During the course of this grant year, I deepened my research on the intersections of modernism, phenomenology, and the global avant-garde, focusing especially on artistic and literary practices in Brazil and Japan. My work explored how artists and poets challenged conceptual hierarchies through embodied perception, translingual experimentation, and alternative modes of knowledge production.

I presented two major conference papers that reflected these concerns: “Haicai e o Orientalismo Modernista” at the XVI Encontro Nacional de Estudos Japoneses (ENBEJ), held at the Universidade Federal Fluminense in Niterói in August 2023, and “The Spacetime of Yutaka Toyota” at the Association for Asian Studies Annual Convention in Seattle in March 2024. The former examined the reception and adaptation of haiku in Brazilian modernism, situating poetic form within broader debates on orientalism and literary modernity; the latter focused on the temporal and spatial aesthetics of Toyota’s kinetic sculpture, read through a phenomenological lens.

In terms of publications, my essay “The Task of Translation Studies” appeared in the Journal of Waseda University International House of Literature (March 2024), addressing the philosophical and political stakes of translation in transnational contexts. My study “Oiticica’s Phenomenological Lyric; or, the Deintellectualization of Art” was published as the postface to Hélio Oiticica: Secret Poetics (Soberscove Press, 2023), translated by Rebecca Kosick. The essay interprets Oiticica’s work through the lens of phenomenology, particularly Merleau-Ponty’s notion of embodied perception, highlighting the artist’s call for a reinvention of artistic thinking through movement, rhythm, and sensorial immediacy.

In addition to these scholarly articles, I published two interviews in Japanese serialized in Tosho Shinbun with key figures of the Japanese postwar avant-garde: Akasegawa Genpei and Hariu Ichiro. These interviews not only offer rare first-person insights into the development of Japan’s radical art scene, but also contribute to the preservation and dissemination of postwar artistic memory in Japan. Both received highly positive responses from readers and scholars, underscoring their importance to the field.

Together, these presentations and publications reflect my ongoing commitment to theorizing the aesthetic and philosophical underpinnings of transnational avant-garde art, as well as my engagement with translation—not only as a linguistic practice but as a mode of embodied and conceptual negotiation across cultures and media.