に挑戦中。日本人が海外で一人で起業するとどうなるか、その過程を撮ったVlog

【チャンネルへの想い】
海外でMBAとった日本人が、どこまでやれるのか、起業してどれだけグローバルで通用するのか、そういった情報を僕と同じように頑張っている人、また、頑張りたい人に向けて発信したい、という思いから開始しました。一度きりの人生、やりたいと思ったことやりたおします。その過程で得た情報や経験が、二十代や三十代でこの先どう生きていくか考えている人の参考になれば嬉しいです。いろいろな角度からの動画出して行きます。チャンネル登録よろしくお願いします。

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ほかのYouTuberさんのお勧め動画
・💗国際恋愛がうまくいく5つのTips! (アドバイス)｜5 SIMPLE TIPS for INTERNATIONAL RELATIONSHIPS
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・国際恋愛、どこからが正式なお付き合い？How to know if we're official couple in international relationships
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　https://www.youtube.com/watch?v=GjeOdXZWrvs
・《イタリア語》イタリア人と遠距離恋愛、私たちの付き合うきっかけ、イタリア人の褒め言葉って！？
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・《国際恋愛》外国人の彼氏とケンカ事情。。
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【Produced by 音畑柊】 国際恋愛って憧れますよね
高田が遅刻するわ英会話ポンコツだわすいません。
センターまであと少し
大学にはきっと楽しい未来が待ってるから
がんばりましょう！

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