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For the past thirty years, Japanese photographer Naoya Hatakeyama has undertaken a photographic examination of the life of cities and the built environment. Each of his series focuses on a different facet of the growth and transformation of the urban landscape―from studies of architectural maquettes to the extraction and use of natural materials such as limestone, as it is quarried via explosive blasts and subsequently incorporated into the construction of new buildings. In particular, Hatakeyama has routinely returned to the Tokyo-Yokohama metropolis, exploring this ever-evolving urban sprawl from both below and above, mapping the growth and expansion of these sites over time. Additional series focus on other forms of human intervention with the landscape and natural materials, including factories and building sites in Japan and abroad. Finally, his most recent photographs of his hometown of Rikuzentakata, a fishing town that was almost completely destroyed by the March 11, 2011 earthquake and tsunami, are also included―an ongoing series begun almost immediately following the disaster. These photographs hauntingly embody the death and rebirth of the city, manifesting a deeply personal connection to the ongoing intersection of geology, architecture, and time.

For the past thirty years, Japanese photographer Naoya Hatakeyama has undertaken a photographic examination of the life of cities and the built environment. Each of his series focuses on a different facet of the growth and transformation of the urban landscape―from studies of architectural maquettes to the extraction and use of natural materials such as limestone, as it is quarried via explosive blasts and subsequently incorporated into the construction of new buildings. In particular, Hatakeyama has routinely returned to the Tokyo-Yokohama metropolis, exploring this ever-evolving urban sprawl from both below and above, mapping the growth and expansion of these sites over time. Additional series focus on other forms of human intervention with the landscape and natural materials, including factories and building sites in Japan and abroad. Finally, his most recent photographs of his hometown of Rikuzentakata, a fishing town that was almost completely destroyed by the March 11, 2011 earthquake and tsunami, are also included―an ongoing series begun almost immediately following the disaster. These photographs hauntingly embody the death and rebirth of the city, manifesting a deeply personal connection to the ongoing intersection of geology, architecture, and time.

Inspired by earth spiders, Requiem For Black Night And Earth Spiders is the 2016 album by Chihei Hatakeyama. Sourced from only a sound file of electric guitar. Earth spider is called in Japan Tsuchigumo. It is a historical Japanese derogatory term for renegade local clans, and also the name for a race of spider-like yokai in Japanese folklore. Hatakeyama thought earth spiders are people who were conquered by Yamato Imperial court at the end of Yayoi Period (3rd Century).

Chihei Hatakeyama was was inspired by his everyday life, world history and season in Japan on this album. Songs of four was recorded in the winter of 2014. Sound source of four songs were made upped from analog synthesizer " a juno-2" and electric guitar "Fender Stratocaster". Long time drone music was 71 minutes in total. "Don't Ask What" was composed for the closing party in March 2014 of the "murmur records daikanyama" was ambient record shop in Japan. "Lydia" was the image of a kingdom that

Thermal Analysis Fundamentals and Applications to Polymer Science T. Hatakeyama Otsuma Women's University, Tokyo, Japan F. X. Quinn L'Oréal Recherche Advancée, Aulnay-sous-Bois, France The first edition of this classic book remains one of the very few introductory books covering both theoretical and practical aspects of thermal analysis (TA). This new edition includes a much enlarged section on MDSC, in which the instrument is described and a critical appraisal of the technique presented. Other additions include new sections on rate-controlled TGA, OTTER, and Specific Heat Spectroscopy, and a thoroughly updated section on X-Ray DSC. This very practical book is a must for people who use thermal analysis techniques in their everyday work. "An excellent introductory text" - Review of 1st Edition.

Scales is the result of a commission by the Canadian Centre for Architecture (CCA), Montréal, given to Naoya Hatakeyama to create a work in response to photographs of architectural models in the CCA Collection. In this beautifully produced book, featuring tipped-in plates and an 8-page gatefold, the artist presents his three series New York / Tobu World Square, 2003-2004; New York / Window of the World, 2006; and Tokyo / Mori Building, 2003. Scales accompanies Hatakeyama's solo exhibition at the CCA. It includes a text by the author and illuminating essays by Hubertus von Amelunxen and Louise Désy.

Made in Japan by Morris in the 1980's, this is a Hatakeyama Toshiaki signature model and is perfect if you...

Optiope is a duo formed by Date Tomoyoshi and Chihei Hatakeyama (also known for his works on Kranky) in autumn 2002. 'Hau' is an imaginary album traveling from the north to south, overlapping the images of transition of the four seasons. In reality, indeed one things always leads to an end and I feel sad every time I think about that. In this album, we tried to express this sorrow feeling changing gradually into hope as we travel south. Seasons have no end. It always moves from spring, summer, a

First up in the next new series of SPEKK is an album by Tokyo duo Opitope. Opitope is a duo by ambient master Chihei Hatakeyama and Tomoyoshi Date (from Illuha) and their 1st album HAU is still one of the best sellers in the SPEKK catalog. PHYSIS is their 2nd album following their session recording album a COLONY OF KUALA MUTE GEEKS which was taken with their fellow musicians, and 7 years after the glorious HAU album.

Chihei Hatakeyama joined by the excellent Sakana Sosomi. He has many releases on Mille Plateaux and Extreme as Maju and Neina. Frozen Silence was recorded in Hosomi's studio and is live performance. Minimalistic electric guitar and synth is transformed to imaginary drone sound. Meditative piece with a slow drone sounds is reminiscent of the sound of broken ice.

2015 release from the Japanese electronic artist. It Is, It Isn't is a record of a real session. This album is practically unedited; songs are recorded in the order they were played. The album has three tracks which were recorded in Chihei Hatakeyama's studio. The looped, minimalistic electric guitar melody transformed to imaginary drone sound. Floating electric guitar drone are pulling the listener into some sort of long dreamtime.

Chihei Hatakeyama was influenced by Fudaraku-tokai. It is a form of the ascetic practice of sacrifice performed in medieval Japan. A monk undertaking this practice would set out to sea in a small, single-sailed (but oar-less and rudderless) boat in the hope of arriving at the southern paradise of the Bodhisattva of Compassion (Avalokitesvara; Guanyin; Kannon). The Fudaraku Tokai was carried out over twenty times between the eleventh and seventeenth centuries.

Inspired by a small statue of Buddha in the Hatakeyama's house neighboring temple, "Magical Imaginary Child" is the first collaborative recording between Hatakeyama and Durand. Sourced from only an electric guitar (Chihei Hatakeyama) and cassette tape (Federico Durand). this album recorded on March 2014 in Hatakeyama's house during Federico Durand Japan tour. These four works are true meditations and poetic sounds.