In 京まふ2018 作れます！ 今年は京扇子の絵付け体験も！ 人気作品『BLAME!』『シドニアの騎士』『人形の国」の複製原画展を開催！ カラー ・京捺染手刷り家紋体験工房 複製原画をはじめ、複製原稿などを約50点展示し、オリジナルグッズも販売！ ・つまみ細工 ・京扇子絵付け体験
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Economic Contribution of the Japanese Film and Television Industry
Economic Contribution of the Japanese Film and Television Industry Report October 2015 Mitsubishi Research Institute, Inc. This report has been commissioned by The Motion Picture Association (MPA) in collaboration with Japan and International Motion Picture Copyright Association, Inc. (JIMCA). JIMCA represents the interests in Japan of major motion picture companies and the MPA. Acknowledgements This report required gathering data from number of sources, including publicly available data from domestic industrial organizations. We would like to thank the organizations below for their help in our understanding of the data, as well as their cooperation with our interviews and discussions. Japan Satellite Broadcasting Association (JSBA) Foreign Film Importer - Distributors Association of Japan (FFIDAJ) Motion Picture Producers Associations of Japan, Inc. (MPPAJ) Japan Video Software Association (JVA) Japan Cable and Telecommunication Association (JCTA) The Association of Japanese Animation (AJA) Japan Association of Theatre Owners (JATO) Compact Disc & Video Rental Commerce Trade Association of Japan (CDV-J) (Japanese alphabetical) Contents 1. Executive Summary ................................................................................................................... 1 1.1 FRAMEWORK AND METHODOLOGY .................................................................................................... 1 1.2 RESULTS FOR ECONOMIC CONTRIBUTION AND MARKET OUTLOOK ....................................................... 1 2. Framework -
The Question of Algorithmic Personhood and Being
Article The Question of Algorithmic Personhood and Being (Or: On the Tenuous Nature of Human Status and Humanity Tests in Virtual Spaces—Why All Souls Are ‘Necessarily’ Equal When Considered as Energy) Tyler Lance Jaynes Alden March Bioethics Institute, Albany Medical College, Albany, NY 12208, USA; [email protected] Abstract: What separates the unique nature of human consciousness and that of an entity that can only perceive the world via strict logic-based structures? Rather than assume that there is some potential way in which logic-only existence is non-feasible, our species would be better served by assuming that such sentient existence is feasible. Under this assumption, artificial intelligence systems (AIS), which are creations that run solely upon logic to process data, even with self-learning architectures, should therefore not face the opposition they have to gaining some legal duties and protections insofar as they are sophisticated enough to display consciousness akin to humans. Should our species enable AIS to gain a digital body to inhabit (if we have not already done so), it is more pressing than ever that solid arguments be made as to how humanity can accept AIS as being cognizant of the same degree as we ourselves claim to be. By accepting the notion that AIS can and will be able to fool our senses into believing in their claim to possessing a will or ego, we may yet Citation: Jaynes, T.L. The Question have a chance to address them as equals before some unforgivable travesty occurs betwixt ourselves of Algorithmic Personhood and Being and these super-computing beings. -
… … Mushi Production
1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Mushi Production (ancien) † / 1961 – 1973 Tezuka Productions / 1968 – Group TAC † / 1968 – 2010 Satelight / 1995 – GoHands / 2008 – 8-Bit / 2008 – Diomédéa / 2005 – Sunrise / 1971 – Deen / 1975 – Studio Kuma / 1977 – Studio Matrix / 2000 – Studio Dub / 1983 – Studio Takuranke / 1987 – Studio Gazelle / 1993 – Bones / 1998 – Kinema Citrus / 2008 – Lay-Duce / 2013 – Manglobe † / 2002 – 2015 Studio Bridge / 2007 – Bandai Namco Pictures / 2015 – Madhouse / 1972 – Triangle Staff † / 1987 – 2000 Studio Palm / 1999 – A.C.G.T. / 2000 – Nomad / 2003 – Studio Chizu / 2011 – MAPPA / 2011 – Studio Uni / 1972 – Tsuchida Pro † / 1976 – 1986 Studio Hibari / 1979 – Larx Entertainment / 2006 – Project No.9 / 2009 – Lerche / 2011 – Studio Fantasia / 1983 – 2016 Chaos Project / 1995 – Studio Comet / 1986 – Nakamura Production / 1974 – Shaft / 1975 – Studio Live / 1976 – Mushi Production (nouveau) / 1977 – A.P.P.P. / 1984 – Imagin / 1992 – Kyoto Animation / 1985 – Animation Do / 2000 – Ordet / 2007 – Mushi production 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Tatsunoko Production / 1962 – Ashi Production >> Production Reed / 1975 – Studio Plum / 1996/97 (?) – Actas / 1998 – I Move (アイムーヴ) / 2000 – Kaname Prod. -
The Question of Algorithmic Personhood and Being
Article The Question of Algorithmic Personhood and Being (Or: On the Tenuous Nature of Human Status and Humanity Tests in Virtual Spaces—Why All Souls Are ‘Necessarily’ Equal When Considered as Energy) Tyler Lance Jaynes Alden March Bioethics Institute, Albany Medical College, Albany, NY 12208, USA; [email protected] Abstract: What separates the unique nature of human consciousness and that of an entity that can only perceive the world via strict logic-based structures? Rather than assume that there is some potential way in which logic-only existence is non-feasible, our species would be better served by assuming that such sentient existence is feasible. Under this assumption, artificial intelligence systems (AIS), which are creations that run solely upon logic to process data, even with self-learning architectures, should therefore not face the opposition they have to gaining some legal duties and protections insofar as they are sophisticated enough to display consciousness akin to humans. Should our species enable AIS to gain a digital body to inhabit (if we have not already done so), it is more pressing than ever that solid arguments be made as to how humanity can accept AIS as being cognizant of the same degree as we ourselves claim to be. By accepting the notion that AIS can and will be able to fool our senses into believing in their claim to possessing a will or ego, we may yet Citation: Jaynes, T.L. The Question have a chance to address them as equals before some unforgivable travesty occurs betwixt ourselves of Algorithmic Personhood and Being and these super-computing beings. -
Animagazin 3. Sz. (2019. Május 24.)
Nyári szezon 2019 Összeállította: Hirotaka Anime szezon 027 Araburu Kisetsu no Otome-domo yo. Arifureta Shokugyou de Sekai Saikyou BEM manga alapján light novel alapján original Stúdió: Stúdió: Stúdió: Lay-duce Asread, White Fox Production I.G, LandQ Studios Műfaj: Műfaj: vígjáték, dráma, romantika, akció, kaland, fantasy, Műfaj: iskola, shounen, slice of life pszichológiai démonok, horror, természetfeletti Seiyuuk: Seiyuuk: - Fukamachi Toshinari, Seiyuuk: Kuwahara Yuuki Mao, Kenshou Ono Leírás Ajánló Leírás Ajánló Leírás Ajánló A lányok a középsu- Akár a felnőttéválás mi- A 17 éves Nagumo Ha- Megint egy isekai, a vál- Adott három szörny: Egy kis darkos démo- li irodalom klubjában sze- kéntje is lehet a téma ebben jime egy hétköznapi otaku. tozatosság kedvéért. És most Bem, aki úgy néz ki, mint egy nos akció, lehet ebből egész retnék jobban megismerni az animében, de valószínűleg Azonban egy iskolában alvós éj- egy egész osztály kerül át. gengszter, Bero, mint egy fiú izgalmas anime is, de félő, egymást, így válaszolnak azért itt is a szórakozásé lesz szaka során felfordul az élete, Ekkora kreativitás a világon és Bera, mint egy boszorkány. hogy a klisé tengerébe veszik. egy kérdésre: Mi lenne az a főszerep. Szóval nem lesz mivel az egész osztály egy fan- nincs. Ahogy társai esetében, Ők az igazság bajnokaiként Mindenesetre a stílus nem új, az egy dolog, amit halálod vakbélgyulladás komolyságú. tasy világba kerül. Hősökként itt is egy futó regényt adaptál- tetszelegnek, és remélik, em- huszadik századi közeg jazzel előtt tennél? Az egyik lány A manga még fut, az író maga kezelik őket, és küldetésük az nak. A White Fox a cuki lányok berré válhatnak. -
Aniplex of America Announces GRANBLUE FANTASY the Animation Blu-Ray Release
FOR IMMEDIATE RELEASE March 2, 2017 Aniplex of America Announces GRANBLUE FANTASY The Animation Blu-ray Release The adventure fantasy anime invites fans into the Blu-ray and beyond! SANTA MONICA, CA (March 2, 2017) – Aniplex of America announced at their industry panel at Kawaii-Kon (Honolulu, HI) today that the smash hit game turned anime TV series GRANBLUE FANTASY The Animation will be released on Blu-ray in two volumes in 2018. The series is directed by Yuuki Ito (Blue Exorcist, Sword Art Online) and Animation Series Director Ayako Kurata (Magi: The Kingdom of Magic, Your lie in April) with character design handled by Toshifumi Akai (Magi: The Labyrinth of Magic, Full Metal Alchemist: Brotherhood). The Blu-ray packages will contain exclusive illustration cards, a deluxe booklet containing a collection of the character, prop, and background art, along with an original soundtrack featuring the works of famed composer, Nobuo Uematsu, who is well-known for his music in the Final Fantasy games. Volume 1’s bonus content includes textless OP and ED, while Volume 2 contains a never before seen episode, exclusive to the Blu-ray release. Pre-orders start today with Volume 1 available on May 15, 2018 and Volume 2 on July 17, 2018. GRANBLUE FANTASY The Animation follows the adventures of the bright-eyed protagonist, Gran, who sets off on an epic voyage after an encounter with a mysterious girl named Lyria. “Where this show shines is in the small interactions of its characters,” writes Rebecca Silverman of Anime News Network in a 2017 review. “In terms of character relationships, Granblue Fantasy has mastered showing rather than telling.” Much of that can be credited to the series’ truly veteran all-star cast consisting of Yuuki Ono (DURARARA!! x 2, VALVRAVE the Liberator), Nao Toyama (NISEKOI, The Asterisk War), Rie Kugimiya (Fullmetal Alchemist: Brotherhood, Persona4 the Golden ANIMATION), Miyuki Sawashiro (Fate/Apocrypha, Sword Art Online the Movie -Ordinal Scale-), and Hiroaki Hirata (God Eater, Sword Art Online series). -
Cross-Influence Between Robot Anime and Tokusatsu in SSSS.Gridman Angela Longo, Yokohama National University, Japan the Asian Co
Cross-influence Between Robot Anime and Tokusatsu in SSSS.Gridman Angela Longo, Yokohama National University, Japan The Asian Conference on Arts & Humanities 2019 Official Conference Proceedings Abstract This article focuses on the cross-influence between the establishment of the Robot Anime genre and the Tokusatsu in order to understand how both genres were fundamental in shaping and changing the way we perceive Japanese media, domestically and across the world. The design of plamodels and robotic mechanisms will be a point of contact for influencing one another, in terms of aesthetics and industry models. From the television broadcasting of friendly robots in the 1960s — to the giant robots of the 1970s and the henshin boom in Tokusatsu — to the explosion of the more realistic robots in the 1980 and the influence of Super Sentai shows — to the increasing mix between robots and humans in the 1990s — the robot imagery brought philosophical questions about the increasing use of technology in daily life and in the technicity of media itself. Particularly we will analyze the case of the anime SSSS.Gridman (2018) adapted from the original Tokusatsu series Denkō Chōjin Gridman (Gridman the Hyper Agent, 1993-1994) created by Tsuburaya Productions. The anime context is a personalized otaku world with the everlasting influence of Tokusatsu and Super Sentai series. In that sense, the aesthetic analysis will be grounded on how different media captures other media, and how that brings an opening for choices with a deliberate difference in the composing of the moving image. Keywords: Anime; Tokusatsu; Robot; SSSS.Gridman; Aesthetics. iafor The International Academic Forum www.iafor.org Introduction Since the globalization boom of Japanese animation on the 90s, we have seen a continuous rise of interest in the aspects of production, distribution and the establishment of an academic research field dedicated to exploring anime and other Japanese media. -
Computer Graphic Arts Society People Create Culture, and Culture Touches Hearts
About the CG-ARTS Computer Graphic Arts Society People create culture, and culture touches hearts. Since its establishment in 1991, The Computer Graphic Arts Society (CG-ARTS), a Japanese public interest incorporated foundation has played a role in human resource development and cultural promotion for the image information eld using computers, and has been committed to the ad- vancement of these areas. Now more than 29 years after its establishment, many who have studied under the curriculum, or who have won awards in the contest of the CG-ARTS are at the forefront of the academic, art and industry sectors. The use of image information has spread into a variety of industries, and has become indispensable in the daily lives of people. The CG-ARTS is engaged in a variety of activities that support the birth and growth of the attractive culture and industries of Japan related to image information. The Role of the CG-ARTS Industry Human Resource Development ・Creating Curriculums ・Developing / Publishing Teaching Materials ・Conducting Certification Tests ・ Training Teachers and Instructors Cultural Promotion ・Planning and management Festival Academic Art ・Producing Exhibitions / Events ・Creative Support ・ Hosting the CG Contest for Students One of the main pillars of these activities is "Human Resource Development". In an increasingly changing era, the enhancement of this foundation is essential. For the purpose of strengthening the basic abilities of people involved in the image information eld, we conduct educational promotion activities including the creation of education curriculums, the development of teaching materials, the training of teachers and instructors, and the implementation of certication tests. -
Past, Present, and Future of Storyboarding in Japanese Animation Jun Kato, Ryotaro Mihara, Nao Hirasawa (Arch Inc.) SAS 2021 (Animated Energies), Online, June 15
Past, Present, and Future of Storyboarding in Japanese Animation Jun Kato, Ryotaro Mihara, Nao Hirasawa (Arch Inc.) SAS 2021 (Animated Energies), Online, June 15 https://research.archinc.jp/en Introduction Past, Present, and Future of Storyboarding in Japanese Animation Who are we? Jun Kato (presenter) Technical Advisor at Arch Inc. Senior Researcher at AIST Background: Computer Science / Human-Computer Interaction Ryotaro Mihara Nao Hirasawa Global Business Advisor at Arch Inc. Founder, CEO at Arch Inc. Associate Professor at Keio University President at Graphinica, Inc. Background: Cultural Anthropology Expertise: Anime Production Who are we? • Arch is a Japanese animation production company without in- house studios (focus on helping production studios and creators) … • Arch Research is a small R&D team in Arch, with academic researchers at its core Our research question Many studies of animation begin with a question about the object—what is anime?—but I suggest a different entry point: Who makes anime? Ian Condry, “The Soul of Anime,” p.3 We pose yet another entry point—our research began with exploring the design space of building creativity support tools for anime production studios, which can be summarized as: how to make anime? Creativity support tools? • Fred Brooks. ‘96. “The Computer Scientist as Toolsmith II.” CACM Vol.39 (3), 61-68. • Ben Shneiderman. ‘09. “Creativity Support Tools: A Grand Challenge for HCI Researchers.” In Engineering the User Interface. Springer, London, 1-9. • Jonas Frich et al. ‘18. “Twenty Years of Creativity Research in Human-Computer Interaction: Current State and Future Directions.” In Proc. ACM DIS 2018, 1235-1257. An example from Jun’s prior work (affiliated with AIST): TextAlive • A web-based tool for creating kinetic typography videos • Designed for music video creators and programmers Jun Kato et al., “TextAlive: An Integrated Design Environment for Kinetic Typography,” In Proc. -
SIGGRAPH Asia Lands in Japan, Bringing to Life the Future
SIGGRAPH Asia lands in Japan, bringing to life the future of Computer Graphics and transforming the way we think, work and live For the first-time ever, SIGGRAPH Asia introduces the Symposium on Education and the Symposium on Visualization in High Performance Computing KOBE, Japan, 3 November 2015 - From 2 to 5 November, the 8th edition of SIGGRAPH Asia will bring together more than 7,000 of the world’s leading computer animation experts, researchers, technologists, graphics pioneers and trade visitors from close to 50 countries around the world. Both a conference and a trade exhibition, SIGGRAPH Asia is taking place in the vibrant and eclectic city of Kobe, Japan, at the Kobe Convention Center, to help further grow and foster strong connections with important communities in Asia. In addition to featuring crowd favorites such as the Art Gallery, Computer Animation Festival, Emerging Technologies and the Symposium on Mobile Graphics and Interactive Applications, this year’s edition of SIGGRAPH Asia will also introduce two new programs for the first-time ever – the Symposium on Education and the Symposium on Visualization in High Performance Computing. Hundreds of industry experts and professionals are also expected to contribute to the strong line-up with a diverse range of demonstrations, courses, workshops, posters, technical briefs, and technical papers. Leading the Keynote at SIGGRAPH Asia 2015 is Ronnie del Carmen, co-director of Inside Out, the Pixar film that has touched audiences worldwide and been ranked the tenth highest-grossing animated film of all time. Del Carmen has been a member of the story team that worked on a number of the studio’s most famous feature films, including the Academy Award®-winning features Finding Nemo, Ratatouille and Up (on which he served as the story supervisor).