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When acclaimed critic Hiroki Azuma isn’t writing or teaching at Waseda University, he’s bridging the gap between academia and the general public through the Contectures publishing company as its President and Editor-in-Chief.

With Genron, Contectures English language portal, he and his staff have their eyes set abroad by translating articles for Western readers not adversed in Japanese.

We had the opportunity to sit down with Naoki Matsuyama who is in charge of translations and global outreach and Ko Ransom, a translator for the company, to discuss Genron, criticism in Japan, Azuma’s work, the Great East Japan Earthquake, and the country’s future.

BF: How did you get involved with this project?

NM: I was born and grew up in Italy and I studied in the UK. I came to Japan two or three years ago with very little knowledge of Japanese criticism or Azuma-san’s works. A friend of mine introduced me to Azuma-san’s books by chance and they completely blew me away. It felt to me like it was the first time that criticism was trying to convey something about the current situation and move forward to do something about it, instead of providing a simple negation of the current conditions. I immediately knew that this was something I wanted to get involved in, and I knew I could contribute having straddled between cultures all my life.

So one day I sent him an e-mail saying, because I’m a translator, “If you need any help, I’ll be more than happy to”. That was before the first issue of the journal Shisouchizu Beta was published, and a few days later I received an email saying that he wanted to include English abstracts for all articles in it and that he wanted me to work on that. From there, I started to become involved in different activities of Contectures, the company that was created to publish the journal, including the website Genron that I initiated and an iPad app[lication] as well.

KR: Right around April after the disaster, I was in a Japanese language program in Yokohama. All of my classes at school got cancelled so I was just sitting at home most of the day. I looked at Twitter and I saw someone retweet something that Naoki sent saying that Contectures was searching for translators. I sent an application and after that I managed to get here. It was part of the company’s wave of hiring new translators to do more articles for the disaster issue.

BF: What’s the translation process?

NM: We usually do entire articles and each translator works on one article at a time. The translation team is composed of myself, Ko, and three other translators who all have different specializations. Ko’s is subculture, and he also knows a lot about criticism related to subculture. The other guys specialize in different fields such as modern critical theory in Japan, Japanese orthography and the political history of Japan. We try to do whatever we can that we think will have an impact focusing on translating articles we feel should be read abroad.

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Say the word “Postmodern” and a tide of ideas flood the imagination. Structuralism, metanarratives, semiotics, and other obscure studies come to mind. At best they sound intelligently incomprehensible. At worst they reek of fashionable nonsense. Hiroki Azuma’s book, Otaku: Japan’s Database Animals, reads like neither. Unlike the milieu of thinkers who dwell in the pages of academic journals, Azuma’s prose is accessibly lucid despite the citation of high-minded thinkers and philosophers like Jean Baudrillard, Jean-Francois Lyotard, and G.W.F. Hegel. He eschews a pedantic writing style in favor of a lucid journalistic one to analyze and explain the phenomena of Japan’s most notorious caste of social pariahs: the Otaku. Japan’s homegrown niche of anime geeks may seem like a pretentiously unrelated topic for the lofty heights of philosophy and theory. That is, it would be if Azuma didn’t make such compelling claims. The core argument of the book centers on the collapse of the “Grand Narrative” concerning Otaku consumption. Look at the Grand Narrative as a sense of meaning or purpose, but while the rest of the world was in conflict during the Cold War, Japan only had industry and consumption as a guiding light. The Otaku substituted this with fictional narratives to fill the void, but even this was insufficient. Azuma noted that late into the 1990s, consumers ceased to show as much interest in the plots of anime so much as their characters. Azuma uses the Neon Genesis Evangelion anime as an example. Multiple narratives currently exist for the Eva franchise through various multimedia projects, but most have little to do with the “original”. “[The Otaku] did not really have a concern for the entire world of Evangelion,” Azuma writes. “Instead they focused exclusively on the setting and character designs as objects for exclusive interpretation.” In other words, the characters, not the story were its fans’ passion “One might argue that the original TV series of Evangelion [still] continued to function as an entry…into the grand narrative. However, Otaku culture of the few years since Evangelion is rapidly abandoning the need for even this entry point,” writes Azuma. The emergence of Di Gi Charot enforces his claim. An anime gaming dealership originally created its protagonist, Digiko, as a mascot for its enterprise. No narrative existed prior to this character’s conception, yet an anime and series of novels came to fruition following Digiko’s growing popularity. Even the character Usada Hikaru’s name was determined by a fan poll. In this instance, the “database” of anonymous fans directly influenced the creation of these characters without any sign of original authorship. With the collapse of the Grand Narrative then, what alternative framework is there for seeing the world? “It is easier to comprehend the world through a database model,” Azuma writes. “An easily understandable example of this is the Internet. The Net has no center. That is, no hidden grand narrative regulates all Web pages.” What’s left are different parts for consumers to pick and choose from the database and craft together and render...
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