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在sensory seeking這個產品中，有2篇Facebook貼文，粉絲數超過54的網紅foodvibes.sy，也在其Facebook貼文中提到， There is nothing better than going for a dinner with friends or family after a whole busy day at work! It could be just a simple dinner but surely wil...

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sensory seeking 在 YOSHITOMO NARA Facebook 的最讚貼文

YOSHITOMO NARA By YOSHITOMO NARA

2013-03-29 20:34:22 有 134 人按讚
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Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

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Most sensory seekers are undersensitive to input (this may be referred to as “hyposensitivity”). They look for more sensory stimulation. Kids who sensory seek ...

#2. Sensory Integration Ideas for Sensory Seeking Behaviors

If your child has a sensory processing disorder, he or she may be sensory craving, sensory seeking or exhibit sensory offensiveness.

#3. Sensory Seeking Behavior? How to Tame Your Sensory Seeker

Sensory seeking behaviors typically include poor balance, coordination, and awareness of their body in space. Kids with sensory challenges ...

#4. How can you treat sensory-seeking behavior?

Sensory -seeking behavior is a term used to describe a large class of responses that occur to meet a sensory need. Individuals engage in sensory-seeking as a way ...

#5. Our 10 Favorite Sensory Seeking Activities for Children - Harkla

Sensory Craving is described as when one is “driven to obtain sensory stimulation, but getting the stimulation results in disorganization and does not satisfy ...

#6. Genius Activities for Sensory Seeking Behavior in Your Child

Sensory seeking kids are often not processing the normal sensations they receive to stimulate those sensory systems throughout the day and as a result, seek it ...

#7. Sensory Processing FAQ - Child Mind Institute

OTs use something called sensory integration therapy, which aims to help kids reach an ideal level of sensory regulation. This is accomplished through physical ...

#8. The Truth About Sensory Processing Disorder - WebMD

"Remember, we all engage in sensory seeking behavior (such as tapping a pencil or chewing a pen cap while concentrating) and sensory ...

#9. Sensory Seeking Toys & Tools - Fun & Function

Sensory tools can help kids, teens and adults manage sensory input. For sensory seeking kids and teens, jumping on a trampoline provides ...

#10. Oral sensory seeking - Why is my child still putting things in ...

Oral sensory seeking behaviour, or mouthing items, is a normal behaviour in babies and infants. They use sucking to help to calm themselves and ...

#11. Sensory processing - Autism Spectrum Australia

the autism spectrum, living with atypical sensory processing can make it ... Sensory-seeking behaviour describes when an individual has an ...

#12. Sensory Processing Disorder (SPD) - familydoctor.org

Or they may underreact to sensory input. This causes them to crave more intense thrill-seeking stimuli. Some examples include jumping off ...

#13. 3 Types of Sensory Disorders That Look Like ADHD - ADDitude

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How to Calm a Sensory Seeking Child · 1. Set Up an Action Room. Vestibular movement, such as swinging or rocking, has a positive effect on an ...

#15. Sensory Seeking vs Sensory Sensitive | The Sensory Store

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#21. What is Sensory Seeking and Sensory Avoiding? - Twinkl

Sensory input can stimulate sensory seeking children and help them to feel more energised. Common signs of sensory seeking children is often referred to as ...

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#25. Sensory Integration Therapy - HealthyChildren.org

Sensory integration is a term that has been used to describe processes in the brain that allow us to take information we receive from our 5 ...

#26. Proprioceptive - Best Practice - Middletown Centre for Autism ...

Many students with autism seek proprioceptive input in order to regulate their emotional and behavioural responses to sensory stimulation.

#27. Subtypes of SPD | STAR Institute

SPD may occur in each sensory system: Visual, Auditory, Tactile, Smell, ... Individuals with this pattern actively seek or crave sensory stimulation and ...

#28. Sensory Integration - American Occupational Therapy ...

Sensory Integration : Resources for Occupational Therapy Practitioners ... of the client, including the appropriate use of sensory integration therapy (SIT).

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Sensory integration focuses primarily on three basic senses–tactile, vestibular, and proprioceptive. Their interconnections start forming before birth and ...

#30. What is Sensory Integration?

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#33. OCCUPATIONAL THERAPY Sensory Processing Tactile ...

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#34. Tactile Input: Sensory Processing Explained - Lemon Lime ...

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#37. Sensory Issues | Autism Speaks

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#38. Sensory Integration Activities For Kids - OT Mom Learning ...

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#39. To TOUCH or not to TOUCH… Touch Sensory Disorder - Kool ...

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#42. Sensory Seekers, Explained - eSpecial Needs Blog

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#43. SENSORY INTEGRATION | Kids Matters

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#44. Sensory processing disorder - Wikipedia

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#45. Inclusion Team - Training - Understanding... - Hampshire ...

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#46. Sensory Integration Therapy - CerebralPalsy.org

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#50. Sensory Seeking - Cleape

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#52. definition of Sensory seeking by The Free Dictionary

sensory integration dysfunction. n. A neurological disorder characterized by disruption in the processing and organization of sensory information by the central ...

#53. Sensory Integration Therapy and Autism - Verywell Health

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#54. Sensory Processing | Sensory Integration - Kid Sense Child ...

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#56. Sensory Processing Issues | HIE Help Center

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In Sensory Integration and the Child, Jean Ayres, Ph.D. says, “If the proprioception from your hands were not sufficient to tell you what ...

#59. Focus on sensory craving

We label this subtype as. Sensory Craving (SC). The difference among a) enjoying “fast or intense” sensation, b) seeking sensory input (a normal function), and ...

#60. What is Sensory Processing Disorder? - The Warren Center

For example, a child with SPD can be extremely sensitive to sound, smell, or tactile sensation. Also known as Sensory Integration Dysfunction, this disorder can ...

#61. What is Sensory Modulation Disorder? - Children's Therapy ...

Sensory-Craving (may also be characterized as sensory seeking): The nervous system of the sensory-craver needs intense input in order for the ...

#62. EasyBlog - Sensory Sensitive or ... - Help Me Grow Utah

The Eight Sensory Systems "It's too loud! ... Sensory Sensitive or Sensory Seeking? Understanding Sensory Processing.

#63. What is Sensory Integration? Neuropsychological testing can ...

Sensory integration is the neurological process of organizing the information we get from our bodies and from the world around us for use in daily life.

#64. Sensation-Seeking | SpringerLink

Sensory seeking Sensation-seeking is the tendency to pursue sensory stimulation and excitement. According to Dunn's Model of Sensory Processing (2001), ...

#65. Sensory Integration Products | Occupational Therapy Tools ...

Sensory Integration involves processing and organizing sensory information from many senses: sight, sound, touch, taste, smell, ...

#66. (PDF) Concept Evolution in Sensory Integration: A Proposed ...

PDF | On Mar 1, 2007, Lucy Jane Miller and others published Concept Evolution in Sensory Integration: A Proposed Nosology for Diagnosis ...

#67. Sensory Processing Disorder (SPD) - North Shore Pediatric ...

Sensory integration dysfunction can be presented in a few different ways, and can be placed in three general categories: Sensory Modulation Disorder.

#68. Breakthrough Study Reveals Biological Basis for Sensory ...

Sensory processing disorders are more prevalent in children than autism. ... with other correlations observed for multi-sensory integration, ...

#69. Understanding Sensory Processing Issues - Ceril

While there are reports of people being helped by sensory integration therapy, its effectiveness hasn't been proven. There's no cure for sensory issues. Some ...

#70. Sensory Seeking, Sensory Avoiding & The Proprioceptive ...

What may sensory seeking behaviours look like? A child may underreact to sensory input= seek out more input.

#71. Helping Your Overly or Under-Sensory Responsive Child Get ...

Some children are under-sensitive – “sensory- seeking” or “sensory under-responsive.” They seek intense stimulation, bashing and crashing around, and seem less ...

#72. Sensory Processing Hints and Tips: Sensory Seeking - Cerebra

This factsheet suggests some strategies that may be helpful if your child is sensory seeking. This is when people seek out certain sensory experiences.

#73. Opening Your Child's World through Sensory Integration and ...

For children with sensory processing disorders, the world around them can be overwhelming. A “sensory diet” can help them cope with all of ...

#74. 5 Tools for Sensory Seekers - Adapt and Learn, LLC.

Infants, toddlers, and young developing children are all seeking sensory information because they are constantly learning through movement ...

#75. Sensory processing, coordination and attachment - Beacon ...

defensiveness or tactile seeking behaviour. This means that they will pull back from some touch sensations or in contrast may seek out ...

#76. Understanding Sensory Integration | LD Topics

Sensory integration is a theory that explains why children respond in a certain way to touch, sounds, and other senses. Some children have sensory ...

#77. Sensory integration for human balance control - ScienceDirect

Functionally, balance control can be viewed as a closed-loop feedback control system with the integration of different sources of sensory orientation ...

#78. Toys & Games for Sensory Integration Disorder

Help children with sensitivity to sensory stimuli play and learn with these fun toys for kids with sensory integration dysfunction from Fat Brain Toys.

#79. Sensory Differences - Autism Tasmania

An autistic person's sensory experience of the world can have a profound effect on ... display unusual sensory seeking behaviour such as sniffing objects or ...

#80. What is a Sensory Seeker and How Can I Support Them?

Find ways to make their sensory seeking activities have a clear goal and a purpose, like: collecting items, sorting items, creating an end ...

#81. What is SPD? - SPD Australia

SENSORY PROCESSING DISORDER (SPD) is a complex neurological condition that ... They may feel overwhelmed by sensory information, may seek out sensory ...

#82. Sensory processing difficulties - Raising Children Network

Worried your child has sensory processing disorder? ... Your child seeks out strong smells, or likes strong tastes like salty or spicy food.

#83. Oral Sensory Seeking Mouthing, Chewing & Sucking Behaviors

Oral Sensory Seeking Mouthing, Chewing & Sucking Behaviors: Sensory Based Ideas, Activities, Exercises. Judy Benz Duncan, Occupational Therapist.

#84. Sensory Processing Disorder - Cobblestone Speech

If a child is distracted by discomfort caused by their environment, or if they are busy seeking sensations that are not readily available, they are less likely ...

#85. Structured Observations of Sensory Integration-Motor (SOSI-M)

... assessment of sensory-based motor skills, based in Ayres Clinical Observations, and developed by well-regarded experts in sensory integration.

#86. Sensory Processing Disorder | Psychology Today

Sensory processing disorder—also known as SPD or sensory integration disorder—is a term describing a collection of challenges that occur when the senses ...

#87. Self-Regulation: What Is It? And What Does Sensory ...

Learn about self-regulation and sensory processing. ... For the over-responsive child and sensory seeking/craving, you want to decrease clutter and minimize ...

#88. Sensory Integration - Therapies For Kids

Sensory Integration is the body and brain's ability to recognise, process, and organise sensory information through touch, movement, body awareness, sight, ...

#89. Sensory seeking or Sensory avoiding?

So, what is this difference in approach between people seeking extra sensory stimulation and those trying to avoid it (subconsciously of ...

#90. Oral Sensory Seeking Ideas for Kids with Autism and/or ...

When sensory processing is dysfunctional, children typically seek or avoid certain sensations around the lips, tongue, and mouth. A child with ...

#91. What Is Sensory Processing Disorder? - The New York Times

Children with S.P.D. might seek out strong feelings associated with joint and ... Some experts argue that so-called sensory integration ...

#92. 26 Sensory Integration Tools for Meltdown Management

Sensory Integration Toolkits. A sensory meltdown occurs when there is some type of discordance in at least one of the senses: smell, taste, ...

#93. The Sensory System - Maximum Potential

Sight and Hearing are the senses that are commonly tested regularly starting ... under responsive to proprioceptive input (i.e. sensory seeking) they will:.

#94. Sensory Diet Activities - SensorySmarts

reduce unwanted sensory seeking and sensory avoiding behaviors; handle transitions with less stress. Creating a Sensory Diet: The Ingredients. It is strongly ...

#95. Sensory Integration and Movement - rompa.com

Sensory Integration is form of occupational therapy in which special exercises are used to strengthen the patient's sense of touch ...

#96. Recognizing Sensory Seeking in Children - Solutions for Living

One of the most troubling sensory related concerns for parents is when their child is a “sensory seeker.” Sensory seekers are constantly “on the ...

#97. Sensory Integration - New Horizons Academy

Sensory Integration is a neurological process that organizes sensation from one's own body and the environment. Sensory integration makes it possible to use the ...