2023年3月19日日曜日

Charlie Hama, thank you very much.

■Charlie Hama, thank you very much.


Mr. Charlie Hama passed away.

“…isn’t it?”

He was a great person who won the 1991 "New Word / Buzzword Award."

To think that Yuji Hama, the person in the Hanakikyo group who said to Miho Nakayama (not the other Miho Nakayama),

“Isn't it Miho-san?" would become a national figure.

It's been 30 years since then. Thank you.

bit.ly/3xcNvWQ

"You are here and so am I."

Another representative gag of Mr. Hama.

iU , IU. I and You. You and me.

When iU was decided as the name of the university, I wanted Mr. Hama to say that.

I asked for the favor at the now-defunct Nishiumeda Kagetsu Theater in Osaka.


From Yoshimoto Kogyo

"You're eccentric."

That’s what I heard.

I asked for a polite explanation so as not to be rude.

"It's okay," they readily agreed.

Then, "Please make a sketch."

Ahaha…

However, it was not a joke, it was made for real.

A sketch that says, "You are here and so am I"


There is a harshness (?) in which shoes are scattered in front of the Gion Kagetsu dressing room and kicked away.

On the other hand, there is a kindness that buys ten pieces of Kyoto soul food "Carne" at the neighborhood bakery "Shizuya."

But there is a strictness (?) that Chidori, Daigo, and Diane don't have.

When I go to Gion Kagetsu, I buy ten carnets and give them.


Eccentric person +him, it may be the last chance to meet,

so I had him do, “...isn’t it?"

On this day, he played a bit of a police officer, and even in the new comedy, there were almost no lines.

A year later, he was hospitalized and died the following year


The i in iU is the I in Information, Innovation, Imagination, and International.

And the “Ai(love)” from a loving university.

As well as the I in “you and I.”

It is not the I in Ichiya.

Hitoshi Matsumoto once mentioned Hama-san's "Gomenkusai" as his favorite one-shot gag.

I like it and still use it often. I have never paid a copyright fee.

It has nothing to do with iU, but I also received this incidentally.

iU 's PR "You are here and so am I" started with the original owner, Hama-san, and has since been received by various comedians.

We will connect.

Thank you very much, Mr. Hama. 

(A scene when I went to pick up Mr. Hama's sound.)


2023年3月12日日曜日

Revision of the Copyright Act to complete the convergence of telecommunications and broadcasting

■ Revision of the Copyright Act to complete the convergence of telecommunications and broadcasting


A bill to revise the Copyright Act has been submitted to the Diet.

These are measures to make it easier to send library materials online, and measures to facilitate simultaneous online distribution of broadcast programs.

I have been particularly involved in the latter debate.

I hope it will be institutionalized.


There are four measures for simultaneous broadcast delivery.

1. Expanding distribution rights restrictions

2. Creation of permission presumptions

3. Compensation for non-centralized content and content not requiring permission

4. Expansion of arbitration


1. Allow distribution of things that can be broadcast without permission, such as school education programs and parliamentary speeches.

2. It is presumed that those who have received permission to use for broadcasting will also have permission for distribution, unless there is a specific indication of intention.

4. Expand the arbitration system to include distribution.

We will line up the mechanisms that are handled differently for broadcasting and distribution.


And I think 3 is more important.

This facilitates the use of records/demonstrations and video demonstrations that are not centrally managed and require individual licenses for distribution.

Records and demonstrations do not require permission for broadcasting, but permission is required for distribution. However, things that are centrally managed are processed smoothly.

This revision is a mechanism that allows content that is not centrally managed, so-called outsiders and non-members, to be used without permission if compensation is paid.

It is the invention of a system called "mixed type" that mixes centralized management and rights restriction with compensation.

For video demonstrations, permission is required for broadcasting, but there are exceptions that do not require permission for rebroadcasts. For rebroadcasts that are not centrally managed, we will create a mechanism that allows them to be OK without permission as long as they pay a fee.

As a result, the copyright system corresponding to the convergence of telecommunications and broadcasting will be established.

It has been nearly 30 years since the term "communications/broadcasting convergence" was coined.

Broadcasting online distribution is common overseas, and only Japan was not able to watch it online at the same time.

NHK will finally start in 2020. When I was summoned to the Diet deliberations on the revision of the Broadcasting Law, I testified that it was 12 years late.

The revision of the copyright law this time was even slower.

There were many moments to discuss. 

1997 was when we made the transmittable right. In 2001, the Telecommunications Service Use Broadcasting Law was created. In 2010, the communication broadcasting legal system was changed to Garapon.

But the broadcasting side is reluctant, and it has been pointed out that copyright is a problem in the last 2-3 years.

It has been 10 years since radio simultaneous delivery began via radiko . We are still waiting until the start of TV simultaneous distribution.

Seen from the outside, this is an urgent issue for a country defeated in the digital war, and we should keep pace with overseas systems.

However, in order to move forward, we first need to collect and coordinate the opinions of all stakeholders.

In addition, this case is also linked to the legal system of telecommunications and broadcasting.

One of the causes of the problem was that the copyright system and the Communications and Broadcasting Law had been separately discussed.

Copyright is a private conflict of interest issue, a “meaty” world.

Business and politics.

It is fiction, such as entrusting it to a third-party council such as academism.

As I keenly felt during Dubbing 10, the government does not have the power to solve it.

Stakeholders' managers can reach an agreement with the boss of the other party they are confronted with, and make people say, "Hey, that's okay," through politics.

The system is then dropped into the Council → Government → Diet.

If we don't move things forward outside the conference room of the Agency for Cultural Affairs, we won't move forward.

I didn't think that the institutional theory would be settled smoothly.

I felt that the broadcasting side's sense of humanity was weak.

The benefits of revising the system should be shown to rights holders and consumers more.

We should show more seriousness in facing the reform of the system.

However, with a sense of urgency, we were able to come to a conclusion without the turbulence we had expected.

It seems that the Agency for Cultural Affairs and the Ministry of Internal Affairs and Communications have put in a lot of work.

At a meeting of the Agency for Cultural Affairs, I commented, “I appreciate the response of the Agency for Cultural Affairs and the Ministry of Internal Affairs and Communications, which coordinated this troublesome matter in a short period of time and even drafted a bill.” Sometimes I give praise.

“I have seen many times that the Cabinet Legislation Bureau has become a wall and struggled to coordinate within the government regarding the formulation of the bill. I hope that this case will proceed smoothly,” I added.

In addition, with the involvement of the Ministry of Internal Affairs and Communications and the Agency for Cultural Affairs, guidelines will be formulated for presumption of permission, and a similar scheme for compensation will be established. I added, “The copyright system was weak in terms of joint regulation and soft law between the public and private sectors.”

Enactment of hard law, development of soft law. This will put an end to a long-standing problem.

The important thing is for the broadcasting industry to make full use of the system and make a serious effort to respond to the Internet as a business.

The die has been cast.


2023年3月5日日曜日

R&D Forum in the reorganization of NTT.

■R&D Forum in the reorganization of NTT.


We visited the NTT R&D FORUM.

People are sparse due to Coronavirus. The atmosphere is different from usual.

The difference in air may be because it was after the announcement of DOCOMO’s wholly owned subsidiary.

The spin-off in 1992 turned toward integration.

The R&D structure that was divided between the holding company and DOCOMO will probably be merged.

What's going on, NTT?


When I visited last time, I witnessed the momentum of the newly appointed Sawada-Kawazoe team leading NTT through technology.

I saw serious eyes facing the AI/IoT era through Kirari!, a comprehensive technology for extraction, synchronous transmission, and reproduction, and the smart city demonstration in Las Vegas.


I was in the government office during the period from NTT's privatization to its reorganization, and it was all about the battle over the division.

Even after DOCOMO started i-mode in 1999, the point of contention was the policy of curtailing competitiveness.

Domestic competition was considered first.

(With virtual Nishikori on Kirari!)


However, in 20 years of IT, GAFA is sweeping the service and trying to advance the infrastructure field.

Manufacturers have also lost their competitive edge.

Domestic competition in telecommunications is not progressing, and the country is rushing to reduce the price of mobile phones.

Made in Japan is completely falling apart.

Domestic policy was buried in this world.

(Telemedicine with a wearable stethoscope)


The government's approval of the move to become a subsidiary of DOCOMO, despite the resistance of competitors, is due to the fact that Japan today approves of the selection of allowing the strong NTT to strengthen its technological development and overseas and new market expansion.

(Spatial system for sharing enthusiasm between spectators in remote locations)


There are two keys for NTT, which is looking to integrate DOCOMO and Comcom (Communications, Comware).

Technology and collaboration. Vertical and horizontal. Technology driven and new market development.

Specifically, IWON and Smart City.

(Speaker that sounds as clear as headphones only for you)


IWON was a focal point in this FORUM as well.

It is a technology-driven vision set out by the Sawada system.

A big idea following 80's new media INS, 90's multimedia VIP, and 2000's broadband NGN.

(Optical disaggregated computer)


Network innovation with "all light" that goes beyond IP, and "digital twin" that creates the same model in cyber space as in real space.

There, technologies such as AI, VR/AR, quantum computers, and biomedical are intertwined like nests.

You can feel the spirit that exceeds GAFA and BAT.

"IWON Concept"

http://ichiyanakamura.blogspot.com/2020/11/iown.html


Another pillar, collaboration.

It is indispensable for developing the next big industry such as smart cities.

The concept of Susono City, which is developed with Toyota, is typical.

I would like to see a data strategy as a public infrastructure company that is different from Google's withdrawal from the Toronto plan.

I'm also curious about the recently announced large-scale partnerships with NEC and Mitsubishi Corporation.


5G spread, domestic communication competition, GAFA competition, AI/IoT strategy, communication/broadcasting convergence, and NHK reform.

NTT's reorganization is an action to step into technology and new market development.

We want our competitors to have a competitive strategy.

NTT is still a special corporation. I think it's about time to put complete privatization on the political timetable.

(Thunder system)


2023年2月26日日曜日

Digital Signage Awards 2020

 ■ Digital Signage Awards 2020


Digital Signage Awards 2020, winning works.

1 Grand Prix and 10 Excellence Awards.

I served as chair of the jury.

This time it was announced on the website.

https://digital-signage.jp/openevent/award/2020winner/?fbclid=IwAR14ZavGzJfuUE5nXyHeHlvJikFHZxcLi_6V20zfgKCDXOG8Mpf9n-jMYiU


Two trends were pointed out by the jury.

Upsizing and technical implementation.

Effective "up-scaling" of the display. Thanks to capital investment for the Olympics and Paralympics and the lower cost of LEDs, seamless, high-definition screens of any size are appearing one after another.

And the latest technologies such as AI and dynamic DOOH are implemented to visualize new media value.


Grand Prix

"Umeda Metro Vision"

Osaka Metro

4m x 40m-sized (Guinness World Record certified) LEDs are installed on the platform.

New possibilities for creativity, entertainment, live viewing, and transmission of video information for inbound tourists are expected.

https://digital-signage.jp/openevent/award/dsa2020-umed301/


Excellence Award (DOOH category)

“2020 New Year Campaign”

Twitter Japan

Real-time integration of the Internet and signage is realized. This is a case where signage has become a destination for SNS and also a starting point, creating a cycle.

https://digital-signage.jp/openevent/award/dsa2020-twit401/


Excellence Award (DOOH Category)

"Dynamic DOOH Development on the Train"

Sapporo Beer

Oricom

BizRite Technology

Saitama Rapid Railway

AI camera analyzes passenger attributes and realizes real-time content sorting. This is an example of interlocking sensing and DOOH.

https://digital-signage.jp/openevent/award/dsa2020-sapp402/


Excellence Award (UX/Interactive Category)

"Rugby World Cup Digital Press Photo Exhibition"

Yomiuri Shimbun Tokyo Head Office

NTT DOCOMO

Canon

Dentsu Group

By using 5G to show it in real time, they have created a vivid new style of news reporting. Anticipating the future of dynamic DOOH.

https://digital-signage.jp/openevent/award/dsa2020-yomi403/


Excellence Award (Retail Category)

"Three Cs Avoidance AI Vision"

BiZright Technology

Shishikura 

By making good use of the latest AI technology, they were among the first to put into practical use the new value of digital signage, which is one solution to the challenges of the Coronavirus crisis.

https://digital-signage.jp/openevent/award/dsa2020-sanm404/


Excellence Award (Transportation Category)

"Shinjuku Station Digital Wall"

Odakyu Agency

Odakyu Electric Railway

They drove the expansion of the media of the base location. In addition, it sets a precedent of installing a camera that can acquire actual data, and future data utilization can be expected.

https://digital-signage.jp/openevent/award/dsa2020-shin405/


Excellence Award (Transportation Category)

"Dynamic Vehicle Screen"

BizRite Technology

Saitama Rapid Railway

Equipped with cameras, sensors, and lines, it realizes dynamic content distribution based on real-time data inside and outside the train. Enables impression-based sales.

https://digital-signage.jp/openevent/award/dsa2020-dyna406/


Excellence Award (Transportation Category)

"Den-en-toshi Line Shibuya Station Big Signage Premium"

Tokyu

Tokyu Agency

A work that has become a benchmark for the entire industry as a large LED for public spaces. It can be installed in a position where passersby can touch it, has a high level of creativity, and is highly rated for both attention and immersion.

https://digital-signage.jp/openevent/award/dsa2020-bigs407/


Excellence Award (Outdoor Large Screen Category)

"Q Plaza Ikebukuro/Grand Cinema Sunshine"

Sasaki Kogyo

WOW

PROTERAS

The LED wrapped on the ceiling was made visible from the outside. It can be expected to contribute to the expansion of the signage market as a customer attraction device for amusement facilities.

https://digital-signage.jp/openevent/award/dsa2020-qpla408/


Excellence Award (Outdoor Large Screen Category)

"Shibuya Scramble Square Vision"

Tokyu

East Japan Railway Company

Tokyo Metro

Shibuya Scramble Square

Area management in front of Shibuya station

JR East Planning

Tokyu Agency

Non-standard size and original shape. Efforts integrated with urban development.

https://digital-signage.jp/openevent/award/dsa2020-scra409/


Excellence Award (Outdoor Large Screen Category)

"Hisamitsu Pharmaceutical LED signboard in front of Shibuya scramble crossing"

Large space

Hisamitsu Pharmaceutical

Hakuhodo DY Outdoor

Taisei Neon

A new attempt to use still images in the daytime and a blue light-up targeted at medical workers to express social good.

https://digital-signage.jp/openevent/award/dsa2020-hisa410/


2023年2月19日日曜日

Superhuman Sports Grand Challenge.

 ■Superhuman Sports Grand Challenge.


We held a symposium on the Superhuman Sports Grand Challenge.

This is an attempt to surpass human physical abilities using "superhumanization technology" that integrates machines with the human body.

We aim to help people through technology, expand human potential, and contribute to the creation of a future society that goes beyond physical limitations.

https://www.youtube.com/watch?v=It5ircKUQnY

This time around, I introduce new challenges in three domains: the "Super SPRINT Challenge: Expansion of Our Physical Ability to Run," "Super PHYSICAL Challenge: Expansion of Physical Strength and Dexterity," and "Super SENSE Challenge: Expanding Our Ability to Recognize Space."

MORNING in the Future (30-second commercial)

https://youtu.be/VLCCGE9Vp8k

Super SPRINT Challenge

This challenge is about expanding our physical ability to run.

The goal is to break the world record in a time-based challenge for a specified distance.

The expectation is that it would lead to developments in mobility tools usable in real-world society.

This features Masaki Mochimaru and Akihiko Murai of the National Institute of Advanced Industrial Science and Technology, and Takayuki Tanaka of Hokkaido University.

https://youtu.be/tld54wMuSAA

Super PHYSICAL Challenge

This is a well-balanced challenge about people's strength, agility, dexterity, and endurance.

It is hoped that it will be applied to the design of wearable support devices used in situations where minute control is required, such as rehabilitation, nursing, and factory work.

This features Yuichi Kurita of Hiroshima University and Takayuki Tanaka of Hokkaido University.

https://youtu.be/SOcIg9Lh7vU

Super SENSE Challenge

This is a challenge geared at expanding the sensibilities we use to recognize space.

It is hoped that it will lead to the development of systems that support the elderly and visually impaired, and information presentation methods that do not rely on sight, such as ways of moving in dark environments with the support of devices.

This features Kouta Minamizawa of Keio University.

https://youtu.be/w5CgsymJ4r4

Even if one has a chance to compete in the Olympics, they may have no chance at the Paralympic Games.

Superhuman Sports emerged after it was decided that the Olympics would be held in Tokyo, with the idea of letting people participate in the Olympics/Paralympics and breaking down barriers.

https://superhuman-sports.org/

At the time, there was a debate about the possibility of people emerging who would amputate their limbs, wear apparatus, and participate in the Paralympics.

That seems like it could come into being.

But it's still an unproductive discussion.

So that being the case, it'd be better to develop and host an international competition such that everyone can take part, such as with super sports.

"Would you amputate your legs to enter the Paralympics?"

https://www3.nhk.or.jp/sports/story/6215/index.html

There is much more in store for superhuman sports.

Stay tuned!


2023年2月12日日曜日

On the occasion of my 60th birthday. Two points of astonishment.

 ■ On the occasion of my 60th birthday. Two points of astonishment.

I am simply shocked. My 60th birthday is here.

I was immature all this time, and considered myself to be a rookie, yet here I am, suddenly a senior, an old man, and somehow missed the middle part.

At the same time, I was confronted with an incident that made me question just how such a thing could happen in my life.

Here came these two surprises. Just what happened?

It's a super personal introspection. I'm writing this down as a note to myself.

They say that we will soon live to 100 as commonplace, and will go through three major phases in a lifetime.

If we assume it was two phases thus far, the major turning point between the first and second half was marriage and children around my 30s.

The first half was a growth period, while the latter half was living with my family.

The children have grown into adulthood and found their own careers, and both got married this past year.

If we shift into a three-phase cycle, who should play the leading role in that?

If we shift this thinking from "who" to "what," then it'd be safe to say I have four discrete stages at 20-year intervals.

1) First phase in the 60s-70s; 2) Second phase in the 80s-90s; 3) Third phase in the 00s-10s; 4) Fourth phase in the 2020s.

1) The first was goofing off; 2) The second was with the government; 3) The third was doing projects as a pseudo-academic.

4) What should the fourth phase be, then?

1) I built up Shonen Knife towards the end of phase 1.

2) I was at the Ministry of Internal Affairs and Communications in phase 2.

3) With phase 3, we created iU and CiP.

That's the extent of my output.

4) So what to do in phase 4?

1) As someone who had been TV-loving kid, I set managing the rules of the information society as the locus for my workplace.

2) I worked as a government official tackling the advanced information society of new media.

3) I was an academic for the burgeoning age of digital, IT-driven society.

4) At the forefront of AI, I founded iU and CiP out of the idea of a "super-leisure society."

I was never exposed to war.

I felt a sense of inferiority compared to those that had.

However, I had to confront COVID-19, a "war" in its own right.

We are still in the midst of the battle, but I'd like to see what the future after that brings.

Over the course of this war, I have seen how Japan truly fell down in digital during the second and third phases.

Despite the fact that we had been at war in the digital space for thirty years, we lacked a wartime awareness.

Our generation questioned the one before it to take responsibility for the previous world war, and we are now the generation that has lived through the "Digital Thirty Years' War," and are in turn being asked to take responsibility for that defeat.

While I'm taking my own actions towards those who came before and using the "shut up, old man" card, I have to think about how to take responsibility for my own part in this.

I aim to grow iU and CiP as sites for digital into something mature and ready.

So what should I set my sights on next?

I'd better think about it before my 60th birthday.

Is what I was I thinking, but once COVID-19 hit, the environment and prospects have been more like a roulette wheel.

It seems we'll have DX and my vision of a super-leisure society much sooner than I expected.

I'm simply stunned.

I needed to set about making sense of this shock.


Yet as I did, something even more shocking occurred.

2) It was quite turbulent times at the government office where I spent my second phase.

The two head people reported about on a daily basis had been sworn friends from the same period, and I was intimate with all of the junior staff below them.

Who would have thought they would shock the world in that way?

I really suffered, feeling it personally.

My second phase as a government official corresponds to when the scope of media policy increased.

Until then, the only companies that had relationships with government offices were the Nippon Telegraph and Telephone Public Corporation and a monopoly called KDD, and NHK, so only commercial broadcasting technology and accounting capacities.

It was a very small administration within an even narrower field.

Liberalization, deregulation, and digitalization were in that sense movements to increase the scope of the administration itself.

How do we increase the number of new IT entrants? How to give business opportunities to content companies other than broadcasters?

My job was doing sales to increase our clientele.

I went to and fro.

In terms of creating a culture where the public and private sectors could connect, I am not entirely detached from the current issue, and I have my part in the responsibility.

My senior colleagues did their best.

They tried too hard, got into a conflict with NTT, the Ministry of International Trade and Industry, and the Ministry of Finance, and were dismantled under the Hashimoto program.

Feeling responsible, I stepped down, and the Ministry of Internal Affairs and Communications was established.

My peers and junior colleagues worked hard, too.

The reputation has improved, and good infrastructure has been created.  

But perhaps we tried too hard.

Those efforts went outside of the established rules and were subject to opprobrium.

And that criticism went beyond the administration and methods itself, but that the organizations and people within them were themselves to blame.

It's painful to hear.

As a consequence of 2) above, the government office was dismantled and reorganized. Alongside rebuke for our failure at digitization, it's subject to censure yet again, which is shocking.

All I can do is be shocked. I keep thinking about it instinctively.

That's where I am on the occasion of my 60th birthday.


2023年2月5日日曜日

CiP joins Tokyo Smart City.

 ■CiP joins Tokyo Smart City.



Broadcasting content out of the Tokyo Smart City Forum @ TOKYO PORTCITY TAKESHIBA.

I took the stage with Mr. Okada, president of Tokyu Land Corporation; Mr. Takumi, general manager at SoftBank;  Mr. Yonezu, a manager for Tokyo Prefecture; and professor Ishido of Keio University, et al.

I am reporting here on a presentation we made about the CiP pop & tech special zone.



CiP stands for Contents Innovation Program. The idea is to build up a content-driven zone over eight years.

Tokyo is the center of global pop culture, but there is no central place to disseminate it. The industry is disparate.

I was aware of the problem, too.

The government has also been discussing the issue from the vantage point of Cool Japan and IP and IT policies.

I thought we should do it.



Let's build it in Tokyo.

It's the best place in the world, both economically and culturally.

Richard Florida espoused the theory of the creative city. In terms of economic scale, the wider Tokyo area is the global top.

It ranked number one in the world in an Adobe survey of the most creative cities.

It has by far more Michelin restaurants than Paris.

It ranked number one in the world in Global Finance Magazine's survey of livable cities.


Tokyo Tower is nearby.

Though it was often destroyed by the characters below, it's still standing.

Mothra in 1961. King Ghidorah in '64. Garamon in '66.

Godzilla, for his part, restrained himself from destroying it until 2003. And yet, he, too, destroyed it.

Even though it may be destroyed, they keep right on building it. They destroyed it and rebuild it again. There's something wild about this.

We'll keep destroying and rebuilding.

Takeshiba, too, was destroyed and rebuilt.


Tokyo has an ocean nearby, after all. It's a capital with an ocean.

Washington, London, Paris, Berlin, Rome, Ottawa, Beijing, and Moscow.

No permanent member of the G7 countries has an ocean by the capital.

Japan has made the ocean its capital, but it doesn't make good use of it.

So let's use the ocean.

That was one of the appeals of Takeshiba.

 


What is important at the same time is fusion with technology.

A big wave of AI and IoT is coming. A big wave of content is also coming.

This should be a national strategic special zone that combines pop and tech. The basic concept is to create a city that develops new content with technology, rather than using content that already exists.

A special zone for pop and tech.

That's the CiP pop & tech zone.

To simplify, the idea was to make a city like Hatsune Miku.

Hatsune Miku is a fusion of technology called vocaloid software and a pop character called Miku-chan, and has developed out of lots of people joining the Internet community to help her compose songs, perform, and dance.

That sort of city.


To start things off, we created 10 tenets for the CiP vision.

- Fusion of the Japanese version of Silicon Valley and Hollywood

- A base where cosplayers congregate and robots fly around

- Permanent organization for the creation of new industries

- International universities and kindergartens of the future

- Cohabitation between creators and entrepreneurs

- Dejima for the 21st century

- Industry-academia-government platform

And so on.

CiP has four core functionalities.  

We have a cycle of research and development, human resource development, entrepreneurship support, business matching, and research on emerging themes.  

A place where everything from research to business is carried out under one roof.

Universities and research institutes such as Keio University, the University of Tokyo, and RIKEN joined 50 industry groups and companies in the telecommunications, broadcasting, IT, entertainment, advertising, and other fields to promote town development.


A number of projects have been underway since before the opening of the city.

In terms of pop, the Artist Commons maintains a database of artists in fields like music.

Superhuman sports is about creating a new form of sports where everyone can become superhuman by integrating humans and machines.

The World Otaku Institute is the "head temple" for otaku researchers.

The tech team has been proceeding with a plan to fully implement advanced technology in Takeshiba.

There are eight axes: robots, drones, mobility, signage, public viewing, digital art, wireless power transfer, and data distribution.

Several hundreds of robots go about their work. Drone taxis fly about on the 5G grid. The world's first IoT broadcast that combines communication and broadcasting.

Robots, signage, data distribution, and the like have already been implemented and are underway as of the city opening.

We are seeing potential around drones and wireless power transfer.

There are no other examples in the world of smart buildings that are integrated to this degree.

We are also collaborating with SoftBank to deploy 5G, AI, and IoT solutions.

I want to laterally roll out this model throughout Japan and overseas.

A base for industry-academia collaboration will be set up on the 8th floor of this building.

In addition to Keio KMD using it as a satellite campus, iU, which I opened in April as president, will also have a satellite location here.

The NPO CANVAS, which has been doing activities to enhance children's creativity in the digital age, will also occupy the space.

The "Super Education Association," which promotes educational reform, is also based out of CiP. That project is already underway.

"Super E-Sports School" is a community of schools and researchers who are passionate about e-sports.

This is a "super entrepreneurship school" that matches schools that are keen on entrepreneurship with entrepreneurs and VCs.

We have also established a CiP fund and have already invested in four content companies.


A silent rock streaming event with no audience was held in this hall at the opening in September. Aerial drone footage was also taken. I believe this suggested a possible route for a post-COVID model.

Digital Minister Takuya Hirai, who took an eager interest, said he would like to make this a branch of the Digital Agency.

Designs are underway to facilitate collaboration.


I'd like to roll this out laterally.

We hope to proceed with the creation of a "pop tech archipelago" that connects all the sites being conceived in various places.

In Nagoya, the "Station Ai" concept, a huge entrepreneurship support facility led by Aichi Prefectural Governor Omura, is getting into gear. CiP is responsible for building that community.

We are also promoting partnerships with overseas cities such as Seoul, Barcelona, and Shanghai.


As a showcase, pop and tech events will be held to coincide with next year's Olympics.

We hope to make this a global event that exceeds overseas pop and tech events.

Its name is Change Tomorrow, or Chomorrow for short.


The fourth industrial revolution. Society 5.0.

Artificial intelligence and robots are taking away our jobs. But let's leave the work to them.

The "super-leisure society" is coming.

Japan's Meiji, Taisho, Showa, and Heisei periods serve as signposts in the development and denouement of Japan's early modern to modern era, while the Reiwa era represents us opening the curtain on a new epoch of civilization that the human race has not entered before.

That's what CiP is here for.

Yet things changed under COVID-19.

What shall we do post-COVID?

New approaches to centralization and diffusion. New combinations of real + virtual. A new sense of density. That's what we have to design.

And we have to create this new normal to be more attractive than it was before COVID-19.

This is another piece of "homework" CiP is tasked with.


The plague of the 14th century. The authority of the church declined, and it was the Renaissance that came in its wake. Art and science.

What is COVID-19 leading us to rebuild?

The building up of pop & tech special zones,

The design of a super-leisure society around AI and robots,

The creation of the new normal post-COVID,

And a new Renaissance.

Those are the key themes CiP must grapple with.

Hope you'll follow us and stay tuned.