(page33) <> Why are we stuck to the ground? We can only get off it one foot at a time, and if we jump we immediately land back down on it. This is the “close ground” we walk on. But oftentimes if you are too close to something, you ignore it, and you might not be looking closely at the ground because you are concentrating ahead on where you’re going. But what if it was a more “distant ground?” If we came across this “distant ground,” and couldn’t see anything else or understand what was going on around it, how would we try and stand on it, and how would we try and walk on it? So I decided to ask for some “distant ground” from people some distance away. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Tomoko Iwata (Artist) From TURN FES 6 Tokyo Metropolitan Art Museum -Walking on Distant Ground statement August 17, 2021 (page34) <> TURN is an experimental space. Sometimes you succeed, sometimes you fail. But it’s not a waste if you fail, because trying something provides information, and can lead to thinking about why something failed, and how to improve it. I think failure is a really, really important source of information. Tackling things that we found difficult before is a valuable asset to us, I think. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Yuko Setoguchi (Sign Interpreter) From TURN Meeting No. 14 August 17, 2021 (page35) <> I go back and forth between the desire to be the same and the desire to be different. It feels like I’m using a rubber band like compass. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Katsuhiko Hibino (TURN Supervisor) From TURN Meeting No. 14 August 17, 2021 (page36) <> With Japanese and sign language, there are lots of words that don’t directly correspond to one another, so when that happens, rather than picking up on the context or editing in my head, it feels like I’m immersing myself in an underground waterway, meaning that when I’ve made sense of this waterway, the expressions seem to emerge from my body as it rides on the flow and movement of the water. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Natsumi Wada (Interpreter) From TURN FES 6 Online Program - TURN Tunes Vol.4 August 29, 2021 (page37) <> When I play, I think of the pitch as a sort of“ canvas” onto which I fill in the picture myself. What I mean by that is that I fill in details like the situation on the pitch or the movement of the ball, and this helps me imagine scenes in my head. In this aspect, I think blind soccer and art are connected. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Kento Torii (Player for blind soccer team free bird mejirodai / CSR Group, Corporate Development Division, Santen Pharmaceutical) From TURN Meeting No.13 March 6, 2021 (page38) <> The usual measures for “information accessibility” are aimed at finding ways to properly convey 100% of shared information to people with disabilities. But if you work on the assumption that not everyone has to understand something completely, communication then means someone receives information in some form or other but nobody understands it 100%, and everyone ends up supplementing their understanding. I think we can call this “agentic” understanding or interpretation, but if something is left out on purpose, having something that you don’t understand fully would in itself be interesting, I think. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Shinji Kajitani (Professor, Graduate School of Arts and Sciences, The University of Tokyo) From the 9th TURN Lab Study Group March 22, 2021 (page39) <> TURN doesn’t have to have a physical location like TURN FES or the Interactive Program, and it’s much more simple and accessible for anyone to start. Not everyone knows the concept (of the art project) but it’s a gentle process of doing TURN-like things to attain richness and abundance which is not the richness and abundance of economic supremacy. Setting up the conditions that allow us to provide this to people who require it is on a level with the contribution of a medical team to society, and we who are engaged in cultural projects should consider this our duty. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Tsukasa Mori (TURN Project Director) From an interview with Hiroshi Tamura, RAKUDA STUDIO June 4, 2021 (page40) <> It’s no good just relying on empathy when engaging with others, or providing support or care. I think the need and importance for empathy is really hammered home to us. It’s in fact the people who are unable to empathize or who don’t receive any empathy are the ones that notice when one become isolated. Another discussion I had was whether it was possible to use the imagination without fully being able to empathize. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Atsushi Watanabe (Contemporary Artist) From TURN FES 6 Online Program -Dialog: Atsushi Watanabe with Tamaki Saito August 10, 2021