#techno-oriental

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Saya: Big ambitions for Japanese 'digital daughter'

Virtual Human Project

The technology of Digital Human which create photorealistic image of human on the digital place has been a long-time issue in the field of movie production. It shows great development in recent years through the effort of the researchers of computer graphics and other specialties. The Digital Human, here we take up “SAYA” (TELYUKA, 2015) for an example, are using the latest computer graphics as representation media. Besides, drawings and sculptings by the CG artist’s detailed observation of human body are indispensable for Digital Human.

In the process of creating Digital Human, the creator initially observes, touches and experiences humans that are the existence in “Reality”. Then he/she represents those messages which are acquired from that “Reality” onto the digital device by little and little. These complicated processes which are closely related to human’s recognition is one of difficulty to create Digital Human. Digital human be born through that complexity are never “Realistic”. But they are virtual existence which obtained essence of “Reality”.

On the other hand, the difference between our observation of actual object and virtual representation of the “Reality” is that the representation media, the “Device” always intervene on the latter. To represent the essence of “Reality”, the representation media and skill of artists are equally important. Artists will be able to understand the characteristic of that media by handle them perfectly. As a result, we are now able to represent the things those were impossible before on such new devices. From that, the creation of new fruitful and attractive contents is expected.

In this project, we create contents that are based on the virtual representation of human in new representation media. At the same time, we aim to work in collaboration with artists and engineers who are attracted to those contents creation.

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EVA’s particular speculation on human and machine mediation to a unique genre of human body augmentation provokes new thinking on the idea of virtuality, augmentation, extension and technology which particularly towards a unique cultural background. A techno-oriental version of AR apparatus addresses further idea of current AR/VR development.

Neon Genesis Evangelion (Japanese: 新世紀エヴァンゲリオン Hepburn: Shinseiki Evangerion, literally “The Gospel of the New Century”), from Classical Greek meaning “The Gospel of the New Genesis”, commonly referred to as Evangelion or Eva, is a Japanese science-fiction anime television series produced by Gainax and Tatsunoko Production and directed by Hideaki Anno. It was broadcast on TV Tokyo from October 1995 to March 1996. The original Japanese cast includes Megumi Ogata as Shinji Ikari, Megumi Hayashibara as Rei Ayanami, and Yūko Miyamura as Asuka Langley Soryu. The music was composed by Shirō Sagisu.

Evangelion is an apocalyptic anime, set in a futuristic Tokyo fifteen years after a worldwide cataclysm. The story centers on Shinji, a teenage boy who is recruited by his father into the shadowy organization Nerv to pilot a giant bio-machine mecha called Evangelion in combat against monstrous beings known as Angels. The series explores the experiences and emotions of Evangelion pilots and members of Nerv as they attempt to prevent another catastrophe. In the series there are many references to psychoanalytic concepts, such as the oral stage, introjection, oral personality, ambivalence, and the death drive. It features religious symbolism throughout the series, including themes and imagery derived from Kabbalah, Christianity, and Judaism.

Neon Genesis Evangelion gained widespread critical acclaim as well as controversy. Regarded as a critique and deconstruction of the mecha genre, the series has become a cultural icon and influenced an artistic and technical revival of the anime industry. Subsequent film, manga, home video and other products in the Evangelion franchise have achieved record sales in Japan and strong sales in overseas markets, and by 2007 gross revenues had reached over 150 billion yen.

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French sociologist Michel Maffesoli in his book The Time of the Tribes emphasises the factor of affect and emotions in subculture and the aesthetic articulation of sub-groups in contemporary society.

Unlike other agencies like class, ethnicity, gender and race, the "new tribes", according to Maffesoli, are very temporary, fragile, plastic and unstable. Some other sociologists such as Zygmunt Baumann and Kevin Hetherington, also employ the term 'tribes' in their analyses of postmodern, global, information society.

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Hence, to belong to a certain tribe is to invent rather than to follow a common interest.

one tribe always presupposes the possible (co)existence of another.

cultural diaspora

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This change of perspective is aimed at transforming the more familiar unidirectional notion of diaspora as a form of dispersal which enjoys an identifiable and reversible originary moment, into a much more complex 'chaotic' model in which unstable 'strange attractors' are also visible.10

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The hybridisation of body and technology in Japanimation explores the potential of cyberfeminism and cyborg politics. Rey Chow has defined the strategy of the cyborg feministas rejecting the binary opposition of masculine human subject versus feminised automaton.

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As a temporary conclusion, at least, it could be said that techno-oriental subcultures, including Japanimation and trance musics, like the gestures of a lot of urban and media tribes, could be an ideological apparatus or trap, but at the same time tactical consumption is already an option for everyone.

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EVA's particular speculation on human and machine mediation to a unique genre of human body augmentation provokes new thinking on the idea of virtuality, augmentation, extension and technology which particularly towards a unique cultural background. A techno-oriental version of AR apparatus addresses further idea of current AR/VR development.

Neon Genesis Evangelion (Japanese: 新世紀エヴァンゲリオン Hepburn: Shinseiki Evangerion, literally "The Gospel of the New Century"), from Classical Greek meaning "The Gospel of the New Genesis", commonly referred to as Evangelion or Eva, is a Japanese science-fiction anime television series produced by Gainax and Tatsunoko Production and directed by Hideaki Anno. It was broadcast on TV Tokyo from October 1995 to March 1996. The original Japanese cast includes Megumi Ogata as Shinji Ikari, Megumi Hayashibara as Rei Ayanami, and Yūko Miyamura as Asuka Langley Soryu. The music was composed by Shirō Sagisu.

Evangelion is an apocalyptic anime, set in a futuristic Tokyo fifteen years after a worldwide cataclysm. The story centers on Shinji, a teenage boy who is recruited by his father into the shadowy organization Nerv to pilot a giant bio-machine mecha called Evangelion in combat against monstrous beings known as Angels. The series explores the experiences and emotions of Evangelion pilots and members of Nerv as they attempt to prevent another catastrophe. In the series there are many references to psychoanalytic concepts, such as the oral stage, introjection, oral personality, ambivalence, and the death drive. It features religious symbolism throughout the series, including themes and imagery derived from Kabbalah, Christianity, and Judaism.

Neon Genesis Evangelion gained widespread critical acclaim as well as controversy. Regarded as a critique and deconstruction of the mecha genre, the series has become a cultural icon and influenced an artistic and technical revival of the anime industry. Subsequent film, manga, home video and other products in the Evangelion franchise have achieved record sales in Japan and strong sales in overseas markets, and by 2007 gross revenues had reached over 150 billion yen.