Kyoto School

The Kyoto School (京都学派, Kyōto-gakuha) is the name given to the Japanese philosophical movement centered at Kyoto University that assimilated western philosophy and religious ideas and used them to reformulate religious and moral insights unique to the East Asian cultural tradition." However, it is also used to describe several postwar scholars from various disciplines who have taught at the same university, been influenced by the foundational thinkers of Kyoto school philosophy, and who have developed distinctive theories of Japanese uniqueness. To disambiguate the term, therefore, thinkers and writers covered by this second sense appear under The Kyoto University Research Centre for the Cultural Sciences.

Beginning roughly in 1913 with Nishida Kitaro, it survived the serious controversy it garnered after World War II to develop into a well-known and active movement. However, it is not a "school" of philosophy in the traditional sense of the phrase, such as with the Frankfurt School or Plato's Academy. Instead, the group of academics gathered around Kyoto University as a de facto meeting place, and as its founder, Nishida, steadfastly encouraged independent thinking.

Kyoto school (art)

The Kyoto school (京都派 -ha) was a collection of several styles and schools of Japanese painting of the late Edo period. Though there are many broad similarities between the styles within the school, these styles display key differences that separate them. Many were in fact reactions to one another, an artist or group of artists seeking to express themselves differently from those around them.

One of the more prominent schools under the Kyoto school umbrella was the Shijō school, named after the street where many of the artists had their studios. Shijō (四条) literally translates to 'fourth avenue.' This school sought to produce a synthesis of the more realistic style of Maruyama Ōkyo with that of the nanga or Southern School styles. Mori Sosen was one of the more prominent painters in the Shijō school.

The nanga or Southern School, meanwhile, rebelled against the realism of Ōkyo and the Shijō artists, seeking to return to the inspiration and style of China's Southern School.

Kyoto

Kyoto (京都市, Kyōto-shi, pronounced [kʲjoːꜜto.ɕi]; UK /kɪˈoʊtoʊ/, US /kiˈoʊ-/, or /ˈkjoʊ-/) is a city located in the central part of the island of Honshu, Japan. It has a population close to 1.5 million. Formerly the Imperial capital of Japan for more than one thousand years, it is now the capital city of Kyoto Prefecture located in the Kansai region, as well as a major part of the Kyoto-Osaka-Kobe metropolitan area. Kyoto is also known as the thousand-year capital.

Name

In Japanese, the city has been called Kyō (京), Miyako (都), or Kyō no Miyako (京の都). In the 11th century, the city was renamed Kyoto ("capital city"), after the Chinese word for capital city, jingdu (京都). After the city of Edo was renamed Tokyo (meaning "Eastern Capital") in 1868, and the seat of the Emperor was transferred there, Kyoto was known for a short time as Saikyō (西京, meaning "Western Capital").

Obsolete spellings for the city's name include Kioto and Meaco. Another term commonly used to refer to the city in the pre-modern period was Keishi (京師), meaning "metropolis" or "capital".

Kyoto (album)

Kyoto is an album by Art Blakey's Jazz Messengers, recorded in 1964 and released on the Riverside label.

Reception

The Allmusic review by Scott Yanow awarded the album 3 stars stating "this is one of literally dozens of recommended Jazz Messengers recordings".

Track listing

Personnel

References

Kyoto (Skrillex song)

"Kyoto" is a song by American electronic music producer Skrillex featuring Sirah, taken from his fourth EP as Skrillex, Bangarang. Musically, the song has multiple influences of drum and bass,dubstep and electro house, while also having notable elements of hip hop music and metal music, using "heavy, distorted guitar rhythms" within its composition. The song received generally mixed reviews from music critics, with some criticizing its use of formula in comparison to his previous material. Due to strong digital downloads after the EP's release, the song charted in several countries worldwide, including Australia, Canada, the United Kingdom and United States.

Critical reception

The song received generally lukewarm reviews from music critics, with some criticizing its similarities to his previous material. Jon O'Brien from Allmusic said "Skrillex's lack of progression means there's a distinct sense of déjà vu among its seven tracks, particularly on the relentless, scattershot bleeps, chopped-up vocal hooks, and repetitive loops of opener "Right In" and the rap-metal fusion of "Kyoto"". Evan Rytlewski from The A.V. Club gave the song a mixed review, saying that it conveys "high drama without superfluous aggression", however, called it a "sub-Travis Barker stab at rap-rock". Kevin Vincenti from The Cavalier Daily gave the song a negative review, saying "The bland “Kyoto” is reminiscent of every other average electro-dance song, and it fails to show the genius of its creator".