I want to say Thank you to all loves people.
(summer 09, top of Fuji mountain)
(winter 09, Hakone)
関東地区での1%の世帯視聴率は173,660世帯に当たるとある。恋人や友達と2名とかで見ていることも考えられるが、としても人数にしてせいぜい20万人というところだろう。
TVにはながら視聴が多いことも考慮に入れれば、アルファブロガーは1%の視聴率の深夜番組程度のメディアとしての力は持っていることになる。ちなみに、私のブログで1日10万PVは下ることがない。多いときは30-40万PVとなる。多いときはTV視聴率にして2-3%程度はいくかもしれないということだ。
ちなみに、最近の深夜番組で1%を超えるものはヒットと言われる。ライブドアも番組提供していたことがあるので、視聴率データはなんとなく覚えているが、1%を超えるケースは無かったように思う。5年以上前の話だ。
単純に視聴者に届く、つまりリーチとしてアルファブロガーは深夜番組と同等かそれ以上であるといえる。
沢山番組に出まくっているタレント個人は100人に聞いて90人以上が知っているという認知度の高さになると思いますが、深夜帯で週1程度ひな壇に出ているだけのアイドルの認知度はdankogai以下ということにもなりかねません。広告主は、番組提供やスポット広告で時間単位で広告を出しますが、視聴率が10%を超える番組は稀ですし、料金も高いですから狙っただけの認知度が出せるかといえば疑問です。
しかし、TV局としてみれば全タレントの露出度よりメディアパワーはあるわけで、例えば自社が出資した映画の宣伝はスポット空き枠を最大限活用して認知を図りますから、認知度が高くなるわけです。そういう意味でのメディアパワーは以前として大きいですが、Y!やGoogleも同じようなことはできるようにはなってきていると思います。
広告を出すスポンサーとして考えると、以前は全国民に広く認知させたいときはTV-CMに金を掛ければよかったが、今は必ずしもそうはいえない。ということはいえると思います。ですから、ネットやSPなども含めメディアプランの設計は大変複雑になってきていると言えるでしょう。
ナショナルスポンサーも、以前と違って同じ商品を広く多くの人に売るという方向性から、個々人にマッチした商品を細かくマーケティングして売ってくるという方向性に移ってきていますし、例えば港区のレストランのようなところであれば、視聴率の高いTV番組で紹介されるのと、私のブログで紹介されるのが、さほど効果が変わらないということもあり得る状態になってきていると思うのです。
In all of the geography of the earth, the available energy already exists.Hiroshi Sambuichi地球上のあらゆる地形には、すでに利用可能なエネルギーが存在している。三分一博志
"utilize existing elements and create elements that do not exist"Soichiro Fukutake在るものを活かし、無いものを創る。福武總一郎
Roppongi Art Nightbut, it was very boring! and, very cold!!
from sunset to sunrise for one magical night,
the entire townscape of Roppongi transforms
into a giant canvas of encounters with art, culture, people and wonder!
you must go this extibition! and, Hara Museum is one of my favorite space.The Hara Museum of Contemporary Art is proud to present the exhibition Jim Lambie: Unknown Pleasures. Selected as the Scottish representative at the Venice Biennale (2003) and nominated for the Turner Prize (2005), the most prestigious honor in the world of British contemporary art, Lambie has achieved a number of milestones in recent years. This exhibition features Lambie’s trademark psychedelic floor installations with sculptural works consisting of dramatically transformed everyday objects which together co-star, collaborate or compete with the unique space of the Hara Museum. Many of the works are appearing in Japan for the first time.
“Discovered” by Wassily Kandinsky at the beginning of the 20th century, abstract art went on to give blossom in the mid-60s to the large flower known as “Op Art,” which changed art from image to illusion, giving spectators a new kind of visual experience. Born during the heyday of the Op Art movement, Jim Lambie lays down tapes in precise geometric patterns over entire floors that boldly transform the space itself. Through his installations, he probes the use of abstraction to create rich visual experiences, as well as the possibilities that they hold. Furthermore, Lambie takes daily objects such as chairs, beds, records and record players that have been boldly yet sensitively decorated and places them skillfully into his installations to bring “unknown pleasures” into our sights.
When we step into a space created by Lambie, our eyes begin to “reply” to the geometric patterns on the floor. We experience illusionistic space that vibrates with a regular rhythm, shrinking and expanding, even inducing a feeling of vertigo, until at some point we forget we are in a museum and feel the space expanding without limit within the inner depths of our consciousness. Lambie, who continues to live life immersed in music through band and DJ activities, talks about music in a way that mirrors this sensation: “You put a record on and it’s like all the edges disappear.” Through the mechanisms behind perception, the psychological and behavioral restraints that surround us temporarily disappear, transforming life into something vigorous and robust. One might consider this sense of “being alive” to be the end state of Lambie’s abstraction.(from tokyo art beat)
Theme :
Where does the originality of Japanese Media Arts lie? Do evolving technologies generate attractive media arts? Leading Japanese experts in media arts and technologies will discuss these questions.
Panelist :
HARASHIMA Hiroshi (Professor, University of Tokyo Graduate School/Art Division Juror)for only limited time, but it's interesting to note that high-technology.
IWATA Hiroo (Professor, University of Tsukuba Graduate School)
HASHIMOTO Norihisa (Researcher, PRESTO at Japan Science and Technology Agency)
MORIYAMA Tomoe (Curator, Museum of Contemporary Art Tokyo)
Dogen Zenji, the founder of Soto Zen School as well as of Daihonzan Eiheiji, was born on January 2, 1200 CE. This was during the Kamakura Period of Japanese history, the year following the death of Minamoto Yoritomo. It is said that his father was Koga Michichika, a government minister, and that his mother was Ishi, the daughter of Fujiwara Motofusa. Presumably, young Dogen Zenji lived in comfort. However, at the age of thirteen, he climbed Mt. Hiei, and the next year he shaved his head and became a monk. It is said that he became a monk because he felt the impermanence of the world on his mother’s death when he was eight years old.
in China at the age of 24 in search of the true way of Buddha, he met Nyojo Zenji on Mt. Tendo where there was true practice focused on zazen
"I sat zazen day and night. When it was extremely hot or cold, many of the monks stopped sitting for a while because they were afraid of getting sick. At the time, I thought to myself, ‘I’m not sick and if I don’t practice, then it would be useless for me to have come all the way to China. Dying from illness because of practice would be in accord with my original wish’ and so, I continued to sit.” (Shobogenzo Zuimonki) It was to this extent that Dogen Zenji devoted himself to zazen. Many Japanese monks who went to study and practice in China brought back a mound of Buddhist sutras as souvenirs when they returned to Japan, but Dogen Zenji came back empty handed. The only thing that Dogen Zenji brought back with him was having made the teaching of only/just single-minded sitting his own (shikan-taza).
In order to encourage as many people as possible to practice zazen, Dogen Zenji wrote “A Universal Recommendation of Zazen” (Fukan-zazengi) in which he carefully explained the significance of zazen and how to practice it.
n 1244, the monastery that had been funded by Hatano Yoshishige was completed. At first named Daibutsuji, the name was later changed to Eiheiji. This is the present-day Daihonzan Eiheiji.It was here that Dogen Zenji continued to practice strictly while fostering his disciples. In 1253, he fell sick and died at the age of 53. (http://global.sotozen-net.or.jp/eng/dogen_zenji.html)
Dogen mind may be a necessary for today's people. esp. Japanese young people. This is for nonreligious reasons. after time, I want to challenge "Zen sitting meditation(ZAZEN)".