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“That faction of the Kyoto School took significant risks with their careers and lives to do and say what they thought to be right. And we might also acknowledge that they sought to do this in a largely uncynical way, in the thickness of their historical moment, without the benefit of hindsight. Reading about them makes me wonder if I would have been able to do any better in a similar situation.”

Music is not immaterial, but it is molecularized based on territory, as with bird calls. It makes boundaries and is in turn made by the boundaries, which I see as a kind of self-collapse. This point of self-collapse is what interests me: where one needs the other but cannot be differentiated from the other at the same time.

“We really, really, really hope that they will reopen. I was telling Meiro that for the first time in my career, over my many experiences of censorship, I feel there is a chance for the situation to be solved, and that maybe the Aichi Triennale could be a symbol to the world for how to deal with this kind of situation successfully.”