Problems and Promises of Technology for Social Life

As generations change and evolve over time, we watch new science and technology also evolve in their own ways, in order to equip us with the most innovative creations for our daily lives. Although some technology may be deemed as unnecessary, at the end of the day, we find ourselves thankful for the new and convenient technology that could help improve our lives. From Alexander Graham Bell to Steve Jobs, the telephone has been one of the world’s most useful gadgets. 

In Japan, their cell phone is referred to as a keitai. Younger and younger generations are beginning to become exposed to the world of technology, and find themselves fascinated with cell phones, computers, and tablets. Part of growing up is going through phases of striving to be the most popular of their age group. Often, children are attracted to who may have the newest toys, and as they grow older and find the need for cell phones in order to contact their parents and guardians, they have found themselves already severely attached to their devices. For artists and innovators, this became a blessing to them, so their work could be read and loved by millions around the world. For younger generations who may not completely grasp the privilege or reasoning behind the technology they own, they may only see it as a toy. Compared to the samurai warriors and Easternized culture in Japan in the 1700s to the social buzz it has become in the twenty-first century, Japanese would be shocked, yet stunned. Technology has definitely come a long way and has both positive and negative impacts on society, including the disappearance of some of Japan's cultural traditions.

After being attached to their phones for so many years, many children and teenagers have developed their own form of communication. Due to the fact that it may take more time to type out whole sentences or words, shortening vocabulary has been one of the changes in communication that has taken place. Phrases such as ‘talk to you later’ have been shortened to ‘TTYL’, and when a humorous joke comes their way, the common response would be ‘LOL’, which means ‘laughing out loud’. Even simpler words such as ‘to’ and ‘for’ have been transformed into ‘2’ and ‘4’. This shortened way of speaking does save time for their busy thumbs but may affect their way of speaking. 

The shift in society, not only applicable to teenagers, but adults as well, was so large it became aware to everybody in Japan. “For me, the shift in models is not simply a social shift, such as with the emergence of the Internet, but also was clearly demonstrated in the scholarly world by the ideas of complex systems theory…” (Azuma pg.39, par. 2). In Otsuka’s description of the modern tree model and the complex systems theory, he mentions the birth of the Internet in Japan and how it affected the lives of the Japanese. As the Internet came into play when technology began to boom in Japan, it took a clear route in society- there was a change in the way people felt about communication, and about innovative technology. Perhaps people began to see and talk to each other less, leaving a number of friendships to slowly wither away. The social shift in Japan was not a more negative or more positive event, seeing as they had discovered the ability and convenience of the Internet, and different evolving electronics such as laptops and cell phones. Community and face-to-face speaking may also decrease since everybody is able to click one button on their cell phone and carry on a conversation for as long as they would like. And now, a new feature on iPhones called FaceTiming allows friends to see one another through a front-facing camera on their cell phones. Since people feel like they communicate so much through FaceTime and texting, they feel as if directly speaking to one another and going to hang out is less necessary. Zooming in on Japan’s personal lives, perhaps technology had created an introverted culture that found everything they needed accessible at their fingertips, literally.

A positive event that helped spread news about otaku (anime and manga) did originate from the Internet. Japanese cartoonist and artists enjoyed spending their free time doodling artwork and different characters that they would create on their own, without much of a place to indulge the rest of the world in as well. “As the Internet spread and the site of otaku activities moved to the Web during the late 1990’s, search engines such as TINAMI began to play a prominent role. In such an environment, the producers, like it or not, must have been conscious of their position relative of the whole of otaku culture” (Azuma, pg. 49. Par. 1). The Internet helped artists spread the world about their creations to cities all over Japan, but it didn’t end there. Manga and anime are beloved all over the world, and this caught the eye of producers, publishers and even television screenwriters, and it became a big hit. The otaku culture is a very prominent and proud culture in Japan, and technology helped bring it to the table, and announce it as Japan’s own. It is agreeable that this is definitely a positive event because it helped spark a great deal of self-confidence all over Japan and allowed them to feel a sense of joy and gratitude in their own original workings.

In conclusion, Japanese culture has progressed so much over the years through transnational production and consumption, whether that includes growing as a community, or allowing technology to grow and allow shape their lives, and the lives of generations to come. Technology will evolve into learning tools for children when they begin school, communication abilities for when children want to connect with family outside of Japan, and entertainment for all the spare time in between. However, it may be viewed, each society, not just Japan, has technology to thank for a variety of different reasons.

Producing “Japan” in the World

Both Pokémon and Japanese hip-hop have been around for years and have been shaped and still shape Japanese culture. Japanese hip -op was said to have begun with Hiroshi Fujiwara returned to Japan and began to play hip-hop records in the early 1980s. Japanese hip-hop, or J-hip-hop, tends to be influenced by old school hip-hop, which incorporates catchy beats and a carefree nature. Pokémon, on the other hand, is a media franchise that began as a Japanese video game, published and owned by Nintendo. Satoshi Tajiri created Pokémon in 1996 and was a huge hit not only in Japan, but also around the world.

Pokémon and J-hip hop are part of the production of the idea of Japan because it mainly originated and evolved in Japan. Pokémon turned out to become the second-most successful and lucrative video game-based media franchise in the entire world, having its own TV-show and line of merchandise. Teenagers and adults around the world refer to Pokémon when they reminisce about their childhood. Japanese hip-hop provides history for the emergence of the cultural movement. J-hip hop allowed Japanese men and women to express themselves and their culture through dance, and breakdancing. Although most Asian cultures tend to be more conservative, especially in the past, J-hip hop helped many people break out of their shells and discover what they truly loved and enjoyed doing. 

There are definitely cultural mixtures in both Pokémon and J-hip hop. Pokémon’s gaming style may also be inspired by American games, whether it is portrayed in newer versions, or even shown subtlety, the adaptation of other cultures is something that nearly every artist experience throughout their work. Hip-hop originated in the Bronx during the 1970’s. Hip-hop can be characterized in four elements; rap music, DJing, break dancing, and graffiti art. Japan was not the only culture to adapt to hip-hop, for it was a catchy and carefree way to enjoy free time, and uplift nearly anybody’s spirit. 

Japanese hip-hop was a branch of hip-hop, but it is unique because Japan has created its’ own twist to it, using the Japanese language to influence and create a positive, outgoing environment. Japanese break-dancers created and formed their own styles of dancing, Japanese graffiti artists would create art through the Japanese language, and Japanese Dyer’s would create their own beats. Although hip-hop may not have begun in Japan, J-hip hop has its own take on the artistic, beloved genre of music.

Japanese culture has adapted hip-hop and added such a unique twist, but not only that; it is helped bring hip-hop to a whole new country. “It is more than a little eerie to fly from New York to Tokyo and see teenagers in both places wearing the same kinds of fashion characteristic of rap fans: baggy pants with boxers on display, floppy hats or baseball caps, and immaculate space-age Nike sneakers” (Condry, pg. 373, par. 3). For many youths in the world, discovering hip-hop was almost an act of discovering themselves, through connecting with friends and even strangers about beloved, shared music or art. Hip-hop was a fun, upbeat way to stay happy and energized. It is interesting to see two completely different cultures such as youth and society in New York and youth in Japan share similar interests and even apparel.

Evidence of political and economic power is something that affects each country differently and is expressed differently. Some people express it through literature or art, and some through athleticism. No matter where you are or what you may be doing, politics as a whole will affect the country you live in, and it has with Japan. Although it may not be clear enough to point out, Japanese hip hop artists may express anger, happiness and sadness through their lyrics, dancers may express their emotions through their art, and the same with visual artists such as graffiti artists. Pokémon game artists may also create scenes and people based off of current political and economic stances, and that could also be reflected through the game.

Historical context makes a big difference in creating cultural products, because the creators of Pokémon and the people who made Japanese hip-hop popular were only normal people living in Japan, just as affected by anybody else with the political and economic state of the country. Often times, people create and build things in order to distract themselves from thinking about what may be going on in the present. If Japan was not striving financially one year, Pokémon’s version that year may not have been as popular as the year before or the year to come. Historical context in countries and cities will always affect workers and can be shown through their work. Everybody has a different way of expressing their emotions and will be affected differently. 

All in all, each country has different phases and cultures that may come and go, or stay for a while, and help shape the country, but the beauty of it is every culture that may be adapted elsewhere is molded and shaped by its own country to be called its own. Japanese hip-hop is not what hip-hop was when it originated and is not like hip-hop in the United States either. There are forms of hip-hop that may be similar, but Japan has taken on its own form and style of created the popular culture and love of what is hip-hop.

Works Cited

Azuma, Hiroki. “Chapter 2: Database Animals, Fandom Unbound”. Minneapolis: University of Minnesota Press. (2001) Print.

Condry, Ian. “Japanese Hip-Hop and the Globalization of Popular Culture.” Prospect Heights, IL. Waveland Press. (2001). Print.