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This book focuses on overlooked contextual factors that constitute the urban creative climate or innovative urban milieu in contemporary cities. Filled with reflections based on interviews with a diverse range of creative actors in various local neighborhoods in Tokyo, it offers a rare glimpse into the complex set of elements that provide long-term, physical, and sociocultural support to urban creativity. Ursic and Imai highlight the interplay between physical and soft (social) factors in the process of place-making and explore how a city’s creativity is influenced by financial support and accessible infrastructure, as well as the sets of informal networks, services, and tacit, locally embedded knowledge that provide the basic layers of stimuli needed for creativity to fully develop. The authors show how the future development of creativity and the overall development of a city depend not only on the (top-down) planning strategies of formal authorities, but also on the appropriate (bottom-up) inclusion of heterogeneous elements that are provided and embedded within the small, hidden context of city spaces.
The idea that Japanese art is produced through rote copy and imitation is an eighteenth-century colonial construct, with roots in Romantic ideals of originality. Offering a much-needed corrective to this critique, Michael Lucken demonstrates the distinct character of Japanese mimesis and its dynamic impact on global culture, showing through several twentieth-century masterpieces the generative and regenerative power of Japanese arts. Choosing a representative work from each of four modern genres—painting, film, photography, and animation—Lucken portrays the range of strategies that Japanese artists use to re-present contemporary influences. He examines Kishida Ryusei's portraits of Reiko (1914–1929), Kurosawa Akira's Ikiru (1952), Araki Nobuyoshi's photographic novel Sentimental Journey—Winter (1991), and Miyazaki Hayao's popular anime film Spirited Away (2001), revealing the sophisticated patterns of mimesis that are unique but not exclusive to modern Japanese art. In doing so, Lucken identifies the tensions that drive the Japanese imagination, which are much richer than a simple opposition between progress and tradition, and their reflection of human culture's universal encounter with change. This global perspective explains why, despite its non-Western origins, Japanese art has earned such a vast following.
Using theoretical concepts of self, perspective, and voice as an interpretive guide, and based on the Place of Negotiation theory, this volume explores the phenomenon of linguistic creativity in Japanese discourse, i.e., the use of language in specific ways for foregrounding personalized expressive meanings. Personalized expressive meanings include psychological, emotive, interpersonal, and rhetorical aspects of communication, encompassing broad meanings such as feelings of intimacy or distance, emotion, empathy, humor, playfulness, persona, sense of self, identity, rhetorical effects, and so on. Nine analysis chapters explore the meanings, functions, and effects observable in the indices of linguistic creativity, focusing on discourse creativity (style mixture, borrowing others’ styles, genre mixture), rhetorical creativity (puns, metaphors, metaphors in multimodal discourse), and grammatical creativity (negatives, demonstratives, first-person references). Based on the analysis of verbal and visual data drawn from multiple genres of contemporary cultural discourse, this work reveals that by creatively expressing in language we share our worlds from multiple perspectives, we speak in self’s and others’ many voices, and we endlessly create personalized expressive meanings as testimony to our own sense of being.
"Fujita and Hill compare and contrast Tokyo's innovation structure with the industrial districts model and the international hub model in the literature on urban and regional development. The model embraces and yet transcends both industrial districts and international hub models. The authors provide key elements making up the Tokyo model--organizational knowledge creation, integral and co-location systems of corporate research and development and new product development, test markets, industrial districts and clusters, participative consumer culture, continuous learning from abroad, local government policies, the national system of innovation, and the historical genesis of Tokyo in Japan's political economy. They find that the Tokyo model of innovation will continue to evolve with the changing external environment, but fundamentally retain its main characteristics. The lessons from the Tokyo model is that openness, a diversified industrial base, the continuing development of new industries, and an emphasis on innovation all contribute to the dynamism of a major metropolitan region. This paper--a product of the Development Research Group--was prepared for the East Asia Prospect Study"--Abstract.
This collection of essays, based on international collaboration by scholars in Japan, South Korea, Taiwan, and the United States, is the first systematic, interdisciplinary attempt to address the social, political, and spiritual significance of the modern arts both in Japan and its empire between 1920 and 1960. These forty years, punctuated by war, occupation, and reconstruction, were turbulent and brutal, but also important and even productive for the arts. The volume takes a trans-war (rather than an inter-war) approach, beginning with the cultural politics of painting, poetry, and fiction in Japanese-occupied Korea and Taiwan following World War I. The narrative continues with the impact of Japan's war in China and the Pacific War on major Japanese novelists, playwrights, painters, and filmmakers, before moving on to the final stage, Japan's defeat and initial recovery. During the Allied Occupation of Japan and in its aftermath, Japanese artists both confronted and dismissed the question of war responsibility by preserving, reviving, or reinventing the political cartoon, Kabuki drama, literature of the body, and the aesthetics of decadence. Contributors: Haruko Taya Cook, Kyoko Hirano, Youngna Kim (Kim Youngna), H. Eleanor Kerkham, David R. McCann, Marlene J. Mayo, J. Thomas Rimer, Mark H. Sandler, Rinjiro Sodei, Wang Hsui-hsiung (Wang Xiuxiong), Alan Wolfe, Angelina C. Yee.
Welcome to the dreamlike pastel-colored world created by Meyoco. Discover all with Polaris, her first commercial work collection. Meyoco is an illustrator based in Southeast Asia who has gained popularity mainly on social media. Natural elements such as flowers, waves, leaves, stars, and bubbles are suddenly infused with a cute and lovely quality when Meyoco colors them in pastels. Meyoco's wonderfully dreamlike illustrations have won her an increasing number of fans of her social media accounts; as of April 2020, the number of her followers has exceeded 1.22 million on Instagram and 270K on Twitter. This book contains about 240 illustrations that have been carefully chosen from those she has presented in her social media account. It also includes artworks that have been newly drawn for this book, along with some watercolor paintings from Meyoco's early published collections: doujinshi, "Foliage", "REVERIE" and "Bodies of Water". Meyoco also explains the concept of her artworks in her own words. These cute characters and motifs drawn in lovely colors are sure to appeal to people all over the world.
"Since Richard Florida's theory of the creative class was first introduced, many related studies of creativity, have been undertaken regarding analyzing the key features and predictors of the knowledge economy. Though the notion of the creative class has been popular for nearly two decades, not many studies have analyzed creativity in Japan. The objective of this dissertation is to analyze the geographical patterns of the creative class in the Greater Tokyo Area (GTA) to better understand the key predictors that drive the spatial variation of the creative class. Based on data from the Japanese Ministry of Internal Affairs and Communication, the spatial distribution of the creative class seemed highly uneven for the 138 cities and wards of the GTA with significant concentrations in Kawasaki, Tokyo and Yokohama. A stepwise regression analysis revealed that 68.9 percent of the spatial variation in the creative class by place of work could be best explained by the share of the labor pool in science research, professional and technical services, and also information and communication industries. On the other hand, 92.3 percent of distribution of creative class by place of residence could be explained by a more traditional human capital predictor, the percent of the population with a bachelor's degree. Those parts of the GTA with disproportionate shares of technical skills and high shares of educated individuals seem to generate highly creative labor markets. Since a key component of the creative class differs markedly by place of work and place of residence, it seems geography is a major factor in explaining the distribution of creative class in the GTA."--Abstract from author supplied metadata.
This book examines the urban fabric of contemporary Tokyo as a valuable demonstration of permeable, inclusive, and adaptive urban patterns that required neither extensive master planning nor corporate urbanism to develop. These urban patterns are emergent: that is, they are the combined result of numerous modifications and appropriations of space by small agents interacting within a broader socio-economic ecosystem. Together, they create a degree of urban intensity and liveliness that is the envy of the world's cities. This book examines five of these patterns that appear conspicuously throughout Tokyo: yokocho alleyways, multi-tenant zakkyo buildings, undertrack infills, low-rise dense neighborhoods, and the river-like ankyo streets. Unlike many of the discussions on Tokyo that emphasise cultural uniqueness, this book aims at transcultural validity, with a focus on empirical analysis of the spatial and social conditions that allow these patterns to emerge. The authors of Emergent Tokyo acknowledge the distinct character of Tokyo without essentialising or fetishising it, offering visitors, architects, and urban policy practitioners an unparalleled understanding of Tokyo's urban landscape.
In The Soul of Anime, Ian Condry explores the emergence of anime, Japanese animated film and television, as a global cultural phenomenon. Drawing on ethnographic research, including interviews with artists at some of Tokyo's leading animation studios—such as Madhouse, Gonzo, Aniplex, and Studio Ghibli—Condry discusses how anime's fictional characters and worlds become platforms for collaborative creativity. He argues that the global success of Japanese animation has grown out of a collective social energy that operates across industries—including those that produce film, television, manga (comic books), and toys and other licensed merchandise—and connects fans to the creators of anime. For Condry, this collective social energy is the soul of anime.