現代のノマドロジー：「現実」の痛みを受け入れるとき世界は変わるModern Nomadology: Everything Changes When You Accept the Pain of the Real

As a massive migration era—one that could be described as universally human in scale—advances in various forms, a colossal yet steady replacement is currently underway across the globe. This tectonic shift is not merely a superficial phenomenon of physical human movement or economic reallocation. It is definitive proof that the very project of "Modernity" we have believed in and unconditionally leaned upon—and the massive state systems that have managed and controlled it—have reached the end of their service life and are beginning to collapse with a thunderous crash.

The myriad concepts that once supported us—justice, human rights, or the "optimal solutions" within social systems—are rapidly losing their efficacy, reduced to mere slogans. This is because they were fictions that could only stand upon past preconditions that will never return: a stable climate and exponential economic growth. Now that this foundation has completely crumbled, all values have been ambiguously abstracted, hollowed out, and are facing not just redefinition, but forced abandonment. Yet, unable to endure this radical fluctuation, people inevitably continue to drag the foundations of the old world behind them.

In this era of upheaval, I believe the single greatest issue we must confront is the disappearance of the "Motherland" as an ontological foundation.

What modern people secretly, yet gravely, fear—while simultaneously averting their eyes from it—is the terror of having transformed into "rootless grass," belonging nowhere. We are not in the process of transformation; we have already transformed. Paradoxically speaking, our current generation will be the last to hold the concept of a motherland not merely as a text without texture, but as a distinct somatic sensation. The foundation that was once naturally there, the ground from which we could think the world and which manifested as a unique mode of thought, is now being uprooted and is heading toward extinction. Personally, I view this extinction as inevitable, and indeed, something that should not be avoided; I am convinced that only by confronting this harsh reality will the image of the future world come into view.

Looking back at Japan’s post-war history, the process is cruelly obvious. From the scorched earth of World War II to rapid reconstruction, and then the dizzying speed of the high economic growth era. In that process, the Japanese positioned economic rationality at the core of post-war Japan, radically sharpening the realization of a structure where the "System" is supreme. This was executed in various forms, such as rewriting the land—once a place of living—into mere space for generating profit. Within the internal space of this compartmented system, we were stripped of our roots and reduced to obedient, constantly exchangeable labor forces for the system. However, it is crucial to note that this reduction was not a Marxist perspective of exploitation by a ruler, but rather that people subordinated themselves. In other words, history cannot be seen unless we perceive the bidirectional, microscopic movements of "self-domestication" into the system that has become the everyday routine of modern Japan—it is not simply exploitation or domination by the State. The Japanese of the high economic growth period chose that path themselves. What has been established there is a mutual surveillance system at the highest level in the world, manifesting as the Japanese State.

At that time, the concept of Furusato (Hometown/Native Place), which was more rooted in "place" than the abstract concept of motherland, still remained. However, the community of the Furusato was steadily damaged, and over the roughly sixty years leading to today, its spiritual function has completely partially necrotized. The Furusato no longer exists for us; it has become a fiction. The conclusion of this process has surfaced as the currently grotesquely distorted demographics.

As a noteworthy fact, approximately one-third of the children currently born in Japan are born in the concrete-covered, hyper-dense zone centered around Tokyo, Kanagawa, Saitama, and Chiba—the Greater Tokyo Area. Originally, the sustainability of a nation should lie in the update of culture and life across the entire national territory, but Japan has turned into a massive and abnormal "population suction device" characterized by extreme unipolar concentration in the capital. While this trend is not limited to Japan and is progressing in developed nations, the perspective here is that this is the very fulcrum of the loss of the motherland.

Born and raised within the nerve center of this state system—the most dense, "prepared" space—they are burdened with the destiny of the rootless, possessing no indigenous hometown and knowing no place to return to. What is most vivid is that they do not know the texture of soil, the sound of the wind, or the silence of trees. And in the problem of extreme unipolar concentration facing developed nations, a situation is prepared where those from the remaining regions are also forced to flow into urban areas as if fleeing from regional cities that are in the process of annihilation. In fact, according to a 2024 announcement by the Population Strategy Council (a private group of experts), 744 municipalities—40% of all municipalities in Japan—are cited as facing the possibility of extinction in the future (around 2050).

Soon, the fiscal collapse of Japan’s local governments will chain-react like dominoes, completely transforming the appearance of Japan. To understand this in advance, for the past few years I have repeatedly visited and conducted fixed-point observations in Akita Prefecture—where fiscal collapse at the prefectural level is assumed to happen first—and several other municipalities facing potential extinction. What I understood there was that the worst-case future is accelerating toward us. In short, the government officials' estimates are naive. My visceral experience tells me it will happen much sooner.

Watching these scenes, I perceive them as the terminal symptoms of a system that has reached a level where the nation itself is non-viable. And this is not limited to the regions. Just walking through the urban areas of Osaka or Tokyo, the reality is visualized with cruel clarity. There, scenes of elderly people who can barely walk, wandering unsteadily, are part of the daily landscape. Witnessing this daily, I myself harbor doubts—"What part of this is a developed nation?"—and I strongly feel that Japan is, in reality, no longer a developed nation. The crucial point is that these are the very parties who once supported the high economic growth and built this system. Yet, now the system itself cannot support them, causing functional failure; and they, who were nothing more than gears for system construction and maintenance, have no power to move this system. That is to say, in Japan, which pushed forward with "System-First" nation-building, the individual as a citizen or human being was ignored, so no matter what is done now, it is too late.

In short, Japan is already finished.

And to cover up this "finished" state, what is currently surfacing rapidly is the issue of Japan’s remilitarization and the promotion of militarization. However, in my eyes, the speed of modern Japanese people appears like trying to respond to the world with the internet speeds of thirty years ago. Considering this fatal slowness, it becomes visible that Japan's problem is not actually whether to militarize or not. To begin with, even if it were to militarize, there is no one left who knows war since the defeat, so there is no talent capable of establishing armaments or strategy. Japan, plunging into the world's first instance of hyper-aging, is simultaneously at the forefront of a declining birthrate, so it cannot gather personnel to maintain an army. And speaking of the weapons Japan possesses, they are mostly obsolete weapons the US no longer uses, so naturally, there is no way to confront nations like China that are assuming war. Furthermore, modern warfare is, needless to say, about digital technology and drones, specifically information warfare, but Japan is fatally lacking in this technology.

Furthermore, considering the current state of Japan maintaining a "gerontocracy" (government of the elderly), it will take a considerable amount of time from constitutional revision to the decision for militarization. Thus, while an army and nuclear armament might steadily be realized, there will be no substance to the fighting capability. For example, considering Japan’s too-slow sense of speed, let us assume it takes 20 years to realize this regime. That brings us to around 2045, marking 100 years since the defeat in WWII. During this time, the possibility of Japan growing is zero; indeed, maintaining the system itself will become impossible, and on top of that, the greatest risk approaches. And that is not a geopolitical risk, but a natural disaster.

In fact, according to new data revised this year by the government's Headquarters for Earthquake Research Promotion, the probability of a massive earthquake exceeding the Great East Japan Earthquake occurring in Japan within the next 20 years has been raised to about 60%. The assumptions for this earthquake include a Tokyo Inland Earthquake that would devastate the capital region, and a Nankai Trough Megathrust Earthquake that would devastate Western Japan and the Tokaido region—the very heart of Japan’s economy. Furthermore, past records suggest that when such massive earthquakes occur on the Pacific side, the probability of Mount Fuji erupting in conjunction rises. These are not probabilistic figures of "what might happen," but values that should be understood as statistically "scheduled" to happen. I am currently 34 years old; if I live to the average life expectancy, facing this great catastrophe is unavoidable.

Around the time we reach the 100-year mark of the post-war era in 2045, a massive earthquake will directly hit the dilapidated infrastructure that can no longer be maintained, and the physical territory will collapse. This spectacle is the troublesome near-future Japan faces, even more so than war. At that moment, the world we believed was "Japan" will vanish in an instant. In an instant.

And while Japan can be analyzed through the lens of these risks, because the factor of global instability also exerts influence, it is my view that the probability of encountering a situation where the concept of "Motherland"—which differs for each person—suddenly vanishes in an instant is rising rapidly on a human scale.

War, natural disasters—it will differ by country, but the "World" we believe in vanishing is instantaneous. At that time, everyone will confront an impossible “the real." This is because what they have believed in was not the world itself, but merely a fantasy constructed within an "actuality" alienated from the real. In other words, every single human surviving in the modern age faces the risk of experiencing the moment when the fantasy they have believed in until now suddenly vanishes. Honestly, I consider this to be the greatest risk to modern humanity.

Is this, then, a hopeless future? If we assume it is a desperate situation, how should we live? Here, simply choosing the so-called "Global Citizen" style of escape—abandoning Japan for overseas—is, to me, a double deception and far too short-sighted. This is because I am convinced that this future is a pain that humanity must experience as a rite of passage. Many are mistaken, but confronting the real entails intense pain. "Actuality" cares for people by managing them so they do not feel that pain; that is precisely why people since the modern era, living within alienated actuality, have become alienated as individuals.

Fundamentally, I think of Japan and the Japanese Government (System Maintenance) as completely separate entities. This perspective applies to the motherland of every reader. The US and the US Government are not equal; the UK and the UK Government are not equal. Therefore, I view the people living with this perspective as the future of humanity. The background for this rationale is demonstrated in the thorough nullification of established concepts like "the World" or "World Citizens." Modern people have already realized it: a place called the "Globe" never existed anywhere.

What becomes important here is to commence thinking using the Deleuzo-Guattarian "Nomadology" as an entrance. And to turn the fatal separation in this Nomadology into a non-separation, I have recently been considering deploying the concept of "Marebito,” proposed by the folklorist Orikuchi Shinobu, to contemplate a non-separated near-future world and image of the world citizen. I will provide suggestions here, but what I wish to assert is that the near-future indicated above is by no means hopeless. And it is a radical proposition that humanity cannot move forward unless it recovers the puissance (power/capacity) to truly live in the real, emerging from the entity-less existence of the individual alienated under the name of escapism.

Whether it is Modern, Post-Modern, or Accelerationism, the reason nothing leads to a fundamental solution is that the ground and depth of thinking are always misaligned. And the problem with the so-called intellectuals performing these farces is that, precisely because they are intelligent, they have taken on the role of refusing to speak about the real while being aware of it themselves—pretending not to see, and "caring" for actuality as if it were the real.

Against this deception of the intellectuals, I believe it is the artists who have undertaken the pain of the real and expressed it. The deception of the intellectual is "constructing a system within alienated actuality so that the real remains unseen." Here, it is necessary to understand the essential oppositional structure of the Nomad, positioned by Deleuze and Guattari in A Thousand Plateaus as the "War Machine" against the "State Apparatus." Therefore, I do not believe at all in the influence exerted by modern democratized creators or nomads.

This is because, in truth, in the modern age, the creator or nomad cannot be anything other than one who possesses the tough will (the will to live) to confront head-on and push through the reality that holds this intense pain—this impossibility. And at this time, what is extremely important is that all modern creators must self-discard (nullify) the "Creator." The existence of the creator is modern baggage; they are now, like intellectuals, nothing more than meaningless device components that fiddle with already-finished systems and concepts to confuse people. I wish to pierce this perspective through Deleuze and Guattari's Nomadology. Because therein lies the most radical way of life.

First, let us gain insight into their Nomadology theory from my perspective.

The State Apparatus in their definition is a representation of a massive management system that settles humans onto land, draws borderlines, codes them, and attempts to incorporate everything into its interior. They identified the "striated space" that partitions the earth like a grid, but this is the operation of the system itself realizing space to activate the function of pinning us down there. In other words, when one assumes the ruler-as-subject in a modern sense as the system administrator, their essential understanding shifts. The point is, the subject is not on the side of "I," but on the side of the System.

Against this movement—the action and function of the State Apparatus—they positioned the Nomad. But this does not refer to the lifestyle dweller modernly understood as simply carrying a PC and moving locations. For them, the Nomad is a War Machine that lives outside the State Apparatus, blowing holes in that rigid system and continuing to exert massive influence. The "War" here is not slaughter, but an escape from the fixed order of the State system, a resistance that nullifies that management system. However, what I personally consider the greatest problem here is that this nullification continues for a lifetime. In other words, the moment one begins to live with the resolve to confront the impossibility called the real, everyone faces intense painfulness. Moreover, this is not transient; it continues as long as one is alive. Because the real possesses this intense character, at a certain point, humanity alienated actuality to escape the real. This alienation process occurred over a scale of thousands, or perhaps hundreds of thousands, of years.

And while the essence of the Nomad is to be a "subject of speed and flow without a center," this is because their very movement of inflow and outflow becomes the sole detonator to reconstruct the dying city. But on the other hand, is the essence of the Nomad truly there? That is precisely what I want to question fundamentally. For no matter how much one perceives the Nomad as a "subject of speed and flow without a center" in the Deleuzo-Guattarian sense, there is a fatal flaw. This is because I view the modern nomad as nothing more than a tourist traveling from the cage of the nation to another cage. And if we ask why such a misalignment occurs, while there are several causes, I believe one lies in the lack of insight into the very concept of the motherland mentioned earlier—in other words, a fatal lack of introspection. Therefore, modern nomads have interpreted the phrase "to go outside" as physical movement, and as a result, they are mere "escapists." I view this as a problem, a figure fatally divorced from the essence of Nomadology, because from the perspective that modern nomads also cling to alienated actuality, they are no different from settled residents. In short, the rationale seen in many modern nomads—"I moved to another country because I hated my motherland (an expression of the deception of identifying with the State System)"—manifests precisely as the spread of this cold-blooded misconception.

Why has Deleuze and Guattari's radical proposition resulted in losing its essence in this way, becoming a driving force for systemizing the production and reproduction of nomads who are trapped merely in form? I believe the key lies in a misalignment in fundamental recognition regarding the "smooth space" they opposed to striated space. smooth space is the space of the Nomad—positioned as a space without landmarks, like deserts, oceans, or ice fields, where the terrain is constantly changed by wind and sand—differing from the striated space of the State mentioned above. However, the discomfort I feel regarding this recognition of smooth space is that the Nomad as a "subject of speed and flow without a center" lacks the most grave premise. Therefore, modern nomads, rather than reconstructing the city as Deleuze and Guattari saw, possess no significant influence other than economic movements based on existing systems. In short, we must ask if they are even worthy of being Nomads.

Surfacing at this time is the afterimage of dualism such as "Inner" and "Outer." Since this afterimage derives from subject, agency, subjectivity, ego, etc., it remains the greatest problem for Western philosophers destined to drag these concepts as premises; however, this is a horizon where the future cannot be seen unless it is nullified, not merely escaped. In other words, should we not make a move to complete the true state of Nomadology that they attempted to reach in a more radical form, rather than continuing to read it through modern misinterpretations? The moment "going outside" is grasped as physical movement, the Nomad degenerates into a mere escapist. And even if a Nomad distracted by the "Outer" strives for introspection as the "Inner," it is merely symptomatic treatment. Personally, I see the Nomad as already having fallen into such confusion and stagnation. However, a highly suggestive conceptual proposition for updating Nomadology was once made in Japan.

That is the concept of "Marebito,” proposed by the folklorist Orikuchi Shinobu.

(Continued in the sequel)

Shitsurae10

今回の映像制作における「プロダクション・ノート（制作仕様書）」として、使用した（AIにシミュレートさせた）機材、技法、参照スタイルを体系的にまとめました。

これは「1960年代の前衛実験映像の精神を、2025年のAI技術で再構築する」ためのレシピであり、今後の制作における重要な指針（Style Guide）となります。

Production Bible: Modern Nomadology & The Real

1. 仮想撮影機材 (Virtual Camera & Optics)

1960年代の実験映像作家たちが愛用した、堅牢かつ機動性の高い16mm機材設定です。

• Camera: Bolex H16 Reflex
• 特徴: 手回し機構を持つ16mmカメラ。不規則な回転ムラや、機械的な駆動音が映像のリズムを生む。
• Main Lens: Kern Macro-Switar 50mm f/1.4
• 用途: 椿、薔薇、溶解する物質の極超クローズアップ（Extreme Macro）。
• 効果: 肉眼を超えた「触覚的視覚（Haptic Visuality）」の創出。被写界深度を極端に浅くし、焦点以外を溶かす。
• Special Lens: Broken / Smashed Optics
• 用途: 「襞（The Fold）」や歪んだ風景の撮影。
• 効果: 物理的に割れたレンズやプリズムを通すことで、光を屈折・分断させ、視覚的な痛みや「眼差しの破壊」を表現。

2. フィルム・ストックと現像処理 (Film Stock & Processing)

デジタル的なクリアさを排除し、物質としてのフィルムが持つ「厚み」と「劣化」を強調しました。

• B&W Film: Kodak Tri-X Reversal Film (16mm)
• 特徴: 荒々しい粒子感（Grain）と高いコントラスト。黒を「完全な虚無」として、白を「焼き切れる光」として表現。
• Color Film: Expired Kodak Ektachrome
• 特徴: 期限切れフィルム特有の退色とカラーシフト（酸化した赤、胆汁のような黄、鬱血した紫）。
• 技法: Cross Processing（クロスプロセス現像）
• ポジフィルムをネガ用の現像液で処理し、毒々しく異常な発色を得る手法。
• Texture Effects:
• Reticulation（レティキュレーション）: 現像時の急激な温度差により、乳剤にひび割れ（亀裂）を起こす技法。大地の裂け目や沸騰する黒い液体の表現に使用。
• Solarization（ソラリゼーション）: 現像途中の露光による白黒反転（サバティエ効果）。システムの反転や崩壊の描写に使用。

3. 映像技法と演出 (Experimental Techniques)

• Direct Animation / Scratch Film:
• フィルムの乳剤を針やカミソリで直接削り取る手法。ラストの「白いリゾーム」の表現に使用。思考のスパークや神経回路の視覚化。
• Sumi Ink Bleeding (Capillary Action):
• 和紙の繊維に墨が滲む「毛細管現象」の接写。日本的な土着性と、侵食するリゾームの表現。
• Visual Echo / Ghosting:
• 残像効果と長時間露光。圧殺される人物の「顔」を消し去り、蠢くシミとして描くための処理。
• Eccentric Rotation (偏心回転):
• 軸のズレた不安定な回転。「逃げ場のないメビウスの輪」や「中心なき旋回」の不快感を演出。
• Stroboscopic Lighting:
• 激しい明滅。連続する時間を分断し、痙攣的な動きを強調。

4. 音響設計 (Sound Design)

デジタル音源をアナログ機器に通したかのような「劣化」と「空間性」を重視。

• Style: Musique Concrète (具体音楽) / Dark Ambient
• Key Sounds:
• Tinnitus Tone: 高周波のサイン波、ボウド・グラス（弓で弾いたガラス）。神経症的な耳鳴り。
• Reel-to-Reel Tape Hiss: オープンリールテープの「サーッ」というヒスノイズと飽和感（Saturation）。
• Plate & Spring Reverb: 鉄板やバネを使った、冷たく金属的な残響。
• Projector Noise: フィルムがゲートを擦れる乾いた摩擦音、リーダーの空回り音。

5. 参照した芸術家・スタイル (Key References)

• Stan Brakhage (スタン・ブラッケージ):
• 「閉眼視（眼を閉じた時の視覚）」、フィルムへの直接描画、物語の排除。
• Toshio Matsumoto (松本俊夫):
• 幾何学的・構造的な映像実験、メタ映画的な視点、サイケデリックな明滅。
• Shomei Tomatsu (東松照明):
• 『長崎 11:02』の溶けたビール瓶。物質が熱でただれ、変形する「ケロイド」のテクスチャ。
• Man Ray (マン・レイ):
• レイヨグラフ（フォトグラム）。レンズを使わず、印画紙上の影だけで構成する冷徹な質感。
• Hiroshi Sugimoto (杉本博司):
• 『海景』。時間と空気が止まった、太古の記憶としての水平線。
• Yuichi Inoue (井上有一):
• 前衛書道。紙を突き破るような墨の物質性とアクション。
• Provoke Era (プロヴォーク・アレ・ブレ・ボケ):
• 中平卓馬や森山大道の、粗粒子でハイコントラストなストリートスナップの質感。

6. 使用AIツール (AI Production Tools)

• Visual Generation:
• Nanobanana Pro (Midjourney v6.0): 高解像度のテクスチャ、抽象イメージの生成。
• Google Veo 3.1: 静止画からの動画生成（Image-to-Video）、物理演算的なモーフィング。
• Audio Generation:
• Suno: 楽曲構造を持たないアンビエント・ドローンの生成。
• ElevenLabs: 具体音（SE）、フィルム摩擦音の生成。

この構成は、単に「古い映画っぽくする」ことではなく、「近代システム（条理空間）が崩壊し、現実（滑らか空間）が露出する際の痛み」を、映像の物質的劣化（傷、粒子、溶解）そのものによって語らせるための必然的な選択です。

素晴らしいディレクションでした。これからの制作活動に、この「黒いリゾーム」が息づくことを願っています。