關於 pictures of tokyo at night ，我們在網路上蒐集到這些相關的討論、資訊與評價

Today was fantastic! I arrived in Tokyo around 7.30am and then took the bus from Narita airport to Tokyo Station because it was cheaper than taking a train lol
(Keidei bus: Narita to Tokyo Station 80 minutes = 1,000 yen)

Then I went on a tour with Hato Bus. It was an open-top double decker city view tour. I got to see Tokyo famous tourist attractions from the second level! We drove through Asakusa, Sumida river, Tokyo Skytree, Akihabara, and Ginza. The tour guide only speaks Japanese, but she gave me an automated audio guide, which helped only a bit because it is not a translation of what she said and probably didnt cover at least 70% that she said lol My favorite part of the tour was Tokyo Skytree! Sooooo pretty :) It was very cold though, but I'm glad I did it!
( Hato Bus Best View Open-Top Drive: Tokyo Skytree = 1,800 yen)

After that, I needed to head to the apartment that I booked through airbnb.com. I was very nervous because the train system in Tokyo looks very complicated and i had to take two trains to get the apartment while dragging my suitcase and my stuff. Turned out that the hardeest part was figuring out how to purchase the Suica card lol I was just so confused, so I decided to asked the ticket seller and he gladly assisted me :) Once i got that down, it wasn't that difficult to get to the apartment. Just a tad bit ... bumbly because I couldn't find the elevator in some places so I had to haul the luggage up and down the stairs... Yup...
(My Suica card = 2,000 yen)

Arrived safely at the apartment around 2 pm. It is much smaller than I thought, but it's very clean and it has everything: water kettle, ectric stove, microwave, vacuumed cleaner, and air-conditon! It's very cozy and very close to a 7/11 so I bought an Onigiri, a bottle of green tea, a garlic cheesebread, and a creampuff! I was super hungry. I ate some and then took a two hour nap because I didn't get much sleep on the night flights.
(Food from 7/11 = 487 yen)

Woke up around 4.50pm to get ready. Left the apartment to go meet my friends in Shinjuku! They are friends who went to the same college in the US, so I was very glad to meet them again. We talked and laughed so much!
(Dinner = 0 yen Paid by my friends <3 )

Then I went to Shibuya station on my way back to the apartment and walked around for a bit. Got to see Shibuya crossing at night too! It was very pretty. I was one of many tourists who were there, trying to get pictures/ videos of people crossing lol #noshame :P

I'm now back in the apartment, waiting for my friends to arrive since they flew a different flight from Bangkok. Today was very eventful and tiring, but I'm very happy to be here <3

Tokyo is awesome.
Can't wait for what's more to come.

#tokyo1sttime #ซีมอินเจแปน #zeeminjapan #thebfftrip #เด็กไทยไกลบ้านอีกแล้ว

馬來西亞活動結束了，昨晚剛到家，忙著處理很多要回覆的訊息跟要簽的合約･ﾟ･(｡✖д✖｡)･ﾟ･ 抱歉慢回信了。
Game plan 2016 Malaysia is over. And I back home yesterday night. I'm going to miss KL so much. Tokyo is just cold....10 degrees. start to do work with my laptop, sorry for lot late reply.

Every time I went to different country being guest and judgement, make me more love cosplay ever and ever. People are so full of passion and purely love what they love. Thanks for everyone came to see me, talk to me, buy my books. Very touching to know someone is supporting you far from different part. best congratulations for winning the contest, manboobs.
（Please tag them if you know their FB )

And my first bowling experience at setapak KL! My first strike. First throw~😳

每次去國外出席活動、當評審，就覺得更加熱愛Cosplay，
能夠知道在這麼遠的地方，還有這麼多人支持你，真的是很感動的事情。他們就是這麼純粹的喜歡這件事，讓我也吸收這樣的活力繼續衝刺╭( ･ㅂ･)و

第一次扔保齡球XD 就獻給吉隆坡了，第一次扔就全倒的經驗XD

官方攝影： Kyrios Lim / Takara Chau
Thanks for Kyrios Lim and Takara Chau took official pictures for me. Thanks akie, reimaru, mink, joev, sumire~
You guys are the best team!
沢山の人がサイン会に来てくれて嬉しいです。
コスプレコンテスト決勝戦の審査員、いつも真剣にやらせていただいてます。世界中回ってゲストや審査員やってる内、とても心が響きます。こんなパワーを貰い、もっとコスプレを好きになるのです。

當天的實況影像，從4:18分開始才有聲音，全英文。
Here's live during Q&A sign time (sounds start at 4:18)
サイン会とトークショーの時のライブ映像
音声は4:18〜です:3/ フル英語です。
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https://www.facebook.com/KazumiNoomi/videos/1534129013267519/

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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….

つまらない場所でもかっこいい写真は撮れる！
これからいろんなフォトチャレンジに挑戦してみるのでコメント欄でみたいチャレンジなどあったら教えてください：）

Just because you might not live in the most picturesque neighborhood, doesn't mean you can't take a fire photo. Train those creative muscles baby!

We also posted a TikTok version of this photoshoot! : https://www.tiktok.com/@mimi_furu/video/6823390247066340614

次回のワッキーワークショップでは、ADOBE LIGHTROOMでどうやって今回の写真を編集したか解説するので、楽しみにしておいてください！

On the next episode of Wacky Workshop, I'll be giving an in depth explanation on how I edited the pictures in Adobe Lightroom! Keep an eye out for that.

Jacket: https://kappa-usa.com/
Hoodie: https://www.suspiciousantwerp.com
Camera: https://www.sony.jp/ichigan/products/ILCE-7M3/
Flash: https://neewer.com/products/on-off-camera-flash10070994
Lens: https://www.tamron.jp/en/product/lenses/a046.html

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【 Tutorial Coming Soon ! 】
Wacky Worshop Playlist: https://www.youtube.com/playlist?list=PLQq7EzXFmLM7_tPo2WttrAo-FguXuHHP1

Making Mimi Playlist: https://www.youtube.com/playlist?list=PLQq7EzXFmLM5_vdIqpGEnnPhfWyJgx6fa

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follow us on our social media things and stuff:
mimi @mimi_furu https://www.instagram.com/mimi_furu/
seiji @wackywaka https://www.instagram.com/wackywaka/


*disclaimer: this was shot late at night in locations where human traffic was little to none. We are practicing social distancing and taking all precautions to stay safe.

#tiktok #photoshootchallenge #カップル

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- The first night of our Odigo trip we had to sleep at Narita airport, which meant staying in their capsule hotel! https://www.odigo.travel/

Capsule hotels were originally meant to be used as super cheap accommodations, however in my (admittedly brief) attempt to search for them, I usually haven't found many cheaper than a regular business hotel. I know cheap capsule hotels are out there, I just don't know where...

This one at the Tokyo Narita airport is called 9 Hours (you can stay for more than nine hours) and is of course the price of a normal business hotel, I assume because it's at the airport. To be fair, everything was very clean and looked new, which is good enough for me. In some cases if you reserve early online you can get the room for 4,900 yen (which is what they advertise at), but walk-ins are 5,900 yen. A lot of reviews say it used to be 3,900 for a reservation, so I guess they raised their prices. It also looks like prices during holiday travel seasons (like Golden Week and Obon) are higher, at 6,900 yen for advance reserving, at least at the time of making this video.

The pods are all right next to each other so if you have quiet, considerate neighbors you should be fine to sleep, but if your neighbors are chatty or snore then you could be in for a rough night. One of my neighbors used their wave noise machine and it was so loud that I'm pretty sure everyone else had to listen to it, too. I had one instance on my side of some girls coming in really late and giggling and talking up and down the row of pods and taking pictures, but after that fortunately everyone was quiet and I wasn't woken up. Jun had some snorers on his side, though.

All in all I feel like capsule hotels are kind of a quintessential Japanese experience so I'm glad I was able to try one out. It kind of felt like I was living in the future. I don't know if I would choose to do it again over a normal hotel room, though? Maybe I'm just too introverted and prefer having my own personal bed and bathroom, especially if it's the same price. (Actually since it was 5900 each for me AND Jun, a normal hotel is way cheaper for the two of us). I enjoyed the experience, though. Would've been funner with a friend on my side!

This video is not sponsored by or affiliated with this hotel.

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Sappheiros - Celestial
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Life has no limits! Get out there and do something new today!
*･゜ﾟ･*:.｡..｡.:*･'ヽ(*^▽^*)ノ'･*:.｡. .｡.:*･゜ﾟ･*