27 Nov 2019: Fake & Reality of Shibuya ~Shibuya Museuming @Shibuya QWS

Shibuya. The city of “symbol” and “abstract”.

Many of us are attracted to the beautiful chaos of ” the fake” and “the real”, but we seldom ask ourselves why. What exactly does “fake” and “real” mean? What is “the fake” and “the real” of Shibuya? Perhaps, it is within this complex entanglement that lies the fascinating truth of the city.

People, architecture, industry, movies, pictures, music, dance, language, discussion… these products of human life seem to add so much value to Shibuya, to the point where Shibuya is no longer just a city… but a “museum”. Shibuya has evolved and always led the forefront of our lives. Only when we face the city can we understand the true value and creativity of our lives.

In this event, we bring you panel discussions with authorities from different creative backgrounds and interactions with the environment.

Fake & Reality of Shibuya ~Shibuya Museuming

Event Information:

♦︎ Date & Time: Wednesday, 27 November 2019   18:30~20:30(Open: 18:00)
♦︎ Venue: CROSS PARK(SHIBUYA QWS)2-24-12, Shibuya, Shibuya-ku, Tokyo, Shibuya Scramble Square Ⅰ(East Wing)15F
♦︎ Admission Fee:Free (Pre-registration)
♦︎ Capacity:50 persons
♦︎ Organizer:SHIBUYA QWS, Tokyo Institute of Technology
♦︎ Speakers:
Dr. Ulrike Oberlack (Tokyo Tech World Research Hub Initiative, Specially Appointed Professor, Light and Jewelry Design)
Yoshiaki Nishino (Director of Intermediatheque)
♦︎ Facilitators
Shohei Kawasaki  (Concent, Inc., Editorial Design)
Shogo Egashira  (Tokyo Institute of Technology, Master’s student, Material Engineering/Museology)
♦︎ Coordinators
Norihiro Kawasaki  (Concent, Inc., Graphic Design)
Kayoko Nohara (Tokyo Institute of Technology, Professor, Translation Studies/Communication)

Detailed information  here.

Event Report Summary

PART 1 : Shibuya Museum Concept

  1. Museum in Japan and UK
    – Cultural financial strength of the country, symbol of national power, cultural activity base
    – Example in London: Sense making and storytelling in UK museum (stimulate visitor, create interactive experiences, foster deeper engagement and further thinking)
  2. Extension of Japanese Museum characteristics
    – In term of ability of attracting visitors, Shibuya city stands out as “planned exhibiton”
  3. Breakthrough from “HAKOMONO” restraint
    – Mobile museum in daily space that does not have building, which can be made possible by removing the ‘HAKO’
  4. Creation of value system
    – Museum: accepts all and mixed things of what left behind as a result of human activities
    – It is important to convey subjective things objectively


  • What is the attractive point of Shibuya?
    – FICTION, COPY (mass production), FAKE
    – The real value of what was created by FAKE, just like the other world when seeing Halloween event
    – If novel expressions continuously being brought out, it may become an icon of the awakening city
  • Try to see Shibuya from different angle.
    From participants:
    – “I was impressed that the word ‘Platform’ will be the keyword instead of ‘Museum’ from now on” (Graduate school staff in their 30s)
    – “The space in Shibuya, where I usually come to play casually, has never looked as glittering as it is today” (Teenage college student)
    – “Each topic reminded me of the connection with my daily work.” (Museum curator in his 50s)
    – “Halloween, Mona Lisa, literature… it was interesting because the explanations from various perspectives were connected.” (Railway facilities maintenance staff in their 20s).

Event Reflection

(written by Chihiro Wada, Doctoral student of Tokyo Tech)

Discussion about “Mobile Museum” by Prof. Nishino was very intertesting. I thought it was a good example of an exhibition that was freed from ‘HAKOMONO’ restratint. The “mobile” concept is arguably the keyword of the 21st century, but I was surprised that it extended to museums. If “anywhere” is realized, I would like also realize the “anyone” by exhibiting for free.

I was also impressed that Prof. Nishino said that it was interesting because it was “subjective.” Even in the work of Izumi Kizara, which I am currently analyzing, the main characters are looking at things “subjectively” with a short-sighted eye, so it is important to have something that is not worth looking at “objectively”. What is being discussed about as worthwhile is appearing as irrelevant. What is “real”? It feels like an eternal question that seems both easy and not. Perhaps, the question of “What is it for you? What is it for me? What is it for both you and me?” should also be a set.

I pesonally hate Shibuya, so I do not agree with the discourse that Shibuya is “attractive”. However, I think it is a fact that “a lot of people gather”. When I took a Norwegian friend to Shibuya, I remember (she/he) exclaimed “(So many people!) Very Tokyo!” when seeing Scramble Square. Speaking of “Japanese culture”, I personally think that the conflict between the dynasty culture of Kyoto and merchant culture of Edo is interesting. So when I talk about “Japanese culture”, by connecting the broadcast between Kyoto and Shibuya, talking in “Shibuya” seems make the significance come into view.

QWSアカデミア(東工大 presents):Fake & Reality of Shibuya ~渋谷を博物館にする by 野原研
日時 : 2019年11月27日 18:30-20:30
場所 : Shibuya Scramble Square 15階 Shibuya QWS 内CROSS PARK
一般参加者 : 73名
参加費: 無料


西野 嘉章(インターメディアテク館長)
野原 佳代子 (東工大教授 翻訳学・コミュニケーション)
Dr. Ulrike Oberlack (東工大WRHI特任教授 光とジュエリーデザイン)
江頭 昇吾(東工大 修士課程学生 材料工学/博物館学)
川崎 昌平(株式会社コンセント 編集デザイン)


PART 1 : 渋谷 MUSEUM構想
・ロンドンの例 Sense making and storytelling in UK museum
2. 日本のMUSEUM特性の延長線
3. ハコモノ拘束からの打開
4. 価値体系の創造

―FICTION 虚構性 ―COPY 量産 ―FAKE 偽物
・これからはMuseumではなくPlatformという言葉がキーワードになるということが印象に残った。(30代 大学院職員)
・普段何気なく遊びに来ている渋谷の空間が今日ほどキラキラしたものに見えたときはない。(10代 大学生)
・1つ1つの話題に日々の仕事とのつながりが想起された。(50代 美術館学芸員)
・ハロウィン、モナリザ、文学…様々な視点からの説明がつながり、面白かった。(20代 鉄道系施設メンテナンス)




東工大 和田千寛

2-30 Oct 2019: “Creative Expression” course

“Creative Expression” course was held on October 2019. This course deals with “art thinking”, with the main focus of exploring the challenge to find intersection of art with science and find ideas for innovation.

Lecturer: Hiroshi Tsuda


  1. Wednesday, 10/2: What is Art Thinking? : Art Thinking Focus, Idea Lecture, Free Discussion
  2. Wednesday, 10/16: Art Thinking Drawing: Art Thinking Practice Method, Free Discussion
  3. Wednesday, 10/30: Science essay by art thinking: Create works (essays, etc.) with the theme of “your research theme and the world surrounding it” or “technology and landscape”


(Photos © TiTech 2019)



1回 10/2 (水)アートシンキングとは?:アートシンキングの着眼点、発想の講義、フリーディスカッション
2回 10/16(水)アートシンキングのデッサン: アートシンキングの実践方法、フリーディスカッション
3回 10/30(水)アートシンキングによるサイエンスエッセイ「あなたの研究テーマと、それを取り巻く世界」あるいは「テクノロジーと風景」をテーマに作品(エッセイなど)をつくる

31 July- 5 August 2019: Concept Designing

Following the workshop in February 2018, Concept Designing Joint Workshop was held under support from Rakuten Beauty Co., Ltd., with 31 participants. In this workshop, students will build concept from given theme using various communication methods and ideas, create some kind of prototype design, and give group presentation.

Date & Time: July 31st (Tuesday) -August 5th (Saturday) 15: 00-19: 00
Venue: (Tokyo Institute of Technology, Musashino Art University Roppongi D Lounge)
Participants: 15 Tokyo Institute of Technology students + 16 Musashino Art University students

Event Documentations: 

Photos © Nohara Lab 2019

[Information: From now on, the Concept Designing report could be found here in DeepMode website (previously on Creative Flow website)]

【今回から、コンセプト・デザイニング報告はCreative Flow WEBサイトから、こちらDeepModeサイトにお引っ越ししました】


参加者:東工大生15名  武蔵野美術大学生16名

1日目 7月31日(火):武蔵野美術大学六本木Dラウンジにて。武蔵野美術大学古堅教授と東京工業大学野原教授による事前講義を終えて、グループメンバー初顔合わせ。今年のお題は「似合う」「のようなもの」(お題は1つだけでも2つ使っても可)。早速話し合いを始めてアイディア出しに取り組みます。
2日目 8月1日(水):武蔵野美術大学六本木Dラウンジにて。武蔵野美術大学の袴田教授による「美術思考」についての講義。1日目の話し合いをもとにアイディアを形にしていきます。
3日目 8月2日(木):東京工業大学大岡山キャンパスにて。この日は中間発表でスタート。黙々と制作を始めたチーム、買い出しに向かうチーム、まだアイディア出し中のチームと取り組みもさまざまです。
4日目 8月3日(金)東京工業大学大岡山キャンパスにて。制作も大詰めに。
WS5日目 8月4日(土)東京工業大学大岡山キャンパス共創コモンズにて発表会。4日間の集大成を発表しました。先生方や外部ゲストから鋭い講評もありましたが、笑いのあるなごやかな発表かいとなりました。

15 May 2019: MOU with Central Saint Martins, Signing Ceremony @Tokyo Tech

A team from Central Saint Martins – University of the Arts London (CSM) visited the Tokyo Institute of Technology (Tokyo Tech) and two universities officially signed MOU. The two institutions will further promote collaboration in academic research, education, and university-industry partnership.

MOU Signing Ceremony (From the left, Prof. Nohara, Prof. Sampei, Prof. Nakai, Prof. Till, Ms. Dickson, Ms.Proudley, Prof. Wada).  Photo © TiTech 2019

On May 15th, after a meeting between President Kazuya Masu of Tokyo Tech and head of CSM, Prof. Jeremy Till, the MOU signing ceremony

was attended by Prof. Norihiro Nakai (Dean of School of Decision Science and Technology), Prof. Yuji Wada (Dean of School of Materials and Chemical Technology), Prof. Mitsuji Sampei (Associate Dean of School of Engineering), Prof. Shigeki Nakagawa (Director of Office of Education and International Cooperation), Prof. Kayoko Nohara (School of Environment and Society, WRHI research member) from Tokyo Tech, and Prof. Till (Head of School), Rachel Dickson (Dean of Academic Programmes), and Gemma Proudley (International Partnerships Development Manager) from CSM. The participants from the two universities exchanged opinions on the further promotion of collaborative research and partnership.

Present exchange (from the left, Prof. Wada, Prof. Nakai, Prof. Till)  Photo © TiTech 2019

During the ceremony, the participants also discussed about the history of the two institutions, previous activities of the two universities’ collaborative project in the past two years and a half, and existing examples of science/technology and art/design collaborations in Japan and the U.K. Presents were also exchanged. Prof. Till from the background of architectural studies explained the choice of wrapping paper of London’s city skyline to Prof. Nakai with specialty in urban studies. The ceremony was carried out in a witty and pleasant atmosphere.

 Luncheon Meeting. Photo © TiTech 2019

Following the signing ceremony, a luncheon meeting was also held. Joined by Prof. Nohara, Prof. Nakagawa, Prof. Shinya Hanaoka (School of Environment and Society) and Prof. Masahiko Hara (School of Materials and Chemical Technology) from Tokyo Tech, and Prof. Till, Ms. Dickson, Ms. Proudley, Dr. (Reader) Betti Marenko and Dr. Ulrike Oberlack (also Project Professors of WRHI) from CSM, the event was held in South Bldg. 5.

Sharing the same venue as the colloquium carried out on the previous day, May 14th, the faculty members reflected on the LEGO works made during the workshop of the colloquium to consider the methodology of Transdisciplinarity and the videos of the previous activities and events. The members all look forward to the future collaboration and strengthened partnership after the official start of the signing of MOU.

LEGO works made by participants at yesterday’s Colloquiam workshop. Photo © TiTech 2019




14 May 2019: Colloquium with Central Saint Martins@TokyoTech

Before the signing of MOU on May 15, a Colloquium was held with Central Saint Martins – University of the Arts London (CSM) on May 14.

Eleven faculty members from Tokyo Tech (Prof. Kayoko Nohara, Prof. Junichi Takada, Prof. Yoshiharu Tsukamoto, Prof. Masahiro Susa, Prof. Haruyuki Fujii, Prof. Daisuke Kurabayashi, Prof. Minoru Nakayama, Assoc. Prof. Naoya Abe, Assoc. Prof. Wataru Hijikata, and Hiroshi Tsuda(Executive officer of Concent, Inc.), and Susumu Yoneyama (URA)), four from CSM (Prof. Till, Ms. Dickson, and Project Professors of WRHI, Dr. (Reader) Betti Marenko and Dr. Ulrike Oberlack) gathered at the venue in South Bldg. 5. Heather Barnett and Dr. Nathan Cohen also joined from London via Skype. During the colloquium, in addition to launching the White Paper, Becoming Hybrid, which reflects the collaboration between the two universities in the past two and a half years and celebrated and celebrating the official MOU, the participants also joined a workshop utilizing LEGO to consider the methodology and meaning of Transdisciplinarity. Students from Nohara lab also assisted with the telecommunication, facilitation, and running of the event.

At the colloquium, faculty members from varying specialty gathered. It started with greeting and reflections on the previous activities by Dr. Marenko, Dr. Oberlack, and Prof. Nohara. The series of events and activities between the two universities started from a symposium in May 2017 and was followed by teaching and research residence of the CSM teaching faculties at Tokyo Tech, philosophy cafes, Wearable workshops, public workshop, and joint workshop held at CMS in London.  With documentary films, the report showed the roadmap of the past explorations of the methodology and future visions of Transdisciplinarity. It had also gained grants from the Arts Council, Tokyo. This journey had been supported by diverse participants from educational institutions and corporations. Sharing the fruits of the experiments so far, Prof. Nohara also clarified that the final purpose of this project is not making products but raising questions and seeking solutions through the Transdisciplinarity when facing the uncertain future.

In the following session, Barnett via Skype facilitated a workshop utilizing LEGO as a tool. At the venue in Tokyo Tech, the participants were divided into three groups. First, every one produced their own LEGO works based on their own considerations of Hybrid Methodology, issues and visions about the future collaboration. At this stage, the works were abstract and carried out in silence. In the next part, the group members explained the meanings of their works inside the groups. Then it opened to the floor with the groups presenting their ideas and discussions. Dr. Cohen also joined from London and presented his LEGO work. The models were all unique, some taking metaphors from “flower”, “window”, and “human body”, some endowed with the meanings of “feasibility”, “diversity”, and “uncertainty”. The participants, using English or Japanese with the facility of simultaneous interpretation, and traveling between Tokyo and London, together delineated the unlimited potential and positive vision of Transdisciplinarity and Hybrid Methodology. Prof. Yoshiharu Tsukamoto from architectural studies employed “network” as the concept, joined LEGO bricks of different colors and the work became a large structure, which seemed to symbolize a “hybrid”. Hiroshi Tsuda presented one of which the bricks were added to each other not through the intended joining parts and revealed the expectation of the collaboration to question the conventional ways. He also presented the significance to explore once again the merger of varying disciplines before the process of modernization in the context of Japan.

In the final part, the participants expressed their visions of the future after the signing of MOU. Prof. Wataru Hijikata, who specializes in Mechanical Design and collaboration between medical studies and engineering (for example, artificial hearts) shared his opinion from the perspective of research in science and technology and presented the significance of the collaboration between science/technology and art/design, “science and technology is convenient in a way however it is art that entertain people. Only through the merger can we find the way leading to happiness.”

Staff and students from Nohara Lab also supported and participated in the colloquium. They also expressed the ideas about Transdisciplinarity and Hybrid after participating in the colloquium. Chihiro Wada (Doctoral first year) put down that “there is an attractive possibility the hybrid of art and science can bring to the world through influencing and complementing each other… I feel that art has rich resources or elements that science tends to lack or disregard such as “beauty” or “heart” or “kokoro” in Japanese. It is certainly impossible to enrich the world only by pursuing the technology or convenience. There are plenty of things that I can learn from the hybrid and I believe that it represents or indicates a lot about the depth or complexity of the world and also, human being.” Takumi Saito (Master’s first year) expressed his opinion that “the significance of hybridity emerges when each discipline faces problems that it cannot tackle with on its own.”  The project also anticipates further exploration of the methods of Transdisciplinarity and Hybrid from the enthusiastic students and researchers.
With vibrant discussions, the colloquium crossed boundaries of language, academic disciplines, and physical space. The project members refreshed themselves after the MOU and would like to embrace further challenges with confidence and courage.

(by: Mengfei Pan)

Event Documentation


(Photos © Nohara Lab 2019)

5月15日の締結式に先駆け、5月14日にロンドン芸術大学セントラル・セント・マーティンズ校(CSM)とコロキアムが行われました。東工大側からは11名の教員(野原佳代子教授、高田潤一教授、塚本由晴教授、須佐匡裕教授、藤井晴行教授、倉林大輔教授、中山実教授、阿部直也准教授、土方亘准教授、津田広志氏((株)コンセント取締役)、米田晋URA等、一方CSMからは4名(ジェレミー・ティル校長、レイチェル・ディクソン教務部長、ベティ・マレンコWRHI特任教授、ウルリケ・オバーラックWRHI特任教授)が南5号館の会場に集いました。さらにヘザー・バーネット、ネイサン・コーエン博士がロンドンからSkypeを利用して参加しました。2年半にわたるこれまでの連携活動を振り返った共著の白書 “Becoming Hybrid 『生まれゆくハイブリッド(混成)』”の完成と、MOU締結を記念し祝うとともに、レゴを用いて異分野融合の手法と意義について考え、議論がなされました。また野原研の学生たちが通信、運営、ファシリテーション面でサポートをしました。





(文章:潘 夢斐)

18 Nov-2 Dec 2018: Dr. Ulrike Oberlack’s Wearable Light Workshop @TokyoTech

A light workshop was held by Dr. Ulrike Oberlack of the Central Saint Martins, University of the Arts London.

At the final presentation on December 2, two groups consist of Tokyo Tech students (undergraduate, graduate, & research students) & faculty staff and outside students, such as from Tokyo University of the Arts, presented the result of exploration of lights and materials after 12 hours of thinking and discussion and working on collage, mood board, and sketch vision.

Event Documentation:

(Photos © Nohara Lab 2018)

ロンドン芸大CSMのウルリケ・オーバーラック先生による光のワークショップを実施しました。12月2日の最終プレゼンでは、東工大生(学部生、大学院生、研究生)、教職員、東京藝大など外部学生含む2つのグループが、12時間の思考とディスカッション、コラージュ、mood board、sketch vision,などを駆使した、光と素材のexplorationの結果を伝えてくれました。


Narrativisation by a UX designer ~on Finale of the Existential Wearables Project

A report/Narrativisation from UX Designer of the Existential Wearables Event
(29 Sept, 2018 @ Shibuya Hikarie)

“What people are going to wear in Tokyo in ten years” is an stimulating question.

We are trying to put into real designs the ideas and dialogues about people who we have not met and a new age no one has even seen.

It is difficult to predict the future in our age. The economics world called it “VUCA” age. Originally a military jargon, “VUCA” takes the caption letters from”Volatility”, “Uncertainty”, “Complexity”, and “Ambiguity”.

In this kind of complexity and diversity, “dialogue” attracts our attention. Dialogues lead to new discoveries, new ideas, and understanding/meaning of one’s self and relation with the wider society. This process is called “emergence”.

Mental model of this process to create meanings can be roughly divided into the following three:
1) Mental model to create human beings (religion, philosophy, ethics and morality)
2) Mental model to convey authority and history (legends, folklores)
3) Mental model in the field of learning, guiding, and counseling.

There are differences in these models among the individuals and collective groups. Complete sharing of mental model is difficult. Through hearing and sharing, however, similar mental models take shapes. The elements to lead to this kind of sharing and sense of sympathy include “reality”, “believability”, “feasibility”, “relatable”, “attention”, “attraction”. This process diverges from “embedded narrative” and is called “emergent narrative”. It is exactly this mechanism that bridges sense of sympathy with others with new ideas.

UX Design also constructs dialogues with its pre-assumed users and customers. Through systems of software designs and engineering, dialogues will be facilitated and barriers of operation will be lessen. It wishes to build more convenient tools and better relationship that meet the needs of the future.

Gen Tatsumi, UX Designer

2018年9月29日 実存ウェアラブルプロジェクト 第1フェーズフィナーレ@渋谷ヒカリエによせて


10年後の東京とは、どのような人が住み、どのような環境、社会を形成しているのだろうか?「Existential Wearable」実存的ウェアラブル、まだ存在はしないが未来には存在しうる着衣物とは、一体どんなものなのか?






そのため完全な情報の共有というのは難しい。しかし人の体験談をメンタルモデルとして聞くことで、近いメンタルモデルが自身に形成される。これは、語りの内容(要素)が、自身が体験したこととオーバーラップまたは、あたかも体験したかのように感じることがあるはずである。この共感を誘発する要素として、Reality(追体験の誘発)、Believability(没入感の構築)、Feasibility(臨場感の構築)、Relatable(世界観の構築)、Attention(存在感の構築)、Attraction(物語の構成)があり、これらの要素を強く感じることで、語りは強化され、他者との強い共感が生まれる。これはEmbedded Narative(あらかじめ用意された物語)から、Emergent Narrative(創発される物語)が作られる工程であり、このメカニズムが機能しなければ、他者との共感から新しいアイデアは生まれないのだろう。


しかし、このプロジェクトに参加し、アドバイザーという立場ながら、多くの学びを得ることができた。デザイナーである僕も、ナラティブなデザインにおいては当事者であり、自分の内面、知見を語ることで、ユーザーと解決策を創発していく、Embedded NarativeからEmergent Narrativeへのプロセスと仕組みの設計に取り組むという新しい課題も生まれた。


立見 元 UXデザイナー
Microsoftで、Microsoft OfficeのUIデザイナーとして7年の修行を経て、株式会社OPTiMのデザイン部門の創設、IoTとAIプラットフォームとサービス群の開発、会社ブランディングなどを担当し、2018年から株式会社PIVOT R&D部門のUXデザイナーとして、「ちょっと世の中を便利にするしくみ」を研究している。



29 Sept 2018: Existential Wearables Project Finale

On The Existential Wearables Project

Metaphor of Technology and Performance

With the theme, “what people are going to wear in Tokyo in ten years”, students and those working in varying fields in the society formed three teams and participated in the hackathon. Before the event, sharing of the foundational viewpoints of the project was also held. It was a sharing of a question of the actual being of human life. The hackathon was carried out to find answers to “what is life” and “what is the life form when the concrete bodies are attached with machines in the modern society.”

The products of the teamwork may look crude at the first sight but they are actually suggestive metaphor for future technology. When the prototype was put on the body, we will also realize its performativity. This “performativity” is also a performance of culture, encompassing anthropological insights and artistic expression. In addition, as revealed by performance studies by Richard Schechner and John MacAloon, we can also find the narrativity (self-reflection) and boundary (between daily and non-daily) in this “performativity”.

Life forms and Technology

The products of the teams are as following. Team A conceived a kind of clothes to incorporate in wind. Team B designed a kind of nose device that sells health information from the nasal mucosa. Team C produced a kind of mask that offers the face consolation and defense. They proposed air, mucosa, skin of face as varying types of interface to directly mediate the inside and outside of the life forms.
Incorporating air, the design of Team A aimed at something beyond saving the weight of clothes. The idea was to circulate the win inside of the clothes and the outside environment – a kind of wind that plays with the clothes. The performance also attracted imagination and presented beautifully a life form of circulations across the boundaries of the bodies. Team B revealed a near-future technology. It aimed not at controlling of the health information but was based on a vision that one’s health information can serve as be sold. The performance showed the full energy of agency and a spirit of challenge. Team C pursued a strong wall to cut off the outside environment and the wearer. Their performance shared with the Japanese Noh masks and revealed a sense of tranquility. I can already feel its potential to be used in business scenes.

Task to Cope with or Integrate with Society of Risks

Although the three teams showed their differences in the directions, they vividly reflect the issues of the mega city, Tokyo. We can see the uncertainty and insecurity from the life forms when facing the “society of risks”. According to sociologist, Ulrich Beck, “risk” is different from “danger”. Rather than dangers such as natural disasters, “risks” refer to those due to human actions, for example, environmental issues, nuclear power, manipulation of genes, and abuse of data. The responsible actor is the individuals (This is also called “individualization”.) This is the actuality of “society of risks”. It requires every individual’s to proactively act for social reformation. To realize the real “safety and security”, individual’s participation and social inclusion becomes urgent in our time.

Technology used to control risks to free the life forms from surveillance. Media theorist KITANO Keisuke proposed that “control” should be translated as “manage (kanri)” rather than “control (seigyo)” in Japanese (Kitano, Control and Society or Seigyo to shakai). This kind of “control”, as presented in this hackathon, can be seen as individuals’ control of technology out of awareness to facilitate circulation among inside and out of bodies and proactively “sell” one’s health information. If we “integrate” the designs of the three teams, we can also see a kind of “internal tranquility” sustained in the imagined future. Throughout the process of the performance, image, affection, and unconsciousness without verbalization can also be observed. They managed to be turned into the prototypes under controls. Technology and performance are deeply intertwined. It is this kind of intimate relationship that gave birth to real “safety and security”.

(by: TSUDA Hiroshi)

Event Documentation:

(Photos © Nohara Lab 2018)


チームの成果物は、一見稚拙にみえるが、未来テクノロジーへの示唆的なメタファーであること、またプロトタイプを身につけた瞬間、パーフォーマティヴであることが重要である。後者の「パフォーマティヴである」とは、文化的パフォーマンスである。そこに人類学の見識とアート表現が内在していることはよく知られている。さらには、物語性(自己省察)、境界性(日常と非日常の中間)をしめすことも知られている(パフォーマンス研究、Richard Schechner、John MacAloon)。


3チームはそれぞれ方向性は違う。しかしみな巨大都市東京の課題を反映していないだろうか。とりわけ「リスク社会」と呼ばれる生命体の制御不能への不安が見て取れる。社会学者のベック(Ulrich Beck)によれば、リスクriskは危険dangerとは違う。自然災害のような危険ではなく、環境問題、原発、遺伝子操作、データ乱用などの人為的営為によって起きるもの、それがリスクである。しかも、そのリスクの責任は最終的に個人がとるはめになる(「個人化」と呼ばれる)。これが「リスク社会」である。そのため、個人は積極的にリスク社会の改革行為が求められる。本当の「安心、安全」を実現するには、個人の社会参加、社会包摂が必要となるのが現在であろう。

文章: 津田広志

21-28 July: Hackathon @TokyoTech

Students and faculty at Tokyo Institute of Technology and other institutions, plus members of the general public from a wide range of disciplines and cultural backgrounds, developed ideas in a series of ‘cafes’ and workshops leading up to the Hackathon.

Designed and facilitated by Heather Barnett and Dr Ulrike Oberlack, the Hackathon developed initial concepts into models and scenarios, and extending ideas for future urban wearables beyond pure functionality into philosophical realms. To aid speculation and the generation of ideas, students were introduced to a range of conceptual and material methods including silent brainstorms; visualisation through collage; manipulation of materials, and rough prototyping.

The models and designs produced by the transdisciplinary teams speculated on how Tokyo might change in the next decade and how wearable technology might facilitate those changes. Prototypes produced reflected concerns about environmental changes, the search for personal space and the challenges of meaningful interpersonal communication.



テーマは「10年後の東京、ひとは何を着ているか」。Heather Barnett先生とUlrike Oberlack先生によるデザインスキル+アート思考、また野原先生、津田先生によるマルチモーダルな翻訳+哲学的視点の導入など、いろいろな情報、議論とアイデアが万華鏡のように生まれ出ては変わる1週間になりました。 参加者の思い描く未来のurban wearablesアイディアが、やがてシナリオやモデルへと進化していく中で、目先の機能にとらわれず、そのアイデアが生み出し得る哲学的価値の領域にも踏み込んでいきましあ。サイレントブレインストーミングや、コラージュによる思考の可視化、並べられたたくさんの素材との触覚を使った「対話」、ビジュアル、コンセプチュアルから素材、ハプティックなど様々な方法論と触れる機会でもありました。東京が10年後どう変わるか、またテクノロジー目でwearable技術がどのような変化を引き起こすか、議論はつきません。皆さんが提案した初期プロトタイプから、フィナーレに向けて環境問題への懸念、個人スペースの探探求と確保、個人情報は誰に属すかという問題、もっと効果的なコミュニケーションメソッドなど、未来に思いを馳せながら想像的・創造的なヴィジョンを提案します。


26 June 2018: Keisuke Nagami’s Lecture Report

Participants’ Report: “Lecture on Mode” by Keisuke Nagami, HATRA fashion designer, 2018.6.26

-From frontier to Normal – Media and fashion-

(By Marina Yamaha, Media Faculty, Josai International University)

Through this lecture, I had a chance to think about fashion transitions for human beings and life forms from the perspective of fashion design. I found the way of thinking and the view of the world of Mr. Nagami who is the designer of “HATRA” very interesting.

“Read fashion expressions”, based on this big theme as an extension of humanity, Mr. Nagai covered mainly the following three points:

  • Gender resolution
  • Frontier of uncanniness
  • Meaninglessness, irrationality

Here I’d like to introduce these points in order and my ideas.

“Gender resolution”

It was natural for people to wear clothes designed respectively for men and women. However, since the beginning of the popularization of SNS, gender differences began to shake and it started affecting fashion design. In the collection of JW Anderson of 2013, fashion of an entirely new figure which had not been seen before was proposed with the gender borderless design. With that as a start, GUCCI ‘s design for men changed drastically within one year, and the proposal to reconsider about gender in the fashion industry spread.

I caught that the fashion design indicates the gender resolution of the era. In my everyday life I still find a clear difference in fashion design between men and women, but in the future, maybe after ten years, the gap may disappear and the time of selecting clothing design faithfully to their own sensitivity will come. By watching the transition of fashion design industry carefully, I think that the way of thinking of gender in modern times and future will come to be more clearly visible.
“Uncanniness Frontier”
“Uncanniness Frontier” indicates the expansion of the range that human beings can accept, which has been adopted little by little in design from a long time ago. As times and places change, the meaning of things also changes. For example, the aristocratic dresses that showed a big, padded Bustle in the 1870s were regarded as uncanny at first. In a more recent example, in collaboration between Louis Vuitton and Final Fantasy in 2016, Louis Vuitton also showed a challenging and rich creativity, which shows fashion has been and is evolving all the time.

While listening to the story of this uncanniness frontier, I find fresh his description of “new, unprecedented and up to date things” using the word “uncanniness”. The feeling when a person encounters a new thing is not necessarily a positive thing, and it is often negative as it is a threatening and it is uncanny. However, once that uncanniness becomes good for himself and accepted by many people, it will eventually be updated to “normal”. I noticed that the design has expanded and will continue to change through this iteration.

“Meaninglessness ”and ”Irrationality”

The power of imagination that extracts intuition just before the meaning gets into shape by analyzing lots of detailed data. Mr. Nagami expressed them as “meaninglessness” and “irrationality”. I found that this intuition as “meaninglessness” and “irrationality” is to do with individual personalities and that moves people’s mind. A design born in such intuition may make a leap forward in future fashion design.
Based on these, Mr. Nagami says that the users (or recipients of fashion design) can expand their body by updating their own sense of beauty and regarding something uncanny as ordinary and natural design. Understanding a certain fashion design using modern services and freshly making a fusion mean “decoding the body”. And finally, he concluded that the design accepted in the era becomes an ordinary design of that time, and that it would stimulate the generation and the next even if it is not accepted.

Through Ms. Nagami’s interpretation of fashion as an expression, I learned that fashion design is “an area that can be expanded as a self-expression by human beings”. Actually the change fashion in each era represents the male and female images of the time and I felt that modern fashion may slowly be losing its boundaries. In addition, it is possible to fuse clothes fashion with things other than clothes, so in the near future, even the concept of “clothes” may be lost and some digital wearable fashion with a different concept can be born. Also, if you combine media and fashion, which I am studying daily, we can propose various types of fashion to society. Media as a help of smooth cycle of unlocking uncanniness becomes more necessary than ever I think.

For the first time, had a chance to consider about human expansion from a viewpoint of fashion. It was a very meaningful time to know that there are various viewpoints in fashion design as well. I am looking forward to seeing how fashion design will be updated in the future. 

-Uncanniness frontier connects artists, fashion, business-

(By Teppei Fujimoto, Hitotsubashi University)

Until now I always thought that people called “artists” are distant from the business world and are of an unusual people who are pursuing their own sensitivity. But that was a mistake. I learned that they have for a long time played a very important role in the business world. This discovery occurred while I was listening to Mr. Nagami’s lecture and learned “artists are uncanniness adorers.” Mr. Nagami says ” When a person sees something, he sometimes finds it uncanny and sometimes not. Stability is a sense of comfortableness obtained as a result of scraping up pieces of knowledge he already holds about the thing.  Uncanniness emerges when such a stable picture crumbles.” Artists like uncanniness, which general consumers would rather avoid. He however further said using an example in which the sleeve which Vietnamese dubbed suddenly gradually penetrated to general consumers, “Things that modern people find not uncanny used to be taken uncanny before. This frontier, or borderline, which demarcates not uncanny or uncanny, constantly continues to expand.”

Indeed, unless there are artists pursuing uncanniness, the frontier general consumers reach doesn’t move forward. Without them, we would have felt uncanniness looking at the person walking in the city with a T-shirt and a pair of jeans today. In the modern market, companies using IT, including services like Amazon, Google, etc., measure and analyze everything we do in our daily lives and have sophisticated marketing activities. They can suggest what we need even before we do realize what we need. In an “ultimate form of marketing” they can induce people buy things subliminally and that will lead consumption in the future. However, what they can measure and analyze is “the past” at all times. Perhaps it is at best consuming more “jeans” that Google would recommend to people who already wear jeans every day as what they look at as data is always the past.

With the help from artists who pursue and propose uncanniness and spread the frontier, a man who wears jeans everyday might for the first time come up with the idea of trying a new, recently emerging kinds of trousers. “Artists” are not people who are diverting from the business world pursuing their favorite things, but also people who constantly create the way of our self-realization and some seeds for future consumption. I now recognize them as irreplaceable even in the context of marketing.

HATRA ファッションデザイナー 長見佳祐氏講演「モードの輪郭」2018.6.26

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