銭 清弘|SEN Kiyohiro

Graduate student studying philosophy/aesthetics at the University of Tokyo.

Interests: philosophy of criticism, representation, genre etc.


📮 psy22thou5@gmail.com

CV

SEN Kiyohiro (銭 清弘)

Born in Hiroshima; raised in Yokohama; currently living in Tokyo.

EDUCATION

  • Ph.D student, The University of Tokyo, Tokyo (2020 - present)

  • Master of Arts, The University of Tokyo, Tokyo (March, 2020)

  • Bachelor of Economics, Keio University, Tokyo (March, 2018)

PUBLICATIONS

  • Sen, Kiyohiro. (2021). What Is It for Pictures to Depict Something? Japanese Student Research Notes of Philosophy of Science, (4):123-131.

  • Sen, Kiyohiro. (2020). Cutting and Pasting Images. PhilCul, 5 (2):60-81.

  • Sen, Kiyohiro. (2020). Seeing Photographs and Seeing Through Photographs: On the Theoretical Range of Kendall Walton's Transparency Thesis. The University of Tokyo (Master thesis). [PDF]

  • Sen, Kiyohiro. (2019). Photographic Transparency and Problems of the Digital Era: On Unidentified Pictures. PhilCul, 4 (1):230-273.

TALKS

  • Sen, Kiyohiro. (2021, May). Admiring the Worst, Cursing the Best. Annual Meeting of Japan Association for Contemporary and Applied Philosophy, Tokyo, Japan.[PDF]

  • Sen, Kiyohiro. (2020, September). Is the Pictorial Content Determined by the Author’s Intention After All? The Japan Forum for Young Philosophers, Tokyo, Japan.[PDF]

  • Sen, Kiyohiro. (2020, August). What's so Special About Photographs?: An Introduction to the Analytic Aesthetics on Photography. ART RESEARCH ONLINE, Presented on Zoom. [PDF]

  • Sen, Kiyohiro. (2020, January). Cutting and Pasting Images: On the Internet Memes. Workshop on the Philosophy of Depiction, Tokyo, Japan. [PDF]

  • Sen, Kiyohiro. (2019, July). The Aesthetics of Uncanny Photographs. The Japan Forum for Young Philosophers, Tokyo, Japan. [PDF]

MISC

  • 銭 清弘「翻訳|モンロー・ビアズリー「美的観点」(1970)」、『フィルカル』6(2):328-353、2021年8月。

  • 銭 清弘「書評丨植原亮『思考力改善ドリル』」、ART RESEARCH ONLINE、2021年1月。[LINK]

  • 銭 清弘「ミームと大義なき聖戦」、『新蒸気波要点ガイド ヴェイパーウェイヴ・アーカイブス2009-2019』、2019年12月。

  • 仲山ひふみ, 銭清弘, 山形一生「円環に留まる倫理:Vaporwave 2.0と男性原理」、『ユリイカ 特集=Vaporwave』2019(12) 、2019年11月。

  • 銭 清弘「不安を与えるミームたち:さらにもう一つの(悪趣味な)Vaporwave史」、『ユリイカ 特集=Vaporwave』2019(12) 、2019年11月。

  • 銭 清弘「〈デッドパン〉を工学する」、『ニューQ』2、2019年11月。

  • 銭 清弘「神さまに貸しを作ること:ビリー・アイリッシュと身体のホラー」、『ユリイカ 特集=ビリー・アイリッシュ』2019(11)、2019年10月。

  • 銭 清弘「総特集=現代思想43のキーワード - Vaporwave」、『現代思想 総特集=現代思想43のキーワード』2019(5)、2019年4月。

その他発表・レクチャー

  • 遠藤 進平, 銭 清弘, 清水 淳子, 瀬尾 浩二郎, 今井 祐里「概念を工学するには?メタフィジカルデザインのはじまり」ニューQ STUDY Vol.2 、2019年11月10日。

  • 根本 駿介, 銭 清弘「vaporwave芸術大学」、東京藝術大学「千住 Art Path 2018」、2018年12月15日。

  • hitachtronics, ΔKTR, sen kiyohiro「NewMasterpiece Presents 蒸気波情報ガイド特別篇」、DOMMUNE、2018年11月13日。

RESEARCH

Pictures (paintings, photographs, sketches, prints and so on) depict something, and we can access that something by looking at the design on the surface of pictures. The way pictures have their contents seems to be different from that of language. What makes it possible for pictures to depict something?

Are there any crucial differences between the different depictive media (painting, sketching, photography, graphs) ? Unlike handmade pictures such as paintings, photographic images, which are produced through a mechanical process, seem to have distinct character. According to Kendall Walton, photographs are transparent and you can literally see the object just like mirrors, telescopes, or glasses. According to Roger Scruton, photographic images, which only causally capture the appearance of things, cannot be artistic representations. How far/To what extent are these discourses on photography valid?

A work of art has some kind of meaning or value, and the viewer interprets, understands, and evaluates it. To what extent is the intention of the artist involved in these practices? According to intentionalism, the content and subject of a work are determined in no small part by the intention of the author/maker. On the other hand, according to anti-intentionalism, the interpretation of the work and the author's intention should be separated. In analytic aesthetics, there are several influential positions, such as Actual Intentionalism, Hypothetical Intentionalism, and Value-Maximizing Theory, and there are debates over the explanatory power of each.