By referring to the philosophies of Izutsu Toshihiko, the article argues that it is often the case that the profiling of difference increases the sense of isolation experienced by the very people the practice intends to help, and thus intensifies the number of micro-opponents even among peers. This was precisely the case in Aichi Triennale 2019, a Japanese interdisciplinary art festival financially ‘censored’ by the government which responded to extreme-rightists’ protest against some politically-charged art pieces. Owing to the political havoc, artists and curators participating in the event were forced to take sides through the gaze of political micro-categorizations, which ended in even more divisions and ruptures. What soon became apparent was that it was mainly through the voice of logocentric male artists that the political divisions were amplified. Takayama Akira and Ichihara Satoko were those few artists who decided not to take sides and resorted to the politics of diffraction rather than difference. Through their artworks titled J-Art Call Centre and The Bacchae: Holstein Milk Cows respectively, they tried to go beyond the antagonistic narratives which, Karen Barad affirms to maintain the ‘binary thinking […] instrumental to the working of power’. More specifically, the article demonstrates how through their dramaturgies, Takayama and Ichihara opened up a more innovative reconfiguration of the world - what Izutsu calls the ‘gentle cosmos’ – which operates under the politics of diffraction.

通过提及伊豆津俊彦的哲学，文章认为，通常情况下，对差异进行剖析会增加实践意图帮助的人们所经历的孤立感，从而甚至加剧了微反对者的数量。同行。这就是2019年爱知三年展（Aichi Triennale）的情况，这是一个由政府资助``审查''的日本跨学科艺术节，对极端右派人士对某些带有政治色彩的艺术品的抗议做出了回应。由于政治上的破坏，参加活动的艺术家和策展人被迫站在政治微观分类的视线中，最终导致更多的分裂和破裂。很快变得明显的是，主要是通过以徽标为中心的男性艺术家的声音扩大了政治分歧。高山山晃和市原智子是少数几位决定不站在一边的艺术家，他们诉诸于衍射而不是差异的政治。通过他们的作品题为J-Art呼叫中心和The Bacchae：荷斯坦奶牛分别试图超越对立的叙事，Karen Barad重申要维持“有助于权力运作的二进制思维[...]”。更具体地说，这篇文章展示了高山和市原如何通过戏剧性来打开世界的更具创新性的重构-井津将其称为“柔和的宇宙”-在绕射的政治下运作。