Smart TVs and 4K/8K

 The “Multiscreen Broadcasting Study Group” was organized by television companies in Osaka to conduct operational tests of smart televisions. I was employed as a consultant. The idea was to utilize the technique currently used for terrestrial digital broadcasting, IP (Internet Protocol), to control multiple screens (TVs, tablets, and smartphones).

 They were to develop Japanese-style smart televisions that were born of a fusion of Japanese-style broadcasting and telecommunications.

 At the Broadcasting and Communication Fusion Exhibition “IMC”, an appli was presented that allowed for the control of a TV and a smartphone using IPDC (IP Data Cast) technology. It allowed for things like downloading and watching a show on a smartphone, or for the TV show to send commercials to the smartphone, where one could click on links to games or coupon sites.

 The real image of the smart television was starting to come into focus. At the same time, on the exhibition floor, 4K displays were attracting attention. The Ministry of Internal Affairs and Communications has been putting their energy into 4K/8K ultra-high-definition displays, and expectations are high, but the development of both 4K and 8K is happening simultaneously, which is causing some confusion.

  In the new media boom of the 80s, high definition TV and increasing channels by CATV and satellites were the themes. In the multi-media boom of the 90s, it was the digitization by PCs, Mobile phones, and the the internet and terrestrial lines.

 The next stage will be multi-screen, cloud networks, and social media. Digital signage and smart TVs are also a part of this movement. In particular, digital signage, and smart televisions are overlapping in Japan. We can finally see the next stage.

 However, we also have the release of 4K/8K. Japan is leading the world in this area. Multiscreen is just taking off, but the next stage has already begun.

 Executive Director Minami of the Ministry of Internal Affairs and Communications said, “The policies for 4K/8K and smart TVs should not be separate. They should be unified.” They should keep their eye on both sides by creating a business model for smart TVs while pioneering the market for 4K/8K. It will be difficult to steer, but unlike network communications, broadcasting is more easily influenced by government policy. Please take care of it.

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Tokyo Crazy Kawaii Paris

 The Tokyo Crazy Kawaii Paris includes manga, anime, games, music, fashion, and sundry goods. It’s an event for the creation of business platforms. It’s held for three days in the forest of Vincennes, Paris. I was employed as the executive committee chairman.

 There were two main points: “Total power” and “Participation.”

 First: total power. In addition to the virtual content of manga, anime, and games; the “physical” businesses of fashion, food, and sundry items were added to present the culture of Japan in a unified manner. Every year in July there is a “Japan Expo” that is run by the French and features manga, anime, and games. The “Tokyo Crazy Kawaii Paris” event presents Japan in a more holistic manner and Japan is entirely responsible for the planning and management of the event.

 It is also a participatory event. Over 70 businesses from a variety of genres, artists including Shonen Knife, and fans of Japan all participate in the event. The “Japan Expo” tends to draw “otaku” (geeks), but our event also draws in teens in Lolita fashions, normal families with children, and general consumers.

 On the exhibition floor, my eyes stopped on the Lolita fashion, the grilled octopus, and the purikura (picture booths).

 I was surprised by the number of people in Lolita dress. It was more “Lolita” than costume play. It’s a fashion that originated in Europe, but now Japan is the center of the movement. Japanese teens took the trend, rearranged it, and formed a new culture. Now this culture has been exported back to its point of origin. The same goes for manga, anima, and games. These use techniques and manners of expression that originated in the West, but Japan developed them and now exports them overseas.

 Even more than ramen, tonkatsu, udon, sushi, and soba; the line for grilled octopus (TAKOYAKI) was the longest of all. Everyone knows about the popularity of sushi and tempura, but grilled octopus? I suspect that there are still more genres of Japanese culture that will be a hit overseas.

 There was also a long line for the purikura (picture booths). I saw many people dressed as Miku Hatsune (a humanoid persona with a synthesized singing voice) as well. These paint a good picture of Japanese culture. They represent a combination of cultural power and technical power. The wish to create a decorated picture combined with the technical skill to do so. A cute animated character combined with the technology to breathe life into her. They are both the popular result of expression and technology.

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Is Industry Responsible for Flame Wars?

 Eating establishments have frequently been the victim of flame wars. A part-time worker at a convenience store posts a picture of himself in a cooler to Facebook, and they get flamed. That convenience store has temporarily closed. A part-time worker at a steak chain posts a picture of himself in the freezer and they get flamed. That store had to close their doors and is now looking into how to seek reparations for the damage done to their business.

 There are also cases that involve customers. At a gyoza (dumpling) shop in Kanezawa, a picture emerged on the net of a nude customer sitting at the counter. The store went out of business and is now seeking reparations. The police have arrested two people on charges of forcible obstruction of business and public indecency. It’s not just a civil case; it’s now become a criminal case.

 Japan is a country of flame wars. It must be addressed in policy.

 How much of this problem can industry be blamed for? Because of something perpetrated by an employee, a store can be forced to close. How can reparations be made in cases like this? Also, how about cases caused by guests? How can business be held responsible?

 It might be possible for large chain stores to absorb this “risk.” However, the other day an employee at a privately-owned soba restaurant posted a picture of himself in the freezer and it forced the store to close. The risk is much too high for individually owned stores.

 I believe that it’s an overreaction to cause the closing of a store over a picture of an employee in a cooler or freezer. However, more than the attitude of business, the feelings of the consumer and net users are more important. They will not permit the existence of stores that do not reliably guarantee safety and security.

 On the other hand, as the result of a single tweet, an employee could be looking at not only being fired, but being held responsible for reparations as well. In some of the cases that I described, figures like 20 to 50 million yen have been thrown around, which is somewhat unreasonable.

 In Europe, the “Right to be forgotten” is being argued. It’s a new way to deal with the preservation of privacy on the net. It could be time for Japan to consider such measures.

 On the other hand, if flame wars continue like this it doesn’t necessarily rise to the level of privacy infringements, better yet “flame crimes.”

 Industry needs to be able to “prevent” and “extinguish” flames. To prevent, it’s important to be educated and literate. To extinguish, they must take rapid action. In all cases, measures should be taken by our Newmedia Risk Association.

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Selling Japan through “Cool Japan”

 NHK has a program called “Answer Questions about Cool Japan!” Here are my answers.

Q. The government has started to expend energy in promoting “Cool Japan.” What is the real condition in the business world?

A. The content industry is 13 trillion yen. That represents 1/10^th of the worldwide 160 trillion yen market, and puts us in second place after the U.S. It’s centered on the Manga, anime, and game industries, but the market in Japan is showing a contractive tendency.

 Japan’s percentage of content exports is 5%, which is fairly low when compared to the United States’ 17%. The main export is anime and games, but I feel that there is the potential to export more. However, at only 3% of the GDP, the content industry can not be the center poll of the total economy. It’s important to realize that the reason for supporting the content industry isn’t just to support the content industry. Rather, through the enlargement of the content industry, related industries are aided. Specifically, anime can be the “PR” through which fashion and food are sold.

Q. Why does the government promote the Cool Japan strategy?

A. Japanese industry is changing due to the aging of the population, and the main industries of automobiles and home electronics is having a hard time. It’s important to make a new industry out of Japan’s unique culture and promote it to the world.

 The content policy was introduced 20 years ago, but the current regime is putting unparalleled energy into it. Under the current economic policy, the content industry is meant to be used as a catalyst for the electronics, food, and tourism industries.

Q. What is the current state of Japan’s ability to export her culture to the world?

A. The face of Japan right now is manga, anime, and games. You won’t find a child who doesn’t know about Pikachu, One Piece, and Naruto. These have been exported throughout the world. There is a Japan Expo held in Paris to introduce Japanese culture. Manga and anima are especially popular. In 2000 there were 3000 attendees, but by 2012 it had grown into a 4-day event with 200,000 attendees.

Q. Is Korea used as a model, with the success of K-POP and TV Dramas?

A. The content budget in Korea has multiplied since the Kim Dae-jung administration in 1998. There are three main points. The first is “concentration.” They concentrated on movies and music as the pop culture genres that they would export to the world.

 The next is “cooperation.” The contents are tied up with the electronics and automotive industries and sold as a set. Finally there is “government.” They have given their full support.

 On the other hand, Japan’s approach has been all-around, without concentrating on certain genres. It has also not been cooperative, but rather vertically segmented. Also, the government hasn’t been as supportive as the Korean government. In 10 year the content budget in Korea doubled, but during the same period it shrank in Japan.

 Seeing the results of Korea’s policy, the government has decided to combine pop culture with the food and fashion industries and to enthusiastically support the export of Japanese culture.

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Digital Textbooks: 1 person; 1 year; 10,000 yen

 In 2010, when the DiTT (Association of Digital Textbooks & Teaching) was established, there were those who said that our goal of having digital textbooks and a device in the hand of every student was just a castle in the air. Some recommended that we amend our goal to use regular textbooks rather than digital. In the last year, things have changed.

 Osaka City, the Arakawa section of Tokyo, Takeo city in Saga prefecture, and Bizen city in Okayama Prefecture have all pledged to put a digital device into the hand of every elementary school student.

 The government, under the Intellectual Property Plan, has decided to take the necessary measures up to and including changing the law, to make this a reality.

 At the national level, a diet caucus has resolved that education ICT (Information and Communication Technology) shall involve five measures, one of which includes placing a tablet PC into the hands of every student.

 This has strengthened our resolve at the DiTT, and we have proposed an outline for the introduction of digital textbooks and resolved to assist 100 areas and 100 of the best teachers to achieve this goal.

 However, one major hurdle remains: the cost. It takes money to do this. Exactly how much it will cost and who will shoulder the burden remains to be answered.

 In recent days, the question, “So in the end, how much will it cost?” has been asked more and more. If we imagine one machine for one person, how much will that cost per person? This aspect was never really discussed at the table.

In the diet, there were conflicting claims. “The makers claim that it will take 70,000 yen per person, but that’s impossible.” “In Thailand one tablet is only 80 dollars.” “It will be about 10,000 yen, won’t it?”

 We imagine a policy under which it costs 10,000 yen per year per person. A set consisting of a Wi-Fi tablet, applis, and support should be rented or leased. Rather than a set selling cost of 10,000 yen per person, we imagine the implementation of a three-year rental program, or a 5-year lease. It also might be a good idea to accommodate used equipment.

  A certain city has said that if the procurement cost can be kept to 10,000 yen per student then they will be prepared to equip the students. If we can establish this service model then the idea will take hold amongst municipalities and budget measures will be strengthened and the implementation will spread widely.

 Therefore we at the DiTT are recommending a 10,000 yen per person plan to municipalities. There are already some plans in place by telecommunications companies. We’re waiting for even more attractive proposals.

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Living alone in the age of “everyone”

 It’s the era of “Everyone.”

 In 2006, TIME magazine’s person of the year was “You” and the cover included a computer with a mirror for a screen. The person reflected in the mirror used digital technology to play a leading role. This age was called Web 2.0.

 After that, social media exploded onto the scene. Everyone was connected, and everyone’s voice had the potential to directly influence society. It influenced presidential elections, shaped the Arab Spring, and played a part in demonstrations from London to New York. Japan also demonstrates the importance of “everyone’s power” and “social power.” According to a survey by Cisco, the mobile users of Japan produce 5 times the global average of data, making it the hands-down world leader. The “era of everyone” might be a great chance for Japan.

 On the other hand, it has been said that Japanese TV is no longer interesting. One large cause could be that it is no longer an environment in which individuals can operate freely.

  The other day, famous television producer Tsuchiya Toshio concluded that TV content requires “individual quirks.” It could be that the charms of TV content have been lost because the quirks of the individual have been diluted. The “individual” may have become embedded in the “all.” Some things cannot be accomplished by everyone. It takes the power of the individual to break through to new areas. Creators are inspired to create by the charms of the unknown.

 To raise the level of the general populace is the responsibility of the education system. But how does one promote the development of outstanding individuals? How does one create an environment in which such people are free to realize their creative potential? Maybe it’s possible through policy.

 As the government recites, “to create great content creators we must create a high level of education with facilities to teach content creation.” Can this really fulfil the needs of the genius creator? I don’t think so. It may increase the number of “individuals,” but the ones who really excel take a different route.

  I believe that those who create new genres of expression require a certain environment, a certain soil, and certain conditions in their environment. The emergence of impressionism in modern art; of Coco Chanel in the fashion industry; Jean-Luc Godard in the movie industry;  The Beatles and the Sex Pistols in the music industry; Osamu Tezuka, Yoshiharu Tsuge, and Katsuhiro Otomo in the manga industry; and Shigeru Miyamoto in the gaming industry.

　In all cases, a new form of expression was created by turning all that had been created up until that point on its head. The term for this is “punk.” I feel that there must be certain conditions under which these artists are created.

 The “punks” in the age of social media are innovators of Facebook, Twitter, and Line. I wonder where and how the next “individuals,” who will go on 

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It will take some time to get used to “Wearable Tech”

This picture is about 10 years old. It was taken when I was at the MIT Media Lab. It’s not the Google Glass that is currently making headlines. At the time, some researchers were experimenting with 24-hr wearable computers.

Now that attention is being paid to “wearable” tech, my reaction is, “Eh? We’re still not there yet?” The following is an excerpt from a magazine article that I wrote in April, 1999.

Here at MIT, wearable tech has been a popular theme for the last two years. Even in Japan, IBM and Toshiba announced trial products in 1998, a newspaper company held symposiums, and it seemed that the products were on the verge of becoming practical for everyday use. It seems that “The cyberpunks have landed!”

Let’s take a look at someone who really wears a computer. It involved an eye-glass style display and headphones. Some even have a goggle-type head-mounted display such as those that became popular for use in virtual reality. For input, one has the choice of voice command, buttons in the palm, or keyboards attached to clothing.

This device isn’t used like a computer. In the case of a computer, one decides to use it, sits down in front of the screen, switches it on, and waits for the OS to load. In the case of wearable tech, the switch is always on. It’s more of an aid that one can use while walking, thinking, and working. A PC it’s designed to require all of one’s attention, and it’s difficult to be a “nagarazoku” (a young person who watches TV or listens to the radio while working). Wearable tech was created for just such people.

For the time being it will only be used for special applications, for example factory and warehouse work, or healthcare for the elderly. However, applications will increase rapidly. Technologically this is no problem. The difficult aspect is getting people to become accustomed to the idea. Here at the Media Lab there have been cyberpunks wearing computers for years, but the day when others don’t look at them as “strange” is still far off.

 How about it? Do you get the impression that things haven’t changed at all? It was when we were switching from desktop to laptop. I went to MIT with my Sony VAIO, many people were impressed. That was the last great era for Japan.

 Since then, the “always on” nature of mobile communication has become a reality. Devices got smaller and the smartphone was born.  The cloud was developed and all work went online.

 After 15 years, we finally have reached the 24-hr always-on stage. However, it can’t be said that we have fully accustomed ourselves to this yet, without looking at it as strange. It will still take time. Cool wearable tech. After 15 years, that’s the point.

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