{"id":43932,"date":"2025-10-14T17:42:53","date_gmt":"2025-10-14T08:42:53","guid":{"rendered":"https:\/\/ccbt.rekibun.or.jp\/?post_type=camp&#038;p=43932"},"modified":"2025-10-25T16:34:05","modified_gmt":"2025-10-25T07:34:05","slug":"exhibition","status":"publish","type":"camp","link":"https:\/\/ccbt.rekibun.or.jp\/en\/camp\/volume7\/exhibition","title":{"rendered":"Exhibition"},"content":{"rendered":"<div class=\"lazyblock-ccbt-camp-keyvisual-22vV3h wp-block-lazyblock-ccbt-camp-keyvisual\">  <div class=\"camp-keyvisual camp-keyvisual--sub\">\n    <figure class=\"camp-keyvisual__figure\">\n      <img decoding=\"async\" src=\"https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/07\/0705_CCBT_16-9.png\" alt=\"\" class=\"camp-keyvisual__image\">\n    <\/figure>\n    <div class=\"camp-keyvisual__overlay\" style=\"background-color: #ff000080\">\n      <h1 class=\"camp-keyvisual__text\">\n        <span class=\"camp-keyvisual__volume\">Future Ideations Camp Vol.7<\/span>\n        <span class=\"camp-keyvisual__title\">Super Sober Shamanism\uff1aExploring Synchronization, Co-presence, and Mimesis through Theatre and Technology<\/span>\n      <\/h1>\n    <\/div>\n  <\/div><\/div>\n\n<div class=\"lazyblock-ccbt-camp-nav-Z24SyrE wp-block-lazyblock-ccbt-camp-nav\">  <nav class=\"camp-nav\">\n    <a href=\"\/en\/camp\/volume7\" class=\"camp-nav__item\">Overview<\/a>\n    <a href=\"\/en\/camp\/volume7\/curriculum\" class=\"camp-nav__item\">Curriculum<\/a>\n    <a href=\"\/en\/camp\/volume7\/exhibition\" class=\"camp-nav__item\">Exhibition<\/a>\n  <\/nav><script>\n  document.addEventListener('DOMContentLoaded', function() {\n    document.documentElement.style.setProperty(\"--camp-color-primary\", \"#ff0000\");\n    let nav = document.querySelector('.camp-nav');\n    let path = window.location.pathname;\n    if(path.includes('curriculum')) {\n      nav.children[1].classList.add('camp-nav__item--active');\n    } else if(path.includes('exhibition')) {\n      nav.children[2].classList.add('camp-nav__item--active');\n    } else {\n      nav.children[0].classList.add('camp-nav__item--active');\n    }\n  });\n<\/script><\/div>\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-1 wp-block-columns-is-layout-flex\" style=\"padding-right:0;padding-left:0\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><div class=\"ccbt-toc__before\"><\/div><div class=\"ccbt-toc is__open\"><div class=\"ccbt-toc__title\">Table Of Contents<button type=\"button\" class=\"ccbt-toc__toggle\">Toggle<\/button><\/div><div class=\"ccbt-toc__list\"> <ol><li><a href=\"#i1\">[\u2018I Like\u2019, \u2018It\u2019, \u2018to Be\u2019, \u2018a Play\u2019, \u2018: A Play,\u2019]<\/a><\/li><li><a href=\"#i2\">Drunk Theatre<\/a><\/li><li><a href=\"#i3\">Replay<\/a><\/li><li><a href=\"#i4\">Turf Wars: A Territory Game for the Living<\/a><\/li><li><a href=\"#i5\">A Flood, a Scene, or the Nearest Heaven<\/a><\/li><li><a href=\"#i6\">rental name<\/a><\/li><\/ol><\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"padding-right:0;padding-left:0;flex-basis:66.66%\">\n<div class=\"wp-block-group is-layout-constrained wp-block-group-is-layout-constrained\">\n<h2 class=\"wp-block-heading\">[\u2018I Like\u2019, \u2018It\u2019, \u2018to Be\u2019, \u2018a Play\u2019, \u2018: A Play,\u2019]<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4927-1-1024x683.jpg\" alt=\"\" class=\"wp-image-44079\" srcset=\"https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4927-1-1024x683.jpg 1024w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4927-1-300x200.jpg 300w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4927-1-768x512.jpg 768w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4927-1-1536x1024.jpg 1536w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4927-1-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n<div class=\"lazyblock-ccbt-camp-colorblock-vLY9o wp-block-lazyblock-ccbt-camp-colorblock\">  <div class=\"camp-colorblock\" style=\"background-color: #ff000020\">\n    <p>Members:<br>Huang Jiayin, Luna, Shen Jiayi, Shion Kim<\/p>\n<\/div><\/div>\n\n\n<p>This is a reconfiguration of <em>I Like It to Be a Play <\/em>by Gertrude Stein.<br><br>Drawing on the play\u2019s unique focus on language itself, the test is recomposed, at random, through code in an attempt to liberate it from its own context. By doing so, the reader becomes the \u201cbody that is performed.\u201d<br><br>At the same time, the play expresses a \u201cdialogue with oneself\u201d by focusing on the internal world that emerges through the process of engaging with the text. This is a retelling of the play, written over 100 years ago, from the perspective of those of us who live in the present.<\/p>\n\n\n\n<p>VR, video, and sound synchronize with the body, making the internal world emerge all the more organically thus blurring the boundary between ourselves and others.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-block-group-is-layout-constrained\">\n<h2 class=\"wp-block-heading\">Drunk Theatre<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4852-1-1024x683.jpg\" alt=\"\" class=\"wp-image-44080\" srcset=\"https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4852-1-1024x683.jpg 1024w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4852-1-300x200.jpg 300w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4852-1-768x512.jpg 768w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4852-1-1536x1024.jpg 1536w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4852-1-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n<div class=\"lazyblock-ccbt-camp-colorblock-Z2uc5tN wp-block-lazyblock-ccbt-camp-colorblock\">  <div class=\"camp-colorblock\" style=\"background-color: #ff000020\">\n    <p>Members: <br>Hirose Issui, Aritsuka Yui, Kato Nao, Nakahashi Yuri, Miyata Mariko<\/p>\n<\/div><\/div>\n\n\n<p>Technology does not purge the madness inherent in us, nor does it make us sober. Rather, it has transported us into a world of madness utterly different from what was before. A truly sober realm no longer exists; in a sense, we are perpetually in a state of intoxication.<br><br>On stage, the performer amplifies their movements toward the machine in a cyclical repetition and continues to spew vomit. This vomit is something that the rational gaze cannot grasp: an unspeakable, restless substance that writhes within us. The theater in which this vomiting continues becomes a space of \u201csituational intoxication,\u201d constructed together by the performer, the audience, and the machine\u2014a space that, paradoxically, rises as a utopia where vomit, as filth, is revered.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-block-group-is-layout-constrained\">\n<h2 class=\"wp-block-heading\">Replay<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4976-1-1024x683.jpg\" alt=\"\" class=\"wp-image-44081\" srcset=\"https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4976-1-1024x683.jpg 1024w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4976-1-300x200.jpg 300w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4976-1-768x512.jpg 768w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4976-1-1536x1024.jpg 1536w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4976-1-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n<div class=\"lazyblock-ccbt-camp-colorblock-26W1hy wp-block-lazyblock-ccbt-camp-colorblock\">  <div class=\"camp-colorblock\" style=\"background-color: #ff000020\">\n    <p>Members:<br>Fujinaka Koki, Suzuki Shirabe, Ueno Moriji<\/p>\n<\/div><\/div>\n\n\n<p>This performance is based on Gertrude Stein\u2019s 1922 conversational play, <em>I Like It to Be a Play<\/em>. During the 15-minute runtime, a video of the same content is repeated twice, once in the first half and again in the latter half. The video is composed of recitation audio, impersonations, electronic sound, karaoke subtitles, and an alternate audio track. This enacts \u201cconversations\u201d enfolded with Stein\u2019s original text in English, its multiple translations&nbsp; in Japanese, and the three performers\u2019 off-stage relationship. Or it exposes some pretext required for the staging\u2014for instance, something like this very text. In other words, it is a performance built on such pretexts or excuses, demanding a narrative layered with tension: that is, a performance of deception.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-block-group-is-layout-constrained\">\n<h2 class=\"wp-block-heading\">Turf Wars: A Territory Game for the Living<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4837-1-1024x683.jpg\" alt=\"\" class=\"wp-image-44082\" srcset=\"https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4837-1-1024x683.jpg 1024w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4837-1-300x200.jpg 300w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4837-1-768x512.jpg 768w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4837-1-1536x1024.jpg 1536w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4837-1-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n<div class=\"lazyblock-ccbt-camp-colorblock-1j3hPE wp-block-lazyblock-ccbt-camp-colorblock\">  <div class=\"camp-colorblock\" style=\"background-color: #ff000020\">\n    <p>Members:<br>Ishimaru Megumi, Iwashita Takumi, Yokoyama Go<\/p>\n<\/div><\/div>\n\n\n<p>A silent performance that reimagines the structure of soccer as an improvisational stage.<br>The invisible pitch emerges as the multiple players\u2019 positions shift fluidly in response to a single player\u2019s split-second decisions.<br><br>The performance alternates between two modes: the \u201csportive\u201d scenes driven by rules and competition, and the \u201cdance-like\u201d scenes shaped by composition and direction. As these modes unfold in sequence, the audience grapples with uncertainty\u2014unsure if each action is scripted or spontaneous.<br><br>Meanwhile, the wearable devices capture the performers\u2019 biometric data, which AI then interprets to generate live commentary. The calculations are precise, but the resulting language remains oddly imprecise\u2014often comically so. By tapping directly into the players\u2019 inner states which goes beyond the speculation of traditional commentary, the AI\u2019s narration echoes the cadence of sports broadcasting while infusing it with a subtly grotesque edge.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-block-group-is-layout-constrained\">\n<h2 class=\"wp-block-heading\">A Flood, a Scene, or the Nearest Heaven<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4788-1-1024x683.jpg\" alt=\"\" class=\"wp-image-44083\" srcset=\"https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4788-1-1024x683.jpg 1024w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4788-1-300x200.jpg 300w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4788-1-768x512.jpg 768w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4788-1-1536x1024.jpg 1536w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4788-1-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n<div class=\"lazyblock-ccbt-camp-colorblock-Z25GoMq wp-block-lazyblock-ccbt-camp-colorblock\">  <div class=\"camp-colorblock\" style=\"background-color: #ff000020\">\n    <p>Members:<br>Kobayashi Ryo, Murata Minori, Uba Nagisa, Uchida Sota, Yagi Kanade<\/p>\n<\/div><\/div>\n\n\n<p>\u201cThey\u2019ll go on hoping for the rest of the night. But tomorrow morning, in that terrible dawn, when they see nothing but a sheet of water stretching to the horizon, and the mountains shrunk to nothing, they won\u2019t go back to the caves. They\u2019ll look. They\u2019ll cover their heads against the rain, and they\u2019ll look.\u201d<br><br>\u201cYou\u2019re confusing them with wild animals. No mortal can know that he\u2019s dying and look directly at death. Men have to run, think, talk. Talk to the survivors.\u201d<\/p>\n\n\n\n<p class=\"has-text-align-right\" style=\"margin-top:0;margin-right:0;margin-bottom:0;margin-left:0\">Cesare Pavese, <em><em>Dialoghi con Leuc\u00f2<\/em><\/em> (1947)<br>From: <a href=\"https:\/\/www.scribd.com\/document\/605605379\/Cesare-Pavese-Dialogues-with-Leuco\">https:\/\/www.scribd.com\/document\/605605379\/Cesare-Pavese-Dialogues-with-Leuco<\/a>.<\/p>\n\n\n\n<p>\u201cDialoghi con Leuc\u00f2\u201d reminded Uba, one of the members, of an extremely personal vision from the time she nearly drowned in the bathtub. Uba\u2019s body bears a disability, however the body in her vision was without it. From Uba\u2019s perspective, the body \u201cwithout disabilities\u201d was in virtual form and, on the other hand, Uba\u2019s body seen by a person without disabilities is also virtual. In response to technologies developed by people without disabilities in pursuit of \u201cinconvenience\u201d\u2014such as the HMDs (head mounted displays) that obscure vision in a bid to grasp at \u201clack\u201d\u2014we traced memories from the play and reenacted the accident in the bathtub.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-block-group-is-layout-constrained\">\n<h2 class=\"wp-block-heading\">rental name<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4800-1-1024x683.jpg\" alt=\"\" class=\"wp-image-44084\" srcset=\"https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4800-1-1024x683.jpg 1024w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4800-1-300x200.jpg 300w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4800-1-768x512.jpg 768w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4800-1-1536x1024.jpg 1536w, https:\/\/ccbt.rekibun.or.jp\/wp-content\/uploads\/2025\/10\/251018_DSCF4800-1-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n<div class=\"lazyblock-ccbt-camp-colorblock-Z1kWk8o wp-block-lazyblock-ccbt-camp-colorblock\">  <div class=\"camp-colorblock\" style=\"background-color: #ff000020\">\n    <p>Members: <br>Chi Yizhou, Endo Yusaku , Nakayama Akihito<\/p>\n<\/div><\/div>\n\n\n<p>By lending my name to others and fictional characters, I loosen and peel away the name that clings so tightly to my very existence.<br><br>By nature, the self should possess layers of multiplicity and harbor unknowable depths. However, in modern society, codes specific to each of us\u2014the name registered in the family registry\u2014demand that we maintain a singular, consistent identity and that we unquestioningly belong to society as \u201chuman beings,\u201d without ever doubting the existence of the world or ourselves.<br><br>This work consists of nothing more than an exceedingly simple fiction: others declaring, \u201cMy name is Endo Yusaku.\u201d However, when this name returns to me, what other things have been ingrained onto this particular code?<\/p>\n\n\n\n<p><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>[\u2018I Like\u2019, \u2018It\u2019, \u2018to Be\u2019, \u2018a Play\u2019, \u2018: A Play,\u2019] This is a reconfiguration of I Like It to Be a Play by Gertrude Stein. Drawing on the play\u2019s unique focus on language itself, the test is recomposed, at random, through code in an attempt to liberate it from its own context. By doing so, the reader becomes the \u201cbody that is performed.\u201d At the same time, the play expresses a \u201cdialogue with oneself\u201d by focusing on the internal world that emerges through the process of engaging with the text. This is a retelling of the play, written over 100 years ago, from the perspective of those of us who live in the present. VR, video, and sound synchronize with the body, making the internal world emerge all the more organically thus blurring the boundary between ourselves and others. Drunk Theatre Technology does not purge the madness inherent in us, nor does it make us sober. Rather, it has transported us into a world of madness utterly different from what was before. A truly sober realm no longer exists; in a sense, we are perpetually in a state of intoxication. On stage, the performer amplifies their movements toward the machine in a cyclical repetition and continues to spew vomit. This vomit is something that the rational gaze cannot grasp: an unspeakable, restless substance that writhes within us. The theater in which this vomiting continues becomes a space of \u201csituational intoxication,\u201d constructed together by the performer, the audience, and the machine\u2014a space that, paradoxically, rises as a utopia where vomit, as filth, is revered. Replay This performance is based on Gertrude Stein\u2019s 1922 conversational play, I Like It to Be a Play. During the 15-minute runtime, a video of the same content is repeated twice, once in the first half and again in the latter half. The video is composed of recitation audio, impersonations, electronic sound, karaoke subtitles, and an alternate audio track. This enacts \u201cconversations\u201d enfolded with Stein\u2019s original text in English, its multiple translations&nbsp; in Japanese, and the three performers\u2019 off-stage relationship. Or it exposes some pretext required for the staging\u2014for instance, something like this very text. In other words, it is a performance built on such pretexts or excuses, demanding a narrative layered with tension: that is, a performance of deception. Turf Wars: A Territory Game for the Living A silent performance that reimagines the structure of soccer as an improvisational stage.The invisible pitch emerges as the multiple players\u2019 positions shift fluidly in response to a single player\u2019s split-second decisions. The performance alternates between two modes: the \u201csportive\u201d scenes driven by rules and competition, and the \u201cdance-like\u201d scenes shaped by composition and direction. As these modes unfold in sequence, the audience grapples with uncertainty\u2014unsure if each action is scripted or spontaneous. Meanwhile, the wearable devices capture the performers\u2019 biometric data, which AI then interprets to generate live commentary. The calculations are precise, but the resulting language remains oddly imprecise\u2014often comically so. By tapping directly into the players\u2019 inner states which goes beyond the speculation of traditional commentary, the AI\u2019s narration echoes the cadence of sports broadcasting while infusing it with a subtly grotesque edge. A Flood, a Scene, or the Nearest Heaven \u201cThey\u2019ll go on hoping for the rest of the night. But tomorrow morning, in that terrible dawn, when they see nothing but a sheet of water stretching to the horizon, and the mountains shrunk to nothing, they won\u2019t go back to the caves. They\u2019ll look. They\u2019ll cover their heads against the rain, and they\u2019ll look.\u201d \u201cYou\u2019re confusing them with wild animals. No mortal can know that he\u2019s dying and look directly at death. Men have to run, think, talk. Talk to the survivors.\u201d Cesare Pavese, Dialoghi con Leuc\u00f2 (1947)From: https:\/\/www.scribd.com\/document\/605605379\/Cesare-Pavese-Dialogues-with-Leuco. \u201cDialoghi con Leuc\u00f2\u201d reminded Uba, one of the members, of an extremely personal vision from the time she nearly drowned in the bathtub. Uba\u2019s body bears a disability, however the body in her vision was without it. From Uba\u2019s perspective, the body \u201cwithout disabilities\u201d was in virtual form and, on the other hand, Uba\u2019s body seen by a person without disabilities is also virtual. In response to technologies developed by people without disabilities in pursuit of \u201cinconvenience\u201d\u2014such as the HMDs (head mounted displays) that obscure vision in a bid to grasp at \u201clack\u201d\u2014we traced memories from the play and reenacted the accident in the bathtub. rental name By lending my name to others and fictional characters, I loosen and peel away the name that clings so tightly to my very existence. By nature, the self should possess layers of multiplicity and harbor unknowable depths. However, in modern society, codes specific to each of us\u2014the name registered in the family registry\u2014demand that we maintain a singular, consistent identity and that we unquestioningly belong to society as \u201chuman [&hellip;]<\/p>\n","protected":false},"author":16,"featured_media":0,"parent":43806,"menu_order":0,"template":"page-camp","meta":{"_locale":"en_US","_original_post":"https:\/\/ccbt.rekibun.or.jp\/?post_type=camp&p=43216","footnotes":""},"class_list":["post-43932","camp","type-camp","status-publish","hentry","en-US"],"aioseo_notices":[],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/ccbt.rekibun.or.jp\/wp-json\/wp\/v2\/camp\/43932","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ccbt.rekibun.or.jp\/wp-json\/wp\/v2\/camp"}],"about":[{"href":"https:\/\/ccbt.rekibun.or.jp\/wp-json\/wp\/v2\/types\/camp"}],"author":[{"embeddable":true,"href":"https:\/\/ccbt.rekibun.or.jp\/wp-json\/wp\/v2\/users\/16"}],"version-history":[{"count":7,"href":"https:\/\/ccbt.rekibun.or.jp\/wp-json\/wp\/v2\/camp\/43932\/revisions"}],"predecessor-version":[{"id":44087,"href":"https:\/\/ccbt.rekibun.or.jp\/wp-json\/wp\/v2\/camp\/43932\/revisions\/44087"}],"up":[{"embeddable":true,"href":"https:\/\/ccbt.rekibun.or.jp\/wp-json\/wp\/v2\/camp\/43806"}],"wp:attachment":[{"href":"https:\/\/ccbt.rekibun.or.jp\/wp-json\/wp\/v2\/media?parent=43932"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}