Wabi Sabi

This project charts the development of a brand inspired by an ancient symbol of three rabbits with interlocking ears.
The process documented in this book details the evolution of the brand, charting its history and the deciphering of its language. The symbol is explored through a collection of artifacts in a variety of media: print, ceramics, glass, and metal. My practice develops a fictional archaeological history which evolves our brand identity.
The collection draws from diverse cultural traditions and will inspire our future projects in various fields of interest: organic streetwear, sustainable home décor, and holistic body care products.

In addition to producing limited editions of products and publications, and managing our home and forest garden, the creative team at Three Rabbits Farm also provides consulting services for natural building, garden and interior design, as well as food styling and event planning for a range of international clientele.

Resumen: Este artículo pretende analizar el encuentro entre dos horizontes culturales: Oriente y Occidente. Inten‐ ta abordar el choque cultural entre dos conceptos de naturaleza que ten‐ drá lugar a comienzos del siglo XX materializado en las influencias entre el arte budista zen japonés y las Van‐ guardias Históricas. Tres conceptos zen (wabi, sabi, shibui) serán el hilo conductor de este análisis.
Abstract: This article analyzes the encounter between two cultural hori‐ zons: East and West. Tries to tackle the cultural clash between two con‐ cepts of nature that takes place in the early twentieth century embodied in the influences between Japanese Zen Buddhist Art and Historical Vanguards. Three zen concepts (wabi, sabi, Shibui) will be the theme of this analysis.

In Art as Experience (1987; 1934), John Dewey seeks to undermine the idea that art has a place above and distinct from ordinary human experience.1 Instead, he argues that an adequate aesthetic theory must take into account that all art originates in ordinary experience. Artists who create classic works of art do so by finding, manipulating, and developing the aesthetics they experience in everyday life. In other words, Dewey writes, "Mountain peaks do not float unsupported; they do not even just rest upon the earth. They are the earth in one if its manifest operations" (9). Unfortunately, he notes that most aesthetic theorists attempt to consider art "in itself?a tendency that can be traced back through Plato. Art is thought to be beautiful not because of how it is experienced, but because of its correspondence to an other-worldly ideal. For the purposes of this paper, I will refer to this view as the Western view of aesthetics, realizing that it is a broad overgenera...

Abstract. Wabi (as well as sabi) preach modesty while kitsch is boastful. Wabi and sabi cling to the ideal of non-perfection while kitsch likes the smooth surfaces of perfection. Wabi aesthetics prefers natural colors and materials and shuns decoration, while kitsch most often comes along with glaring colors. Kitsch, as an attribute of petty-bourgeois taste, is mainly conservative, and looks for safety and certitude. Wabi and sabi, on the other hand, manifest a real avant-garde spirit, trying to undermine the safe patterns of human (aesthetic) existence by preaching even the attractiveness of deprivation and destitu¬tion. In spite of these oppositions, I would venture to say that the traditional Japanese aesthetic ideal of wabi/sabi and the aesthetic manifestations that we classify today as kitsch have “deep” psychological structures in common. These resemblances are not manifest in the content of aesthetics but in its formal character. I contrast wabi and kitsch on all levels that concern their respective contents but draw parallels only between their formal characteristics.

The West was dominated for a long time - at least until the beginning of the twentieth century - by a disembodied and inhuman ideal of beauty, ignoring other possible aesthetic nuances of beauty experienced in the Far East both in everyday life and in the literary and cultural sphere. Now in a pandemic era that has revolutionized every sphere of our private and public existence it is time to go back to another, still fruitful conception of beauty, namely the Wabi Sabi Aesthetics as praise of imperfection and irregularity, in order to evaluate its potential for a new understanding of beauty in the twentyfirst century, not only in Japanese culture, but also in the Western world.

This article refers to research on wabi-sabi aesthetics, developed based on zen-buddhism and Chinese artistic treatises, gradually improved and hybridized with genuine Japanese aspects such as yūgen and yojō, present in poetic literature and nō theatre. Nevertheless, being consolidated in the art of the tea ceremony by tea master Sen no Rikyu, wabi-sabi was selected by the government in the middle of the last decade as the representative aesthetics of Japanese culture, becoming one of the most well known Japanese artistic “concepts” in the West. Due to this intricate trajectory of cultural displacement and agglutinations, it is our purpose to verify some basic differences between bibliographies on the theme produced in Japanese and a few Western languages.

There is a problem with the way food packaging is recycled today because western society deems food packaging to be less important than household product packaging. “The grocery sector accounts for about 70% of the packaging market.” (Wrap, 2015) Therefore there needs to be a focus on food packaging in particular and how it is recycled. The infrastructure is there for recycling however, the way western society perceives and deals with food packaging in particular isn’t of concern yet.

Rarely has a concept in clothing design attracted the sort of dread and hysteria that deconstruction incited since its inception in 1967. Deconstruction can be described as the literal dismantling of clothes in order to destroy fashion. The philosophy was aimed at un-building the constructs of a culture inherited from previous generations.

Japanese designers, Issey Miyake, Yohji Yamamoto and Rei Kawakubo have been widely regarded as innovators in the fashion world and leading exponents of deconstruction design. Whilst European-style couture involved giving three-dimensional form to fabric by using curved lines and darts to fit to the body, the Japanese designers instead based their designs on the notion of the kimono which in contrast was an assemblage of rectangular pieces of fabric that is flat when not worn.

The employment of flat construction methods, which eliminated the use of traditional darts or seams, combined with unfinished looks and asymmetrical forms, were based on the Japanese aesthetic of wabi-sabi. The Japanese designers used these techniques to deconstruct and reconstruct their designs, thereby creating new forms that defied traditional sartorial construction methods.

Callada tu mente y su prestigioso trabajo, descubres, en el peligroso borde, que tu cuerpo es más inteligente y que es tuyo y de todos. Todo cuerpo es tótem. Levántate y muestra tu desnudez al alba que ya empieza. A las 7 los cirujanos te abrirán el pecho con sus escalpelos. No morirás: tus voces vegetativas siguen sonando y ya son (y ya eres) parte del rumor panteísta que viene del bosque y, al parecer, de un alba más remota.

Questa breve opera deriva da un piccolo ciclo di lezioni sull'estetica contemporanea che ho tenuto all'università di Tor Vergata nell'anno 2012-2013. In questo caso, poiché il testo non si rivolge a un pubblico specializzato, userò un linguaggio divulgativo, colloquiale, informale e ricco di esempi, ma non per questo si vuole rinunciare a un'impostazione metodologica e critica che eviti i cliché delle pubblicazioni che trattano questi argomenti in maniera amatoriale, in modo che possa essere un'introduzione valida anche per gli studenti universitari. Trattandosi di un argomento vastissimo, nelle poche pagine in cui mi è stato chiesto di contenere l'argomento, mi limiterò solo a offrire degli spunti. Infatti, il mio intento non è quello di riassumere un lista di nozioni, come fanno i divulgatori di professione, e di volgarizzarli in un linguaggio chiaro e accessibile elencato per punti in modo didascalico e didattico. Questo tipo di lavoro presuppone delle certezze, ovvero un discorso già deciso e codificato dagli esperti, di cui si accettano le verità in modo indiscusso e si procede pertanto solo alla loro trasformazione in parole povere o in riassuntini. Questo non è quello che sarà fatto qui. Non vi saranno presentati dei piatti pronti alla portata di tutti, in stile fast food, ma sarete portati, anche se solo per una rapida occhiata, nelle cucine. Se dobbiamo scegliere tra

Este artigo apresenta um estudo sobre a estética wabi-sabi, desenvolvida por meio do zen-budismo e dos tratados artísticos chineses e aprimorada gradualmente com os aspectos genuínos nipônicos, como yūgen e yojō, presentes na literatura poética e no teatro nō. Tendo sido consolidada na arte da cerimônia do chá por intermédio do mestre Sen no Rikyū, wabi-sabi foi escolhida, graças a uma estratégia governamental, para ser a estética representativa da cultura japonesa, tornando-se, em meados do século passado, um dos "conceitos" artísticos japoneses mais conhecidos no Ocidente. Dada essa intrincada trajetória de aglutinações e deslocamentos culturais, pretende-se verificar algumas diferenças básicas entre as bibliografias sobre o tema na língua japonesa e em algumas línguas ocidentais.
This article refers to a research on wabi-sabi aesthetics, whose development was based on Zen Buddhism and Chinese artistic treatises and gradually improved with genuine Japanese aspects, such as yūgen and yojō, present in poetic literature and nō theatre. As it had been consolidated in the art of tea ceremony by tea master Sen no Rikyū, wabi-sabi was selected by the government as the representative aesthetics of Japanese culture, and in the mid-twentieth century it become one of the most well-known Japanese artistic "concepts" in the West. Due to this intricate trajectory of cultural displacement and agglutinations, it is our purpose to verify some basic differences between bibliographies on the theme produced in Japanese and in a few Western languages.

Introductory overview of New Zealand artists who began working in film and video between 1970 and 1985, following their work up to 2010 and beyond.  This piece was originally titled A Place Near Here and  published in Illusions #35.  It has been significantly updated since then. Back issues of Illusions are available from PO Box 6476, Marion Square, Wellington, New Zealand.

Surveys and contextualizes recent New Zealand artists' cinema by genre including, Landscape, Psychodrama, Identity Politics, Visual Music, Installed & Expanded Cinemas, and Animation. Touches on aspects of Asian and Western philosophy that resonate with cinema, art, perception and consciousness. From Diary of a Viewer, Part Three
Includes updates and revisions covering some work produced after the initial publication of this article in Illusions Magazine.

See also: Before Artists' Cinema

Bigaku atau estetika Jepang adalah unsur yang tak terpisahkan dari budaya jepang, begitu pula sebaliknya, konsep ini masih tertanam dan hidup dalam berbagai bidang kebudayaan masyarakat Jepang hingga saat ini. Di alam konsep bigaku sendiri memuat konsep-konsep lainnya, dan dalam penelitian ini akan dijabarkan konsep ma, mono no aware, dan wabi-sabi yang terdapat dalam salah satu Music video AKB48 yang berjudul "Juunen Zakura. Penelitian ini bertujuan untuk mengetahui apakah konsep ma, mono no aware, dan wabi-sabi hadir dalam Music video AKB48 tersebut dengan menggunakan teori estetik untuk menganalisisnya. Penelitian ini menggunakan metode kualitatif dikarenakan hasil penelitian ini disampaikan dalam bentuk uraian kata-kata atau penjabaran dari gambar-gambar yang menunjukkan bagaimana konsep estetika Jepang muncul dalam MV tersebut. Dari hasil analisis, unsur-unsur estetika Jepang secara sadar ataupun tidak, hadir dalam setiap elemen kehidupan masyarakat Jepang. Di dalam MV AKB48 yang berjudul "Juunen Zakura ini masih ditampilkan konsep ma, mono no aware, dan wabi-sabi sebagai bentuk dari estetika keindahan Jepang itu sendiri. Ketiganya saling tumpang-tindih hadir dan membentuk suatu keindahan yang dapat dilihat maupun dirasakan kehadirannya. Kehadiran ketiga konsep tersebut banyak direpresentasikan oleh keadaan dan kondisi alam.

Kata kunci : bigaku, ma, mono no aware, wabi-sabi

Craft is inherently linked to memory and time. This association is especially evident in several Japanese traditions and philosophies: The continual rebuilding of the Ise Jingu Shrine which inherently preserves traditional skills and knowledge required for its creation; the concept of wabi sabi where the beauty of modesty, weathering and decay is embraced; and the practice of kintsukuroi where broken pottery is visibly mended to celebrate and remember the moment of its breaking. These
practices all essentially preserve a specific type of memory, whether it is the preservation of craft memory through constant renewal, the accumulated effect of the passing of time, or the capturing of a specific event in time. The rebuilding of the Ise Jingu Shrine and the concept of wabi sabi will be explored further and with reference to the work of a number of contemporary South African architects who are either experimenting with the preservation of indigenous craft by incorporating it into their built works and designing for continuous renewal, or by crafting their buildings and details to specifically allow for weathering and appropriation by nature.

To navigate contemporaneity is to experience cacophony. Since the last century, with the domination of mass media in Western culture, individuals are constantly surrounded by images and have themselves become such, with social media and smartphones being pivotal tools for the acceleration of this process recently. Fashion, as an extremely visual medium, not only got transformed by it but also extended its logic of seduction to all spheres of society. In the postmodern world, a culture of simulation and constant stimulation is installed, relying on surfaces and appearances, often flattening experiences and limiting creativity. But, what could mean to metaphorically disappear inside this system? This work aims to discuss what could be the “aesthetics of silence” through an intersectional approach addressing media, aesthetics, and fashion, considering it a counter-movement to hegemonic ideals: a response for an image-saturated environment.

To develop a further understanding of this idea, I will bring the ideas introduced in the homonym essay of 1967 by Susan Sontag to the perspective of Fashion Studies. Additionally, it is also considered the influence and the similarities of this thought with the Japanese wabi-sabi sensibility that values the absence, reflection, and simplicity, much based on Zen principles. To illustrate it, I analyze the work of the designer Martin Margiela, that, by deconstructing the structures of the garments and their meanings - while keeping himself out of public view - challenged the establishment with a resonating silence. The same demystification that the first Italian top model Benedetta Barzini has sought through her path as a model and a political activist, as shown in the documentary “The Disappearance of My Mother” by her son Beniamino Barrese, and which will also be explored.

A practical unfolding of the theoretical research is presented at the end of this work in the form of an exhibition, taking into consideration the growing discipline of Fashion Curation, providing further visual and material context for the narrative herein and centering on the work of the fashion designers Martin Margiela and Rei Kawakubo (Comme des Garçons) and the career of Benedetta Barzini.

Kusursuzluk algısı insan duyularında bir şeylerin normal ve doğal olmadığı, bir şeylerin otantik olmadığı hissini uyandırır. Bu sebeple, kusursuzluk genellikle şüphe duygusu oluşturur. Sprezzatura, sûnî güzellik algısını bozan dengeleyici bir güç veya etki olarak düşünülebilir. Hedonizmin, varoluş krizi ve depresyona dönüşebildiği yaygın bir görüştür. 16. yy’da Rikyū’nun yapılandırdığı çay ritüeli yaşamı ve varoluşu algılamaya ve tefekküre yönelik bir felsefe üzerine kurulmuştur. Zen felsefesi üzerine yapılandırılmış bu ritüel bütünündeki dinginlik, Wabi Sabi ruhunda felsefi bir idrak, bir tefekkürdür. Doğayla ve varoluşla bütün sadeliğiyle bütünleşmeyi kapsayan Wabi Sabi, her türlü yapmacıklıktan ve zorlamadan uzak bir uyum gerektirir, bu yönüyle de sprezzatura ile benzerlikler gösterir. Basitlik, sadelik, mütevazılık, kusurluluk, otantiklik, asimetri gibi Wabi Sabi değerlerinin genel olarak varoluşsal gerçekliğin ifadeleri olduğunu ve sprezzatura ile benzerlik gösterdiğini söyleyebiliriz. Bu araştırma; Japon Wabi Sabi estetik anlayışı ile bir Rönesans sanatsal kavramı olan sprezzatura’yı üslup özellikleri, kökenleri ve felsefeleri bağlamında incelemektedir. Olgubilim modelinde yapılandırılan araştırmada, analiz yöntemi olarak kavramsal söylem analizi ve tarihsel içerik analizi kullanılmıştır. Araştırmada, ilişkili kavramlar olarak, Stoik felsefe, Janteloven ve minimalizm bağlantılı olarak incelenmiştir. Araştırma, Uzakdoğu felsefesinde önemli bir estetik anlayış olan Wabi Sabi’nin tamamıyla Batı estetik normlarından kopuk olmadığını, özellikle sprezzatura temelinde estetik ve felsefî bağlantılar içerdiğini ortaya koymaktadır.

Refletindo sobre uma sensação de leveza e dilatação da passagem temporal, a pesquisa elabora a expressão “tempo suspenso” e analisa de que maneira essa singular percepção pode ser transmutada em códices. Para sua compreensão, dialoga sobretudo com duas produções artísticas: Em busca do tempo perdido (1908–1922), de Marcel Proust, e A última tempestade (1991), de Peter Greenaway. A primeira foi escolhida por discutir uma sensação como estopim para a elaboração de uma poética. A segunda, por colocar o códice artesanal como receptáculo de um assunto. O campo formado pelas duas referências aglutina a temática levantada e representa princípios geradores e norteadores no desenvolvimento de uma sintaxe visual composta de referências históricas e formais da estrutura do códice. Ademais, para a compreensão da dilatação do tempo foram analisadas obras clássicas japonesas onde se encontram características próprias dos termos wabi-sabi e ma. Elas são a representação estética de um método no qual a práxis poética é um momento decisivo na estruturação do objeto final. A partir dos diálogos estabelecidos, foram realizados sete livros de artista, chamados de códices, cada um apresentado separadamente em capítulos formados por registros fotográficos e textos contextualizadores dos assuntos elaborados.


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Reflecting upon a soft and expanding sense of the passage of time, this research elaborates the term “suspended time”, analyzing how this singular perception is possibly transformed into codex art. It dialogues mainly with two artistic works for further comprehension: Marcel Proust’s In Search of Lost Time (1908-1922) and Peter Greenway’s Prospero’s Book (1991). The first one has been chosen for debating a sensation as the trigger for the elaboration of poetics. The second one for setting the handicraft codex as receptacle of a subject. The field formed by both works ties together the presented topic and represents the generative and guiding principles of a visual syntax made up of formal and historical references from the codex structure. Furthermore, in order to comprehend the expansion of time, classical Japanese works in which specific characteristics of the terms wabi-sabi and ma appear, have been analyzed. They are the aesthetic representation of a method in which the poetic praxis has a major role in the final object construction. Seven artists’ books named codex have been created out of the established discussion, each one is presented separately in chapters formed by photographic records and guiding texts about the formulated topics.

From my editor Thanos Kalamidas:
"Η Dr. Emine Koseoglu είναι φίλη και συνεργάτης για πολλά χρόνια και μου έχει δοθεί η ευκαιρία σε αυτά τα χρόνια να παρουσιάσω πολλές φορές τη δουλειά της που είναι πέρα από την αρχιτεκτονική αισθητική που έχουμε συνηθίσει.

Η Emine είναι ο αρχιτέκτονας ακαδημαϊκός που συνδυάζει τη φιλοσοφία, την εφαρμοσμένη τέχνη και το σεβασμό για το περιβάλλον σε όλη τη δουλειά της. Οι φωτογραφίες που θα δείτε έχουν όλα τα παραπάνω συν την αγάπη για τον άνθρωπο που την διακρίνει.

Για μένα είναι τιμή που παρουσιάζω αυτό το πολύ μικρό μέρος από τη δουλειά της, για πρώτη φορά σε ένα Ελληνικό κοινό.
Θάνος Καλαμίδας"

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Το συγκεκριμένο βιβλίο διατίθεται δωρεάν. Αν σας ζητηθεί οποιοδήποτε χρηματικό ποσό, παρακαλούμε επικοινωνήστε άμεσα μαζί μας

En este trabajo sobre el haiku japonés hemos profundizado sobre el género y sus conexiones con la filosofía del país y otras formas artísticas. Primero hemos visto su trasfondo budista y cómo el haiku aplica los conceptos de mono no aware, yugen y wabi-sabi. Luego, la relación que este tiene con el haiga y la caligrafía para finalmente tener seis poemas analizados en los que todo esto se muestra de forma práctica. Palabras clave: haiku, mono no aware, yugen, wabi-sabi, haijin.

Co-Autores: Alberto Bernet, Ruth Braza Cordero, Marta Del Río Ruiz, Víctor Guirao García, Candela Rivero Gutierrez, Antonio Segura Iniesta

La interpretación caliente tiene ya veinte años de trayectoria, y las motivaciones de los visitantes a la hora de visitar espacios de memoria traumática están cambiando. Muchas de estas motivaciones están relacionadas con los nuevos modos de vida: efímeros, rápidos y basados en el consumo; sin embargo, los lugares y el patrimonio asociado a aspectos negativos requieren de contacto, lentitud e inmaterialidad. Quizás el wabi-sabi pueda ayudar en este camino.

The hot performance is already twenty years old, and the motivations of visitors when it comes to visiting spaces of traumatic memory are changing. Many of these motivations are related to new ways of life: ephemeral, fast and based on consumption; However, the places and heritage associated with negative aspects require contact, slowness and immateriality. Perhaps the wabi-sabi can help on this way.

Photography and inspiration by Dr. Emine Koseoglu
Editor: Thanos Kalamidas

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Gli artefatti sono intrinsecamente destinati ad accompagnare la vita degli individui, contribuendo a palesarne l'identità. Sono entità vive e mutevoli, che possono cambiare dinamicamente il loro aspetto o perfino la loro funzione. Così come rughe, cicatrici o nèi costituiscono una testimonianza del passaggio del tempo e delle esperienze per l'uomo, analogamente usura, ingiallimento e difetti sono sintomatici dell'evoluzione e dell'unicità dell'artefatto. Le imperfezioni divengono elementi narrativi, che raccontano il vissuto specifico dell'artefatto, le sue peculiarità e l'uso che ne è stato fatto. Così l'imperfezione diviene un valore da ricercare, come era avvenuto in Oriente con l'influsso del wabi sabi, la "bellezza delle cose mutevoli, imperfette e temporanee". "Imperfetto" è assunto come sinonimo di reale, naturale, inevitabile, umano. Attribuire valore all'imperfezione significa progettare prodotti capaci di invecchi...

Forme radicale d'anciens verbes de japonais vernaculaire wabu et wabiru. Ceux-ci, associés aux sinogrammes 4 F 9 8 ou encore 8 A 6 B , signifient « se sentir attristé » ou « inquiet » d'être dans l'embarras, y compris matériel ; d'où les sens, aussi, de « miséreux », « misérable », ou « dépouillé », « dénué ». On peut déjà trouver ces verbes et leurs dérivés dans la poésie en japonais vernaculaire waka, ainsi dans le recueil Manyôshû, où les sentiments exprimés par ce lexique se seraient peu à peu chargés de valeur positive, valeur que l'on retrouve aussi par exemple chez Urabe Kenkô dans le Tsurezure-gusa (ainsi § 75). Toutefois, rien n'indique qu'on ait déjà là de véritables concepts thématiques ou critiques identifiés comme tels ; il s'agit plutôt d'un champ lexico-thématique, éventuellement un topos. C'est en fait à compter du XVII e siècle que l'usage de la forme substantivée tend à fixer autour d'elle des discussions autour d'une véritable notion, esthétique, éthique et philosophique. Entre ces deux moments, c'est une histoire en filigranes, qui a fait naître un débat toujours ouvert.

In occasione dell’UNESCO World Day for Cultural Diversity for Dialogue and Development (21 maggio 2021) e dello United Nations International Day for Biological Diversity (22 maggio 2021), e alla luce della drammatica lezione del Covid-19, il Convegno Diversità culturale e biodiversità: la questione del cibo, organizzato dalle università Roma Tre e Tor Vergata, Ministero dell'Istruzione e Commissione nazionale italiana per l'UNESCO, pone l’attenzione sul rapporto tra diversità culturali e biologiche a partire dalla questione del cibo, inteso anche come espressione culturale.

Il convegno è organizzato da Corso di laurea in Scienze e Culture Enogastronomiche – Università di Roma Tre e corso di laurea in Turismo Enogastronomico – Università di Roma Tor Vergata. L'evento si è svolto con la media partnership di Rai Cultura e Rai Scuola e con il sostegno di Inschibboleth e Confronti.

Den här texten önskar lansera begreppet ”Efterblivelser”. Ett begrepp som definierar den estetik som uppstår genom de restprodukter som lämnas kvar i en auktionsmiljö. En miljö kopplad till en värld som upphöjer och dikterar konstnärliga värden. Efterblivelsen växer fram ur de föremål som saknar prisnotering och upphovsman, uppstår i det imperfekta och skapar tillfälle för reflektion.

"Residues"
This text wishes to launch a concept that defines the aesthetics created by the residues left behind in an auction environment. An environment connected to an art world that glorifies and dictates artistic values. The remnants, residuals, afterbirth if you will, arise via objects that lack pricetag or creator, emerges through the imperfect and creates an opportunity for reflection.

Websites dealing with a global commodity such as music targeted at a global community of users often have to cross geographical and cultural boundaries of space and time. To become globally recognized, one such website - Muziboo.com, which provides a dedicated platform for upcoming musicians to upload their music and receive feedback, needed redesign. Redesigning this website catering to users across cultures would necessitate employing much more than conventional usability methods. It needs to follow the analysis of the total web experience of sites such as Youtube, MySpace and Facebook, wherein the users participate in content-creation as they would in Muziboo.com, despite some of these websites often not conforming fully to proven usability guidelines. Hence, for the redesign exercise, a much more flexible approach had to be undertaken. This book highlights the methodology and process of redesigning the Indian-based website Muziboo.com, taking into account the users located outside India. It became important to consider the needs, usage patterns and behaviours of a heterogeneous user base, bringing to the fore the importance of cross-cultural issues in usability.