AI Creates Everyone's School Songs!

■ AI Creates Everyone's School Songs!

The “Super School Song” project, a joint research endeavor between BLab and RIKEN AIP, has launched. 

AI will develop models for school song, which can be adopted as official school anthems from the elementary to university levels or used to arrange existing school songs. 

https://lp.blaboratory.org/choukouka

School songs have successfully grown to be a unique aspect of Japanese school culture. Their origin is said to be part of the educational reforms of the Meiji government, introduced to unify values and ideologies, and later spread as “songs of the locals.” 

In the Reiwa era (2019 onward), a century later, we explore the variety of school songs we want to hear and sing.

iU will adopt AI-generated music as its school song. 

Although there are already school songs like, “Let's Go iU" by Shōnen Knife, this will serve as the new school anthem.

https://www.youtube.com/watch?v=Bwe_zUKU4Yg

The project will also study the issue of copyright related to AI-generated works. 

The government and the Intellectual Property Headquarters previously debated the rights to AI-generated works for two years, getting ahead of the rest of the world in this discussion, but it was postponed without conclusion. 

With the reality of AI now emerging, it's time to raise these issues.

RIKEN AIP is responsible for development of the AI music generation and a comprehensive school song mapping and arrangement system.

BLab will be coordinating the research concept and public awareness to involve schools nationwide, including joint examination of copyright for AI-generated content.

RIKEN AIP, headed by Professor Masashi Sugiyama at the University of Tokyo, is a leading center for AI research in Japan, and I serve as the coordinator. 

The project is led by Team Leader Masatoshi Hamanaka, who studies the “Generative Theory of Tonal Music (GTTM)." 

It was also recently announced that Tetsuya Komuro will be taking up the post as visiting principal researcher.

BLab is iU's research institute, directed by Nanako Ishido. 

Beyond, Borderless, Breakthrough.

This is a participatory platform that connects universities, research institutes, regions, and talent worldwide, leveraging everyone's knowledge and skills to create technology, services, content, business, and society.

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Addressing the Theme of "Culture × Economy"

■ Addressing the Theme of "Culture × Economy"

A new Cultural Economy Subcommittee has been established within the Agency for Cultural Affair’s Council for Cultural Affairs, aiming for a harmonious cycle between culture and the economy. The integration of economic principles into cultural policy introduces fresh perspectives into the cultural and artistic community.

The globalization of museums and art galleries is a hot topic. 

While it is common for cities like Paris, London, and New York to feature museums as main tourist attractions, how many tourists are actually coming to Japan with the goal of visiting art museums.

In terms of cultural policy, France and South Korea stand out. Both countries lead with government-driven initiatives and significant funding. 

Japan should also prioritize its policies more highly and invest accordingly. 

However, while France focuses on high culture and inbound ventures, South Korea emphasizes pop culture and outbound strategies. 

The strategies may differ, Japan would likely benefit from adopting a South Korea-like approach.

I strongly advocate for expanding the scope of cultural arts, moving from the conventional thought of art = high culture to encompassing pop culture and digital user-generated content (UGC) within the political realm. Although approaches to these political measures may vary, policy aims should be developed while considering the overall portfolio at large which align with national objectives.

Japan's global cultural footprint is overwhelmingly dominated by anime and games,  with Japanese culture being known through these. 

One of the most renowned artists is Hatsune Miku, born from digital UGC, targeting not the affluent but a broader audience. 

This reality must have an influence on decided political measures.

From the West and Asia to the Islamic world and Africa, and excluding Disney, Japanese anime and games are common topics among the global youth in respect to their cultural impact. 

If you ask for names of known Japanese artists, the answers are likely to be anime and game creators and video game composers. 

Policies should be drafted with this recognition in mind.

Researchers around the world, particularly those studying otaku (nerd) cultures, have noted that Japanese pop culture have transcended racial, religious, and political boundaries, fostering global harmony. 

We should recognize and value this asset.

This claim was accepted, broadening the scope to cover cultural policy and discussing it in the context of soft power and solving global issues.

The report highlights talent development and retention as key challenges. 

The issue isn't in production, as people are being trained, but there's a lack of individuals who can produce, manage, and promote these cultural products.

This has been a longstanding concern noted by the Intellectual Property Headquarters and the Ministry of Economy, Trade, and Industry, indicating a need for harmonious policy efforts.

Thus, the challenge has evolved beyond merely enhancing art and film schools, to how departments of economics and MBA courses can engage with the cultural industry. Strategic consideration must be given to identifying the intended audience of this report.

Design thinking has now become widely recognized among those at the management level.

Moreover, "art thinking" and "art management" have emerged as buzzwords in the business world. 

Magazines are even featuring articles on why global business leaders should study art. The goal is to refine these policies to the point of gaining agreement and endorsement from those in the management field.

This also emphasizes the importance of improved understanding and enhanced response by the Ministry of Education, Culture, Sports, Science and Technology, foreign embassies, and related organizations.

 Consequently, this leads to discussions on how law and economics departments can integrate design and art into their curricula, or the extent to how many designers and artists should be employed.

This area requires a shift in policy thinking.

The policy of "Cultural Economy" is still nascent and just about to take off. 

These thoughts shared by cultural and arts experts alone lacks the reach needed. It is vital that those outside these circles recognize its importance. 

The biggest challenge will be the promotion of these policies.

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Book Review: Human Rights and the State

■ Book Review: Human Rights and the State

Written by Kiyoteru Tsutsui, Professor at the Stanford University Shorenstein Asia-Pacific Research Center (APARC), "Human Rights and the State" delves into the paradox of international politics that allowed the development of a human rights system constraining state power.

● During World War II, out of the 50 to 80 million casualties, 40 to 50 million were civilians.

● At that time, while the U.S. (Japanese internment), Britain (colonial response), and the USSR (Stalinist oppression) were involved, China was the most committed to human rights.

→ The cruelty towards civilians and the position from which state powers stood shows that neither the West nor the East has been consistent, and even today, there is no firm doctrine.

● After 9/11, the U.S. invasion of Iraq proceeded without a UN resolution.

● The U.S. justified the abuses at Guantánamo Bay and Abu Ghraib prisons in Iraq.

→ My frustration stems from still not being able to digest this.

Twenty years ago, Japan, which supported America, now questions the legitimacy of condemning Russia.

Russia faces sanctions for its invasion of Ukraine.

Iraq bore the brunt of America's invasion of Iraq.

Syria was blamed for Russia's intervention in the Syrian civil war.

Palestine bore the consequences of Israel's invasion.

Iraq was responsible for its 1991 invasion of Kuwait.

How can we properly explain the justice and legitimacy of each situation?

It's beyond my capacity.

Looking forward, if Japan were invaded, depending on its positions and power relations, it might also end up being blamed without being saved.

This makes me inclined to listen to the criticisms by the Middle Eastern that the West's attitude in this matter is a double standard.

● Russia has experience and know-how in top-down oppression, but the backlash against human rights and divisiveness from the grassroots in America are challenging to address.

→ What concerns me is grassroots oppression in Japan. A state prevails where intolerance hangs in the air, and oppression of others is seen as justice.

It was brought to my attention that in previous wars, there were citizens who wished for war and were enthusiastic about invasions, along with surveillance and oppression among the people.

To understand this current conflict, we must ask ourselves if we have improved at all?

What should we be learning from this situation?

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Intellectual Property Plan, Deliberations in Final Stages.

■ Intellectual Property Plan, Deliberations in Final Stages.

The Intellectual Property Headquarters Concept Committee has discussed the intellectual property plan.

Three comments are made:

1. Overall Scope

The focus on data utilization rules and supports such as the metaverse/NFTs will be well-received.

Particularly, the latter is not yet firmly established in policy, but it is important to recognize it as a key issue. We want to adopt a proactive approach in anticipation of these supports becoming a global theme.

2. Content Strategy

The societal digital transformation accelerated by COVID-19 presents both a significant opportunity and a substantial shift for content creation. It is important to recognize that we are now at a turning point rather than merely an extension of the past. Three key points are:

1) How to deal with investments from Chinese IT companies in Japan, alongside addressing the dominance of American platforms from Big Tech.

2) How to incorporate emerging technologies such as the metaverse and NFTs into policy discussions.

3) There are likely structural changes and regulatory shifts in the broadcasting industry, provided the ongoing discussions within the Ministry of Internal Affairs and Communications. It is crucial to consider how these changes affect the content creation side.

These issues require a peculiar strategic approach rather than traditional copyright handling or international expansion.

How we hand these within the ongoing discussions will be crucial.

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BS Yoshimoto = Sumida Media Lab Open!

■ BS Yoshimoto = Sumida Media Lab Open!

The IU Film Studio "Sumida Media Lab" has opened on the IU campus.

It operates in collaboration with the broadcasting station "BS Yoshimoto." 

This studio produces and broadcasts/distributes programs and video content in a large-scale shooting and streaming studio, thus equipping the university for content creation.

"BS Yoshimoto" is based on the concept of "regional revitalization," featuring comedians living nationwide, YouTubers working in various regions, film directors, journalists, and local residents to broadcast programs like local attractions or news that offer hints for revitalizing areas and solving regional issues.

Through the national broadcast network, this station will become one venture that aims to create channels with the goal of "one broadcast, one business started," where programs generate new businesses and employment opportunities. 

"We've emulated IU's 'everyone an entrepreneur,' motto" says Yoshimoto's chairman Osaki. 

This is a challenge to create a broadcasting station that generates business without depending on advertisers.

BS Yoshimoto is primarily owned by Yoshimoto Kogyo, but it is also a digital consortium with capital investment from UUUM, J-Stream, Transcosmos, and Mixi. 

It aims to go beyond broadcasting and communication convergence to offer data-driven services that blend virtual and real elements.

IU will utilize this facility to the fullest for education and research.

1.　To be leveraged for a creative educational approach.

Students will be involved in video production and distribution, and it will serve as a tool for entrepreneurship related to regional revitalization.

IU's research institute "B Lab" will also be integrated to use it as a platform for broadcasting joint research with industry-academia collaboration.

2. To create university-centered content.

Web, YouTube, Twitter, Facebook, Instagram, TikTok...

While IU is already promoting itself through various media, by having its own studio, broadcast station, and also setting up a physical base, it aims to demonstrate a model where "the university becomes the media."

Shōnen Knife became famous worldwide when they topped the charts for colleges on a U.S. college-based FM radio station. This goes to show that college broadcast stations have impact.

FM Tokyo was created by Tokai University. Radiko is a project started by my lab at Keio University. There aren't many other university-originated media in Japan yet.

3. To serve as a regional collaboration hub.

The studio is located on university grounds, adjacent to a vast vacant grass lot.

We're keeping the area open without fencing, accessible to everyone.

The Chiba University Department of Architectural Design is also adjacent for shared use.

We plan to use the entire area to launch events like festivals and markets.

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Jen Perry "Raincoats".

 ■ Jen Perry "Raincoats".

The Japanese translation for a four-year-old book, written about the 1979 debut in the UK of an all-girls band, was published at the end of 2021.

This is what I consider and revere, alongside PiL, as punk.

The full album is available to listen on YouTube, so please at least give the first track a chance.

https://www.youtube.com/watch?v=pQlX3jgAbvc

Go Punk. This is my topic.

I define "punk" as "destroy to create."

It's about overturning history, tradition, and lineage to create something new.

It involves breaking style, fashion, legitimacy, and common sense to build anew on what remains.

Once what's been overturned to create anew has then become stylized and fashionable, it's no longer punk; it turns into a target to make punk.

That's why punk is hard to sustain.

The punk music born after the start of punk is like enka (a traditional-style of Japanese popular ballads), and punk fashion is the traditional dress accompanying it.

The Raincoats were punk only up to their second album in 1981, as was PiL. Which is just enough.

The Raincoats. Drums, guitar, bass, violin, vocals.

Each part is independent in their own free spirited way, yet synchronizes.

Precariously delicate, suddenly fierce, and screaming.

One part rushes while another loosens up, playing with dissonance, achieving unity.

It miraculously works.

Dressed in plain everyday clothes, their sound is the true essence of being completely exposed.

Giving the soul a straightforward ride in a distorted, non-linear way.

Wild and minimal, opposite of pretentious artistry.

That’s why conventional rock fans and critics often harshly criticize it.

This is punk.

Oddly unique and standing apart.

Yet neither soaring at the pinnacle nor incomprehensible, but popular.

An irreplaceable presence gleaming in the rich nook of our world.

Perhaps it makes sense if I compare it to Henri Rousseau's paintings, Tsuge Tadao's manga, Ichiyo Higuchi's novels, or Pasolini's films.

Guitar (Ana da Silva) from Madeira, Portugal.

Bass (Gina Birch) from Andalusia, Spain.

Drums (Palmolive) from Nottingham, UK.

Violin (Vicky Aspinall) from South Africa.

Although I have no interest in the political aspect conducted by these girls from the countryside, the music they create is very much universal.

The all-girls lineup was only for the first album in 1979; from the second in 1981, a man joined on drums, changing the dynamic.

In the meantime, in 1980, John Lydon of PiL declared, “Rock’n’roll is shit … music has reached an all-time low – except for The Raincoats.”

PiL and The Raincoats were both making waves in London at the same time.

I, too, took in that atmosphere in London.

This book also serves as a mirror reflecting my youth.

In 1981, I raised my hand for an initiative by the Kyoto Yamashiro Lions Club, chaired by the president of Fukujuen’s Iemon, Mr. Fukui, and went on a short study abroad trip to the UK.

Amidst the light and shadow of London, turbulent due to the "British disease," yet energetic for the Royal Wedding, I walked the streets listening to PiL and The Raincoats on the first model Walkman.

That winter, upon my return, Shōnen Knife was formed.

Kurt Cobain of Nirvana loved both Shōnen Knife and The Raincoats.

In 1992, Nirvana and Shōnen Knife toured the UK together.

That same year, The Raincoats were also scheduled to tour the UK with them.

Just a week before the tour began, Kurt Cobain committed suicide with a shotgun.

During the summer of 1981 in London, I eagerly bought up singles from Rough Trade Records discussed in this book.

Cabaret Voltaire, Peru Ubu, Kleenex, The Pop Group, Young Marble Giants, The Slits.

And Scritti Politti, treated much like The Raincoats’ group.

https://www.youtube.com/watch?v=fn4HC2Dfm_k

Scritti Politti became a popular, rhythmic pop band in the 1980s, but they were a punk band only with their 1979 singles.

Their 16mm films of that era still remain on YouTube.

I bought those two singles seen in the below footage; they are so precious to me.

https://www.youtube.com/watch?v=fn4HC2Dfm_k

The reason I’m recounting my story from 40 years ago is that there hasn't been a musical impact that surpasses that era.

Alternative, grunge, hip-hop. J-POP, K-POP.

Even though rock has evolved since then, I remain frozen in the moment of 1979-1981.

Perhaps it was a blessing to have been showered in such profound influence during a sensitive period.

As punk, such as The Raincoats, is revisited on its 40th anniversary, one wonders why this book now.

Perhaps it’s because contemporaries like myself are aging and reaching our final years.

Punk emerged 30–40 years after rock's genesis, when expression had become saturated.

Now, 40 years later, have we reached another impasse? Is that why there’s a reassessment?

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A new fusion of content and media

■A new fusion of content and media

Content policy began in the 90s, and the Agency for Cultural Affairs, the Ministry of Economy, Trade and Industry, and the Ministry of Internal Affairs and Communications handled it in a disorganized way, but an IP Division was established in 2003, leading to horizontal control.

In the 2010s, transformation to digital became a major talking point.

Our response was delayed compared to overseas, but in the past few years, the shift in the industry has become clear, and results are showing.

However, before we even noticed, overseas IT media has become a threat, in the form of piracy for manga, overseas distribution such as Netflix for anime, cloud-based games such as Google, and moving to platforms such as Spotify for music.

Also, countermeasures differ depending on the genre, such as anti-piracy measures for manga, development of new areas such as e-sports for games, and copyright processing rules for music.

National policies are also individual and small, and no comprehensive policy can be found. Measures across genres that collaborate with other fields are important.

As discussed in the Cool Japan Strategy, cooperation with other industries such as food, fashion, and tourism will also become important.

That is, “fusion” is an important issue. 

On the other hand, media policy entered the digital age in the 80s after a clash between computer policy from the Ministry of International Trade and Industry and communications policy from the Ministry of Posts and Telecommunications, and the development of the Internet was a topic of discussion in the 90s, as was the development of terrestrial digital broadcasting in the 2000s.

After the reform and deregulation of the communications and broadcasting legal system in the Koizumi administration, “fusion” became an important theme.

Simultaneous distribution of television has finally recently become a reality, over 10 years behind other countries, and the Copyright Act has also been amended.

It looks as if it has been settled.

However, in this respect as well, before we knew it, in addition to the Big Four, Netflix and Disney came to pin down the world in the media market.

The fusion of communications and broadcasting had ended.

We have shifted to a theme of all-IP and all-cloud, and data and AI play the main role in business.

The majority of advertisements will be targeted advertisements made using data and AI, game consoles will become unnecessary due to the cloud, and broadcasting will be done over 5G.

I see no strategy that considers these comprehensively.

Overseas players will develop roll out data businesses in a borderless way, both for content and for media.

Chinese capital looks poised to make serious moves.

This capital is also being invested in Japanese content.

How will Japanese players deal with this? Sink or swim?

Previously, content and media, software and hardware were one and the same.

Equipment manufacturers made music records, and game console companies produced content as platform holders.

However, there have recently been many cases where the hardware and software industries are opposed to each other, whether it be for audio recording royalties or anti-piracy measures.

Fusion of the two is an issue as well.

Examining genres separately and individual policies such as copyright will no longer yield the best solution.

I want a perspective across both content and media.

We will need to fuse IP policy and IT policy and propose cultural industrial policy.

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