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KOKUYO Group CSR Report 2015 Detailed Version
KOKUYO Group CSR Report Detailed Version Published by KOKUYO Co., Ltd. Corporate Communications, Corporate Administrations Department 6-1-1 Oimazato-minami, Higashinari-ku, Osaka 537-8686, Japan Direct inquiries to KOKUYO Co., Ltd. Customer Center Tel: 0120-201-594 (Domestic Only) Founded in 1905 Founder Zentaro Kuroda Wacho launched during the Spirit of“shō hyaku mai” Shop in Shinmachi The first trademark Taishō period “Kokuyo” Stationery pad with high Label of 3K Stationery Duplicate Telegram Slip Binder Head office, 1936 Sign for advertising Ink Ink kk55 quality paperboard Paper kk55 Field Notebook Bill First steel product Jun Mitsumata Hankeishi (Ruled papers Invoice Pad Yao Factory Ochanomizu Office (Steel filing cabinet) made of 100% mitsumata plant) Swivel chair Estimate Pad Kickoff meeting of Jewelry New head office, 1969 Live office advertisement Electronic Abacus Tack Index (outer case) Members (outer case) Portable box seat Lonely Little Fox ECIFFO Miss Blanche 1Corporate logo changed High-Grade Accounting Pad KuruKuruMeka (Ryogoku Kokugikan) (original mascot) in 1981 Dynafit Chair MX Desk System Title Brain Pochette Album Third-generation Keishipita Bezier Campus Note AGATA Hakobo Ratchkiss AGATA/D Kadokeshi Nursing Cart Dotliner Gratit ith ud W e Fifth-generation Kokuyoseki roll table Campus UP SAIBI Campus Note Corporate Philosophy/CSR Charter Corporate Enrich the World through Our Products Philosophy KOKUYO's CSR Grounded in the founding corporate philosophy of“Enrich the World through Our Products” the KOKUYO Group conducts business that is necessary for society, while remaining profitable and honest in its business Charter practices. In addition to complying with laws and regulations, we seek to maintain continuity of our business by acquiring the trust of all related stakeholders, investors, and, of course, our customers by fulfilling our social responsibilities as a corporate citizen. -
Sayonara 2011!
tokyo DECEMBER 2011 weekenderJapan’s premier English language magazine Since 1970 ROUGH INSIDE: 2011 IN PICTURES YEAR? LUXURY GIFTS SAYONARA A STYLISH NEW YEAR 2011! LOOKING BACK/FORWARD CHRISTMAS HAKUBA Business leaders share their Your guide to a very merry Get ready for the slopes and thoughts on 2011 & 2012 Christmas in Tokyo book your ski trip Also: Brangelina in Tokyo, Fired banker speaks out, NYE champagne, Hit the ice in Midtown, Agenda, Party pictures and much more... Tokyo Weekender_CH6_DV6_JP.indd 1 9/28/11 2:49 PM DECEMBER, 2011 CONTENTS 24 PLUS! CHRISTMAS AND NEW YEAR AGENDA CHRISTMAS IN JAPAN P48 Staying in Tokyo? We can help you have an authentic Christmas in the city. 11 40 14 A YEAR IN PICTURES HAKUBA LOOKING BACK/FORWARD Join us in saying sayonara to 2011 Get ready for the ski season with our Business leaders share their thoughts with our year-end review. guide to Japan’s most popular resort. on 2011 & 2012. 08 Annus Horribilis 20 Freescale Japan 32 People, Parties, Places Ian de Stains looks back at 2011. The coming ‘silicon boom’ will change the Bill Hersey meets Brangelina and world says a gaijin company president. parties with F1 superstars. 17 Through the Wire We take a look at some of the headlines 22 Gift Guide 39 Hit the Ice that will shape the news in 2012 with a Need last minute Christmas gift ideas? Tokyo Midtown’s Ice Rink reopens little help from Asia Daily Wire. We’ve got all bases covered. for 2012. 18 Moving on Up 27 Be Savvy about Bubbly 47 O-Shogatsu A fired banker talks about being let go One of Tokyo’s top sommeliers talks Our man takes a look at New Year and the future of finance in Tokyo. -
January/February 2019
JANUARY/FEBRUARY 2019 MOBILE + VR ACCESSIBILITY + LITERACY THE DIGITAL FRONTIER SCOTLAND’S FINEST THE MACALLAN DISTILLERY & VISITOR EXPERIENCE DELIVERED BY BECK INTERIORS WORLD CLASS QUALITY EXCEPTIONAL SKILL & CRAFTSMANSHIP OUTSTANDING SERVICE PROUD WINNER OF THE QUEEN’S AWARD FOR ENTERPRISE: INTERNATIONAL TRADE 2018 Carol See: [email protected] - Mark Banham: [email protected] www.beckinteriors.com beckinteriors BECK +44 (0) 20 8974 0500 JANUARY FEBRUARY 2019 ISSUE CONTENTS DEPARTMENTS 5 From the President and CEO 6 By the Numbers 8 First Look 12 Point of View Are We Giving Up Too Much? 40 Alliance in Action FEATURES 44 Tributes and 16 Handheld and Expansive Transitions Mobile platforms help museums foster better visitor experiences. 48 Reflection By Deborah Howes 22 Exploring a Neurospeculative Future Cover: Data consists of valuable information that Ashley Baccus-Clark discusses the enhances people’s lives and it has so many stories storytelling promise of VR. to tell. Media Artist Refik Anadol utilized energy Interview by Elizabeth Merritt usage datasets from various buildings and explored new data universes in the shape of data sculptures. 28 A Winning Approach to Digital ©Refik Anadol Media Accessibility Improving accessibility enhances the visitor experience for everyone. By Susan Chun 34 Building a Framework The museum sector needs to rethink digital skills—from the ground up. By Carolyn Royston and Ross Parry 2 MUSEUM / January−February 2019 / aam-us.org 2019 Goal: Increased Visitor Engagement or Bust! Look to Guru to make it happen. Guru’s award-winning museum apps offer engaging, interactive, and customized visitor experiences that span media while leading the way in educational augmented reality. -
Collaborative Creativity, Dark Energy, and Anime's Global Success
Collaborative Creativity, Dark Energy, and Anime’s Global Success ◆特集*招待論文◆ Collaborative Creativity, Dark Energy, and Anime’s Global Success 協調的創造性、ダーク・エナジー、アニメの グローバルな成功 Ian Condry Associate Professor, Comparative Media Studies, Massachusetts Institute of Technology コンドリー・イアン マサチューセッツ工科大学比較メディア研究准教授 In this essay, I give an overview of some of the main ideas of my new book The Soul of Anime: Collaborative Creativity and Japan’s Media Success Story. Drawing on ethnographic research, including fieldwork at Madhouse, as well as a historical consideration of the original Gundam series, I discuss how anime can be best understood in terms of platforms for collaborative creativity. I argue 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 me, this collective social energy is the soul of anime. 本論文において、拙著『アニメのダーク・エナジー:協調的創造性と日本のメディアの成功例』 における中心的なアイデアの紹介を行う。アニメを制作する企業マッドハウスにおけるフィール ドワークを含む、人類学的な研究を行うとともに、オリジナルの『ガンダム』シリーズに関する 歴史的な考察をふまえて、協調的創造性のプラットフォームとしてアニメを位置付けることがで きるかどうか検討する。日本アニメのグローバルな成功は、映画、テレビ、漫画、玩具、そして その他のライセンス事業を含めて、アニメファンと創作者をつなぐ集団的なソーシャル・エナジー に基づいていると主張する。このような集団的なソーシャル・エナジーがアニメの精神であると 著者は考えている。 Keywords: Media, Popular Culture, Globalization, Japan, Ethnography Acknowledgements: Thank you to Motohiro Tsuchiya for including me in this project. I think “Platform Lab” is an excellent rubric because I believe media should be viewed as a platform of participation rather than content for consumption. I view scholarship the same way. My anime research was supported by the Japan Foundation, the US National Science Foundation, and the Japan Society for the Promotion of Science. I have also received generous funding from, MIT, Harvard, Yale, and the Fulbright program. -
Japan Booth : Palais 01 - Booth 23.01 INTRODUCTION Japan Booth Is Organized by JETRO / UNIJAPAN with the Support from Agency for Cultural Affairs (Goverment of Japan)
JA P A N BOOTH 2 O 1 6 i n C A N N E S M a y 1 1 - 2 O, 2 O 1 6 Japan Booth : Palais 01 - Booth 23.01 INTRODUCTION Japan Booth is Organized by JETRO / UNIJAPAN with the support from Agency for Cultural Affairs (Goverment of Japan). JETRO, or the Japan External Trade Organization, is a government-related organization that works to promote mutual trade and investment between Japan and the rest of the world. Originally established in 1958 to promote Japanese exports abroad, JETRO’s core focus in the 21st century has shifted toward promoting foreign direct investment into Japan and helping small to medium-sized Japanese firms maximize their global business potential. UNIJAPAN is a non-profit organization established in 1957 by the Japanese film industry under the auspice of the Government of Japan for the purpose of promoting Japanese cinema abroad. Initially named “Association for the Diffusion of Japanese Film Abroad” (UniJapan Film), in 2005 it joined hands with the organizer of Tokyo International Film Festival (TIFF), to form a combined, new organization. CONTENTS 1 Asmik Ace, Inc. 2 augment5 Inc. 3 CREi Inc. 4 Digital Frontier, Inc. 5 Gold View Co., Ltd 6 Hakuhodo DY music & pictures Inc. (former SHOWGATE Inc.) 7 nondelaico 8 Open Sesame Co., Ltd. 9 POLYGONMAGIC Inc. 10 Production I.G 1 1 SDP, Inc. 12 STUDIO4˚C Co., Ltd. 13 STUDIO WAVE INC. 14 TOHOKUSHINSHA FILM CORPORATION 15 Tokyo New Cinema, Inc. 16 TSUBURAYA PRODUCTIONS CO., LTD. 17 Village INC. CATEGORY …Action …Drama …Comedy …Horror / Suspense …Documentary …Animation …Other SCREENING SCHEDULE Title Day / Starting Time / Length of the Film / Place Asmik Ace, Inc. -
Deloitte Consulting Were Preparing to Launch Our Firm’S First Annual Tech Trends Report
10TH ANNIVERSARY EDITION Tech Trends 2019 Beyond the digital frontier EXPERIENCE & DIGITAL REALITY ANALYTICS & COGNITIVE CLOUD BLOCKCHAIN Asset User Wireless Information Information Cloud intelligence engagement and mobility management automation revolution User Applied Real Capability Social engagement mobility Visualization analytics clouds computing User Enterprise Geospatial Big data Hyper-hybrid Gamification Social business empowerment mobility visualization goes to work cloud unleashed Gamification Social Finding goes to work reengineering Mobile only the face of by design (and beyond) your data Industrialized Digital Cognitive crowdsourcing Social engagement Wearables analytics Cloud activation orchestration Dimensional Ambient Amplified marketing computing intelligence API economy AR and VR Internet Industrialized Blockchain: go to work of Things analytics Democratized trust Machine Dark Everything- Blockchain: Mixed reality intelligence analytics as-a-service Trust economy Enterprise API Blockchain to Digital reality data sovereignty imperative blockchains Beyond Intelligent AI-fueled NoOps in a marketing interfaces organizations serverless world 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 Trending the trends: A decade of research Connectivity DevSecOps Risk of tomorrow and the cyber implications Exponential imperative technology No-collar Reengineering The new Risk watch list workforce technology core implications Exponentials IT unbounded Inevitable Risk watch list architecture implications Social impact of Right- Autonomic -
Artificial Intelligence the Next Digital Frontier?
ARTIFICIAL INTELLIGENCE THE NEXT DIGITAL FRONTIER? DISCUSSION PAPER JUNE 2017 Jacques Bughin | Brussels Eric Hazan | Paris Sree Ramaswamy | Washington, DC Michael Chui | San Francisco Tera Allas | London Peter Dahlström | London Nicolaus Henke | London Monica Trench | London Since its founding in 1990, the McKinsey Global Institute (MGI) has sought to develop a deeper understanding of the evolving global economy. As the business and economics research arm of McKinsey & Company, MGI aims to provide leaders in the commercial, public, and social sectors with the facts and insights on which to base management and policy decisions. The Lauder Institute at the University of Pennsylvania ranked MGI the world’s number-one private-sector think tank in its 2016 Global Think Tank Index for the second consecutive year. MGI research combines the disciplines of economics and management, employing the analytical tools of economics with the insights of business leaders. Our “micro-to-macro” methodology examines microeconomic industry trends to better understand the broad macroeconomic forces affecting business strategy and public policy. MGI’s in-depth reports have covered more than 20 countries and 30 industries. Current research focuses on six themes: productivity and growth, natural resources, labor markets, the evolution of global financial markets, the economic impact of technology and innovation, and urbanization. Recent reports have assessed the economic benefits of tackling gender inequality, a new era of global competition, Chinese innovation, and digital globalization. MGI is led by four McKinsey and Company senior partners: Jacques Bughin, James Manyika, Jonathan Woetzel, and Frank Mattern, MGI’s chairman. Michael Chui, Susan Lund, Anu Madgavkar, Sree Ramaswamy, and Jaana Remes serve as MGI partners. -
Digital Entrepreneurship in Africa
Digital Entrepreneurship in Africa Digital Entrepreneurship in Africa How a Continent Is Escaping Silicon Valley’s Long Shadow Nicolas Friederici, Michel Wahome, and Mark Graham The MIT Press Cambridge, Massachusetts London, England © 2020 Massachusetts Institute of Technology This work is subject to a Creative Commons CC- BY- NC- ND license. Subject to such license, all rights are reserved. The open access edition of this book was made possible by generous funding from Knowledge Unlatched and Arcadia—a charitable fund of Lisbet Rausing and Peter Baldwin. This book was set in ITC Stone Serif Std and ITC Stone Sans Std by Toppan Best-set Premedia Limited. Library of Congress Cataloging- in- Publication Data Names: Friederici, Nicolas, 1985- author. | Wahome, Michel, author. | Graham, Mark, 1980- author. Title: Digital entrepreneurship in Africa : how a continent is escaping Silicon Valley’s long shadow / Nicolas Friederici, Michel Wahome, and Mark Graham. Description: Cambridge : The MIT Press, 2020. | Includes bibliographical references and index. Identifiers: LCCN 2019034676 | ISBN 9780262538183 (paperback) Subjects: LCSH: Electronic commerce- - Africa, Sub- Saharan. | Entrepreneurship- - Information technology- - Africa, Sub- Saharan. | Information technology- - Economic aspects- - Africa, Sub- Saharan. Classification: LCC HF5548.325.A357 F75 2020 | DDC 381.14206567-- dc23 LC record available at https://lccn.loc.gov/2019034676 10 9 8 7 6 5 4 3 2 1 Contents Acknowledgments ix 1 Hopes and Potentials 1 Africa in the Global Economy 3 New -
Introduction
INTRODUCTION Looking at various newspapers, magazines and websites over the period 2004 to the present, it becomes apparent that our understanding of the reintroduction of stereoscopy (D3D) is anything but clear. There are disagreements among accounts of D3D regarding its artistic value, and its impact on the entertainment industry and audience. Over the 2004 to the present period, the digital screen period, I have seen D3D cast as an evolutionary step for the industry: ‘Why wouldn’t we want this Darwinian edge in our workplaces, in our sports and entertainment, in all our peak visual experiences?’ (Cameron in Cohen, 2008). I have seen it described as ‘the next great revolution’ of cinema (Giles & Katzenberg, 2010, p. 10) and as a facilitator of art, one that could aid the audience to enter the realm of the on-screen performer (Wenders in James, 2011, p. 22). I have also seen it described as artistically limited, with claims, such as, director, Werner Herzog’s ‘[that] you can shoot a porno film in 3D, but you cannot film a romantic comedy in 3D’ (Herzog in Wigley, 2011, p. 29). Newspaper headlines have described it as a health concern: ‘3D film strikes two movie-goers with bout of motion sickness’ (Helliwell, 2010, p. 2).2 As well, I have seen arguments expounding the idea that stereoscopy’s reintroduction is simply evidence that the popular film industry lacks ideas. For example, popular film critic, Roger Ebert, has argued that D3D was just ‘[a]nother Hollywood infatuation with a technology that was already pointless when their grandfathers played with stereoscopes’ (Ebert, 2010a). -
Animation Fandom in North America and East Asia from 1906–2010 By
Animating Transcultural Communities: Animation Fandom in North America and East Asia from 1906–2010 By Sandra Annett A thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of English, Film, and Theatre University of Manitoba Winnipeg © 2011 Sandra Annett Abstract This dissertation examines the role that animation plays in the formation of transcultural fan communities. A ―transcultural fan community‖ is defined as a group in which members from many national, cultural, and ethnic backgrounds find a sense of connection across difference, engaging with each other through a mutual interest in animation while negotiating the frictions that result from their differing social and historical contexts. The transcultural model acts as an intervention into polarized academic discourses on media globalization which frame animation as either structural neo-imperial domination or as a wellspring of active, resistant readings. Rather than focusing on top-down oppression or bottom-up resistance, this dissertation demonstrates that it is in the intersections and conflicts between different uses of texts that transcultural fan communities are born. The methodologies of this dissertations are drawn from film/media studies, cultural studies, and ethnography. The first two parts employ textual close reading and historical research to show how film animation in the early twentieth century (mainly works by the Fleischer Brothers, Ōfuji Noburō, Walt Disney, and Seo Mitsuyo) and television animation in the late twentieth century (such as The Jetsons, Astro Boy and Cowboy Bebop) depicted and generated nationally and ethnically diverse audiences. -
A History of the State Law Library Product, and Therefore Read More
Winner of the American Association for State and Local History’s Excellence in History Award Columns Leads Features Message from the President The Civil Law Collection of State Bar of Texas Digital Archives By Dylan O. Drummond the Texas Supreme Court The Texas Supreme Portal is Launched By Michael Widener Court Historical Society By Caitlin Bumford This is an account of will celebrate its The Bar’s Archives an unused collection thirtieth anniversary Department has spent of law books, one that early next year two years developing a did little to shape the on January 13th. tool to provide public Dylan O. minds of its intended Read more... access to selected Drummond users, an “un-library,” as Gold spine stamp digitized archival a Spanish colleague of on many volumes from the Texas materials. Read more... Executive Director’s Page mine put it. Supreme Court’s library By Sharon Sandle Read more... Supreme Court of Texas This issue of the Journal focuses on research and From the Western Frontier Archive Update the wealth of archival By Tiffany Gilman information available to the Digital Frontier: Many of the Court’s to those researching records are judicial work Texas legal history. A History of the State Law Library product, and therefore Read more... Sharon Sandle By Amy Small confidential. However, The paucity of Republic- the Court also maintains era law libraries may a wide array of records The Republic-era have been as much “Sam Houston” Fellows Column open to the public. Bible in the By David J. Beck due to the difficulty of Read more.. -
Financial Briefing Material for the H1 of the Year Ending March 31, 2020
Financial Briefing Material for the H1 of the Year Ending March 31, 2020 FIELDS CORPORATION Listed on: TSE 1st (2767) November 8, 2019 FY2019 Q2 Copyright 2019 FIELDS CORPORATION All rights reserved. 1 Consolidated P/L (summary) (Unit: 100 million yen) FY2018 FY2019 YoY change Full-year H1 Full-year H1 YoY change (%) forecast Net sales 180.4 516.3 276.6 +96.2 53.3% - Gross profit 38.5 137.6 39.9 +1.4 3.7% - SG&A expenses 77.5 151.3 69.0 (8.5) - - Operating profit (39.0) (13.6) (29.0)+9.9-15.0 (loss) Ordinary profit (40.6) (13.9) (26.9) +13.6 - 15.0 (loss) Profit (loss) attributable to owners of (32.5) (2.9) (28.8)+3.6-10.0 parent * Figures are rounded down o the million. FY2019 Q2 Copyright 2019 FIELDS CORPORATION All rights reserved. 2 Consolidated B/S (summary) (Unit: 100 million yen) End of March End of Sep Increase Main change factors 2019 2019 (Decrease) Current assets 482.2 414.3 (67.9) Decrease in cash and deposits (Cash and deposits) 289.0 233.2 (55.8) Property, plant and equipment 61.6 51.7 (9.8) Intangible assets 31.7 30.0 (1.6) Investments and other assets 106.3 62.6 (43.6) Decrease in investment securities Total Assets 681.9 558.8 (123.0) Current liabilities (52.1) Decrease in notes and accounts payable-trade 217.5 165.4 Decrease in short-term loans payable Non-current liabilities 113.3 79.8 (33.5) Decrease in long-term loans payable Net assets 351.0 313.6 (37.4) Total liabilities and net assets 681.9 558.8 (123.0) * Figures are rounded down o the million.