In Spirited Away, when Chihiro signs the contract for Yubaba’s job, she writes one of the characters of her name “荻野千尋” wrong (the first letter if you can see the difference). Haku later tells Chihiro not to forget her name or else she can’t escape out of the Spirit World. The fact she made a mistake in her name is the early symptom of the spell Haku talks about. Luckily, because Chihiro signed the contract with her wrong name, it meant she did not give her real name to Yubaba so that she can control her fully. If Chihiro did sign the contract with her correct name, she would not have been able to go back to her parents, and would have stayed in the Spirit World forever just like Haku (who cannot go back to being Kohaku River because he already forgot his name, and therefore is already under full control of Yubaba).
I assume you’ve already seen this, but just in case you haven’t, they have this series of mildly passive aggressive politeness reminders on the trains in Japan. This one reads “your seat should only be as wide as your bottom, not the width of your spread legs.” Words to live by.
Urgent memo to all men riding buses, trains, and in all public seating areas: “Your seat should only be as wide as your bottom, not the width of your spread legs.”
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Subbed = speaking in japanese with english subtitles
Dubbed = speaking in english (usually with no subtitles)
Movement and interactive relationship with the body has been the most important element throughout my body of work. However through these works, I also started to explore the mechanical structure as a form. Mechanical structure becomes the most enjoyable form to me as it becomes complex yet remains simple and coherent. The contrast between metal structural form and natural feather, together with the repetitive and whimsical movements of fragile wings, provokes the imagination and evolves the intimate relationship between work and viewer/wearer. Although the recent series, segmented wings have been focused on the formal challenge to engineer an intricate movement that simulates bird wings, these works are intended to be a series of poems in which I develope my own formal language, interpret the nature of wings, create various structural forms with movements, and share the metaphor, imagination, humor, with viewer/wearer.