Where is NHK Heading?

■ Where is NHK Heading?

We spoke at the "Where is NHK Heading?" forum. 

This involved a discussion centered around NHK's management plan.

Japanese TV is weakening. It is 15 years behind in its digital compatibility, a classic case of digital defeat. 

The internet is dominated not only by Big Tech like Netflix and Disney, but also by Chinese companies like Tencent. 

While BBC operates 10 domestic TV channels and 3 international channels, and China's CCTV has 20 channels plus 5 in foreign languages, how does NHK fare? 

We need to consider how NHK catch onto both digital trends and global outreach.

Discussing a dual system for uniformly excellent domestic programming makes it seem like we are debating the merits of the Meiji era's feudal system of the shogunate and domains. 

NHK's budget of 700 billion yen should not be considered just within the 4 trillion yen broadcasting framework, but within Japan's 70 trillion yen information market.

Currently, there is no clear vision or outlook for what NHK should be or where it should end up. 

Thus, discussions tend to focus on minor issues like whether to reduce the number of broadcast waves or slightly decrease fees. 

We need to think about how to position NHK within the broader digital media landscape, including the internet.

Does NHK want to be like the BBC or CCTV, or does it want to change from the H in NHK (Nippon Hoso Kyokai), where H means broadcast in Japanese, into something like the Japan Media Association or Japan Digital Association? 

These are discussions worth having. 

I have scribbled down a rough reform proposal. 

NHK Media Holdings can be divided into three sectors: hardware, software, and a lab. 

Hardware, software, and contents should be managed as intellectual property for all programs, which would then be distributed by the hardware network. 

Everything would be managed in the cloud, including data collection.

Broadcasting can be done using just a few channels, while the internet should stream news, education, drama, and other content on dozens of channels. This will be similar to China’s CCTV, where specialized channels can be internationally broadcasted. 

Core operations can be funded by the NHK’s standard license fee up to this point. 

This approach might even allow the usual license fee to be halved or allow for funding reallocation towards production costs.

Other network operations could include paid on-demand services and the metaverse.

NHK could build a metaverse where e-commerce and advertising strategies could be deployed.

The lab will be a technology and cultural research institute of great value. 

I would love to see it leverage its competitive edge by collaborating with corporations and universities.

Japan has traditionally maintained a unified broadcast model aligning hardware and software. 

The UK, including both BBC and commercial broadcasters, has moved towards a separation of hardware and software for all management to take place in the cloud. 

There are rumors that the BBC might end its broadcast signal output, and the discussions for abolishing its license fee system are dynamic.

The playing field has already changed. 

The convergence of communications and broadcasting has wrapped up. 

News that advertising revenues of six trillion yen and internet revenues of 2.7 trillion yen have surpassed the 2.5 trillion yen from four traditional media types illustrates a market that grew from zero to 2.7 trillion yen in 30 years. 

Although Japan failed to seize this market.

How we perceive what’s happening now will affect the strategies going forward. Is it an era of peace or wartime? Are we on a continuum or at a turning point? I see it as a turning point during times of war. 

The digital transformation during COVID-19 made us recognize this failure to seize the digital market, but it's unclear what will happen with television broadcasting. 

In Ukraine, amidst fake news and cyber-attacks where digital platforms are the main battleground, what are broadcasters doing in response?

The question of what to do with NHK might best be approached by planning as if in hindsight and asking ourselves how we would design NHK if it did not exist.

Rather than criticizing NHK, I want discussion veered towards an expansion of the information space that includes NHK and broadcasting as a whole.

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3D Urban Model × Urban DX

■3D Urban Model × Urban DX

We presented at the "3D Urban Model × Urban DX" event. 

The CiP Council, responsible for new urban developments at the intersection between the real and virtual world, initiated a plan in 2013 to create a digital agglomeration special zone spanning 20 hectares in Tokyo's Takeshiba area, which was officially opened in 2020. 

The plan involved fully implementing cutting-edge technologies. 

Numerous robots are put to work here, and telexistence jobs can also be done. 

Over 1000 sensors embedded about to collect and utilize data, and this information is displayed on digital signage boards. 

There is no other example of a smart building operating on such an integrated scale worldwide.

However, the advent of COVID-19 changed everything. 

As we were pushing for aggregation, COVID-19 demanded decentralization.

We need to create a new balance between centralization and decentralization, a "New Normal" that is more appealing than the pre-COVID environment. 

Just as the Renaissance emerged after the 14th century plague, we must consider what will be revived after COVID-19. 

This is the pending issue that has been posed upon CiP. 

The plan is to connect the areas from Takeshiba to Toyosu, Harumi, Odaiba, and around Haneda in a comprehensive manner via rail, cars, bicycles, boats, drones, and digital means. 

As tech and pop hubs are being planned in various locations, we aim to advance the creation of a connected “PopTech archipelago,” and we are progressing collaborative measures with Nagoya, Kyoto, and other cities, as well as international partnerships with Seoul, Barcelona, and Shanghai. 

Simultaneously, the challenge is to shift from horizontal to vertical expansions, with implementation of the metaverse and digital twin models.

Subsequent questions:

What’s possible with digital twin models?

There have been reports about the creation of a government-in-exile for Ukraine, while Estonia has developed an e-government that ensures the nation persists digitally even if physically invaded.

Japan could also consider creating a digital twin in anticipation of potential submersion from natural disaster.

Moreover, it would be great to see warfare restricted to the metaverse.

What is necessary for Urban DX?

Data is embedded into a physical space to help in understanding congestion in toilets and stores, and aids in disaster prevention—this is useful. 

On the other hand, in the virtual space, we have Pokémon GO—this is interesting. 

Urban DX in both real and virtual spaces should combine these aspects: being both useful and interesting.

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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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