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2013年4月18日木曜日

Web-driven Social Activism in Japan

The following article was written as an assignment for the Journalism and Society class.

Metropolitan Coalition Against Nukes (MCAN)
As more people become constantly connected online through computers and mobile devices in the last few years, more social demonstrations and protests have been organized and done all over the world with the help of the Internet. The situation is the same in Japan. There have been many social demonstrations and protests organized with the help of various social networking services such as Facebook, Twitter, YouTube, Nico Nico Douga (a Japanese video-sharing site), IRC (Internet Relay Chat), and 2channel (the Japan's biggest bulletin board site). Japanese web-driven activism has its unique characteristics. Participants tend to hide their real identities and keep anonymous while participating in protests and activities. Japanese tendency to be anonymous online is often pointed out in earlier study (Bovee and Cvitkovic, and McLelland), but has not examined yet in detail with the recent demonstrations and the uses of social networking services. In this paper, I would like to examine how the recent web-driven social activism has been operated on different web platforms and services in Japan, and finally show how anonymity plays an important role in the Japanese demonstrations and protests.

Metropolitan Coalition Against Nukes (MCAN)
There were roughly four notable web-driven social protests and activities occurred in 2012 in Japan. One of them that drew most media attention was the anti-nuclear demonstration held in front of the Prime Minister's Office in Tokyo. It was organized by a group called Metropolitan Coalition Against Nukes (MCAN). It started in March 2012 and continued weekly since then. The number of participants has, however, decreased from 21,000 at a maximum to several hundreds today (estimated by police. "Anti-nuke Protests"). At their peak, they even had an official 30-minute interview with the then Prime Minister Noda in the Office (Nakanishi). There are several characteristics that are particular to MCAN. One of them is that they are a single-issue group. Their only purpose is to stop all the nuclear power plants in Japan. The group leader banned the participants to claim other political issues during the protests. The other interesting point is that they mainly use Twitter and Facebook for announcements ("First Anniversary"). It was these social networking services that increased the number of participants from 300 at first to "200,000" at its peak (according to MCAN. "Anti-nuke Protests"). Another point is that only a very small number of individuals have identified themselves in the group. On the top of their website, there is a list of anti-nuclear groups that join MCAN. It makes sense since they call themselves "a network, not a group," but there is no individual name on the list other than the name "voluntary individuals" ("Sanka Gurupu" All translation mine) added at the end. Regarding the protesters, the organizer does not know who they are since the MCAN's messages are retweeted again and again on Twitter. People usually participate in the protests without telling their true identities (some even wear masks to cover their faces). Even the representative of the group, Misao Redwolf, does not reveal her real name. Still, many participants show their faces and protest even in front of TV crews. Overall, the organizer and participants seem to conceal their individual identities, whereas the demonstration itself is quite visible from the outside.

Zainichi Tokken o Yurusanai Shimin no Kai (Zaitokukai)
The other notable demonstration that drew the media attention recently is anti-Korean protests that have been done since 2012 at Shinokubo in Tokyo. It was organized by an ultranationalist group called Zainichi Tokken o Yurusanai Shimin no Kai (Citizen Group That Will Not Forgive Special Privileges for Koreans in Japan), also known as Zaitokukai. Their hate speeches such as "Kill Koreans!" and "Get rid of the cockroaches from Japan!" were so aggressive and racist that they often had conflicts with the local Korean residents ("Arita Appeals"). They have also made racist insults against other foreigners including Chinese and the Westerners. They started their activities in 2007 and now have 9,000 members. They have local branches all over Japan and routinely hold small-scale demonstrations (Fackler). One of the interesting points of this group's activities is that they use videos to show their performances on YouTube and Nico Nico Douga and appeal to their viewers effectively on the web. They shoot several videos on each demonstration they do and upload them on these sites regularly so that they can get more supporters through these sites. They are said to be strongly supported by netouyo, the Net far-right group known as anti-Korean and Chinese. Their demonstration videos are popular enough to go to the upper part of the video chart in the politics category on Nico Nico Douga, which is the Japan's largest video-sharing site with more than 30 million registered users. Since the site has its own unique streaming comments function in which the other users' comments go from right to left on the screen while watching. The viewer feels as if he or she is watching a live video together with the other viewers. The comments are short and quick to fade out, and most of them are shouts and agitations. Unlike those on YouTube, it is rare to find calm and rational comments that can be developed into a productive discussion. Instead, watching the aggressive attacks of the protesters in the video with hundreds of hateful comments overlapped on it is so visually impressive that the viewer feels as if he or she were in the same heat with the protesters and other viewers. This pseudo live-experience on Nico Nico Douga is the key driving force for Zaitokukai to gain today's popularity on the web.

Makoto Sakurai
The other interesting point of Zaitokukai's activities is that like MCAN, the members do not identify themselves in public. Even the founder and representative of the group Makoto Sakurai (which is not his real name) does not reveal his own identity. At their demonstrations, many participants wear sunglasses and masks during the march in order not to identify themselves. They are also a single-issue group like MCAN and do not have a concrete ideology such as the Nazi's racial supremacy theory. They are loosely connected through the Internet and get together only for the demonstrations (Fackler). The web supporters who watch the group's videos on Nico Nico Douga are even more anonymous. They do not reveal their names either since a viewer cannot trace the comments back to the original posters. Even if he or she can, almost no user uses his or her real name on Nico Nico Douga and does not use his or her face-photo icon, either. Overall, it can be said that the protesters are present in the real world just like the MCAN participants, but hide their true identities more than the anti-nuke protesters do. The supporters are more invisible than those of MCAN since Facebook and Twitter that the MCAN supporters often use for spreading information are more identity-oriented and less anonymous than Nico Nico Douga.

2channel
Inarguably, the most notorious and aggressive web-based activism in Japan today is Kijo group that bases on particular threads on 2channel. 2channel (also known as 2chan) is "the biggest BBS in the world" (Katayama) with 2-3 million comments posted a day on more than 800 active boards (Suzume graph). The estimated number of the active users of the site is between 12 and 16 million (Matsutani). There are a variety of boards on any kind of topic that one can think of, even on harmful and illegal topics such as murders, weapons, drugs, and poison. Due to the size of the site, some boards are chaotic and become a lawless area so that the threads are filled with illegal drug deals, prostitution ads, gun sales, and even death threats. However, the distinctive feature of this site is that all the messages can be posted totally anonymously without any registration. Although the IP address can be detected and shown to the police by request in the worst cases such as a death threat (open proxies are banned from posting on 2channel), all the comments are posted under the name of "anonymous." On the other hand, since the posters can hide their real identities, they tend to confess their true feelings more and often leak their company's secret information on the boards. In essence, 2channel works as the outlet of complaints and angers accumulated in the society. This is especially true in Japan where people have to say tatemae (public statement) and honne (personal feeling) separately in their daily communication with others. Although the boards are full of slander, hate speeches, and defamation and 99.9% of the comments are useless, "an excellent source of information" (Matsutani) can be found here. That is why news organizations follow 2channel closely to find news sources and see the public mood (Onishi and CNN).

Kijo threads on 2channel
Among the huge numbers of the threads on 2channel, the Kijo threads are known as the most fearful and aggressive ones. Kijo is an abbreviation for kikon josei, which means married women in Japanese. The threads were originally made for married women to chat about their daily topics. The direction on the top of the threads clearly says that the threads are only for married women and others cannot post any comments there. What actually happens on these threads is that the posters intensively dig up the personal information of an ordinary person or celebrity in the latest news and reveal it on the threads. They have such excellent searching skills both on the web and in the real world that they disclose any kinds of personal information including the person's photo, address, school/company's name, phone number, and email address. They reveal the person's family information as well. They sometimes go to the related locations and upload photos. At the same time, they encourage other viewers to make phone calls and send emails to the person's school or company as well as asking to report the event to police and authorities. They continue to reveal the information until the person shuts down his or her blog, and deletes his or her Facebook, Twitter, and email accounts. In the worst case, the targeted person often has to change his or her school and workplace because of these attacks. For example, several jr.-high school students, who bullied their classmate to death in Shiga prefecture in 2011, were set as targets by the Kijo group since media did not report their names (because they were minors) and the school committee did not investigate the case at first. In this case, all the personal information of the students, their family members, and the class teacher were disclosed on the threads. Most of them finally had to move and change their schools ("Student Suicide"). This is typically how the person on a target is crucified on the Kijo threads.

Kijo threads' icon
The Kijo group is different from the MCAN and Zaitokukai cases in the point that they do not show themselves in the real world or on the web at all. Their real identities are hard to trace. It is doubtful that they are actually married women even though their comments sound very feminine. According to a survey done by an Internet survey company, the estimated active users on the Kijo threads who spend more than two hours per month are about 16,000, but married women account only for 36% of the total. Single women account for 16% and the rest are probably men in their 30s and 40s (Yamamoto). Since their postings cannot be identified with particular individuals, there is little community feeling (McLelland 822). In a word, they emerge as a collective unconsciousness on the web that searches for a target to hang up.

Anonymous
Among all the recent big web-driven activism in the world, the most famous one is definitely the protests done by a hacker group called Anonymous. They usually use IRC to discuss issues and communicate with others. They have a strong link to Japan. Christopher Poole adopted the 2channel system and made the same anonymous BBS called 4chan in 2003, on which the Anonymous was originally formed. They had also attacked and crashed authorities' and companies' servers in Japan in June 2012 due to the protest against the new laws that ban illegal downloading. While this was done by the AnonOps (the mainstream of Anonymous), the OpJapan (a Japanese branch of the group) took a different approach to the issue. They did a cleanup activity in Tokyo wearing a suit and Guy Fawkes' mask without saying anything or holding placards. On July 7th, 2012, about 50 Anonymous members gathered, picked up garbage, and handed out leaflets that explain why they were doing so to the passerby ("Dos and Don'ts").

Anonymous Cleaning Service in Shibuya
Although they call the activity "off-meeting, not a protest" ("Dos and Don'ts"), this protest style is very different from those of the other groups mentioned above. First of all, they identified themselves as the members of Anonymous and showed themselves in the real world with Anonymous characteristics. Unlike the MCAN and Zaitokukai demonstrators, they strongly presented themselves as a character so that they can keep their clear online identity while hiding their individual ones. On their website, they listed detailed directions and rules for the participants such as "Act politely" and "Don't do any activities that go against the laws" ("Dos and Don'ts." Translation mine). The event was vastly reported on more than 20 news outlets in Japan and the world. It was a well- defined, successful media representation of the group while keeping their true identities anonymous.

Hierarchical conditions of anonymity
The four protest styles mentioned above have different degrees of anonymity in their activities, but in all the cases, the participants' real names are not shown. These degrees of online anonymity can be roughly classified into three phases (Bovee and Cvitkovic 42-43). The lowest degree of anonymity can be called visual anonymity, at which the person usually retains some connection to the real self in the society (e.g. email address). The second level is the dissociation of identity, in which the person adopts a new online identity (such as a handle name or graphical avatar). The highest level of anonymity is the total lack of identification. On this level, the person lacks an avatar or any label that would mark him or her as an individual. According to these anonymity classifications, the MCAN protesters can be categorized as the visual anonymity since many of them use Facebook that links the person to his or her real identity. They also show themselves on the street without any disguises. The demonstrators of Zaitokukai can also be categorized in this level since some of them show their faces in the video, but their online supporters who watch their videos and post comments on Nico Nico Douga are on the lack-of-identification level since only their comments are left without any avatars or nicknames (a comment poster's nickname and avatar are traceable on YouTube). The Kijo group on 2channel is surely categorized as the lack-of-identification level since there is nothing but their comments and it is almost impossible to identify them. On the other hand, the OpJapan group of Anonymous is categorized as dissociation of identity since they all have the unique character of Anonymous.

Metropolitan Coalition Against Nukes (MCAN)
How do the different degrees of online anonymity affect the formation of the group then? According to the Social Identity Model of Deindividuation Effects (SIDE model) on computer-mediated communication (CMC), "the combination of anonymity and group immersion [...] or interaction via computer network [...] can actually reinforce group salience and conformity to group norms" and "perceive the self and others not as individuals with a range of idiosyncratic characteristics and ways of behaving, but as representatives of social groups or wider social categories" (Postmes T, Spears R, and Lea M 697). Based on this SIDE model, it is very clear that anonymity highly worked for MCAN and Zaitokukai to form and develop their groups to the sizes of today. It can also be inferred that all the four groups strongly believe in their doing something good for ‘social justice.' Another CMC study shows that online anonymity fosters deindividuation and a more impersonal, task-oriented focus (Walter 361). This is also backed by the MCAN strategy that more people could participate in the protests because the events were single-issue rather than multi-issue. The MCAN staff had deliberately removed the protesters who claimed other social and political issues in the demonstrations and declined to change their single issue to wider social problems. They keep themselves away from old left-wing social activist groups, too (Nakanishi). Zaitokukai also does not bring Japanese traditional Shintoism or militarism into their policy like old right-wing groups and represent themselves just as xenophobia (some participants hold Japanese imperial flags during the protests). The Kijo group on 2channel intensively search and attack the target as long as the personal information is there. They immediately vanish when the target is knocked off and there is no more information to dig up. All the examples show that unlike the old social and political activists and protesters in the 60s and 70s, today's Japanese protesters seem to temporarily gather on a single issue and avoid one's activities being seen as a part of one's character or personality by the others in their real lives.

LDP leader Shinzo Abe
The point that single-issue protests do not seem to last long or gain popularity in Japan can be examined from another point of view. The fact that the Liberal Democratic Party of Japan (LDP) won a substantial victory on the Lower House elections in December 2012 shows that even the MCAN, which once had more than 20,000 people in the protest, could not have enough influential power on the public to bring its issue to politics because the LDP is the only party that did not insist on anti-nuclear policy during the election campaign (all the other parties that claimed anti-nuclear drastically lost their seats). Zaitokukai, Kijo group, and Anonymous still cannot gain broad support from the public in Japan and are just seen as evil in the digital era. These cases suggest that their online anonymity kept them from gaining popularity and credibility from the public and developing into the mainstream in Japan.

Overall, the examples of the recent web-driven activism in Japan mentioned above obviously show that "Japanese seem to prefer greater anonymity online" (Bovee and Cvitkovic 50), but it can also be said that unlike the other big web-driven social movements such as Arab Spring and Occupy Wall Street in the world, these activities in Japan would have never occurred through Facebook. This is probably because the site does not allow anonymity and fake identities at all for its users. The huge expansion of 2channel clearly shows that Japanese need a virtual space to let out all the frustrations anonymously that pile up in their stuffed tatemae/honne society.

2012年4月16日月曜日

Identity Managgement on the Internet

The following article was written as an assignment for the World Regions and Culture class.


Today, I'd like to talk a little about online identity in this presentation.

Identity policy of Facebook
Regarding the online representation of oneself, there are interesting comments in the anthropological paper  titled "Facework on Facebook: The presentation of self in virtual life and its role in the US elections." At the end of the paper, it says,

"Almost everyone, in the West too, has relations they would rather keep quiet about... One major task that remains is to uncover the ways in which social networking sites provide different possibilities for both revelation and concealment of aspects of personhood and social reality." (Steffen Dalsgaard 2008)

Facebook CEO Mark Zuckerberg
What is said in here is that Facebook or Myspace forced the users to show all of your social relationships with your friends, family, and co-workers to the world. They didn’t allow public / private separation at the time when this article was released in 2008. This identity policy came from the philosophy of Mark Zuckerberg, who is the founder of Facebook. He once said that each person has to have a single identity online. This is easily understood because the more Facebook acquire the personal information of the users, the more it benefits by selling the data to advertising and marketing companies. It's better for its business. However, there has been a huge demand to keep the multiple personas of oneself and control one's representation of self according to circumstances. A part of this problem was solved in 2011 when Google launched its new service called Google Plus. It features a function called Circles so that one can arrange different groups of one's relationships with other friends and show one of them to one's friends accordingly. Facebook also started a similar service called Smart Lists. Now one can show different personas by arranging different friend relationships for each friend.

Single identity online?
4chan founder Christopher Poole at Web 2.0 Summit
But still a single online identity is required both on Facebook and Google Plus. As we often see on the Internet, there are other kinds of self-representation styles such as handle names and anonymity. By examining these types of self-representation, a redefinition of personhood can be done. An article from wired.com argues this issue from a SNS user's point of view. In this article titled "You Are Not Your Name and Photo: A Call to Re-Imagine Identity" published in October 2011, the author argues a different online-identity form by quoting Christopher Poole's speech, who is the founder of 4chan. As many of you may know, 4chan is the site that seems to have more influence over not only the online world but also the real world recently. It is now known as the website where a hacker group called Anonymous (with a capital A) came from (they have attacked multinational corporations, governments, celebrities in the past). The site now has nearly 11 million users and more than a million messages are posted a day. Roughly 90% of all messages on the site are posted under the site-default "anonymous" identity. According to the article, the founder Christopher Poole has a totally opposite opinion to Mark Zuckerberg's. He made a speech at Web 2.0 conference in October 2011 and told the audience that even with Circles or Smart Lists, both Facebook and Google still diminish plural identities online. According to him, Twitter handles identity better than Facebook or Google because it allows handle names, multiple accounts, and even fake accounts. I'm not going into detail about his philosophy here. For more detail, please listen to his speech on YouTube. What I'd like to point out here is that although Facebook is so powerful in the U.S. that it's now used as an ID on the web, there is an on-going debate on identity management that is different from that of Facebook.

Japanese tendency to be anonymous online
When we turn our eyes to contemporary Japan, the situation becomes totally different. As many of you might have already noticed, most Japanese usually do not reveal their real names or faces online. This is often said as the reason why Facebook is not so popular in Japan. This Japanese tendency is also demonstrated by another research group. This academic paper titled "Anonymity in Computer-Mediated Communication in Japanese and Western Contexts - Comparisons and Critiquesis-" is not an anthropological paper, but I think we can find useful data and perspective here. According to the paper which was published in 2010, compared to the U.S. SNS users, Japanese SNS users seem to prefer much greater anonymity online.


Table 1 through 4 show how they actually are (In these tables, "second-tier anonymity" means that an individual adopts a new online identity by using a handle name or an avatar). Here the authors say that there is a distinct degree of an identity exists between real identity and total anonymity. They roughly divide the levels into three degrees of groups and name them "Lack of Identification," "Dissociation of Identity," and "Visual Anonymity." Again I'm not going into detail of their theory here, but you can read the paper online if you would like to. What they basically say in here is to avoid stereotyped Japan-U.S. or East-West cultural dichotomies by examining several social networking sites such as MySpace, Japan's mixi, and Yayoo's Q & A, and see the self presentations there more in detail.

Mixi and 2channel in Japan
2channel logo with the image
As we examine the online identity situation in Japan, this "second-tier anonymity" is quite important because many Japanese SNS users actually use it. As for the SNSs in Japan, each website has its own characteristics of the user's identity. For example, one of Japan's largest SNSs, mixi, used to allow the users to resister under handle names. It once forced the users to use their real names, but finally received a lot of criticism against its revised policy. It now allows the users to use handles. According to an article titled "New Media Practices in Japan Part Two: The Internet" published in 2009, one of the characteristics of mixi is that an average user has very small-scale friend relationship on the site. mixi users have four or less friends in their my-miku (my friend list) and only 4.8% have over 41 friends listed on their friend lists. On the other hand, 2channel, which is said to be the original website of the U.S. 4chan, has probably the largest anonymous online community not only in Japan, but also in the world. It is actually not a SNS. Here, almost all the messages on more than 800 threads are posted under anonymous identity. More than 2.6 million messages are posted in total on the site daily. Because of this massive amount of posting, death threats and other inappropriate messages regarding illegal stuff are often posted.

User communities on Nico Nico Douga
Streaming video with user's comments on Nico Nico Douga
In between these two big online communities in Japan, Nico Nico Douga plays an important role in forming online (and also off-line) communities among young people. It is a YouTube-like video-sharing and live-streaming website. It now has more than 26 million members and is very popular especially with the young generation. It is said that 85% of the people in their twenties are the members of the site. What is different from other SNSs is that the users interact with each other quite often even if they don't know each other at all. Many online communities are created among them and hold streaming lives and chats (Between 30,000 to 100,000 streaming lives are aired a day). They often have off-line meetings and events, too. This is probably because the site is appropriately categorized into different sub-genres such as music, dance, and games. The users of Nico Nico Douga are more topic-oriented unlike the Facebook users who are more identity-oriented. On this site, almost all the users use handles, not their real names. Still, they are encouraged to interact with each other off-line with their online identities. The website itself often holds a variety of off-line events such as concerts and exhibitions in order to give opportunities to the users to mingle with others. A variety of off-line meetings and events are also held among the users. The important point here is that the users usually interact with each other without knowing their real names and social statuses, and their online identities often become their identities in real life. This could be a new form of Japanese socialization process in the digital age. I think self representation in contemporary Japan can be examined more from this aspect.

Conclusion
In conclusion, as of self representation in a society, anthropological studies on the web identity are also done recently. A single-identity policy online is questioned even in the U.S. And although most SNS users in Japan try not to be identified on the web, they seem to have different identity management styles on each SNS accordingly. Finally, here is my question from the text to the class: How does information technology contribute to a redefinition of personhood in contemporary Western societies? My tentative answer for this is that as I discussed earlier, there can be plural identities on the web. A whole-person approach to an individual doesn't seem to work any more when it comes to anthropological studies on the Internet.

2012年4月11日水曜日

Hatsune Miku: What comes next to Anime and Manga

The following article was written as an assignment for the Newsroom Management class.


Introduction
Vocaloid Hatsune Miku
The Internet has dramatically changed subculture scenes worldwide in the last decade. Even in the last five years, after various social networking websites have played an important role in networking people and establishing online communities, subculture fans have shared information and contents they like with others who love the same genre. Some have even created their own pieces such as music, videos, photos, and writings, and posted on their Facebook pages. In Japan, the same things happen, but in a bit different way. People developed online contents collaboratively and share them with other users in a unique way. In the following article, by using the example of Hatsune Miku, I'd like to show how the online collaborative creation process has develop and become a huge phenomena that can no longer be ignored in Japan today.

Hatsune Miku phenomenon in Japan
Click the image to watch live video
A digital character called Hatsune Miku has been popular on the Internet in Japan in the last few years. She now became a virtual pop idol in the digital age, especially for the younger generation. For example, the tickets of her two-day concerts held last month were immediately sold out. 10,000 people enjoyed lives at the theater, while more than 120,000 people watched them online. It now becomes more than 123-million-dollor business in Japan. Many kinds of commercial goods such as CDs, figures, and games are sold at the stores and online. For example, SEGA sold more than one million copies of Miku-related games in total so far. At a karaoke shop, more than 1,700 Miku-related songs are distributed and sung by fans. Her songs became so popular that one of her songs was sung in the graduation ceremonies at several junior high and high schools.

Hatsune Miku phenomenon in the U.S.
Click the image to watch Toyota ad
Her name also becomes known outside of Japan. Last year, she had her first ‘virtual’ concert in L.A. with 5,000 audiences (See the live video above). There, she was shown as a projection of 3D animation, as if she were singing on top of the stage. Some big-brand companies also started to use her popularity in the ads. Last year, Toyota featured her in its TV commercial aired in the U.S. She was also featured as a campaign character after Lady Gaga and Justin Bieber in the Google Chrome's global promotion campaign.

Who is Hatsune Miku?
Vocaloid 2 interface shot
Hatsune Miku is the name of an anime-like female character created and released in 2007 by Crypton Future Media, Inc. She is the mascot image of Vocaloid 2, which is singing synthesizer application software developed by Yamaha (Her name in kanji literally means “first sound in the future”). By typing lyrics and melody, a user can synthesize singing so that amateur songwriters can produce their original songs without any ‘real' singers' help for their vocal parts. There are more than 30 types of Vocaloids available now with different characters including male, child, and Korean characters. Miku's voice still sounds a little ‘robotic' for the first-time listener, but the latest model IA in Vocaloid 3 sings songs so perfectly like a ‘real’ singer that the listener doesn't recognize the song being sung by a Vocaloid.

Hatsune Miku as a ‘singer’
Click the image to watch music video
Today many amateur songwriters and musicians use Vocaloid as their ‘singer’ and upload their original songs on YouTube and Nico Nico Douga, which is the most popular video-sharing website in Japan. More than 32,000 Vocaloid-related songs were uploaded on Nico Nico Douga last year. Several songs have become No.1 hits on the charts. For example, the song used in the Google TV commercial called “Tell Your World” by Livetune reached No. 1 on Japan's iTune Store chart. Some professional musicians such as Tetsuya Komuro also started adopting Vocaloid to their music. As a result, many music listeners now choose songs by songwriter's names, not by band's names. In a sense, as Hatsune Miku becomes a ‘common property’ among the listeners, song composition and live performance by a group band are no longer seen as a standard musician style.

Massively collaborative creation
Click the image to watch video
Song writing is, however, just a beginning of the consequent creating process by different kinds of creators. As I examined one of the songs' variation in my previous blog post, a various types of videos related to a song are created collaboratively by many users in different genres (You can see how they are actually interrelated to each other in the video on the right). For example, one user draws illustrations that match to the song, attaches them to it, and uploads the video. The other user sings the song and uploads the video. The other ones create MAD videos based on the lyrics of the song and upload them. Some play the song with musical instruments. Another user choreographs the song, which makes others dance with it and upload their dancing videos. Some create 3D CG video with the Vocaloid character dancing to the song. Another user makes a hit chart of the week including the song. These different kinds of videos are uploaded simultaneously within a few months by many users if the song becomes popular among the them. Several genres such as singing, dancing, and 3D CG are so popular on Nico Nico Douga that hundreds of videos about a popular song are uploaded in each genre. Some of them are watched over a million times. In many cases, the viewers are inspired by other videos and make their own videos. In this way, they form loose creator communities online. On Nico Nico Douga, the reuse of existing videos on the website is welcomed. All users upload their videos in acknowledgment of the videos they used. Last year, the site started its own creator's incentive program so that the video creator can receive a certain amount of money accordingly if the video were viewed a certain times for a certain period. The Google TV commercial (See the video below) describes the collaborative works among different online users very well in 60 seconds without any words.

Copyright issue
Crypton CEO Hiroyuki Ito
All the creations mentioned above can be done because there is no copyright issue involved. Crypton allows the users to use Miku's voice, name, and image freely as far as it is not commercially used and offensive. In other words, these creations cannot be done with other commercial characters such as Mickey Mouse or Hello Kitty. In this sense, Crypton proposes a new licensing business model. This coexistence between commercial products and fan creations is widely supported by the Internet users in Japan. This is thought partly due to Crypton's CEO Hiroyuki Ito's career background as a programmer and Japan's fan-fiction culture of anime and manga.

Conclusion
Click the image to watch Google ad
“HATSUNE MIKU is not merely music software anymore. It's turned into a source of inspiration to create its derivative works.” --- What Crypton says on its website describes precisely what actually happens on the Internet today in Japan. Miku has emerged as a new type of music creation and consumption in the online-sharing culture. I'd like to see how this ‘digital diva’ will change the music scene also in the world.

2011年10月3日月曜日

Users' different participating styles on YouTube and Nico Nico Douga

The following article was written as an assignment for the Introduction to Media Theory class.


I had a chance to research on the pop-culture contents on the social media and present it in a group in another class recently. Since I could not fully express my idea there, I'd like to expand it and present it here.

[Introduction]
Compared to YouTube users, Japan's Nico Nico Douga users are more likely to be involved in social media activities without revealing themselves, which leads them to generate unique and interesting pieces of work of their own by focusing more on imaginary characters or characterizing themselves. Here I'd like to illustrate it by examining how the users play with a song and create their own videos.

[Example videos on YouTube]

[Example 1] Symphony Orchestra 2011


The website above asked the viewers to join a temporary orchestra by posting videos on YouTube. The contest had clear procedure and rules for the participants to follow on their website. After the members were selected, they converged in Sydney for a week-long festival of musical collaboration and participation (101 members from 33 countries got together).

[Example 2] We Are The World 25 For Haiti (YouTube Edition)
http://www.youtube.com/watch?v=9hhX0KkQBW4

[Example 3] We Are The World (Ukulele style - 33 ukulele players from all over the world)


[Features and tendencies of the participants in the YouTube videos]
As you know, many people sing a song and perform music, and upload the videos to YouTube everyday. So many people have posted their own "We are the world" videos since YouTube started. What I'd like to focus on here is the way they play with the original song or music online. In both examples, all the performers show their faces in the videos and their names are listed on the description pages. As for the quality of the performances, most of them are quite good (that's why they are chosen by the editor of the videos). Although each singer/performer has his or her own style and characteristic, the whole performances are quite close to the original song. The videos are edited quite simple and clear. More highly-skilled and professional-like users tend to participate (especially in the case of Symphony Orchestra). This is probably because there were clear rules and instruction addressed and it had fewer barriers (such as a language barrier) so that a wide variety of people could participate in the event from all over the world. As the whole population of YouTube users in the world is so huge, the quality of the top-level works tends to be very high (They are often performed by professionals).

[About Nico Nico Douga]
On the contrary, Nico Nico Douga is not open to all the Internet users like YouTube. One has to become the member of the website to watch the videos. It targets only for Japanese and those who understand Japanese (There are Nico Nico Douga websites also in English, French, German, and Chinese, but they are totally different). As a result, not so many people can enjoy it compared to YouTube. The whole population and the numbers of uploaded videos are very different between them. However, in Japan, Nico Nico Douga has gained a large membership. It now has more than 25,500,000 members (As of July 2011). It is very popular especially with the young generation. About two third of the members are in their teens and twenties. More than two out of three people in their twenties have a Nico Nico Douga account in Japan.

[Vocaloid songs and the variation of Happy Synthesizer videos]
There are many amateur composers uploading their original songs to Nico Nico Douga in Japan. Many of them use a singing synthesizer application software called Vocaloid so that they can put the synthesized voice on the vocal part without asking some one to sing the song. It is estimated that more than 20,000 Vocaloid songs are uploaded so far. Among them, a song called “Happy Synthesizer” was originally posted on the website last year on November 22 by an amateur composer then named easypop (His real name is unknown. He now becomes professional and released his first CD a few months ago).

[Example 4] Happy Synthesizer (uploaded on YouTube)


The song became very popular (more than 1,300,000 times viewed so far on Nico Nico Douga and about 1,200,000 times on YouTube) and many users started to consume or play with the song in their own ways by uploading their own videos related to the song. Here is the chronological order of how they have enjoyed and reproduced it.

1. The composer posted the original song on November 22, 2010.
2. Many users started to post their own videos singing the song. (1,500 videos were posted so far.)
3. Its English version was also made and sung by the users.
4. Some users performed the song with different kinds of instruments such as piano or guitar.
5. Several dance remixes were made.
6. A dancer choreographed the song on December 3, which is two weeks after the original song was posted.
7. Many users started to dance on the choreography and post the videos. (More than 1,800 videos were posted so far.)
8. Some user groups had off-line meetings all over Japan, danced together and posted the videos.
9. Several users traced the dance and made 3D CG videos using a free 3D modeling software called MikuMikuDance (MMD) at the end of March next year.
10. Many MMD users started to create their own CG videos with their favorite characters. (About 300 videos were posted so far)

Here is a variety of the videos posted based on the original song. (I edited them into one video so that you can visually see and understand how the original song has been consumed and developed by many users.)

[Example 5] Variation of Happy Synthesizer Videos


[Features and tendencies of the participants on Nico Nico Douga]
These variety of videos based on the original song have been generated by many users within almost four months (and they are still making new ones everyday). The users created their videos in these ways partly because there are such categories set on the website, which encourages them to create in these ways. Since not so many users are expected to participate in the activity in each category, the quality of the works on average is not so good as that on YouTube. Most of the singers and dancers do not seem to have any vocal or dance trainings. They are far from professionals, but they posted their videos because they love the song. One of the most explicit features of the users is that most of them do not reveal their faces or real names in the videos or on the description pages on the website. They usually use their user names with no real face photo. Not only the music composers and 3D CG creators do not reveal themselves, but also the singers and music performers do not do that either (which is totally opposite to those in the YouTube videos). Even more than half of the dancers wear masks while they are dancing in order not to be identified themselves. As often said, it may come out from the Japanese sense of "Shame” or “Haji” in Japanese, but it may have an effect on the users' creativity in somehow.

[Comparison and conclusion]
Japanese tendency not to reveal oneself online is often pointed out for the reason why facebook is not so much popular in Japan. It can be also said to the tendency of Japanese twitter users that many of them do not put their real names or face photos on their profiles. Here I'd like to put focus on how this tendency effects on the creativity of modern Japanese sub culture. It is difficult to draw any patterns or principles just from these few examples from YouTube and Nico Nico Douga, but I'd like to draw a hypothesis on this phenomenon anyway. For the performers in the YouTube videos, the original song or music they sang or performed is just a medium or tool to prove their performing techniques, and the viewers appreciate the performances and evaluate the performers or performers' skills rather than the work pieces themselves. In other words, for them the video is just a result or proof of their performances and the applause is given more to the participants themselves rather than their works. On the other hand, Nico Nico Douga users seem to be more interested in the videos as a work piece or the ways the song is expressed. The viewers do not seem to care much about who the creators of the videos are. More specifically, they are more interested in playing with the song or the fictional characters involved in the song (In this case, they are the vocaloid characters such as Hatsune Miku). The dancers in the videos seem to show and characterize themselves as cute and lovely as possible with their fictional user names (Some of them actually did cosplay and became one of the vocaloid characters). The viewers are more likely to appreciate the dancers’ characters (which is called “kyara” in Japanese) and enjoy them without any questions who the dancers really are. Same thing can also be said to the creation of the 3D CG videos. When the variation of the video expanded to the 3D CG phase, more high-quality videos were made intensively. It seems that all the performers, creators, and viewers tend to focus more on the characterized figures in the videos rather than on the creators. In a sense, they express themselves through their favorite characters or characterized self-images. They tend to erase their bodily images as the subject of the action and leave only the deed (in this case a piece of work) in order to enjoy or consume the topic with the following members in the same but small interest group who have the same taste. It is hard to prove this, but I think this Japanese tendency not to reveal oneself online seem to have a close link to the reason why Japanese people love so-called “characters” so much.