The Importance of Darkness

Regarding why Kiryukan's works other than Limitless Paradise are not officially uploaded to the internet.

With the exception of BOO, Kiryukan's previous works were not created with the intention of releasing them to the Internet.They have always been designed to be most effective when projected in the dark.

There are many differences between watching on a small screen in a bright room or on a small screen such as a smartphone and watching in a dark space.

HUMANOID MONSTER BEM（2006）

Horizon Blue (2019)

If Kiryukan is the sole organizer, it has the decision-making power and responsibility for the following:

- Screening environment (decorations, darkness, room temperature)
- Brightness, texture, volume of the film
- Execution of complete blackout (creation of complete darkness)- Pre- and post-screening effects
- Screen size

- Aspect ratio adherence

- Adjustment of volume and room temperature according to the number of audience members
- Intentional interruptions as a performance
- Changes to the lighting in the room
- Dealing with the audience

When streaming online, users can do the following:

・Chat・Eat and drink・Watch while doing other things
・Change the playback size and speed
・Fast forward and skip
・Numerous ads and pop-ups
・Change screen brightness, color, and contrast
・Capture the work

The YouTube environment in Japan is poor. We wonder what the YouTube screen looks like in your country. Although, we, Kiyubaru, have been permanently suspended by YouTube and can never log in or start a new channel.

In particular, Horizon Blue and Zashikiro depict real illnesses and intractable diseases, so we need to be utmost careful.
Kiryukan's version of MIDORI portrayed Muchisute as a war-disabled person.
However, she is now recognized as a "moe character" by young Japanese users.
In the same way, if the protagonists of Horizon Blue and Zashikiro are misunderstood, people with the same illnesses or symptoms will surely be hurt.

However, we believe that the Vimeo environment is currently suitable for viewing works. (Unfortunately, we cannot upload any more works as free users.)Also, as we advocate dialectics, we do not metaphysically maintain the classical style forever.For our new work "BOO," we plan to use a style that takes the Internet into consideration for the first time at Kiryukan.

However, we would like to continue to cherish the presence of darkness in theaters.

Currently, when you enter a theater to see a commercial or independent film, it is bright and many commercials are played before the film is released.
Stage greetings and talk shows are also held.

However, our ideal would be for the moment the audience enters the theater to be in complete darkness, with all kinds of things moving and floating in the air.
We will not have commercials, stage greetings or talk shows.
We want to cherish the various surprises that occur in the darkness for the audience.

We ask for your understanding.

C.W. Ceram, The Archeology of Film (1965)

Gian Piero Brunetta, A History of European Visual Culture (2010)

Horizon Blue (2019)

reference

https://www.nature.com/articles/s41598-023-32544-1

https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0250497

https://www.mdpi.com/2624-599X/1/3/39

https://www.newscientist.com/article/mg25133450-700-lost-art-of-the-stone-age-the-cave-paintings-redrawing-human-history/

https://www.mentalfloss.com/article/646388/human-evolution-discoveries

https://www.atlasobscura.com/articles/ancient-hand-art-children

https://theobjective.com/sociedad/2022-04-24/pueblos-prehistoricos-arte/

https://news.artnet.com/art-world/ancient-art-by-firelight-2103829