Declaration of “New Public Commons”
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Limits of the Human
Limits of the human Machine s without limits? Phot. Geminoid F. Hiroshi Ishiguro ATR Laboratories © International Symposium Limits of the human, machines without limits? Contemporary stage and robotics: exchanges and collaborations October 6, 7, 8, 2021 University of Lausanne, Switzerland Organised by: Dr Izabella PLUTA, Colloquium Leader, University of Lausanne - Centre d'études théâtrales and Laboratoire de cultures et humanités digitales Dr Salvatore Maria ANZALONE, University Paris 8 - CHArt Laboratory Dr Gunter LÖSEL, Zurich University of the Arts - Institute for the Performing Arts and Film Dr Erica MAGRIS, University Paris 8 - Theatre Department Symposium office: Théo Arnulf (PhD Candidate, University Paris 8, Theatre Department), Stéphanie BARBETTA (Master’s Degree, University of Geneva, and independent artiste). To contact the office : [email protected] Supporting institution: Centre for Theatre Studies (Unil), Partners: College of Humanities Unil-EPFL, Zurich University of the Arts, Paris 8 University - Theatre and CHArt Laboratory Keywords: stage, robotics, prosthesis, robotic devices, creation, scientific research, uncanny valley, programming, creation process, neurosciences, transhumanism, digital humanities Scientific Committee: Prof. Marc Atallah (Univ. of Lausanne, Lausanne, Switzerland), Prof. Matteo Casari (Univ. of Bologna, Bologna, Italy) Dr. Ester Fuoco (Univ. of Genoa, Genoa, Italy), Dr. Aurélie Gallois (Espace culturel Nymphéa, Amiens, France), Dr. Simon Hagemann (PRAG, Univ. of Lorraine, Nancy, France), Dr. Louise LePage (Univ. of York, UK) Dr. Piotr Mirowski (DeepMind, UK) Prof. Anna Maria Monteverdi (Univ. of Milan, Milan, Italy), Prof. Emanuele Quinz (Univ. Paris 8, Paris 8, France), Prof. Zaven Paré (Uni. of Rio de Janeiro, Brazil) Prof. Thomas Riccio (University of Texas at Dallas, USA) Argumentation Many artists today have introduced robots into their creations, questioning aesthetic visions and exploring trans- and posthumanism. -
Nuclear Energy Policy and the National Deliberative Poll
Nuclear Energy Policy and the National Deliberative Poll Yasunori Sone Keio University, Japan [email protected] “Public Policy and Public Consultation: Deliberative Democracy in Asia” May 20-21, 2016 Nanyang Technological University, Singapore Summary The National Deliberative Poll on Energy and Environmental Policy was conducted in August 4-5, 2012. James Fishkin described it as “the first Deliberative Poll® (DP) anywhere in the world that was commissioned by a government to get input on a subject of national importance before a national decision.” This paper focuses on three aspects of Deliberative Polling in the policy making process. 1) Why the government adopted it as a tool of public consultation in the formal decision making process, 2) what were the poll results, and 3) how the government used it for their policy decisions. Interestingly, the poll shows us that the 285 randomly selected participants became more informed and changed their views on certain policy options. The public finally supported the zero nuclear option and concern for safety as a first criterion. It also shows that the public could not find any reliable authority to judge important key respects. It seems to be an “anomie” situation where there is no trust at all even in the nuclear specialists. After an ad hoc committee of specialists examined public consultation results such as from deliberative polls, public comments, town-meetings, and public opinion polls by media, Energy and Environment Council decided ‘the Innovative Strategy for Energy and the Environment’ that recommended the policy proposal “zero nuclear power by 2030s along with strong commitments to energy conservation and renewable energy.” The Cabinet finally made a decision according to the recommendation. -
Robot Theatre Marek Perkowski 1
Towards Robot Theatre Marek Perkowski 1. History of robot theatre 2. Modern robot theatre 3. Robot theatre at PSU 4. Models of robot theatre 5. Research topics on Robot Theatre 6. Future Robot Theatre History of Robot Theatre From antiquity until 1996 Heron’s Book Automata Robot Theatre of Hero • A collection of constructions called miracles of Alexandria (thaumata) for temples. • Heron describes automatic rotating objectives, noise such as thunder, automatic opening doors. • Philon from Byzanz describes the existence of automata in his book Mechaniki syntaxis, that includes pneumatic apparatus and automatic astronomical devices as early as 300 BC. Albertus Magnus and his robot head Albertus is recorded as having made a mechanical automaton in the form of a brass head that would answer questions put to it. Knight of Leonardo Da Vinci 1. Leonardo's robot refers to a humanoid automaton designed by Leonardo da Vinci around the year 1495. 2. The design notes for the robot appear in sketchbooks that were rediscovered in the 1950s. 3. It is not known whether or not an attempt was made to build the device during da Vinci's lifetime. 4. Since the discovery of the sketchbook, the robot has been built faithfully based on Leonardo's design; this proved it was fully functional. Duck of Vaucanson • The Canard Digérateur, or Digesting Duck, was an automaton in the form of a duck, created by Jacques de Vaucanson in 1739. • The mechanical duck appeared to have the ability to eat kernels of grain, and to metabolize and defecate them Constructed and unveiled in 1770 by Wolfgang von Turk of Kempelen Kempelen (1734–1804) to impress the Empress Maria Theresa • The Turk was in fact a mechanical illusion that allowed a human chess master hiding inside to operate the machine. -
Japan–China Relations
22 WebMemo Published by The Heritage Foundation No. 3027 September 27, 2010 East China Sea Flare-Up: Learning the Wrong Lessons in Beijing Dean Cheng Japanese prosecutors have reportedly decided to greater concern, however, was the fact that Beijing release the captain of the Chinese fishing boat escalated both the rhetoric and its responses over whom they arrested after he apparently rammed the following two weeks, to the point of Chinese two Japanese coast guard vessels in the waters Premier Wen Jiabao publicly snubbing Japanese around the Senkakus. The decision, a Japanese dep- Prime Minister Naoto Kan last week at the United uty public prosecutor said, was made “taking into Nations and China suspending the sale of rare earth account the impact on our citizens and Japan– minerals (essential for the production of electronics) China relations, [so] our judgment was that it to Japanese customers. For Tokyo to decide to would have been excessive to prolong the investiga- release the Chinese captain in the face of such over- tion and his detention.”1 reaction only teaches Beijing that its policies worked. The Japanese government’s comments make it This is an extremely dangerous precedent not even clearer that this decision was made due to the only for Japan but for the larger East Asia region impact of the case on Sino–Japanese relations. Japa- and, ultimately, even for the United States. nese Chief Cabinet Secretary Yoshito Sengoku It was Beijing, not Tokyo, that decided that this stated explicitly, “It is a fact that there was the pos- relatively minor incident should escalate. -
Press Release 2009,12,03
Press Release 2009,12,03 AICHI TRIENNALE OFFICE Aichi Arts Center 6F, 1-13-2 Higashi-sakura, Higashi-ku, Nagoya, Aichi, 461-8525 JAPAN TEL:81-52-971-6111 FAX:81-52-971-6115 E-mail:[email protected] http://aichitriennale.jp/ New International Art Festival Aichi Triennale is opening in August and will run until October 2010! The “Aichi Triennale”, a new large-scale international art festival, opens its doors in August 2010. Inspired by the idea to transmit new art and culture from the heart of Aichi, the festival’s “Arts and Cities” themed first installment will focus on the latest trends in the international art circus by way of various shows of contemporary art and performing arts. One predominant feature of the “Aichi Triennale 2010”, in addition to a core of contemporary art exhibitions, will be the event’s additional focus on cutting-edge performing arts. An international lineup of artists that keep crossing the boundaries between dance, theater, music and art, present their works at the Aichi Arts Center, a cultural-arts complex that houses a museum and event halls, while making best use of the venue’s characteristics. In order to attract a large number of local citizens and visiting tourists next to dedicated art fans, various places in the city, including a number of symbolic spots representative for the Aichi region will function as backdrops for a fascinating art spectacle that will make this Triennale an absolutely unique experience. Contemporary art exhibitions and performances in Choja-machi, one of the three biggest textile wholesale districts in Japan, and other locations in central Nagoya are sure to charge the atmosphere with a “city festival” kind of mood. -
Hiroshi Ishiguro's Androids As Staged by Oriza Hirata Introduction
Theater and Robotics: Hiroshi Ishiguro’s Androids as Staged by Oriza Hirata Izabella Pluta Université de Lausanne (Suisse) Université Lyon 2 (France) Introduction: Theatre and technology1 The use of digital technology has become a frequent aesthetic choice in live perfor- mance and is particularly present in the scenic arts. The technology is integrated in different ways: almost all of light and sound tables today are digital; incorporated into the performance itself through objects and technological devices and even in the creation process, requiring IT research and specific collaborations. The “pro- duction with technological components” as Steve Dixon called it in Digital Perfor- mance (Dixon, 2007) or “intermedial performance” as defined in the field of inter- media (Cheng et al., 2010), is inscribed in the lineage of digital humanities where different areas are gathered together under the common denominator of advanced technologies. The production in question becomes, thus, at the same time creation and theatrical research, scientific and technological research. The idea of the robot is increasingly at the forefront.2 Today, one sees diversified productions interested in robots, made by artists long dedicated to this aesthetic, as well as by young proponents. For example, in 1991, Chico MacMurtrie created the Amorhic Robot Works (ARW), a collective of artists, engineers, and technicians who develop abstract and anthropomorphic robotic machines. This systematic work is seen in installations and environments, autonomous universes due to sce- nography, actors and the robotic plots. In 1996 Zaven Paré created an electronic puppet (initially with a video source, then digital and tele-remote), presented at 1 This article takes up some issues presented in the Communication “The Geminoid F or laboratory limits” in the session “Live Show and digital technology: the scientific laboratory to the theater sta- ge” held at the annual conference of the Digital Humanities in 2014, an event that had as its theme: Cultural Digital Empowerment. -
Regierungswechsel in Japan Sozialdemokratie Ohne Sozialdemokraten?
PERSPEKTIVE | FES JAPAN Regierungswechsel in Japan Sozialdemokratie ohne Sozialdemokraten? SVEN SAALER Juni 2010 Am 2. Juni 2010 erklärte der japanische Premierminister Yukio Hatoyama nach nur achteinhalb Monaten Regierungszeit seinen Rücktritt. Zusammen mit Hatoyama trat der mächtige Generalsekretär der Demokratischen Partei Japans (DPJ), Ichirô Ozawa, zurück. Nach ihrem überwältigenden Wahlsieg im August 2009 hat die von der DPJ geführte Koalitionsregierung eine Reihe von Wahlversprechen erfüllt und Reformvorhaben umgesetzt. Hatoyama scheiterte aber letztlich am Unvermögen, eine selbst gesetzte Frist zur Verlegung eines US-Stützpunktes auf der südlichen Inselgruppe Okinawa einhalten zu können, was ihm die Missgunst der Wähler einbrachte und zum Austritt der Sozialdemokratischen Partei Japans (SDP) aus der Regierungskoalition führte. Hatoyamas Nachfolger ist Naoto Kan – schon seit Parteigründung einer der führenden Köpfe der DPJ. Kan ist bekannt als entschlossener Reformer und für seine Bürgernähe. Er stammt selbst aus der Bürgerbewegung und begann seine politische Karriere als Unterhausabgeordneter für den »Sozialdemokratischen Bund« (pÜ~â~á=jáåëÜì=oÉåÖ∑). Auch andere Mitglieder des neuen Kabinetts haben einen sozialdemokratischen Hintergrund, weshalb die sozialdemokratische Färbung des Kabinett Kan trotz des Austritts der SDP aus der Koalition nicht zu übersehen ist. Die Handlungsfähigkeit des neuen Kabinetts könnte jedoch von parteiinternen Konflikten beeinträchtigt werden. SVEN SAALER | REGIERUNGSWECHSEL IN JAPAN 1. Das Scheitern des Kabinetts Hatoyama Eine Reihe von Versprechen, deren Ankündigung den Wahlsieg der DPJ ermöglicht hatte, konnte daher nur Am 2. Juni 2010 erklärte der japanische Premierminister eingeschränkt oder gar nicht realisiert werden. Die Yukio Hatoyama nach nur acht Monaten Regierungszeit anfangs hohen Popularitätswerte des Kabinetts (über seinen Rücktritt. Zusammen mit Hatoyama trat der 70 Prozent) sanken daher rapide, auf zuletzt 17 einflussreiche Generalsekretär der Demokratischen Prozent. -
From Rhetoric to Reality: Japanese Foreign-Policy Making Under The
From Rhetoric to Reality Foreign-Policy Making under the Democratic Party of Japan April 2012 The Institute for Foreign Policy Analysis From Rhetoric to Reality Foreign-Policy Making under the Democratic Party of Japan April 2012 Weston S. Konishi A publication of The Institute for Foreign Policy Analysis Contents Introduction and Acknowledgments iii Executive Summary v Main Findings v From Rhetoric to Reality: Foreign-Policy Making under the Democratic Party of Japan 1 Internal Challenges 4 Intra-party Divisions 4 The Complexities of Coalition Politics 7 Institutional Reforms: Toward Politician-Led Decision-Making 11 The DPJ’s Foreign Policy: Competing Visions 15 Realists 16 Pacifists 17 Centrists 17 Neo-Autonomists 18 Caveats 20 Prime Minister Hatoyama: An Agenda for Change 23 External Constraints on the Hatoyama Administration 27 The Kan Administration: Political Transition and Crisis Management 30 The Noda Administration: Shifting to the Center? 40 Findings and Implications 45 The Impact of Structural Obstacles on DPJ Foreign-Policy Making 45 Continuity versus Change 46 The DPJ: A Hawkish Party? 47 Bilateralism vs. Multilateralism 49 Competing Schools of Thought 51 Conclusion 54 APPENDIX A: Impact of Major Events on Cabinet Approval Ratings 56 FROM RHETORIC TO REALITY I APPENDIX B: The 2010 NDPG Process 59 APPENDIX C: Survey Data of DPJ Foreign Policy Viewpoints 62 APPENDIX D: Profiles of Key DPJ Politicians 63 APPENDIX E: Chronology of Major Events under DPJ Governments 79 Bibliography 86 About the Author 103 II FROM RHETORIC TO REALITY Introduction and Acknowledgments After more than fifty years of one-party dom- ister Kan Naoto, presided over Japan’s most chal- inance under the Liberal Democratic Par- lenging crisis since World War II—the March ty (LDP), Japan’s political landscape changed 11, 2011, Great East Japan Earthquake—before dramatically with the victory of the Democratic succumbing to his own political fate as a result Party of Japan (DPJ) in parliamentary elections of his inconsistent leadership. -
2345 Oriza Hirata and the Emergence of A
Melcher 1 Sterling Melcher 7 March 2017 Pig Iron Seminar II Prof. Kuharski Word Count: 2,345 Oriza Hirata and the Emergence of Androids in Society The emergence of android1 technology and its consequences for human society is a long- running tradition of inquiry for science-fiction writers. Writers such as Philip K. Dick and Isaac Asimov have written many novels about what it means to be human in a technologically advanced age. If humans create something that mimics human nature, is it equal to humanity, is it under our control, or will it surpass us in intelligence and ability, ultimately changing the hierarchy of natural beings on Earth? These are at the forefront of many modern philosophers' minds. However, in the theatrical realm, Oriza Hirata and the Robot Theater Project are taking a different take on this modern philosophical inquiry. What is it for humans and androids to coexist and possibly evolve together, and subsequently, what does it mean to be human in a society that contains an equal or superior intellect? Oriza Hirata's career started as a prominent playwright in 1990s Japan with the emergence of Contemporary Colloquial Theater Theory. During his years at International Christian College in Tokyo, Japan, Hirata started the Seinendan Theater Company to investigate his own theories of theatrical writing. In response to the westernization of Japanese drama in the 80s, Hirata wanted to create a new form of playwriting that highlighted the unique grammatical structure and speech patterns of Japanese language. He believed that the plays being performed in Japan caused the performers to put emphasis on certain words and sentences that went against normal every-day speech. -
Japan Calling September, 2010
September 2010 A quarterly newsletter from the Embassy of Japan, India Mr. Katsuya Okada, Minister for Foreign Affairs of Japan (left), at a Joint Press Conference with Mr. S.M. Krishna, Minister of External Affairs of India, on August 21, 2010, in New Delhi. Photo Courtesy: Ministry of Foreign Affairs of Japan CONTENTS • Prime Minister Naoto Kan Reshuffles His Cabinet P. 2 • Visit to India by Mr. Katsuya Okada, Minister for Foreign Affairs of Japan P. 3 • Diplomatic Bluebook 2010 Summary P. 5 • Important Embassy events held in the recent past P. 6 • Lectures by Prof. Toshihiko Kinoshita, Special Researcher, Industrial Mgmt. Institute, Waseda University P. 7 • The SAARC High School Student Exchange Program (June 23 – July 2, 2010) P. 8 • Earth Return of the Hayabusa P. 10 • Painting competition: Quest for Peace P. 11 • Learn Japanese online P. 11 • Anime Fest P. 12 JAPAN CALLING 1 PRIME MINISTER NAOTO KAN RESHUFFLES HIS CABINET Following his re-election as leader of the governing Democratic Party of Japan (DPJ), Japanese Prime Minister, Mr. Naoto Kan, announced a new Cabinet on 17 September 2010. In the reshuffled Cabinet, Mr. Seiji Maehara has taken over as the new Foreign Minister of Japan. Mr Maehara, former Transport Minister, replaced Mr. Katsuya Okada, who has been appointed as the Secretary General of the Democratic Party of Japan (DPJ). Foreign Minister, Mr. Seiji Maehara Photo courtesy: Ministry of Foreign Affairs, Japan Prime Minister of Japan and his Cabinet LIST OF MINISTERS September 17, 2010 Prime Minister Naoto KAN Minister -
First Steps One-Way Ticket “Intrigue Theater” “Liberthéâtre” “Tokyo
VIEWPOINT First Steps France, in the late 1980s. A friend “Ame no Nioi” (The Scent of Rain) asks me: “Do you have any plans this weekend?” “No, none in particular.” “I “Liberthéâtre” signed up for a theater workshop, an initi- ation to the Comedia dell’arte. Would you Mozaffar having gone back to London, theater exits my life for a Author Jean-Gabriel Dupuy be interested?” “Well, not really. I’m while until I meet Philippe Mesmer, Tokyo correspondent for the more the music type…” “Come on, just give it a try!” French daily Le Monde. Together, we set up a company called Eventually, I just give in. So here I am, on a Saturday morning, “in “Liberthéâtre” that retains the spirit of Mozaffar’s idea: each actor, the limelight,” so to speak, struggling to improvise a scene imposed whether Japanese, British or Korean, will play in his own language. by the workshop director. She comes up to me and whispers: “Your We fine-tune the process with a supertitle system in Japanese to presence is fine, but you’re not going far enough. Be more daring, try reach a wider audience. This formula allows us to play at the Agora to surprise yourself!” theater, headed by the renowned Oriza Hirata and his company, To dare. To surprise oneself. This pair of keywords opened the “Seinendan” (Youth Troupe). At a pace of one play per year, we suc- gates to theater…and to myself. Because theater is, indeed, a stage cessively present “The Bald Soprano” (Eugène Ionesco), “Antigone” where the tension between dreams and reality becomes “playable.” (Jean Anouilh) and “The Collection” (Harold Pinter). -
Journal of Asian and African Studies
Journal of Asian and African Studies http://jas.sagepub.com Financial Crises, Politics and Financial Sector Restructuring: A Comparison between Japan and the United States Sara Konoe Journal of Asian and African Studies 2009; 44; 497 DOI: 10.1177/0021909609338901 The online version of this article can be found at: http://jas.sagepub.com/cgi/content/abstract/44/5/497 Published by: http://www.sagepublications.com Additional services and information for Journal of Asian and African Studies can be found at: Email Alerts: http://jas.sagepub.com/cgi/alerts Subscriptions: http://jas.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.co.uk/journalsPermissions.nav Citations http://jas.sagepub.com/cgi/content/refs/44/5/497 Downloaded from http://jas.sagepub.com at European Univ Inst - Library on March 18, 2010 Journal of Asian and African Studies Financial Crises, Copyright © 2009 SAGE Publications www.sagepublications.com Politics and Financial (Los Angeles, London, New Delhi, Singapore and Washington DC) J Sector Restructuring Vol 44(5): 497–515 DOI: 10.1177/0021909609338901 A A Comparison between A Japan and the United States S Sara Konoe Department of Political and Social Sciences, European University Institute, Italy Abstract This article analyzes and compares the financial sector restructuring process after the financial crises in Japan and the United States. As these financial crises deepened, countries shifted their policies away from postponing financial sector restructuring toward more thorough reforms. The impacts of different political structures are examined through the Small-N Case Study method. Cases include: the bursting of the financial bubble in the 1990s in Japan and the Savings and Loan crisis in the 1980s in the USA, both of which are analyzed through a review of academic literature, journalistic writings, and statistical data from the World Wide Web.