里山システムで、使う農機具は何か？
里山システムでは、コンピュータは必携である － バリシステム
http://www.u.arizona.edu/~jlansing/J._Stephen_Lansing/Welcome.html
Curriculum Vitae
J. STEPHEN LANSING
Professor of Anthropology; Adjunct Professor, Ecology and Evolutionary Biology
221 Haury Bldg., University of Arizona, Tucson AZ 85721-003
Telephone 520 621-6310 Email jlansing@email.arizona.edu
Fax 520 621-2088
Website http://www.ic.arizona.edu/~lansing/home.htm
Professor, Santa Fe Institute
1399 Hyde Park Rd., Santa Fe, N. M. 87501
Telephone 505 984-8800 Email lansing@santafe.edu
Fax 505 982-0565 Website http://www.santafe.edu/
Senior Research Fellow, Stockholm Resilience Centre
Stockholm University
www.stockholmresilience.su.se
______________________________________________________________________
EDUCATION
Ph.D. Anthropology University of Michigan 1977
Doctoral fellow The Institute for Advanced Study, Princeton, N.J. 1976
M.A. Anthropology University of Michigan 1974
B.A. with highest honors Wesleyan University, Middletown CT 1972
PROFESSIONAL EXPERIENCE
Santa Fe Institute
2009- External Professor
2002-2007 Professor
1999-2002 External Professor
University of Arizona
2002- Professor, Ecology & Evolutionary Biology
1998- Professor, Anthropology
Stockholm University
2008- Senior Research Fellow, Stockholm Resilience Centre
University of Michigan
1995-8 Professor, School of Natural Resources and Environment
1995-8 Professor, Anthropology
University of Southern California
1990-6 Professor, Anthropology
1987-92 Chair, Department of Anthropology
1983 Associate Professor, Anthropology
1977 Assistant Professor, Anthropology
FELLOWSHIPS and AWARDS
2007 Julian Steward Book Prize for Perfect Order
2007 Winifred Jean Stubbs Fellow, Institute for Advanced Study, Durham
University
2000 Fellow, Center for Advanced Study in the Behavioral Sciences, Stanford
1997 University of Michigan Excellence in Research award
1995 J.I. Staley Book Prize ($7500) of the School of American Research
1992 Phi Kappa Phi Book Prize
1986 Fulbright Senior Regional Research Fellow
1979 National Endowment for the Humanities
1976 Doctoral fellow, The Institute for Advanced Study, Princeton, N.J.
1974 Social Science Research Council Doctoral Fellowship
1974 Fulbright dissertation fellowship
PROFESSIONAL SOCIETIES AND EDITORIAL BOARDS
Editorial Board, Journal of Political Ecology
Editorial Board, Ecology and Society
American Anthropology Association
Koninklijk Instituut voor Taal-, Land- en Volkenkunde
Science Steering Committee and Robustness Advisory Board, Santa Fe Institute
Society for Political Ecology
RESEARCH INTERESTS
Sociocultural theory, ecological anthropology, complexity, population genetics,
poverty and development, Indonesian ethnography, Austronesian ethnography
and prehistory, ethnographic film
RESEARCH GRANTS (PRINCIPAL INVESTIGATOR)
2007 National Science Foundation $1,247,928
“Anthropological models of social structure, genes and language
2007 National Science Foundation $75,000
“Indonesian Origins: Genes, Languages and Cultures” video programs
2004 National Science Foundation $675,000
“The Austronesian Expansion: Reading Social Structure from the Genome”
2002 National Science Foundation $32,789
“Conference on Robustness in Coupled Natural and Human Systems”
2000 National Science Foundation #BCS-0083524 $1,000,000
“Biocomplexity: Emergence of cooperation from human-environmental
interactions”
1997 University of Michigan $68,385
“Genesis: Agent-based modeling of behavioral ecology”
1996 United Nations Food and Agriculture Organization
“Computer Assisted Advisory and Planning (COMEXAP) Programme in
Indonesia”
1995 National Science Foundation #SBR 962990 $188,671
http://www.der.org/films/three-worlds-of-bali.html
The Three Worlds of Bali
click here to preview this filminstitutional price includes public performance rights
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PayPal purchases ship via USPS Priority Mail
contact us for rentals and 16mm orders (institutions & organizations only)
overnight shipping available upon request
On the Indonesian island of Bali, the arts permeate almost every aspect of daily life. Gamelan music, wayang (shadow puppet) theater, dance, and elaborately constructed offerings of foods and flowers all represent attempts to please the gods and placate demons. In Balinese cosmology, demons are thought to dwell in the watery underworld, gods in the upper world, and human beings in the middle realm between the two. Much of human effort is directed toward maintaining the proper balance between these worlds, and between the forces of growth and decay.
The pinnacle of such efforts is the ritual Eka Dasa Rudra, held once every hundred years. The entire population of the island is mobilized for this event, preparing offerings and streaming from thousands of village temples in processions to the sea. Eleven demons, of which Rudra is the most powerful, must be transformed into beneficient spirits. No one who participated in the ritual filmed in 1979 had ever witnessed its performance, which last occurred a century ago, and so the ritual was based on writings in ancient lontar-palm manuscripts.
There is also a political dimention to Eka Dasa Rudra. In 1963, upon the urging of then President Sukarno, Balinese priests prepared to hold the ritual before the calendrically proper year. Preparations were met with the first eruption in recorded history of Bali's great volcano, Gunung Agung. This terrible disaster was seen as a confirmation of the gods' and demons' powers and the necessity of honoring the traditional calendar. In the spring of 1979, when Eka Dasa Rudra was finally held, President Suharto arrived, but not by his helicopter, which, it was feared, might have impeded the demons' descent.
About Odyssey series
In an attempt to cut the often esoteric ice of anthropology, PBS released in 1980 the first season of Odyssey, a newly-created series of anthropological documentaries, with a second season in 1981. The entire series was produced by Public Broadcasting Associates of Boston, with major funding by the National Endowment for the Humanities. Additional funding was provided by the Corporation for Public Broadcasting and Polaroid. Michael Ambrosino is the Executive Producer of the series.
In an attempt to cut the often esoteric ice of anthropology, PBS released in 1980 the first season of Odyssey, a newly-created series of anthropological documentaries, with a second season in 1981. The entire series was produced by Public Broadcasting Associates of Boston, with major funding by the National Endowment for the Humanities. Additional funding was provided by the Corporation for Public Broadcasting and Polaroid. Michael Ambrosino is the Executive Producer of the series.
other films in the Odyssey series:
The Ancient Mariners
Ben's Mill
The Chaco Legacy
Dadi's Family
Franz Boas
The Incas
Little Injustices
Margaret Mead: Taking Note
Maya Lords of the Jungle
Myths and the Moundbuilders
On the Cowboy Trail
Other People's Garbage
Seeking the First Americans
The Ancient Mariners
Ben's Mill
The Chaco Legacy
Dadi's Family
Franz Boas
The Incas
Little Injustices
Margaret Mead: Taking Note
Maya Lords of the Jungle
Myths and the Moundbuilders
On the Cowboy Trail
Other People's Garbage
Seeking the First Americans
12/15/2010
第一弾 － バリシステムの導入＠AH 九州
12/15/2010
筑豊地区の目標は？
バリシステムです
里山は、昔のシステムです
機械もガイアの一部である
工場も同じ仕組みです
晴耕雨読です、そして、趣味の一部は実益に・・・
ついに、日産と三菱が基幹部品の一貫生産を始める
これは、昔、僕がゴーン社長あてに送った提案です
苅田工場は分社、自立せよ － カルロス・ゴーン
そして、筑豊地区の核、飯塚市は？
福岡市と北九州市の扇のカナメ
学と農を根本にする
農学こそ、能楽です － 宮沢賢治
里山は、昔のシステムです
機械もガイアの一部である
工場も同じ仕組みです
晴耕雨読です、そして、趣味の一部は実益に・・・
ついに、日産と三菱が基幹部品の一貫生産を始める
これは、昔、僕がゴーン社長あてに送った提案です
苅田工場は分社、自立せよ － カルロス・ゴーン
そして、筑豊地区の核、飯塚市は？
福岡市と北九州市の扇のカナメ
学と農を根本にする
農学こそ、能楽です － 宮沢賢治
Sunday, December 5, 2010
GoldModeの百姓は？ － バリシステム
百姓の役割分担
photo by Aoyagi YoSuKe
photo by Aoyagi YoSuKe
Photo by Aoyagi YoSuKe
Image via WikipediaBalinese art is art of Hindu-Javanese origin that grew from the work of artisans of the Majapahit Kingdom, with their expansion to Bali in the late 13th century. From the sixteenth until the twentieth centuries, the village of Kamasan, Klungkung (East Bali), was the centre of classical Balinese art. During the first part of the twentieth century, new varieties of Balinese art developed. Since the late twentieth century, Ubud and its neighboring villages established a reputation as the center of Balinese art. Ubud and Batuan are known for their paintings, Mas for their woodcarvings, Celuk for gold and silver smiths, and Batubulan for theirstone carvings. Covarrubias describes Balinese art as, "... a highly developed, although informal Baroque folk art that combines the peasant liveliness with the refinement of classicism of Hinduistic Java, but free of the conservative prejudice and with a new vitality fired by the exuberance of the demonic spirit of the tropical primitive." Eiseman correctly pointed out that Balinese art is actually carved, painted, woven, and prepared into objects intended for everyday use rather than as object d 'art.
Hindu-Javanese: Majapahit Kingdom
Recent history
Prior to 1920s, Balinese traditional paintings were restricted to what is now known as the Kamasan or Wayang style. It is a visual narrative of Hindu-Javanese epics: the Ramayana and Mahabharata, as well as a number of indigenous stories, such as the Panji narrative. These two-dimensional drawings are traditionally drawn on cloth or bark paper(Ulantaga paper) with natural dyes. The coloring is limited to available natural dyes: red, ochre, black, etc. In addition, the rendering of the figures and ornamentations must follow strictly prescribed rules, since they are mostly produced for religious articles and temple hangings. These paintings are produced collaboratively, and therefore mostly anonymously.
生産は家族が行う
料理は家族の誰かが行う、方法は家庭内ルールである
ひとりが担当しても、構わない、みなさんで、分担しても、構わない
料理はクリエイティブの原点である － 料理人はクリエイター
そして、晴耕雨読
絵を描いても、構わない、踊りをやっても、構わない、音楽をやってもかまわない
みなさんのひとりひとりが、好きなことをやれば良い
場合によっては、このようなアートは売れる、副業になります
これが、中小規模・専業農家の姿である － バリシステム
バリの民宿です
TUESDAY, OCTOBER 7, 2008
The Inn
photo by Aoyagi YoSuKe
バリの飲食業です
Tj's bar
photo by Aoyagi YoSuKe
バリの祭りです
kechak dance at Wulwaz
バリの夕日と朝日です
The morining of Kuta beach
Photo by Aoyagi YoSuKe
バリの絵です
MONDAY, AUGUST 9, 2010
Balinese Art, From Majapahit Kingdom to Recent History
Image via WikipediaHindu-Javanese: Majapahit Kingdom
Recent history
Prior to 1920s, Balinese traditional paintings were restricted to what is now known as the Kamasan or Wayang style. It is a visual narrative of Hindu-Javanese epics: the Ramayana and Mahabharata, as well as a number of indigenous stories, such as the Panji narrative. These two-dimensional drawings are traditionally drawn on cloth or bark paper(Ulantaga paper) with natural dyes. The coloring is limited to available natural dyes: red, ochre, black, etc. In addition, the rendering of the figures and ornamentations must follow strictly prescribed rules, since they are mostly produced for religious articles and temple hangings. These paintings are produced collaboratively, and therefore mostly anonymously.
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