Photographers Confronted with the Turbulence Around 1970 : Reflections on documents since the Meiji period through “A Century of Japanese Photography”

Postwar Japan reached an apotheosis of rapid economic growth around 1970, which led to numerous contradictions such as student movements, environmental pollution, and antisecurity treaty struggles. In the year 1968, which marked the 100th anniversary of the Meiji Restoration, the Japanese Government held large-scale celebrations of its accomplishments. In the same year, the Japan Professional Photographers Society (JPS) held a photo exhibition titled “A Century of Japanese Photography” that presented the history of Japanese photographic expression from the end of the Edo period to the country’s defeat in World War II. The main organizers of the exhibition were postwar photographers including Shōmei Tōmatsu, Koji Taki, and Masatoshi Naito, who emphasized the importance of the enormous number of anonymous images represented by the documents of the pioneering of Hokkaido in the early Meiji era. The organizers also raised questions about the responsibilities of the wartime photographers who pushed pro-war propaganda in World War II. Further, a review of prior research suggested that this exhibition was critical to the end of “Modern Photography” in Japan because it denied the use of photography as a means of self-expression. However, this interpretation has become detached from the organizers’ purpose at the time—Tōmatsu and others were attempting to learn lessons from their forerunners and express the impacts of Modern Japanese history. Thus, the purpose of this study is to describe what each of the photographers who were capturing turbulent times attempted to express through “A Century of Japanese Photography” based on our original methodology of “photography in practice” (shashin-jissen). In the late 1960s, Japan enjoyed a striking level of prosperity and the government applauded the Meiji period, which had carried the country to its position as the pre-eminent economic power in Asia. However, this historical perspective from above disregarded the innumerable casualties of the country’s past, which included repeated wars and severe suppressions. In addition, the Vietnam War reminded people that the Empire of Japan had colonized its neighboring countries until the end of the Fifteen Years’ War. Against this social background, the analysis of exhibition catalogues and other materials like newspapers and magazine articles published at the time reveals that the photographers were deeply moved by the brutal way in which common people were forced to live and die on the road to nationhood. Simultaneously, this raised a serious question regarding whether earlier photographers had earnestly captured this buried history. However, traditional photorealism, which was used to capture postwar social conditions, was no longer popular due to the achievement of a thriving domestic economy. Meanwhile, the government intensified its efforts to crack down on freedom of expression; the riot police suppressed protests and confiscated films such as in Sanriduka, Yasuda Auditorium, and Shinjuku. In conclusion, photographers around 1970 sought ways to document the ongoing movements and reflected on the absence of photographers’ autonomy before and during the war

The Common People Living with Ambivalence after Defeat in War : Americanization in postwar Japan captured by Shōmei Tōmatsu

Shōmei Tōmatsu was one of the most infl uential Japanese photographers of the post-war era, and his raw and impressionistic style signaled a break from the quiet formalism that had defi ned earlier works of photography. Moreover, it is noteworthy that his “group-photographs” (gun-shashin) is distinguished from the “photo-realism movement” and “photojournalism”, both of which were dominant in the 1950s. On the other hand, a review of prior research indicates that Tōmatsu had been regarded as a new generation artist who emerged in the 1960s, whose art was characterized by visual images. The symbolism of his work had generally been discussed in a limited manner by focusing, almost solely, on the “groupphotographs”. In other words, little was known about how he faced and understood the reality of postwar Japan. In the previous study, the authors examined how he deepened his understanding of the lives and deaths of atomic bomb victims in Nagasaki over 30 years. We devised and applied a new methodology that enabled us to grasp the true essence of the photographer’s spiraling thoughts and emotions refl ected in his practical actions. We found that Tōmatsu gradually observed individuals in their everyday lives, who lived with the memories of the unforgettable atomic bomb. The above fi nding brings up a question that has remained unanswered: How did he capture the intricacies of social change from the postwar years of recovery to the rapid-growth era, which was strongly characterized by Americanization? Specifically, while previous research has emphasized his critical view of the US, it is necessary to focus on the bitter inner struggle he went through due to his fateful encounters with US military bases as an adolescent teetering on the brink of starvation. It was this struggle that drove him to journey into the archipelago, including Nagasaki, for more than half a century. Therefore, the purpose of this study is to describe how he expressed the reality of Americanization in Japan during the 1950s to 60s from the perspective of the new methodology mentioned above. In particular, it is signifi cant to note that his work from those decades suggests that he was constantly influenced by his traumatic experience of war. In conclusion, it is clarified that Tōmatsu photographed every human life with empathy in the 1950s, which was still emotionally scarred due to the aftermath of the defeat, while the postwar reconstruction was close to an end. Furthermore, in the 1960s, he kept his watchful eyes over the inseparable bonds between Japan and the US, although he had so far expressed antipathy to the never-ending occupation despite the Japanese independence. Most importantly, in his eyes, the true essence of the occupation was not just accepting an American way of life but also integrating the radical changes of the political and economic system, as represented by democracy, into the reborn nation. However, in the 1970s, he painfully realized that Japan, which had become one of the world's top economic powers, gave short shrift to the lives of the common people. From this, it has followed that he looked straight at the unforgettable death and anguish, set against the postwar affluence, based on his own formative experiences

インターフェイス カラ トラエツヅケタ ヒトビト ノ クラシ シャシンカ トウマツ ショウメイ ノ メ ニ ウツリコンダ アメリカニゼーション

Shomei Tomatsu was one of the most infl uential Japanese photographers of the post-war era, and his raw and impressionistic style signaled a break from the quiet formalism that had defined earlier works of photography. Moreover, it is noteworthy that his “group-photographs (gunshashin)” is distinguished from the “photo-realism movement” and “photojournalism”, both of which were dominant in the 1950s. On the other hand, a review of prior research indicates that Tomatsu had been regarded as a new generation artist who emerged in the 1960s, whose art was characterized by visual images. The symbolism of his work had generally been discussed in a limited manner by focusing, almost solely, on the “group-photographs”. In other words, little was known about how he faced and understood the reality of postwar Japan. In the previous study, the authors examined how he deepened his understanding of the lives and deaths of atomic bomb victims in Nagasaki over 30 years. We devised and applied a new methodology that enabled us to grasp the true essence of the photographer’s spiraling thoughts and emotions refl ected in his practical actions. We found that Tomatsu gradually observed individuals in their everyday lives, who lived with the memories of the unforgettable atomic bomb. The above fi nding brings up a question that has remained unanswered: How did he capture the intricacies of social change from the postwar years of recovery to the rapid-growth era, which was strongly characterized by Americanization? Specifi cally, while previous research has emphasized his critical view of the US, it is necessary to focus on the bitter inner struggle he went through due to his fateful encounters with US military bases as an adolescent teetering on the brink of starvation. It was this struggle that drove him to journey into the archipelago, including Nagasaki, for more than half a century. Therefore, the purpose of this study is to describe how he expressed the reality of Americanization in Japan during the 1950s to 60s from the perspective of the new methodology mentioned above. In particular, it is significant to note that his work from those decades suggests that he was constantly infl uenced by his traumatic experience of war. In conclusion, it is clarifi ed that Tomatsu photographed every human life with empathy in the 1950s, which was still emotionally scarred due to the aftermath of the defeat, while the postwar reconstruction was close to an end. Furthermore, in the 1960s, he kept his watchful eyes over the inseparable bonds between Japan and the US, although he had so far expressed antipathy to the never-ending occupation despite the Japanese independence. Most importantly, in his eyes, the true essence of the occupation was not just accepting an American way of life but also integrating the radical changes of the political and economic system, as represented by democracy, into the reborn nation. However, in the 1970s, he painfully realized that Japan, which had become one of the world's top economic powers, gave short shrift to the lives of the common people. From this, it has followed that he looked straight at the unforgettable death and anguish, set against the postwar affluence, based on his own formative experiences

シャシンカ トウマツ ショウメイ ガ ミセラレタ ナガサキ ノ ナカ ノ チュウゴク ブンカ マチアルキ ヨリ ウケトメテ イク ヒガシシナカイ ヲ メグル レキシ ノ アツミ

特集 : グローバル化する中国の環境問題と生活実践 : 国家と社会の狭間で生き抜く人々の営為Shomei Tomatsu is a well-known photographer who captured the social changes of post-war Japan for more than half a century. In particular, since he was shocked at the wounds of atomic bomb victims of Nagasaki in the early 1960s, he had kept on saving the details of the lives and deaths of the survivors over several decades, using “group-photographs (gun-shashin) ”, which was his original photographic method. In his later years, he moved to Nagasaki and developed his perspective based on the long history of the place, roaming the streets day after day. It is through this shooting procedure that he always had a vivid sense of reality. In the previous study, the authors clarified that he gradually observed individuals in their everyday lives, who lived with the memories of the unforgettable atomic bomb by applying a new methodology, which we devised to grasp the photographer’s spiraling thoughts and emotions reflected in his practical actions. By contrast, previous research has emphasized that he photographed the horrors of atomic bombs. Especially, it is significant to note that the hardships of the survivors were identified with the persecution of Christians in the pre-modern period. The trouble is, however, that this perspective trivialized the long and convoluted history of Nagasaki since opening the port in the late 16th century, which he gradually perceived as fascinating living in the town. Therefore, the aim of this study is to describe the layered history of Nagasaki he tried to express in his life by analyzing the “group-photographs ” and other materials. Generally speaking, the historical connections between Nagasaki and other countries were represented by Dejima Dutch Trading Post and Tojin-Yashiki in the Edo period. However, before the Tokugawa shogunate started to dominate the foreign relations, the islands of Japan were melting pots of many ethnic groups coming from beyond the sea. Most importantly, Nagasaki also preserved the strong ties with other Asian countries rather than European ones. Considered in this light, his earlier works, significantly enough, focused on the influence of China as well as the history of suppression of Christians, although it was just expressed by a few photographs of historical artifacts. On the other hand, since the beginning of his new life in Nagasaki, he had captured the individuals who had inherited their ways of lives, including the traditional festivals and the commemorations of their ancestors, both of which traced back to the Edo period. Furthermore, in the late 2000s, just before the end of his life in Okinawa, he casted a gentle eye toward the lives of the street where numerous people from a diverse range of backgrounds had walked down for centuries. It is noteworthy that he realized the historical ties among Nagasaki, Okinawa and Fujian surrounding the East China Sea, based on his own past experience that he journeyed from Okinawa to the Southeast Asia. From this, it follows that the intricate history of Nagasaki was deeply connected with the hardships of Ryukyuan people which he witnessed in Okinawa around the early 1970s

センゴ ノ セイカツシャ ノ シソウ ヲ トウキュウ スル シャシン ジッセン ノ ホウホウロン テキ カノウセイ ヒトビト トノ キョリ ヲ ウメユク トウマツショウメイ ノ ジュウソウテキ ケイケン ノ イミ

Over 78 years have passed since WWⅡ and it is imperative that we pass down the harsh experience of the war and afterwar to future generations. Moreover, the reality of the “postwar” society needs to be reexamined given the raging wars under the Cold War occurred in East Asia, such as the Korean War and Vietnam War. Considering the aforementioned issues, “postwar” photographers have produced valuable works for future generations, capturing people who have experienced a variety of social changes. However, many issues remain regarding how to use photographs, especially in modern Japanese history, although historians place a high value on its potential for describing the postwar history in a different way. By contrast, a review of previous research indicates that images evoked by photographs have generally been discussed by focusing almost solely on respective works. In other words, little was known about how photographers faced and understood the reality of postwar Japan. For example, Shōmei Tōmatsu was one of the most influential Japanese photographers of the postwar era. His shock and reflection at not knowing the reality of Nagasaki after the atomic bombing in the early 1960s led him to spend several decades following and filming survivors. Thus, the authors devised and applied “photography in practice (shashin-jissen).” This is an original methodology for systematically redefining the expression of photographers’ intentions, which are constantly deepened beyond the immediate reality through photographing. The authors adopted “photography in practice” and focused on Tōmatsu’s postwar works to clarify the reality of the postwar society that he once continued to express. This was achieved by reconstructing various media of expression along the trajectory of his photographic activities, such as photo collections, magazines, and newspaper articles, while considering the social conditions of the time. On the other hand, “photography in practice” was inspired by folklorist Kunio Yanagida’s theory of feelings. Additionally, it shares common ground with life-history research. Hence, to systematize this methodology more precisely, it is necessary to reinforce the theoretical backgrounds. Therefore, this study reconsiders the methodological potential of “photography in practice” by reviewing the relationships among theories that off er important suggestions. In conclusion, “photography in practice” closely focuses on facts captured through the photographer’s mind, which deepens through the act of photography as “feelings” according to Yanagida’s theory of feelings. Notably, it is characterized by the inability to separate objects into facts and feelings because they are “facts observed through feelings” of the perceiving subject. In addition, our methodology examines the relationship between social change and the individual based on objective facts, which has the analytical perspective in common with life-history research. Further, we hope to pass down “postwar history” from the perspective of photographers on future generations by our own photographic activities in the field

シャシンカ タチ ガ ムキアッタ 1970ネン ゼンゴ ノ ゲンジツ シャシン 100 ネン テン ヲ ツウジタ メイジキ イライ ノ キロク ヘノ ナイセイ

Postwar Japan reached an apotheosis of rapid economic growth around 1970, which led to numerous contradictions such as student movements, environmental pollution, and anti-security treaty struggles. In the year 1968, which marked the 100th anniversary of the Meiji Restoration, the Japanese Government held large-scale celebrations of its accomplishments. In the same year, the Japan Professional Photographers Society (JPS) held a photo exhibition titled “A Century of Japanese Photography” that presented the history of Japanese photographic expression from the end of the Edo period to the country’s defeat in World War II. The main organizers of the exhibition were postwar photographers including Shomei Tomatsu, Koji Taki, and Masatoshi Naito, who emphasized the importance of the enormous number of anonymous images represented by the documents of the pioneering of Hokkaido in the early Meiji era. The organizers also raised questions about the responsibilities of the wartime photographers who pushed pro-war propaganda in World War II. Further, a review of prior research suggested that this exhibition was critical to the end of “Modern Photography” in Japan because it denied the use of photography as a means of selfexpression. However, this interpretation has become detached from the organizers’ purpose at the time – Tomatsu and others were attempting to learn lessons from their forerunners and express the impacts of Modern Japanese history. Thus, the purpose of this study is to describe what each of the photographers who were capturing turbulent times attempted to express through “A Century of Japanese Photography” based on our original methodology of “photography in practice” (shashin-jissen). In the late 1960s, Japan enjoyed a striking level of prosperity and the government applauded the Meiji period, which had carried the country to its position as the pre-eminent economic power in Asia. However, this historical perspective from above disregarded the innumerable casualties of the country’s past, which included repeated wars and severe suppressions. In addition, the Vietnam War reminded people that the Empire of Japan had colonized its neighboring countries until the end of the Fifteen Years’ War. Against this social background, the analysis of exhibition catalogues and other materials like newspapers and magazine articles published at the time reveals that the photographers were deeply moved by the brutal way in which common people were forced to live and die on the road to nationhood. Simultaneously, this raised a serious question regarding whether earlier photographers had earnestly captured this buried history. However, traditional photo-realism, which was used to capture postwar social conditions, was no longer popular due to the achievement of a thriving domestic economy. Meanwhile, the government intensifi ed its eff orts to crack down on freedom of expression; the riot police suppressed protests and confi scated fi lms such as in Sanriduka, Yasuda Auditorium, and Shinjuku. In conclusion, photographers around 1970 sought ways to document the ongoing movements and refl ected on the absence of photographers’ autonomy before and during the war

Case-based similar image retrieval for weakly annotated large histopathological images of malignant lymphoma using deep metric learning

In the present study, we propose a novel case-based similar image retrieval (SIR) method for hematoxylin and eosin (H&E)-stained histopathological images of malignant lymphoma. When a whole slide image (WSI) is used as an input query, it is desirable to be able to retrieve similar cases by focusing on image patches in pathologically important regions such as tumor cells. To address this problem, we employ attention-based multiple instance learning, which enables us to focus on tumor-specific regions when the similarity between cases is computed. Moreover, we employ contrastive distance metric learning to incorporate immunohistochemical (IHC) staining patterns as useful supervised information for defining appropriate similarity between heterogeneous malignant lymphoma cases. In the experiment with 249 malignant lymphoma patients, we confirmed that the proposed method exhibited higher evaluation measures than the baseline case-based SIR methods. Furthermore, the subjective evaluation by pathologists revealed that our similarity measure using IHC staining patterns is appropriate for representing the similarity of H&E-stained tissue images for malignant lymphoma

ネコ ノ スイブン セッシュリョウ ト ニョウリョウ ニョウ ヒジュウチ ニ カンスル ケンキュウ

Domestic cats (Felissilvestriscatus ) are known to have lesser and hypertonic urine excretion(urine volume: 22–30 mL/kg per day; specific gravity: 1.015–1.050) than those of domestic dogs( Canislupus familiaris); urine volume: 24–40 mL/kg perday; specific gravity: 1.015–1.040). These have been implicated as factors for feline incidence of struviteurolithiasis and felinelower urinary tract disease, which are diseases that affect the bladder or urethra. We conducted comparative studies on therelationship between fluid intake and urine volume/urine specific gravity under 2 conditions—diet (condition A) comprising"dry food"( 5.6% moisture) and ad libitum drinking water and diet( condition B) comprising" wet food"( 74.8% moisture) andad libitum drinking water—in acclimated cats( n=7) kept separately in cat cages in an animal rearing room at 25°C. The perdiem water intake (apparent water intake) in condition A was on an average 66.9 ± 22.1(mL), while the totalfluid intake (absolute water intake), which is the sum of the amounts of water in the food and the water intake, was on anaverage68.2 ± 23.3(mL).Further, the average water intake under condition B was only 22.7 ± 20.13( mL), but the absolutewater intake was on average 95.6 ± 37.6( mL), meaning that wet food resulted in a higher absolute water intake amountthan dry food. Regarding the urine volume and the urine specific gravity, urine volume and urine specific gravity with the dry food diet(condition A) were 28.8 ± 11.8 (mL) and 1.049 ± 0.01, respectively, but the mean urine volume and urine specific gravityunder condition B were 49.5 ± 31.4(mL) and 1.030 ± 0.01, respectively, showing that compared to the dry food group, thewet food group had a significantly higher urine volume and lower urine specific gravity. The present study proves that in an average rearing environment, the urine volume does not increase and urine specificgravity is hypertonic when the cats are provided dry food diet, despite increase in the apparent water intake. Further, theurine volume increases and urine specific gravity decreases when the cats are provided wet food diet( canned or pouched),although the apparent water intake is low. The present study shows that differences in the diet are factors for the increasedincidence of struviteurolithiasis and FLUTD in cats

Theoretical Studies on Terahertz Quantum Cascade Lasers for Device Design Guideline

Terahertz (THz) quantum cascade laser (QCL) is the most promising THz light source for the next-generation THz technologies of imaging, spectroscopy, and wireless communication. However, room-temperature operation of THz QCLs, which is necessary for these applications, has yet been demonstrated, and the record value of the highest operation temperature of THz QCLs remains 250K. Thus, this issue has been tackled theoretically and experimentally by many researchers and institutions around the world nowadays. In this thesis, three theoretical research topics related to device design guideline for high-performance devices are presented. (1) development of fast and accurate device simulator, (2) investigation of the influence of impurity doping on device performance, and (3) investigation of the influence of barrier height on device performance. First, a fast and accurate device simulator is developed based on a rate equation model introduced by Razavipour. This development implements speed-up of the calculation of electron-electron scattering rate, careful selection of a screening effect model, introduction of theoretical models of pure dephasing time, optical linewidth, and a leakage current. In calculation, the developed device simulator can reproduce the device characteristics of previously published devices accurately, and the simulated highest operation temperature of previously published devices are reasonable compared to the experimental values. Second, the influence of ionized impurities on device performance is investigated based on a two-well resonant-phonon THz QCL designed by Khalatpour et al. Seven doping conditions determined by doping positions and distributions and an undoped condition are simulated over a range of sheet doping density from 1.0×1010 to 1.0×1012cm-2 for a single module. By this simulation, optical linewidth is found to be small in the undoped condition due to absence of ionized-impurity scattering, resulting in the highest optical gain among all doping patterns. Among doped conditions, wide doping in a phonon-well shows the highest optical gain, and this is attributed to mitigation of band-bending effect. Based on these results, a modulation doping scheme is proposed. Lastly, the influence of barrier height on device performance of two-well resonant-phonon THz QCLs is investigated through two steps of research, and a series of comprehensive research discovers a new device design concept featured by a thick radiation barrier which is around 40Å (Type-B). Furthermore, around 15% of Al-composition is found to provide the optimal barrier height conditions for two-well resonant-phonon structures under both the conventional design (Type-A) and Type-B concepts in device structure exploration. The reason for this feature is clarified by careful analysis of calculation data, and the optimal conditions are found to happen by complex behavior of componential parameters of optical gain, which varys with barrier height