關於 how to draw animals easy ，我們在網路上蒐集到這些相關的討論、資訊與評價

🤓 หลายคนอาจเคยบ่น "เรียนเลขไปทำไม ไม่เห็นได้ใช้เลย"
อันนี้เป็นแค่ตัวอย่าง เพื่อให้รู้ว่าเลขที่เราเรียนตอนม.ปลาย
ไม่ควรทิ้งถ้าคิดจะเรียนคอมพิวเตอร์ ในระดับสูง
.
👉 1) สมการเชิงเส้น
เริ่มต้นจากสมการเส้นตรง ที่มีหน้าตาดังนี้ y=mx+c เรียกว่ารูปมาตรฐาน
- เมื่อ m เป็นความชัน
-ส่วน c เป็นจุดตัดแกน y
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สมการเชิงเส้นเราจะได้เรียนในระดับ ม 4
พอในม.5 วิชา วิทยาการคำนวณ
ก็จะเห็นประโยชน์ของสมการเส้นตรงถูกนำไปใช้ในงาน data science (วิทยาการข้อมูล)
นำไปใช้วิเคราะห์ข้อมูลแบบ linear regression
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กล่าวคือเมื่อเรามีข้อมูลย้อนหลังในอดีต
แล้วสามารถนำไปพล็อตลงบนกราฟแกน x กับ y
ผลปรากฏว่าข้อมูลมีความสัมพันธ์เป็นเส้นตรง
ในกรณีเราสามารถหาสมการเส้นตรงที่เหมาะสมสุด (optimize)
นำมาใช้พยากรณ์ข้อมูลล่วงหน้าในอนาคตได้
.
แต่ในกรณีที่ความสัมพันธ์ของข้อมูลพบว่าไม่ใช่เส้นตรง
เราสามารถใช้สมการที่ไม่ใช่เส้นตรง มาใช้พยากรณ์ข้อมูลก็ได้เช่นกัน
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👉 2) เมทริกซ์
คือกลุ่มของจำนวนตัวเลข ที่เขียนเรียงกันเป็นรูปสี่เหลี่ยมผืนผ้าหรือจัตุรัส
นอกจากใช้แก้สมการหลายตัวแปรแล้ว
จะมีประโยชน์เวลานำไปประมวลภาพ (Image processing)
หรืองานพวกคอมพิวเตอร์วิชั่น (computer vision)
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ต้องบอกอย่างนี้ว่า รูปภาพดิจิตอลที่เราเห็นเป็นสีสันสวยงาม
แต่ทว่าคอมไม่ได้มองเห็นเหมือนคน
มันมองเห็นเป็นเมทริกซ์ โดยข้างในเมทริกซ์ก็คือตัวเลขของค่าสี
และเราสามารถกระทำการคณิตศาสตร์กับรูปภาพได้
เช่น บวกลบ คูณหาร กับรูปภาพดิจิตอล ในมุมของเมทริกซ์
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👉 3) ความน่าจะเป็น
ยกตัวอย่างเช่น ทฤษฏี Bayes' theorem
ทฤษฏีหนึงของความน่าจะเป็น
จะใช้หาว่าสมมติฐานใดน่าจะถูกต้องที่สุด โดยใช้ความรู้ก่อนหน้า (Prior Knowledge)
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ทฤษีนี้ถูกนำไปใช้ในงานวิเคราะห์ข้อมูล รวมทั้งการเรียนรู้ของเครื่อง
เช่น จงหาความน่าจะเป็นที่ชาเขียวขวดนั้นจะผลิตจากโรงงานจากประเทศไทย
จงหาความน่าจะเป็นว่าผู้ป่วยจะเป็นโรคมะเร็ง เมื่อหายจากการติดเชื้อไวรัสโคโรนา
เป็นต้น
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👉 4) แคลคูลัส
ตัวอย่างเช่น ถูกนำมาใช้ใน neural network
ซึ่งก็เครือข่ายประสาทเทียมที่เลียนแบบเซลล์สมอง
แต่จริงๆ ข้างในเครือข่ายจะประกอบไปด้วยน้ำหนัก
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น้ำหนักที่ว่านี้มันก็คือตัวเลขจำนวนจริง ที่เริ่มต้นสุ่มขึ้นมา
แล้วเวลาจะหาค่าน้ำหนักที่เหมาะสม (optimize)
มันจะถูกปรับทีละเล็กทีละน้อย
โดยอาศัยหลักการเรื่องอนุพันธ์ หรือดิฟนั่นแหละ
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👉 5) ตรรกศาสตร์
วิชานี้พูดถึง "ประพจน์" หมายถึงประโยคที่ให้ค่าออกมาเป็น True หรืด False
รวมถึงการใช้ตัวเชื่อมประพจน์แบบต่างๆ ไม่ว่าจะเป็น "และ" "หรือ" "ก็ต่อเมื่อ" เป็นต้น
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ศาสตร์ด้านนี้เป็นพื้นฐานของระบบคอมพิวเตอร์
เพราะวงจรคอมพิวเตอร์พื้นฐาน มีแต่ตัวเลข 0 หรือ 1
จึงสามารถแทนด้วย False หรือ True ในทางตรรกศาสตร์
ไม่เพียงเท่านั้นวงจรอิเลคทรอนิกส์ ก็มีการดำเนินทางตรรกศาสตร์อีกด้วย
ไม่ว่าจะเป็น "และ" "หรือ" "ไม่" เป็นต้น
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ยิ่งการเขียนโปรแกรม ยิ่งใช้เยอะ
เพราะต้องเปรียบเทียบเงื่อนไข True หรือ False
ในการควบคุมเส้นทางการทำงานของโปรแกรม
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👉 6) ฟังก์ชัน
ฟังก์ชันคือความสัมพันธ์ จากเซตหนึ่งที่เรียกว่า 'โดเมน' ไปยังอีกเซตหนึ่งที่เรียกว่า 'เรนจ์' โดยที่สมาชิกตัวหน้าไม่ซ้ำกัน
ซึ่งคอนเซปต์ฟังก์ชันในทางคณิตศาสตร์
ก็ถูกนำไปใช้ในการเขียนโปรแกรมแบบ functional programming
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👉 7) เรขาคณิตวิเคราะห์
ถูกนำไปใช้ในวิชาคอมกราฟิก หรือเกมส์
ในมุมมองของคนที่ใช้โปรแกรมวาดรูปต่างๆ หรือโปรแกรมสร้างแอนนิมเชั่นต่างๆ
เราก็แค่คลิกๆ ลากๆ ก็สร้างเสร็จแล้วใช่มั๊ยล่ะ
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แต่หารู้หรือไม่ว่า เบื้องเวลาโปรแกรมจะวาดรูปทรง เช่น สี่เหลี่ยม วงรี ภาพตัดกรวยต่างๆ
ล้วนอาศัย เรขาคณิตวิเคราะห์ พล็อตวาดรูปทีละจุดออกมาให้เราใช้งาน
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👉 8) ปีทาโกรัส
ทฤษฏีสามเหลี่ยมอันโด่งดังถูกนำไปใช้วัดระยะทางระหว่างจุดได้
ซึ่งจะมีประโยชน์ในการแยกแยะข้อมูล โดยใช้อัลกอริทึม
K-Nearest Neighbors (KNN)
ชื่อไทยก็คือ "ขั้นตอนวิธีการเพื่อนบ้านใกล้ที่สุด "
มันจะถูกนำไปใช้งานวิเคราะห์ข้อมูล รวมทั้งการเรียนรู้ของเครื่องอีกด้วย
ไม่ขอพูดเยอะเดี่ยว ม.5 ก็จะได้รู้จัก KNN ในวิชาวิทยาการคำนวณ
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👉 9) ทฤษฏีกราฟเบื้องต้น
อย่างทฤษฏีกราฟออยเลอร์ (Eulerian graph)
ที่ได้เรียนกันในชั้น ม.5 จะมีประโยชน์ในวิชาคอม
เช่น ตอนเรียนในวิชา network ของคอมพิเตอร์ เพื่อหาเส้นทางที่ดี่สุดในการส่งข้อมูล
หรือจะมองโครงสร้างข้อมูลเป็นแบบกราฟก็ได้ ก็ลองนึกถึงลิงค์ต่างในเว็บไซต์ สามารถจับโยงเป็นกราฟได้ด้วยนะ
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👉 10) เอกซ์โพเนนเชียล และลอการิทึม
เราอาจไม่เห็นการประยุกต์ใช้ตรงๆ นะครับ
แต่ในการประเมินประสิทธิภาพของอัลกอริทึม เวลาเขียนโปรแกรม
เขาจะใช้ Big O ขอไม่อธิบายเยอะแล้วกันเนอะ
เรื่องนี้มีเขียนอยู่ตำราวิทยาการคำนวณชั้นม.4 (ไปหาอ่านเอาได้)
.
ซึ่งเทอม Big O บางครั้งก็อาจเห็นอยู่ในรูปเอกซ์โพเนนเซียล หรือลอการิทึมนั่นเอง
ถ้าไม่เข้าใจว่า เอกซ์โพเนนเซียล หรือลอการิทึม คืออะไร
ก็ไม่จะอธิบายได้ว่าประสิทธิภาพของอัลอริทึมเราดีหรือแย่
.
+++++++
เป็นไงยังครับ สนใจอยากรู้ว่า เลข ม.ปลาย
สามารถนำไปใช้ศึกษาต่ออะไรอีกบ้างไหมเนี่ย
ถ้าอยากรู้ ผมเลยขอแนะนำหนังสือ (ขายของหน่อย)
.
หนังสือ "ปัญญาประดิษฐ์ (AI) ไม่ยาก"
เข้าใจได้ด้วยเลขม. ปลาย เล่ม 1 (เนื้อหาภาษาไทย)
ติดอันดับ Best seller ในหมวดหนังสือคอมพิวเตอร์ ของ MEB
.
เนื้อหาจะอธิบายปัญญาประดิษฐ์ (A) ในมุมมองเลขม.ปลาย
โดยปราศจากการโค้ดดิ้งให้มึนหัว
พร้อมภาพประกอบสีสันให้ดูอ่านง่าย
.
สนใจสั่งซ์้อได้ที่
👉 https://www.mebmarket.com/web/index.php…
.
ส่วนตัวอย่างหนังสือ ก็ดูได้ลิงค์นี้
👉 https://www.dropbox.com/s/fg8l38hc0k9b…/chapter_example.pdf…
.
ราคาขาย 295 บาท ฿
แต่ถ้าซื้อผ่านระบบของ Apple จะแพงขึ้น ราคา 329 บาท ฿
วิธีอ่าน อ่านผ่านแอพหรือโปรแกรมเท่านั้น
.
ขออภัยเล่มกระดาษตอนนี้ยังไม่มี โทดทีนะครัชชช
.
✍เขียนโดย โปรแกรมเมอร์ไทย thai progammer
🤓 Many people may have complained that ′′ I study in numbers. Why don't I use them?
This is just an example to know the number we studied in high school. The end.
Shouldn't leave if you think about studying computer at a high level.
.
👉 1) Linear equation
Starting from a straight line equation that looks like y=mx+c is called standard pic.
- when m is the steepness
- c section is a y core cutting point.
.
Linear equation. We can study in grade 4
Enough in the university. 5 Computational Science class
You can see the benefits of straight line equations being applied to data science (data science)
Linear regression data analysis
.
That's when we have back in the past
Then can be taken to plot on x with y axis graph.
The result appears to be a straight line relationship
In case we can find the most suitable straight line equation (optimize)
Advance information forecast in the future
.
But in case the information relationship is found not a straight line.
We can also use equations that are not straight lines to propose information.
.
👉 2) Matrix
Is a group of numbers written in a rectangular or square
Apart from using to solve several variable equations.
Image processing time will be useful.
Or computer vision job (computer vision)
.
Let's say this digital photo we see is colorful.
But the computer doesn't look like a person.
It's visible as a matrix inside. Matrix is a number of colors.
And we can do math with pictures
Such as plus, multiply, digitally, in the corner of the matrix.
.
👉 3) Probability
For example, Bayes s' theorem theory.
The theory of probability
Which hypothesis are the most accurate using previous knowledge (Prior Knowledge)
.
This theory is applied to data analysis and machine learning.
For example, find the probability that green tea will be manufactured from Thailand factory.
Find the probability that patients will have cancer when they recover from coronavirus infection.
Etc.
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👉 4) Calculus
For example, it is used in neural networks.
Which is also an artificial neural network that replicates brain cells.
But seriously, inside the network will consist of weight.
.
This weight is the real number that starts randomly.
Time will find the right weight (optimize)
It will be fined little by little
With the principle of derivative or diff.
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👉 5) Logic
This subject talks about ′′ plural ′′ meaning sentences that give value to True or False.
Including the use of different plural connectors whether it's ′′ and ′′ ′′ or ′′ ′′ if ′′ etc.
.
This aspect of science is the base of computer system.
Because the basic computer circuit is only 0 or 1 numbers.
So it can be replaced with False or True in the logical way.
Not only that. Electronic circuit also has a logical action.
Whether it's ′′ and or no etc.
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The more programming, the more you use.
Because I have to compare terms True or False
In control of the program's work routes
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👉 6) function
Functionality is relationship from one set called ' domain ' to another set called ' renew ' by which the unique member of the face.
Which concept of mathematics
It's also been applied to functional programming.
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👉 7) Geometry analysis
Used in computer or games
In view of people who use various drawings or animals
We just click and drag and build. Right?
.
But do you know when the program will draw shapes like Square, Profile, Cutting Cones?
All living Geometry. Analyze plot. Draw a picture at a time to use.
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👉 8) Tacorus
The famous triangle theory applied to measure distance between points.
Which will be useful to digest data using algorithms
K-Nearest Neighbors (KNN)
Thai name is ′′ Nearest neighbourhood process
It will also be implemented as data analysis including machine learning.
I don't want to talk too much. Middle school 5 to know KNN in calculation science.
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👉 9) Preliminary Graph Theory
Eulerian graphic theory (Eulerian graph)
I have studied in high school class. 5 will be useful in computer subjects.
For example, when studying in computer network subjects to find the best path to send information.
Or you can look at the data structure as a graph. Think about different links on the website. You can connect to graph.
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👉 10) m AND LOGARITHUM
We may not see straight application.
But to evaluate performance of programming time algorithms
He will use Big O. I don't explain much.
This story is written. Student calculation textbook. 4 (You can read it)
.
Big O semester can sometimes be seen in or Lauritum?
If you don't understand what Exponance or Logaritum is.
It can't be explained that our performance of our alorithm is good or bad.
.
+++++++
How are you? If you are interested, you want to know if you have a high The end.
Can I apply to study for anything else?
If you want to know me, I recommend a book (selling items)
.
The book ′′ Artificial Intelligence (AI) is not difficult ′′
You can understand with the secondary digits. The end of book 1 (Thai content)
Best seller ranks in MEB computer book category
.
Content will explain Artificial Intelligence (A) in a view of middle school numbers. The end.
Without dizzying code
With colorful illustrations. Easy to read.
.
If you are interested, order now.
👉 https://www.mebmarket.com/web/index.php?action=BookDetails&data=YToyOntzOjc6InVzZXJfaWQiO3M6NzoiMTcyNTQ4MyI7czo3OiJib29rX2lkIjtzOjY6IjEwODI0NiI7fQ&fbclid=IwAR11zxJea0OnJy5tbfIlSxo4UQmsemh_8TuBF0ddjJQzzliMFFoFz1AtTo4
.
Personal like the book, please see this link.
👉 https://www.dropbox.com/s/fg8l38hc0k9b0md/chapter_example.pdf?dl=0
.
Sale price 295 baht ฿
If you buy Apple's system, it will be more expensive. Price is 329 Baht. ฿
How to read via app or program only
.
Sorry, the paper booklet is not available yet. Sorry.
.
✍ Written by Thai programmer thai progammerTranslated

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….

Cute Animal Cake Pen
学校DIY！繋いでゆるかわアニマルケーキペン

creator：勝又美蘭　Instagram @fantasia_miran

【What to prepare】
· Hearty clay white
· Acrylic paint yellow ocher
· Baby Oil
· Cupcake silicon mold
· Parchment paper
· Toothpicks
· Quick-drying glue
· Coloring agent "Yaki-iro no tatsujin"
· Silicone mold
· Beads black
· Hole punch
· Drawing paper Black
· Screw eye
· Round jump ring
· pen

【Steps】
1. Color the clay with yellow ocher
2. Drop the baby oil into the cupcake mold
3. Put colored clay in the mold and adjust amount
4. Remove from mold and dry
5. Cut the parchment paper in round circle
6. Stick the parchment paper on the dried clay with glue
7. Add baked color with "yaki-iro no tatsujin"
8. Drop baby oil into hemispherical mold
9. Add Hearty clay into the mold and adjust the amount
10. Remove from mold
11. Stick the cupcake to clay from 10 with glue
12. Stick the beads and draw face
13. Open a hole in the black paper with a hole punch
14. Add glue to 13 and stick into clay
15. Put adhesive on the screw eye. Insert the screw eye in the upper and lower part of the cake
16. Connect pig and bear with a round jump ring
17. Connect to a pen and completed

小さなアニマルケーキをたくさん繋いだオリジナルペン！
お勉強の時間も癒されちゃいますよね♡

お気に入りの動物を繋いで、学校で注目を集めてね！

【用意するもの】
・ハーティクレイ　白
・アクリル絵の具　　イエローオーカー
・ベビーオイル
・カップケーキ シリコンモールド
・クッキングシート
・つまようじ
・接着剤　速乾アクリア
・焼き色の達人
・シリコンモールド
・ビーズ　黒
・穴あけパンチ
・黒画用紙
・ヒートン
・丸カン
・ペン

【作り方】
1.ハーティクレイの粘土をイエローオーカーに着色する
2.カップケーキ モールドにベビーオイルを垂らす
3.着色した粘土をモールドに入れて量を調節する
4.モールドから外して乾燥させる
5.クッキングシートを丸く切る
6.乾燥させた粘土にボンドをつけてクッキングシートを貼る
7.焼き色の達人を使って焼き目をつける
8.半球モールドにベビーオイルを垂らす
9.ハーティクレイの粘土をモールドに入れて量を調節する
10.モールドから外す
11.カップケーキ に接着剤をつけて10の粘土を接着させる
12.ビーズを接着して顔をつける
13.穴あけパンチで黒画用紙に穴をあける
14.13にボンドをつけて粘土に差し込む
15.ヒートンに接着剤をつけてケーキの上下に差し込む
16.丸カンでブタ・クマをつなぐ
17.ペンに繋いで完成