The CiP Digital Special Zone ”Digital and Contents”

The CiP (Contents Innovation Program) is a plan to construct a digital and content zone in the bay area of Minato Ward, Tokyo. Here is the second part of the launch announcement. It concerns the fields targeted by the CiP.

2)Digital and Content

Japan’s AV culture, which is represented by comics, animation, games, and J-Pop, composes one wing of global pop culture. Focusing on these areas is a given for a digital and content accumulation base. No explanation is required in enhancing production functions, cooperation, and transmission.

However, these will not necessarily play a leading role in 2020 content.

These fields have changed completely in the past five years. It’s “smartification.” Devices went from TVs, PCs, and cell phones, to smartphones, electronic signage, and other multiple screens. From packages to networks, as well as cloud migration, the world has become one marketplace. Social media service growth is striking.

The content business has become a borderless business due to multiple windows and the cloud. Spearheaded by overseas distribution of animation, the connection between live music performance evolution, the export of broadcast programs, food, fashion, and so on, is garnering attention. With social services, participatory communities formed, social games became one great industry, and everyone is creating content.

The three components of device, network, and service manifested in multiple screens, the cloud, and social media. Japan missed the bus to these global phenomena; however, we should not chase after it, but set our sights on the following stage.

The curtain is opening on the next act.

We must consider the new device environment that overtakes multiple screens. Square screens were overtaken by wearables and computers, which have become the norm. With 3D printers, content is becoming not more flat but more three-dimensional, not focusing on images but on objects. M2M (Machine to Machine) and the IoT (Internet of Things) are advancing. Cars, consumer electronics, and robots all connect to these through transmissions. Computers are embedded in all things, and all things are media.

The next generation of the cloud network will be constructed. Big data will be shared through the 5G communications network, A.I. will be enclosed therein, and networks will process work that is beyond people. No matter where you go in a city, even if your devices are turned off, it will be a ubiquitous computing environment where information passes before your eyes. Media will be minutely embedded in secure information cities.

Services will also leap forward. This does not only pertain to future content and social media.

 E-commerce has grown to account for 5% of all retail sales, but there is no doubt that it will expand into the remaining 95% to become the heart of lifestyle and economics. A good portion of education will become content, and much of medical care will be digitized. In the 2020’s about ⅕ of the cost of education, which climbs to ¥20 trillion annually, will be invested in the digital marketplace. What percentage of the ¥30 trillion medical care cost will be similarly invested?

The administration also affirms these things. The open data that that makes administrative affairs into content is advancing. The total annual budget of local governments is ¥80 trillion. What degree of it will be digitized? There is the latent potential for it to be a great sum. As communication and community progress, new services will continue to unfold.

The prospective view of the CiP considers that kind of era, that kind of situation. We want to provide such devices, networks, and services for the 2020’s.


The CiP Digital Special Zone “Creative Force and Digital Elements”

The CiP (Contents Innovation Program) is a plan to construct a digital and content zone in the bay area of Minato Ward, Tokyo.
Keio University is participating in Tokyo land project management along with Tokyu Land Corporation and Kajima Corporation.
The plan has been: establish our nucleus, the “CiP Association”; advance research and development; cultivate human resources; support business startups; enact business matching; and open the zone in 2020 just prior to the Tokyo Olympics and Paralympics.

The launch announcements are divided into five parts: 1) creative force and digital elements, 2) digital and content, 3) a 4-function hub, 4) R&D and human resource cultivation, 5) a business base and government cooperation.

1) Creative Force and Digital Elements

Over 100 years after the introduction of the Meiji era slogan, “enrich the country, strengthen the military,” Japan lost the war and shut down its military fortification.  It then vigorously strived towards a national enrichment policy of industrial development. This achieved success as a marvel of Asia, and at the start of the 1990’s, Japan was considered the most internationally competitive country in the world.

However, in the following 10 years it fell to 20th place, and did not escape this tunnel in the 15 years thereafter. The vivacity of that national enrichment initiative faded. Still, the Japan after “enrich the country, strengthen the military” retains honor. It shines as a major cultural power.

Japanese pop culture can boast of high global popularity: the content digitally sent overseas verify Japan’s creative power. Pop culture bolsters traditional culture,  classical theater, etc. Also, Japan’s 70 years of postwar pacifism, the order and etiquette displayed in the 3/11 Tohoku earthquake disaster, etc., altogether exhibit what is known in international political theory as “soft power.”

Of course, the technological strength and craftsmanship cultivated by the business world did not vanish. Those tangible strengths and the intangible strength of content and the like are comprehensively the resources of modern Japan.

 ”Which country is most creative?” Adobe Systems Inc. surveyed advanced major countries, giving Britain 9%, France 11%, and Germany 12%. The US received 26%, while Japan towered above all these with a leading 36%. Similarly, in their survey of the “most creative city,” Berlin received 7%, London 8% Paris 15%, NYC 21%, and Tokyo 30%. The world recognizes the creative might of Tokyo and Japan.

However, the survey also asked, “Is your own country creative?” Japan was overwhelmingly at the bottom. We do not realize our own creativity. Surely we are not fully demonstrating our power.
In the Tokyo Olympics fifty years ago, Japan displayed growth and revival. What kind of showing will Tokyo and Japan make in the next Olympics and Paralympics?

Digital will be the main indicator of advancement in the new age. The universe and oceans, biotechnology, nanotechnology, and virtual realms have emerged as humanity’s final frontiers. The digital sphere, which composes the virtual realm -- namely IT (information technology) and content (expression) -- also has much room to grow and develop. Further, Japan has already shown its strength on these technological and expressive fronts.

For about the past ten years, the government has been championing a content foundation and Cool Japan, anticipating the content industry’s growth. Japanese pop culture took hold overseas with comics, animation, and games. However, it has not achieved sufficient results as an industry. For several years the content marketplace has been stagnating with a foreign industrial sales percentage greatly inferior to that of the US.

We should make a concentrated investment in digital and content fields and put effort into overseas expansion.

The CiP composes plans to construct a digital and content industry accumulation zone in Takeshiba, Minato Ward, Tokyo. C - Contents, i - innovation, P - Program. We will reinvent society with content. Or perhaps C - Creative, i - innovative, P - Pop. We will gather domestic and foreign resources, make a concentrated investment, and become the place to produce and disseminate new industrial culture.

That said, we do not aim to be Hollywood or Silicon Valley. The strength of such places is their concentration of the foremost artists, geeks, and business elite. In contrast, in addition to advanced technological and expressive might, Japan possesses many punctual and industrious workers. Furthermore, it is an industrial cultural power of chaotic participation, production, and consumption, including the comic market, Niconico video, karaoke, cosplay, mascot characters, B-class gourmet, and more. We will leverage this to become a breeder reactor.


The CiP Digital National Strategic Special Zone

The CiP (Contents Innovation Program) is a project to create a special zone for digital accumulation in Takeshiba, Minato Ward, Tokyo. The incorporated body that is the nucleus, the CiP Convention, was launched last year.
I assumed position as board chairman, and am beginning to establish related businesses, organizations, communications activity, broadcasting, music, animation, games, systems, trading companies, advertisements, publications, schools, and venture capital.
The zone will open in 2020. The prime minister has already authorized this National Strategic Special Zone.

The CiP focuses on research and development, human resource cultivation, business startup support, and business matching. It intends to create technology and cultivate human potential, actualize these in industry and livelihood, and expand business globally. It will research the resulting projects. I would like to depict the shape of that cycle. It is a production cycle of research and development, human resource cultivation, business startups, and business matching.

This digital and conceptual post-2020 zone will be a compact cluster that produces business, education, and culture. Tokyo Bay will be its front door, and it will directly connect with Haneda Airport, a doorway to the sky. We want to make use of the sea and sky in creating this special zone, and make a concentrated investment in technology and design resources. In this 1.5ha (161459 sq. ft.) space we will construct a 39-floor business building area, and provision a 8,000 m² (86111 sq. ft.) joint-use facility with laboratories, studios, and more. We want to utilize the surrounding area to form a business fusion space.

We wish to become the Tokyo hub that connects every city. As we turn to and advance toward the Olympics, digital will be the redevelopment key for every place. We wish to connect these places. We intend to link Sapporo, Kyoto, Fukuoka, and Okinawa, which are putting strength into modernization. Boston and west coast universities, London research facilities, Parisian events, projects in Singapore, Seoul incubation facilities...we want to become the hub of all these.

It will be a copyright special zone, a radio wave special zone, an electronic signage special zone, a robotics special zone, and a superhuman sports special zone. We want to include visionary businesses that were not possible until now.
It is a great battle.

Many projects have already begun. Most are cooperations with the advancements of other organizations, but we also intend to ignite a chemical reaction by becoming the hub of these projects.


How to Deal with the TPP Copyright Provisions

I am evaluating the TPP, but I do have great concerns about its copyright provisions.

The TPP copyright chapter establishes protection period extension and removes the requirement for a formal complaint from the holder for prosecution. The US desires both, and both signify increased protections for providers. This correlates to a reduction in user rights.

Japan had built a copyright system that struck a balance between users and providers. Compared to the US and others, its structure thoroughly considered the benefits to users and consumers. This will crumble.

We can conversely take the perspective that the decision benefits holders, but the crumbling of the provision and use ecosystem also correlates to long-term cultural weakening. Is this even truly good news for providers? A calm analysis is required. And what kind of domestic regulations can deal with this crumbling balance? It is a serious situation.

Up to now, I have asserted that the lack of a formal complaint requirement for prosecution is more critical than copyright term extension. It means that even if the copyright holder does not prosecute the person who committed illegalities, law enforcement authorities will crack down on the criminal by their own determination. 

The copyright term extension would mean that comics, animation, and games sold currently would become available for public use 50 years after their authors have passed away, which is of little use to creators in the present and benefits the US business world, where older works sell readily. In either case, the consumer gains nothing. Nevertheless, there is not much economical impact.

On the other hand, disallowing laws that require a formal complaint from the victim is a thing that has sustained Japanese pop culture through the implicit fertile breeding ground of shared culture between pros and amateurs, and if we consider this reality, I decided that destroying that ecosystem is a fundamental problem.

Regarding the TPP and disallowing requirement of formal victim complaints, certain forethought was also incorporated but, now then, how can domestic system safeguards be provided?

Recently a meeting was held at the Office of the Prime Minister. Aside from Prime Minister Abe, also in attendance were Cabinet Minister Aiko Shimajiri of Information Technology Policy and Cabinet Minister Hiroshi Hase of Education, Culture, Sports, Science and Technology. Concerning copyright, they declared that they would act so as to avoid the atrophy of derivative works.
I was also in attendance, but I was surprised by this unanticipated statement. It revealed that the government had earnestly grappled with the TPP IP negotiations and come to weighty decisions.
Conversely, consideration of this matter had already begun at an Agency for Cultural Affairs copyright council, and we also discussed our course of action hereafter at the IP (Intellectual Property) HQ committee of which I am chairman.

Discussion is not limited to safeguards; dynamic discussions of systems and policies are also sought. With this decision as the impetus, I want to develop even larger institutional IP theories.