As we close the fifth volume of Resonance: The Journal of Sound and Culture, we are pleased to present the second part of a two-part special series contributed by Chicago artist and educator Lou Mallozzi, titled “Rekindled Present: Sound in Japanese Art, 1950s–1970s.” This issue includes the first English translation of the 1970 essay “Sound in Japanese Art in the 1970s” by Kaneko Tomotaro, which features newly added descriptions by the author. “Afloat on Hikosaka’s Sea” is Mallozzi’s essay recalling a visit to the studio of Hikosaka Naoyoshi in 2020 to discuss the artist’s works from the 1970s. What transpires is a rich journey into Hikosaka’s creative process. The studio visit concluded with the artist performing for his visitors an impromptu, 10-minute version of his 1972 piece Upright Sea (untitled for this private performance).

[His] cluttered studio had 15-foot ceilings, and there were two windows on opposite walls. For...

You do not currently have access to this content.