Please upgrade your browser to improve your experience In the MICHELIN Guide Kyoto and Osaka 2025 Chef Yoshichika Masuda is celebrated not just for his cuisine but for nurturing the chefs who will shape Japan’s culinary future At the unveiling of the MICHELIN Guide Kyoto and Osaka 2025, Chef Yoshichika Masuda of Masuda took center stage — not for a new star but for something deeper: his unwavering dedication to shaping the next generation of culinary talent The head chef of one-MICHELIN-star restaurant Masuda was honored with the MICHELIN Mentor Chef Award a rare recognition reserved for those who lead not just with skill This prestigious award celebrates chefs whose influence extends beyond the plate —those who inspire and elevate the future of the restaurant industry through mentorship and example was born in the village of Kawakami in Nara Prefecture into a family that had traded in dry goods and food delivery since his grandparents’ time Inspired by the TV drama series Zenryaku Ofukuro Sama (Dear Mother) which featured a sushi chef as the protagonist Masuda took his first step into the culinary world with an apprenticeship at Kitcho a well-known ryotei – or Japanese fine-dining restaurant he was appointed head chef at a ryotei in Osaka’s Minami district including housewives and those preparing for married life They devoted themselves to cooking with great effort and took joy in the delicious results “Making people like them happy — that’s what makes it all worthwhile as a chef,” Masuda says The second school was geared towards students who wanted to make their mark in the food service industry “I was amazed to witness people who had never even held a chef’s knife pick up some cooking skills in just three months and then start their own restaurant,” he says After working in the culinary field for a little over a decade Masuda was inspired by his students to open a restaurant of his own The closure of the restaurant he was working in was the final push he needed Drawing on his experience at the culinary school Masuda began to consider a location and menu that would feel welcoming to female guests While conventionally served as an individual course the experience takes on a unique communal form at Masuda artfully arranged hassun is presented for the entire table to share its contents portioned thoughtfully among the guests It’s a gesture that transforms a solitary tradition into a shared celebration of seasonality and craftsmanship Masuda conceived this innovation around the time square-screen TVs were being replaced with wide-screen TVs in Japan Captivated by the impressive impact of the new screen dimensions Masuda began plating the dish in a horizontal layout to make a similar impression on his diners The chef favoured the simple styles of Shigaraki and Bizen tableware; sometimes he had the pottery fired by artists often commissioning artists to create bespoke pottery When he began serving dishes on generously sized rectangular plates Several of his apprentices have since opened their own restaurants and present hassun in a style inherited from their mentor guests often recognize the style and ask: “Did you train at Masuda in Shinsaibashi?” Suma is a Digital Editor for Michelin Guide Japan creating content that showcases the delights of dining and travel.As a marketer for Michelin Tire she has been involved in numerous user-oriented magazines and promotional projects.She loves Jidori yakitori and Junmai-Ginjo Sake and spends her weekends freediving in the ocean She brings a sense of curiosity into her creative work The MICHELIN Guide presents its 16th restaurant selection for Kyoto and Osaka recommending an unprecedented number of 469 restaurants The popular belief about the MICHELIN Guide is that it’s all about the stars Bib Gourmand awarded restaurants are adored by their many diners because these restaurants offer satisfaction beyond what you’d expect for the price we present a list of nine restaurants that will be joining our Kyoto Osaka Selection Here is the full list of the MICHELIN Guide Hong Kong & Macau 2025 categorised by MICHELIN Stars The newly awarded restaurants are underlined and linked back to their respective restaurant pages From listening bars to neighbourhood restaurants explore all the top recommendations from Chishuru’s Adejoké Bakare One of the most prominent chefs serving Indian cuisine talks India and his New York From Texas Barbecue to Mexico City's cutting-edge dining these new MICHELIN Guide hot spots promise unforgettable vacations and world-class cuisine These are the best lake vacations for a summer break from Lake Tahoe in the US to Lake Como in Switzerland and the MICHELIN-recommended restaurants and bolt holes to bed down in when you visit where do fashion’s biggest names retreat for a bite and a bed We imagine the post-Gala sanctuaries of the chicest attendees The self-proclaimed “unofficial talent scout” shares his local favorites from the city he calls home explore some of its best MICHELIN Guide dining spots and uncover its hidden gems From exquisite cuisine to artisan treasures get to know the Tuscan city like a local with our handy guide for a curated taste of Florence’s finest One of the world’s most celebrated chefs discusses his legacy Marseille is a crossroads of culture and cuisine shaped by 2,600 years of migration and maritime trade From its Greek founders to waves of immigrants from Italy each community has left an indelible mark on the city’s dynamic food culture Spend the May bank holiday weekends relaxing in the best London parks followed by top-notch cuisine at MICHELIN Guide restaurants – and if you’re visiting from afar Discover the eight newest restaurants to impress our MICHELIN inspectors in Tokyo Non-members can add the privileges at checkout through our 30 day free trial By continuing I accept the Terms & Condition and Privacy Policy. I would like to receive Newsletter from MICHELIN Guide Save lists of your favorite restaurants & hotels At the unveiling of the MICHELIN Guide Kyoto and Osaka 2025, Chef Yoshichika Masuda of Masuda took center stage \u2014 not for a new star The head chef of one-MICHELIN-star restaurant Masuda was honored with the MICHELIN Mentor Chef Award This prestigious award celebrates chefs whose influence extends beyond the plate \u2014those who inspire into a family that had traded in dry goods and food delivery since his grandparents\u2019 time a well-known ryotei \u2013 or Japanese fine-dining restaurant he was appointed head chef at a ryotei in Osaka\u2019s Minami district \u201cMaking people like them happy \u2014 that\u2019s what makes it all worthwhile as a chef,\u201d Masuda says \u201cI want to use my skills for their sake.\u201d \u201cI was amazed to witness people who had never even held a chef\u2019s knife pick up some cooking skills in just three months and then start their own restaurant,\u201d he says It\u2019s a gesture that transforms a solitary tradition into a shared celebration of seasonality and craftsmanship Masuda conceived this innovation around the time square-screen TVs were being replaced with wide-screen TVs in Japan guests often recognize the style and ask: \u201cDid you train at Masuda in Shinsaibashi?\u201d Denver Art Museum: Gift of John and Isabelle Stevenson The Provenance Research Department is excited to present Looking Out Looking In: Legacies of the Masuda Collection Provenance Research Fellow Mac Coyle will highlight works at the Denver Art Museum from the collection of Baron Masuda Takashi (1848-1938) Masuda was an avid collector during Japan’s transformative Meiji period (1868-1912) who assembled one of the most impressive and influential holdings of Japanese art—the legacy of which can still be felt in Japan’s cultural patrimony laws and in Japanese art collections worldwide Can't make it in person? This lecture will also be livestreamed. Buy virtual tickets Share on FacebookShare on X (formerly Twitter)Share on PinterestShare on LinkedInKitchen Scraps Contestant - Chef Daysen Masuda(Hawaii News Now)Daysen Masuda is a Kamehameha Hawai’i alum who started his journey in the culinary world is a testament to his passion and creativity he quickly climbed the ranks in the food and beverage industry set the foundation for his entrepreneurial spirit leading him to transform his mom’s kitchen into a bustling hub for innovative cuisine Daysen’s adaptability shone through as he expanded his offerings beyond sushi to include unique fusions of Vietnamese and Mexican dishes like pho inspired birria tacos and spicy pork burritos This not only showcased his versatility but also allowed him to connect with his community in a meaningful way His move to Oahu marked a significant milestone as he took on the role of sushi chef at Agaru where he further developed his craft in an izakaya setting he embraced the art of “omakase,” combining high-quality local and Japanese fish with Hawaiian flavors Daysen continues to explore new culinary horizons under Chef Mourad Lalou His journey reflects a blend of tradition and innovation making him a prominent figure in Hawaii’s vibrant food scene Visitation will be held from 9-10:30am on Monday 2025 at Ballard Family Mortuary; services will start at 10:30am burial will follow Sheldon worked 37 years as a Service Express Bell Captain at The Westin Maui Resort & Spa in Kaanapali He enjoyed spending time with his family and friends Koki Masuda and the late Rene Masuda; his son Copyright © 2025 Maui News Publishing Company LTD | https://www.mauinews.com | 100 Mahalani Street Sebastian Masuda, the pioneer of kawaii (cute or adorable) culture, is returning to Los Angeles one last time before the exhibition ends to lead an exclusive and rare “Yes, KAWAII is Art -EXPRESS YOURSELF-” gallery tour for a small group of guests during this holiday weekend This hour-long tour invites guests to meet the “King of Kawaii” and fully immerse in the colorful and vibrant world he created in the gallery space Masuda will share a rare “behind the scenes” glimpse as he shares his design process personal inspirations and candid stories about his career As a sneak preview of what guests might expect on this special day, watch a visit by LA Rams’ Quentin Lake’s exhibition visit here on Instagram, and JAPAN HOUSE Los Angeles Advisor YOSHIKI’s exhibition visit here This is a rare chance for fans and newcomers alike to engage directly with the artist and gain a deeper understanding of the kawaii cultural movement We’d appreciate your consideration in bringing a new stuffed plushie to participate in the “Yes, KAWAII is Art” Plush Toy Drive to help put a smile on young patients at UCLA Mattel Children’s Hospital *Note: Space is extremely limited – first come first serve for first 50 guests please notify us 24 hours in advance so that others on the waiting list might attend Guests with confirmed RSVP’s who cancel less than 24 hours in advance might be prevented from registering for special artist events in the future Sebastian MasudaMasuda began his career in theater and contemporary art in the early 1990s he opened the fashion shop 6%DOKIDOKI which became a platform for artistic expression Currently working out of both Tokyo and New York Masuda creates works that transcend the boundaries of art showcasing a consistent and unique sense of color Masuda conducted the “Harajuku Kawaii Experience” world tour spreading awareness about the history of Harajuku and … Read more. with a focus on Europe and the United States As art director for Kyary Pamyu Pamyu’s 2011 “PONPONPON” music video Masuda was pivotal in introducing kawaii culture to the world he created Tokyo’s Kawaii Monster Cafe produced the restaurant SUSHIDELIC in New York further contributing to the global recognition of kawaii culture he marks his first exhibition where he brings together multiple artworks together through “Yes KAWAII is Art -EXPRESS YOURSELF-” at JAPAN HOUSE Los Angeles please click play and then the YouTube icon on the lower right-hand corner View All Events Back To Top We use cookies to optimize site functionality and give you the best possible experience By clicking 'Accept All Cookies' you agree to the storing of cookies on your device we will only use those cookies necessary for the performance of the website We use cookies to help you navigate efficiently and perform certain functions You will find detailed information about all cookies under each consent category below The cookies that are categorised as "Necessary" are stored on your browser as they are essential for enabling the basic functionalities of the site We also use third-party cookies that help us analyse how you use this website and provide the content and advertisements that are relevant to you These cookies will only be stored in your browser with your prior consent You can choose to enable or disable some or all of these cookies but disabling some of them may affect your browsing experience Necessary cookies are required to enable the basic features of this site such as providing secure log-in or adjusting your consent preferences These cookies do not store any personally identifiable data Functional cookies help perform certain functionalities like sharing the content of the website on social media platforms Analytical cookies are used to understand how visitors interact with the website These cookies help provide information on metrics such as the number of visitors Performance cookies are used to understand and analyse the key performance indexes of the website which helps in delivering a better user experience for the visitors Advertisement cookies are used to provide visitors with customised advertisements based on the pages you visited previously and to analyse the effectiveness of the ad campaigns Please enable JS and disable any ad blocker Is "NORTH" The Best Surf Photography Book Ever Made? From Tubes To Turns, Jai Glindeman's Surfing is a Treat to Behold Gerry Lopez Goes Deep With Justin Jay On The Plug Podcast NewsAll NewsEventsBig Wave NewsWorld Surf LeagueEnvironmentalIndustryWave PoolsPosts List ‘He Was Such a Legend’: A Decade After His Death, Shawn “Barney” Barron’s Spirit Shines in Colorful Air Show Hawaiian Big Wave Icon Clyde Aikau Passes Away at 75 LLC and respective content providers to this website may receive compensation for some links to products and services on this website famed filmmaker Takuji Masuda (director of Bunker77 which chronicled the life and times of late surfing playboy and heir to a sugar fortune Now a seasoned veteran, clocking in at 14 ripe years old, Ryji is about as stylish as they come. He’s finding his way through surfing and skating, figuring out how he’s going to make an imprint on this world while still standing in the shadows of his heroes, innovating the game with new tricks, new aerial maneuvers, and blowing minds in the skatepark, the wave pool while he still can before starting the grueling time-suck that is high school So, before school starts, we hit up Ryji to hear what makes him tick, about being certifiably big in Japan, why wave pools are the way of the future, his arsenal of skate-inspired aerials We go quite a bit to visit during the summer But I mostly remember my childhood here [in Malibu] And the waves right out from our house are so good to learn airs on so I got a lot of practice from an early age They [my parents] would put me in between their legs and go skateboarding I’d swim out on a boogie board with my dad when I was super young We’re unable to load this content right now View directly on Instagram It’s a lot more fun for me to think about it in that way What’s one air that you're super proud of learning And it was great that I got to do it in a Japanese wave pool One I want to learn…I’ve been trying to do a one-foot tail grab frontside and hoping you don’t accidentally grab the fins I used to have this little poster right beside my bed that he [Greyson] gave me Does that come naturally or do you work on it I think it also helped that my dad has always put me in an environment with stylish people who’s been mentoring me – tell me: “Style is everything.” Lots of people’s styles are influenced by where they come from; do you think growing up in Malibu has shaped your style instead of being somewhere with good waves but far from major cities I think your surroundings shape your style whether you’re aware of it or not being in LA has definitely impacted my surfing and skating so you’ve gotta be fast on your feet if you wanna make the section There’s not a lot of time for top-to-bottom surfing I’m just running down the line always and searching for a ramp It’s so much easier to learn new tricks in a wave pool You never get the same section twice in the real world wave pools are going to be a part of surfing for a while You’ve also been putting in your time in the bigger stuff What drives you to be a well-rounded surfer You have to be very focused in bigger waves You have to be ready; you have to be in the zone I like that bigger waves push me to be in the moment I totally want to be a well-rounded surfer Maybe in the future they can make a wave pool that’s like Pipe How’d that photo exhibit in Japan with Arto come about we had a bunch of mutual friends and they told us we had to get together one day Arto started taking photos of me surfing and skating View directly on Instagram What was it like shooting with him and hanging with him And then his other saying is: “Don’t kook it.” He’s always telling me that What do you think about the Olympics? Would you ever wanna double-qualify for both skating and surfing? I think it’s cool, but you know, I don’t really do many contests. It’s still cool to push our sport. But the culture is a huge part of it. It shouldn’t be just about contests and winning. At least it’s not for me. Representing your country and competing with the world’s best is awesome. But you gotta keep your roots, too. As far as double-qualifying, I guess I would if I could. Especially in LA [2028]. But some of these kids coming up are so gnarly. Like, so young, and so gnarly. In the more immediate future, what’re your next moves, your goals, your dinner plans? Goals…man, I’m not sure. I’ll be going to high school next year in Santa Monica. But really, I just wanna keep working on skating and surfing. I feel like it’s a little too early to worry about big life goals, but I’m definitely thinking about the next moves. High school will be a big thing, so my goal is finding time to surf and skate as much as possible. What I’m gonna eat next? I think I have some leftover Karaage chicken. It’s like Japanese fried chicken. I didn’t cook this one. I love to cook Katsu, which can be hard with the frying bit. I also love Naporitan, which is like a Japanese take on spaghetti. It’s kinda strange because instead of tomato sauce, they use ketchup. It’s actually really good. You should bring these dishes to high school next year for lunch. Your Ads Privacy ChoicesIMDb he has over a dozen years of sushi experience Congratulations to Yoji Masuda, chef of One MICHELIN Star Sushi Masuda and the 2024 MICHELIN Guide Vancouver Young Chef Award Winner Chef Yoji Masuda is a Vancouver native whose frequent family visits to Japan growing up inspired a passion for sushi. He began working in restaurants as a teen before moving to Japan to pursue his culinary career. He landed an apprenticeship at Two MICHELIN Star Sushi Yoshitake in Ginza where he learned the finer points of the craft W​​ith more than a dozen years of experience preparing sushi He describes it as “a place where people who truly love sushi can gather.” even to this day it's still my favorite food is seeing the older sushi shokunins/chefs in Tokyo when I was in my early teens making sushi in front me at the counter I thought it was so cool and it was so delicious Chu toro sushi...kuruma ebi sushi...uni sushi...kohada sushi One of the staple dishes on our menu is our grilled blackthroat seaperch on our sushi rice porridge Seeing people have reserved spots at your restaurant and just wanting to make the best sushi I can every day Almond butter and my wife's blueberry jam sandwich with a frozen berry protein shake How do you wind down at the end of a shift Leftover yuzu citrus squeezed into my kombucha drink sitting at my counter with my Macbook and Anthony Bourdain's Parts Unknown and No Reservations shows What advice would you give to a young person who wants to become a chef I'm not sure if I should be giving advice but...stay honest and with each step backwards there are many steps forward Hero image: Mayu / Yoji MasudaThumb image: Mayu / Yoji Masuda based on what's freshest at his local farm Her fully Italian wine list is farmer first and blends perfectly with rustic Italian cooking The general manager of the nearly 20-course tasting menu can make time stand still A host of new wallet-friendly spots join the Florida selection What the MICHELIN Guide Inspectors Saw in 2025 The Mexican capital takes center stage alongside the culinary world's top talents these iconic chefs mentor professional chefs who have an ego Who knew brisket and biscuits could be so good From tartan fabrics and stag antler furnishings to rare Scotch whiskies and castle views you'll have no doubt which country you're in when staying at these Michelin-Key hotels she has championed America’s farm-to-table movement for 54 years Sustainability is more than a buzzword—it’s a core value embraced by some of North America’s most design-forward hotels By continuing I accept the Terms & Condition and Privacy Policy. Congratulations to Yoji Masuda, chef of One MICHELIN Star Sushi Masuda and the 2024 MICHELIN Guide Vancouver Young Chef Award Winner Chef Yoji Masuda is a Vancouver native whose frequent family visits to Japan growing up inspired a passion for sushi. He began working in restaurants as a teen before moving to Japan to pursue his culinary career. He landed an apprenticeship at Two MICHELIN Star Sushi Yoshitake in Ginza W\u200b\u200bith more than a dozen years of experience preparing sushi He describes it as \u201ca place where people who truly love sushi can gather.\u201d In connection with the popular “Yes, KAWAII is Art -EXPRESS YOURSELF-” exhibition at JAPAN HOUSE Los Angeles we’ve hosted an exclusive virtual event on the wild world of color featuring exhibition artist and kawaii pioneer Sebastian Masuda Masuda shared how color factors into his artistic process how it’s a key part of kawaii culture and how it transcends mere style to become a dynamic language of emotion Masuda’s insights and candid stories took viewers on a journey through the rich history of color in Japan as he blends these timeless sensibilities with his own innovative spin on tradition Viewers also learned how he breathes new life into these elements forging powerful connections between the past and present in his art and how bold color palettes can expand creativity and resonate emotionally as well as aesthetically Professor James Meraz from the ArtCenter College of Design joined as a guest speaker With his expertise in Spatial Experience Design and a wealth of experience in cultural exchanges with Japanese art and design institutions Professor Meraz lead an illuminating conversation with Masuda about the cultural significance of color in art across cultures and historical eras spreading awareness about the history of Harajuku and… Professor James MerazJames Meraz is a distinguished designer and educator with a career spanning over two decades marked by his contributions to product design Following his graduation from the Southern California Institute of Architecture and his experiences in studying abroad Meraz has cultivated a diverse portfolio including high-profile projects including showroom design architectural and interior design for residential and commercial spaces installations including sculptures for Horton Plaza in San Diego and Universal City Walk In addition to his professional achievements Meraz has played a significant role in design education He is a full-time professor at the Art Center College of Design in the Environmental Design and Industrial Design Foundation departments Meraz has led numerous academic initiatives and workshops including collaborations with institutions such as Tama Art University in Tokyo and the British Columbia Creative Center His commitment to sustainability is evident in his leadership of the Art Center Eco Research Lab which has garnered recognition and awards for his students Meraz’s influence extends beyond the classroom through his involvement in significant exhibitions including the Dwell on Design Conference and WantedDesign during New York Design Week His work and his students’ projects have been featured in prominent publications and have received numerous awards reflecting his dedication to fostering innovation and ecological responsibility in design All cultures and languages have their own lexicons for color but Japan has one of the widest range of terms for the colors of the world around us the Japanese language has a set of more than a thousand traditional colors known as dentōshoku These terms have a vivid poetry of their own connoting a close relationship with the seasons and environment as well as serving an important role in cultural and art history as well as the ways Japanese artisans create and classify their work today FRD-USA, a manufacturer of rock drills, hydraulic breakers and other attachments, appointed Max Masuda as president. Masuda is now responsible for all management and strategic oversight of U.S. operations. “Max’s vast industry knowledge will be a tremendous asset to our U.S. market,” says Masaki Yamaguchi, president of Furukawa Rock Drill Co. “His varied international experience and strong relationship with our Japanese management team will help us work more closely and strategically with our business partners, assuring that our customers get the equipment, service and support they need to be successful.” According to FRD-USA, Masuda has more than 34 years of industry experience. Masuda joined FRD-USA’s parent company, Furukawa Co., in 1990. He has served in various roles over the years – including in sales and management positions. Masuda established Furukawa Rock Drill Korea and served as vice president of FRD-Shanghai. Most recently, he served as general manager of overseas sales, leading the company through several reorganization and consolidation efforts at FRD-Shanghai and FRD-Latin America. Masuda will be based at the FRD-USA headquarters in Kent, Ohio. Dyno Nobel facility project addresses greenhouse gas emissions New DTH hammers combine strengths of two Epiroc lines Drilling and blasting events to attend in early 2025 How Cemex fared in the first quarter of 2025 Martin Marietta ‘off to a strong start’ to 2025 Vulcan Materials delivers ‘strong’ first-quarter performance Pit & Quarry is the leading aggregates industry magazine, and the equipment and technology media source for the crushed stone, sand and gravel industries. Join the conversation You can save this article by registering for free here. Or sign-in if you have an account Reviews and recommendations are unbiased and products are independently selected Postmedia may earn an affiliate commission from purchases made through links on this page Subscribe now to read the latest news in your city and across Canada Create an account or sign in to continue with your reading experience sparing of words but brimming with passion The 33-year-old opened his first restaurant he’s a Michelin-star chef as well as a Michelin Young Chef The Vancouver-born and raised chef was smitten with sushi on family trips to Japan he went to work in sushi restaurants in Hokkaido then secured an apprenticeship at Sushi Yoshitake in Tokyo with three Michelin stars at the time (current status: two stars) Start your day with a roundup of B.C.-focused news and opinion By signing up you consent to receive the above newsletter from Postmedia Network Inc The next issue of Sunrise will soon be in your inbox Interested in more newsletters? Browse here. He reveals his sushi devotion when asked about the rigours of working in a three-Michelin star restaurant “It’s strict and you work long hours but you are training to dedicate your life to sushi.” His life Sushi Masuda is tucked in a previously unused corner of another Japanese restaurant (Kamei Royale) who had been working as a private chef and catering at the time not quite ready to open his own restaurant “We were offered the space and an opportunity was given to us,” he says who assists him behind the sushi counter but also works elsewhere as a barista and sells her gluten-free baking They opened with a grand total of five counter seats but added one more seat since then just like the serious sushi restaurants in Japan Never mind the clamour for reservations since the Michelin announcement “I won’t be adding and we don’t do table service because I like to serve sushi right in front of guests and control the temperature of rice It’s totally different from taking it to a table where the temperature cools I want people to eat it as soon as possible,” he says Sushi rice is ideally served at body temperature adding that he monitors fish temperature just as closely Dinner is an 18- to 20-course sushi omakase originally priced at $230 per person but raised to $260 on Nov It was coincidental to the Michelin win in October “We wanted to raise the price a few months ago but were hesitant,” he says we have more confidence.” The cost reflects the quality of his food and the 12-guest limit per evening The seafood is impeccable and the quality of rice and seaweed He blends special A-grade rice from Miyagi or shari) he blends three aged red vinegars with different taste profiles “We believe the most important part of sushi is the shari,” Masuda says You just simple can’t make good sushi without good shari.” The nori is from Maruyama Nori shop in Tokyo The soy sauce has been aged in a wooden barrel for four years — only one per cent of production is done this way “The minerals and water from the mountains run through them,” explains Masuda About three-quarters of it is curated for him by a contact at the famous Toyosu Fish Market in Tokyo and 25 per cent is local I have a menu in my mind and order what I need If my contact at Toyosu says it’s not good enough He breaks down whole fish and employs different methods to maximize flavour and texture whereas for other species he might use a salt or vinegar wash The glory of sushi lies in getting the best ingredients including its eggs which were boiled and kissed with vinegar was served over a small mound of rice with yuzu zest A parade of nigiri sushi included glisteningly fresh seafood Kumamoto tiger prawn (exquisite) was heated in salt water and brushed on the inside with shrimp paste was salted and wrapped in special paper to wick some of the moisture while retaining umami The best season for kuromutsu is fall and winter when the scales are larger and easier to remove and the skin is thicker Masuda seared it with slender hot-iron rods — so hot it smoked — before putting it atop the rice Horse mackerel was lightly pickled and served as a maki sushi with housemade Japanese pickles to counter its assertive oiliness Delicate Hokkaido uni was served gunkan style with a brush of maple syrup “for a Canadian touch.” That’s not only because the area produces some of the best but because his wife and grandmother are from there and it’s where he first worked in Japan Chawanmushi with Dungeness crab was jiggly In the hit documentary film Jiro Dreams of Sushi an apprentice tries to make tamagoyaki 200 times When master chef Jiro Ono finally gives the thumbs up He makes his tamago seafood base with wild snapper paste rather than the traditional shrimp “You have to have the traditional copper tamagoyaki pan and cook it slowly for over an hour at the right temperature I like to make mine so it’s like a sponge cake.” and sake gets a boost from gnomefish bones but exotic dessert — a slice of Japanese muskmelon from Kochi where growers nurture them like precious babies The yield is limited to one melon per tree to produce a very sweet and juicy finish to a meal such as this The beverage list is short and dominated by various sakes You can also order umeshu —  the sweet and sour plum-based liqueur— by the glass or bottle white wine and bottled beer round out the list miastainsby@gmail.com  transmission or republication strictly prohibited This website uses cookies to personalize your content (including ads), and allows us to analyze our traffic. 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By continuing to use our site, you agree to our Terms of Use and Privacy Policy You can manage saved articles in your account renowned as the “King of Kawaii,” is set to grace Anime Expo 2024 with an insightful talk promising a journey into the vibrant world of kawaii culture Moderated by actress and producer Michelle Nguyen Bradley the lively discussion will delve into the origins and global impact of kawaii culture From its humble beginnings in Japan to its current status as a global phenomenon Masuda will shed light on how kawaii means much more than simply “cute aesthetics” collective community that transcends cultural boundaries He will also share a closer look at his latest exhibition, “Yes, KAWAII is Art -EXPRESS YOURSELF-,” on view at JAPAN HOUSE Los Angeles through November 3 This much-anticipated exhibition is a celebration of creativity and self-expression through the lens of kawaii offering visitors a chance to immerse themselves in its colorful and captivating world Don’t miss this Anime Expo 2024 talk which promises to be a celebration of all things kawaii offering attendees a chance to gain deeper insights into this beloved cultural phenomenon Note: This program requires an admission badge to Anime Expo the history of Harajuku and kawaii culture in over 20 cities Michelle Nguyen Bradley (Moderator)Michelle Nguyen Bradley (she/they) is a producer Michelle has a decade of experience creating fashion shows concerts and street snap events for clients like 6% DOKIDOKI and also immersive event experiences & broadcaster shows for ID@Xbox Michelle has also hosted & MC’d for Anime Expo’s Main Stage and fashion shows We use cookies to optimize site functionality and give you the best possible experience. 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Your Ads Privacy ChoicesIMDb Today's print edition Home Delivery indicted for allegedly beating his 25-year-old girlfriend to death had been instructing her to go on dates with other men for money so that he could use the cash for his investments Tokyo police have issued a fresh arrest warrant for Ryotaro Masuda who describes himself as a personal investor for earlier violence toward the woman resulting in injury.googletag.cmd.push(function() { googletag.display('div-gpt-ad-1499653692894-0'); }); Investigators suspect Masuda had been repeatedly beating her to force her to date other men for cash — called papakatsu which loosely translates to dating older men for money — so that he could use the money for his investments as well as for personal use In a time of both misinformation and too much information quality journalism is more crucial than ever.By subscribing Your subscription plan doesn't allow commenting. To learn more see our FAQ Sponsored contents planned and edited by JT Media Enterprise Division Please log in and check your service registration status.To cancel your subscription 1) === '|') document.write("&#"+unescape(l[i].substring(1))+";");else document.write(unescape(l[i]));} Photo by Yuta SawamuraSummer Activities Include Exclusive Talk with “King of Kawaii” Sebastian Masuda And Next Installment of Popular “Movie & Bites” Series visitors are invited to donate new and tagged plush toys to the “Yes to bring the joy of kawaii to young patients at UCLA Mattel Children’s Hospital’s Chase Child Life Program Donations are now being accepted for an extended period through Sun. See below for the list of summer programming and events: ABOUT JAPAN HOUSEJAPAN HOUSE is an innovative worldwide project with three hubs – London Los Angeles and São Paulo – conceived by the Ministry of Foreign Affairs of Japan It seeks to nurture a deeper understanding and appreciation of Japan in the international community Occupying two floors at Ovation Hollywood (formerly Hollywood & Highland) JAPAN HOUSE Los Angeles offers a place of new discovery that transcends physical and conceptual boundaries creating experiences that reflect the best of Japan through its spaces and diverse programs Location: 6801 Hollywood Blvd., Los Angeles, CA 90028Website: www.japanhousela.com Join us at the Akustika Fair at the Nuremberg Exhibition Centre from April 4-6 Meet The Strad team at stand F08 and pick up a free copy of the magazine The Strad Directory Jobs By 2024-05-15T08:40:58.107+01:00 Fine playing is undermined by a problematic recording Description: Fine playing is undermined by a problematic recording Musicians: Yoshika Masuda (cello) HyeJin Kim (piano) It should be a cause for celebration that none of these composers any longer counts as ‘neglected’ Yoshika Masuda and HyeJin Kim thus come up against serious competition The Romances of Beach and Clara Schumann were written with violin in mind and the baritonal strain of Masuda’s phrasing does not persuade me that they sit well on the cello Nadia Boulanger makes the point for me: her cello-conceived Three Pieces spin their exquisite melodies more idiomatically even in the instrument’s upper register The album’s centrepiece in every way is Rita Strohl’s tremendous sonata his love for Berenice and politically expedient rejection of her The tale is told through both strong motivic association and heaving drama (mostly) contained within the bounds of symphonic sonata form Masuda overcomes the work’s considerable demands on stamina and agility though I find him a touch impersonal compared to Edgar Moreau (Erato) and Sandra Lied Haga (Simax – see her perceptive piece on the sonata in The Strad ’s April 2023 issue) Watch: Noah Bendix-Balgley performs Romance by Amy Beach Review: Takács Quartet: Elgar, Beach Review: Tasmin Little; John Lenehan: Clara Schumann, Ethel Smyth, Amy Beach and Kim’s restraint in handling a weighty piano part The piano’s bass register obtrudes even though the cellist is nearer the microphone least helpfully so in Reena Esmail’s six-minute The sound is more satisfactory on headphones but still congested when Strohl’s sonata (not infrequently) gathers intensity An ambitiously wide-ranging album demands a charismatic player Bruce Hodges hears the performance of Haydn Stacy Garrop and Ravel at the Black Squirrel Club Bruce Hodges hears the performance of Reena Esmail Felix Mendelssohn and Clara Schumann at the American Philosophical Society US correspondent Thomas May attends a boldy engaging interpretation of Vivaldi’s inescapable classic featuring Seattle Symphony associate concertmaster Helen Kim at Benaroya Hall on 1 May 2025 An album to seduce and thrill in equal measure A crack ensemble proves its mettle in highly varied fare Site powered by Webvision Cloud Volume 9 - 2024 | https://doi.org/10.3389/fcomm.2024.1458415 This article is part of the Research TopicCommunicating with Non-Humans: A New Visual LanguageView all 9 articles John Durham Peters emphasizes the importance of non-verbal communication and notes that underpinned by digital technology “media” is returning to its original meaning as the milieu that surrounds living beings To concretize and critically discuss this idea this paper examines the artworks created by the authors which incorporate microorganisms into digital technology These works applied luminous bacteria as ink to digitally screen print text and images A Medium for Images or Luminous Bacteria (2022) prints Japanese text with luminous bacteria ink ‘イ(I)’ (1926) by BioLuminescent Bacteria (2024) recreates the first image in the history of Japanese television This paper compares and analyzes these practices in light of classical media theory to further expand the discussion to contemporary digital media drawing on the recent arguments of Anna Tsing and Antonio Damasio we elucidate the critical implications that the works of luminous bacteria bring to the current media environment media scholar John Durham Peters estimates the current media environment as follows: whereas traditional media understanding has developed based on one-to-one or one-to-many communication models with the advancement of digital technology including the internet the 21st-century media environment has become an encompassing network surrounding us “media” reverts to its original meaning as the milieu surrounding living organisms he examines the communication of non-human animals ultimately arguing the importance of non-verbal communication “Currently nonverbal signifies the remainder that is left when you take away language from human communication but it ignores the meaningfulness found in nonhuman nature How odd to describe that part of communication that most ties us to nature as lacking Acknowledging the current situation where digital technology has become our surrounding milieu it becomes increasingly important to focus on the nonverbal communication that is often overlooked due to the efficiency of these technologies that is particularly the case when considering communication with non-humans Peters draws attention to the fact that “our bodies are embedded in climate history These ideas are intriguing as they open up the concept of communication, traditionally understood exclusively from a human perspective, to the relation with non-human realm. However, the last point, quoted from the concluding part of work of Peters (2015) sets the agencies of non-verbal communication so broadly that it becomes difficult to pursue a specific discussion comparing them with the arguments on print technology and television by scholars such as William Ivins Jr (2023) with reference to the arguments of Anna Ting and Antonio Damasio the paper will consider the (im)possibility of non-verbal communication with nonhumans and elucidate the critical significance of these findings for the current media environment A Medium for Images or Luminous Bacteria (2022): overall ‘イ(I)’ (1926) by BioLuminescent Bacteria: overall 180 mm diameter glass dish on a stand The works created by the authors all employ a unique print media that is made possible by culturing luminous bacteria and converting them into ink The printing technique involves a culturing medium of the agar as the support a form of computer-mediated reproduction technology uses a mesh stencil with cut-out text or shapes to apply ink computer-controlled printing based on binary images is possible blue-green luminescence is initiated only when the bacterium is multiplied at a constant density This suggests the presence of chemical-based communication among individual bacterial cells In addition, this phenomenon is not exclusive to luminous bacteria because some species are known to have symbiotic relationships with other marine organisms, such as squid and anglerfish, for the ecological interdependence (McFall-Ngai, 2014) These host organisms have specialized organs that provide nutrients to the luminous bacteria as the bacteria proliferate within these organs they serve as light-emitting organs for the hosts Despite the confirmation of such symbiotic relationships the purpose behind the luminescence of the bacteria themselves remains unknown The authors cultured luminous bacteria in a liquid medium and absorbed them into gelatin to create ink the luminous bacteria were cultured for 24 h in Marine Broth 2216 a liquid medium designed for marine organisms When thickening agents like xanthan gum were used to create a paste the authors referred to previous examples of luminous bacteria in Japan and succeeded in creating bacterial ink using gelatin digital control allows screen stencils to be created by burning holes into the screen using heat enabling its production directly from digital images without manual intervention Using this digital silk screen printing method the authors created works by printing luminous bacteria onto agar media The agar substrate was made by solidifying the same medium used for ink creation with 1.5% agar Image data were created using Adobe Illustrator and the screens were made using a Mi Screen A4 screen maker and 120 mesh screens After tightly affixing the screens to the agar substrate allowing for the printing of our original ink these works can be realized as living prints created with nonhuman agencies The bioluminescent ink reaches its peak luminescence approximately 24 h after printing necessitating careful timing in preparation relative to the exhibition’s opening a completely dark room is essential for the human audience to perceive it This condition requires darkrooms for preparation and exhibition where the author and audience are completely blocked off from external light and concentrate on viewing the self-illuminating work and viewers must allow their eyes to adjust to the darkness for a few minutes after entering the space to perceive the images Only after undergoing this process can the work be properly viewed the initial figures of living prints transform gradually for the period of exhibition so that viewers can never see the identical image In considering works that utilize such materials we would like to confirm and review classical discourses related to visual communication at first because our works are based on traditional communication methods such as printing (on paper) and television we will examine the arguments of two scholars First, in his 1953 seminal work, William Ivins Jr. defined visual language as exactly repeatable pictorial statements, and explored how this concept has evolved primarily since the Renaissance (Ivins, 1953) unlike the printing of words from movable types brought a completely new thing into existence it made possible for the first time pictorial statements of a kind that could be exactly repeated during the effective life of the printing surface This exact repetition of pictorial statements has had incalculable effects upon knowledge and thought It is hardly too much to say that since the invention of writing there has been no more important invention than that of the exactly repeatable pictorial statement” (pp Ivins Jr. positioned “the exact reproduction of pictorial statements” as a historical invention, comparable to the invention of the letterpress, emphasizing its significant role in the development of modern science including engineering, archaeology, and ethnology (Ivins, 1953 From his perspective on the history of visual communication the precise replication of images is fundamentally different from the printed text which still has the auditory nature involving “the necessary arrangement of word symbols in a time order.” Because through the introduction of printed images and only after having seen it as a whole do we analyze it into its component parts We can begin this analysis at any place in the picture and proceed in any direction and the final result is the same in every case” (p while textual media and their associated descriptions and interpretations follow a linear order visual communication through images leads to disrupting this traditional linearity up until the 18th century following the invention of prints enabling the reproduction of images interventions by draftsmen and engravers inevitably distorted the original drawings necessitating specific pictorial techniques during plate production highlighted the revolutionary impact of the halftone technique which emerged in the 19th century and enabled mass printing of photographs there was no preliminary syntactical analysis of the thing seen into lines and dots and the ruled lines and dots of the process had fallen below the threshold of normal vision…At last men had discovered a way to make visual reports in printer’s ink without syntax and without the distorting analyses of form that syntax necessitated” (p the transition from the dominantly linear nature of written language to visual communication via “exactly repeatable pictorial statements” could be seen as completed through the halftone technique and the “cross-line screen.” In contrast to the mass production of colored playing cards using stencils in medieval Europe several technologies for stencils with parts connected by strings emerged from the end of the 19th century in America and Europe as we mentioned above; from the patent obtained by Benjamin Walker in 1884 in the U.S to the one of Jehan Raymond in France and England at 1906 and Samuel Simon in England at 1907 using silk gauze in stencils The simultaneous emergence of the technology for silk screen printing might be described as completing a historical transition from textual to visual communication such technical frameworks have certainly integrated with digital technologies up to the present the lineage of visual communication emphasized by Ivins Jr. which replaced grid-like materials with lace has been passed down to current communication tools dominated by computation and pixel-based digital displays “The electric light escapes attention as a communication medium just because it has no ‘content’ And this makes it an invaluable instance of how people fail to study media at all For it is not till the electric light is used to spell out some brand name that it is noticed as a medium […] For electric light and power are separate from their uses yet they eliminate time and space factors in human association exactly as do radio The characteristics of light discussed here will also influence our artworks it is essential to confirm McLuhan’s distinctions between different levels of involvement or participation across various media expressed through the famous terms “hot media” and “cool media.” While hot media refers to high-definition media such as printed words or photographs which are characterized by low viewer participation cool media refers to relatively low-definition media where sensory or physical participation and involvement from the viewer are required television is a low-definition image with scanning lines compared to high-definition traditional visual media such as photography and cinema it has become a privileged object of “cool media,” due to its use of a “mosaic form” which was believed to enhance viewer participation compared to traditional visual media which involves maximal interplay of all the senses has the power of separating and fragmenting the senses and of sloughing off the semantic complexities The TV image reverses this literate process of analytic fragmentation of sensory life (p.333).” who posited that media technologies themselves determine the content of communication viewed television as a technology enhancing tactile sensitivity inducing sensory effects vastly different from visual extensions like photographs and text classified as a “cool” medium was explained as an extension of tactility because it mobilized viewers’ bodies and senses while simultaneously integrating the sensory fragmentation and disintegration historically caused by traditional textual media shares commonalities with Ivins’ discussion of reexamining the forms of media communication from the historical perspective of techno-civilization When juxtaposed with these classic theories of communication and media Although the classic arguments by these two media theorists offer a stimulating perspective even today it is also true that they retain a partially anthropocentric viewpoint Whether drawing inspiration from their debates around print technology or television media what kind of effects might arise when non-human agencies such as luminous bacteria are introduced into a human-centered communication system we aim to investigate these effects based on the individual specificities of our artworks While the details of this historical background are discussed in a separate article (Saeki et al., in print), A Medium for Images or Luminous Bacteria critically reinterprets this wartime history by repurposing the bacteria as a medium for print. In fact, the Japanese text (re)printed in this artwork are cited form Nakamura’s original research explaining the conception of this work with bioluminescent bacterial ink (Figure 3) The following is an excerpt from the introduction of the work A Medium for Images or Luminous Bacteria: close-up “The blue-white glow in the dimness is unseen from afar, yet it can unveil the whereabouts of objects” (Nakamura, 1942 trans by authors) while Nakamura advocated for the utility of luminous bacteria the shapes of the letters in this work are physically disrupted as the bacteria proliferate the piece employs a method where one print is produced each day using the same screen not only due to changes occurring every 24 h but also because of the correlation between individual differences of bacteria and external factors such as humidity and temperature Viewers must allow their eyes to adjust to the darkness before they can perceive the work thus reading and learning about the wartime use of luminous bacteria only after spending a certain amount of time the piece transforms the letters and figures constantly but imperceptibly: as the bacteria grow the fixed typography and layout established by digital silk-screen printing gradually deteriorate the work transitions from concrete text to abstract imagery through the growth of luminous bacteria This transformation embodies the shift from a wartime application to an artistic one that illustrates a process where anthropocentric attempts to utilize biological organisms during wartime are deconstructed by the very microorganisms themselves research using cathode ray tubes was also being conducted by Westinghouse’s Zworykin and Philo Farnsworth in San Francisco who attempted to apply them to imaging devices only Frank Gray at Bell Telephone Laboratories and Takayanagi were researching their use in receivers ‘イ(I)’ (1926) by BioLuminescent Bacteria: after 40 h Dark adaptation involves the switching of photoreceptor cells on the retina which not only enhances brightness perception but also alters color perception Because the degree of dark adaptation varies among individuals each viewer perceives differently the colors of ‘イ’ composed by the bacteria despite having the common feature with cathode-ray tubes that they emit light themselves In contrast to the technological advancements A Medium for Images or Luminous Bacteria adopts the simple and mechanical aspects of printing technology akin to halftone in the form of a “digital screen.” Simultaneously it incorporates the nonhuman agency of luminescent microorganisms allowing viewers to experience the disruption of the printed output As the luminous bacteria activate and eventually perish and the human communicative tool of linguistic information becomes dysfunctional along with the enabling digital technology Our work (re)introduces an agency different from both humans and machines into the process that operates “below the threshold of normal human vision,” to paraphrase Ivins Jr.’s words the process of disassembling written language in this work can be viewed as an attempt to reorient historically text information predominantly optimized for human communication through a form of non-human communication from a historical and critical perspective the decomposition of the content drawn from wartime text and contexts makes it possible to reflect the purpose of military technology an excessive manifestation of human technological advancements the work can be situated as a critical endeavor aimed at challenging anthropocentric views of technology let us proceed to examine another work in light of McLuhan’s theories on television In addition to his anthropocentric perspective on media and body McLuhan’s assertion that the low resolution of the television which was rapidly proliferating during his lifetime leads to prompts the “complex sensory involvement” among its viewers might seem incongruent with the current media environment where LCD/LED monitors are ubiquitous in competing to achieve extremely high resolution and control below the threshold of human vision (ex much like his prophetic concept of the “global village,” so-called attention economy which prioritizes captivating human senses through countless network-connected monitor displays could be considered to enhance “complex sensory involvement” actually even more than television once did ‘イ’ (1926) by BioLuminescent Bacteria was conceived as a critical response to this contemporary media environment Takayanagi’s choice of the character ‘イ,’ the first character in the traditional Japanese Iroha order to position himself at the forefront of the burgeoning global competition in media technology development Takayanagi’s endeavor can be seen as an attempt to overlay the hot medium of print extending the sense of sight through phonetic characters onto the cool medium of television ‘イ’ (1926) by BioLuminescent Bacteria reassembles the symbolic character image with luminous bacteria which self-illuminate similarly to a television CRT As these microorganisms gradually deconstruct the character-image the piece not only introduces non-human agency into the media history transition from print to television but also invokes the ongoing interplay between technological advancement and biological processes it should be noted again that the bioluminescent patterns appear in different colors depending on each viewer’s level of dark adaptation This feature embodies the human sensory response to low-resolution images described by McLuhan as “tactile extension.” Audiences are prompted to mobilize sensory participation and involvement beyond vision as they attempt to discern faintly emerging images amidst the visual deprivation of darkness recalling critiques of McLuhan’s media theory as sometimes leaning towards technological determinism such effects derive not from the technical characteristics of CRT but rather from the properties of nonhuman microorganisms that glow only when gathered in darkness while starting from the same ‘イ’ as a reference point these features can be understood as highlighting a critical and alternative lineage to the current media environment which subjects our attention towards singular content of information through television media 1 m square medium set up horizontally with culture medium supplied from the ceiling The first day: the luminous bacteria printed in a grid pattern The third day: transforming into a large continuous circle shape and after-the-fact emergence of glowing particles These phenomena suggest that the luminous bacteria induced changes of their medium through their proliferation The proliferation of bacteria and the decrease of ingredients cause an imbalance in their population within the medium and that led to a decrease in the pH making it no longer a viable environment for survival This environmental change prompted the bacteria to proliferate toward the outer regions where nutrients were still available resulting in the observation of glowing along the periphery and in scattered locations due to the continuous supply of culture medium from above the medium conditions eventually can be considered to revert to a more favorable state allowing the surviving bacteria in the central region to resume growth the emerging images bring about not only long-term changes of shapes over several days but also minute variations of perceptual experience for audiences situated in the dark environment viewers sit in chairs installed for observation and gradually adjust to the darkness to stare at the artwork frequent reports noted a faint wriggle and vibrate of bluish-white light within the viewers’ field of vision it is unlikely that individual movements of each organism were perceptible this phenomenon is thought to be rooted in the physiological characteristics of human vision viewers are unable to perceive peripheral visual information thus they cannot correct saccade movements of their eye in response to luminous bacterial images covering a specific field of view viewers perceive a subtle trembling of their eyeballs in the image they are observing Such features suggest a tendency completely opposite to modern visual media which strive to stabilize content by excessively enhancing brightness and resolution It also evokes John Durham Peters’ observation which argues the significance of reconsidering nonverbal communication in environments that encompass not only humans but also non-human organisms while he carefully avoids detailed references within that context it is a fact that interpreting animal behaviors as communication models often unavoidably falls into the form of anthropomorphism it is hard to imagine anthropomorphism on luminous bacteria featured in our work nor does this work attempt to consider the behaviors of micro-organisms as a metaphor for human beings A vastly different scale of agency from humans suggests a sensory function that illuminates media as an environment and foregrounds nonverbal communication through the bodily and perceptual levels it is also true that current digital technologies are transforming media into environments rather than specific devices Even when focusing on imaging technologies projection mapping creates expansive spectacles surrounding numerous audiences by adapting images onto arbitrary large surfaces like buildings XR technologies merge real and virtual spaces attempting to extend immediately individuals’ visual fields through displays While these technologies indeed illustrate how digital technology can transform the surrounding environment into media they achieve this by overlaying a grid structure optimized for digital control onto physical space no matter how much the real world is augmented digital images fundamentally cannot escape the pixel grid structure Anthropologist Anna Tsing critically examines these tendencies of technology and points to behind it the relentless drive toward expansion as a characteristic of capitalism (Tsing, 2012): “The digital image is made bigger or smaller by resizing the pixels and autonomous; they cannot bleed into each other or transform each other But what made this technology so easy to imagine is the pixelated quality of the expansion-oriented world which is something we ought to care about.” scalability embodied by pixels refers to the ability to change the scale of an image without altering its content enabling the enlargement of an image necessitates reducing it to uniform and homogeneous units (pixels) which risks expelling the diversity that each image or object inherently possesses Tsing thus points out that these distinctive features of pixels underscore a fundamental principle common to and underlying capitalist societies “the expansion-oriented world.” She argues for the necessity to reconsider this background urging a critical examination of the expansion-oriented world and its implications These critiques of anthropologists are relevant to our arguments which attempt to foreground the materiality of the communication including their scalability it is essential to focus on the scale as a material foundation preceding its semantic contents and meanings and the sensory effects that arise from it the luminous bacteria printed in grids via digital silk-screen are mutually influenced with the surrounding environment composed of agar these bacteria luminesce collectively through quorum sensing but their growth cycles transform their environment into one that makes individual survival challenging and prompts the group to move continuously This phenomenon causes the transformations of the figure observed in not only Grow.|Glow but also other pieces mentioned above And it can indeed be understood as a manifestation that concretely embodies a nonscalable relationship between individual humans and a collective of microorganisms while the visual appearance may resemble conventional media technologies the luminescence serves not as a message directed from microorganisms to humans but rather arises solely from activities essential for the survival and growth of the microorganism Expanding on McLuhan’s insights regarding electric light the light emitted by luminous bacteria should similarly be understood not merely as a superficial message but as an “involvement in depth,” reflecting their intrinsic biological processes Observing bioluminescent microorganisms glowing collectively in the darkness is perhaps one of the most primitive forms of non-verbal communication occurred in the medium as environment they not only engage in discourse on human communication through the media theory but also trace its history of material basis A Medium for Images or Luminous Bacteria referenced print media a communication tool relied upon by humanity for centuries ‘イ (I)’ (1926) by BioLuminescent Bacteria symbolized the iconic screen of television as a mass medium recreated images composed of units akin to pixels with luminous microorganisms These attempts do not aim to attribute authorship to microorganisms with the intervention of non-human agencies these artworks provoke diverse perceptual responses in viewers such as dark adaptation and saccadic perception ultimately leading to the disintegration of their intended messages and contents through works constituted with microorganisms this paper has pointed to the significance of the bodily and sensory levels that precede the meaning and content of communication the discussion thus far has been limited to the unique case of luminous bacteria among microorganisms that significantly differ in scale from humans further examination is required to explore the relationship between the bodily and sensory exchanges these works illuminate and the conventional communication of meaning and intention assumed in ordinary higher organisms the neurologist Antonio Damasio’s point may be helpful In his recent book, The Strange Order of Things, Damasio has expanded the concept of life processes starting from unicellular organisms, like bacteria, to the consciousness, minds, and culture found in multicellular organisms, including human beings (Damasio, 2022) a system for regulating the internal milieu of any organism as its pivotal starting point and describes in the following way “The sort of automated homeostasis that we find in bacteria and plants precedes the development of minds later to be imbued with feelings and consciousness Such developments gave minds the possibility of deliberate interference with preset homeostatic mechanisms and even later allowed creative and intelligent invention to expand homeostasis into the sociocultural domain” (p.48) While Damasio emphasizes the concept of homeostasis as the basis of the evolution of the mind in this way he also continues and points out that “sensing and responding abilities” such as quorum sensing are essential and precede to “automated homeostasis” and the development of minds and consciousness While we could not estimate and verify the accuracy and the implication of this innovative idea in the evolutionary theory it would be possible to organize and distinguish the hierarchical levels of the communication between human and nonhuman beings communication could be understood as the transmission of meanings or intentions among socio-cultural formations including (non-)humans through technologies such as printing the sensing and responding abilities for surviving or non-verbal communications are situated mainly in the medium as the environment prior to the communication understood in the above sense we could add another dimension to these levels which are beyond Damasio’s argument and not sure if we can call it “communication.” Humans exchange and entangle with bacteria residing in their intestines and on their skin in everyday life and engaging in their relationship is influence and essential for each other’s biological activities This relationship could be described as a form of biochemical level that precedes the communication based on symbols and scales we would like to remark on an interesting feature commonly observed in our works Upon illuminating the darkened exhibition space where the works were displayed it was astonishing to find substantial growth of brown and black molds on the bacterial culture medium The origin of such molds could be contaminants introduced during production or possibly propagated through the air during the exhibition period the fact that molds were thriving on the bacterial medium implies that units and hierarchies and that the circuits of communication between them are open to unexpected entanglement What our works attempts to show above all is the critical significance of sharpening the bodily senses that can respond to such possibilities of communications The original contributions presented in the study are included in the article/supplementary material; further inquiries can be directed to the corresponding author The author(s) declare that financial support was received for the research This project was supported in part by JSPS KAKENHI (Grant no the Kurata Grants by the Hitachi Global Foundation 2023:1610 Luminous bacteria Photobacterium auimaris LC2-086 were provided by Susumu Yoshizawa The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations Any product that may be evaluated in this article or claim that may be made by its manufacturer is not guaranteed or endorsed by the publisher Google Scholar Google Scholar Google Scholar Google Scholar Google Scholar Google Scholar Google Scholar Divining the essence of symbiosis: insights from the squid-vibrio model PubMed Abstract | Crossref Full Text | Google Scholar Google Scholar PubMed Abstract | Crossref Full Text | Google Scholar Google Scholar Google Scholar Google Scholar Google Scholar Crossref Full Text | Google Scholar Crossref Full Text | Google Scholar Masuda N and Jo K (2024) The (im)possibility of communication with nonhuman beings: with digital screen printing of luminous bacteria Received: 02 July 2024; Accepted: 27 August 2024; Published: 16 September 2024 Copyright © 2024 Saeki, Masuda and Jo. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY) distribution or reproduction in other forums is permitted provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited in accordance with accepted academic practice distribution or reproduction is permitted which does not comply with these terms *Correspondence: Takumi Saeki, c2Fla2kudGFrdW1pMDUwOEBnbWFpbC5jb20= Disclaimer: All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations Any product that may be evaluated in this article or claim that may be made by its manufacturer is not guaranteed or endorsed by the publisher 94% of researchers rate our articles as excellent or goodLearn more about the work of our research integrity team to safeguard the quality of each article we publish Gene Masuda was elected to the Pasadena City Council in April he served as Vice-Mayor and currently serves on the Legislative Policy Committee and represents the City of Pasadena on the Gold Line Construction Authority and the Gold Line Joint Powers Authority Gene is dedicated to maintaining the City’s fiscal discipline while protecting police and fire services As a longtime neighborhood and quality of life advocate Gene has a record of working to fight overdevelopment and traffic in order to maintain the character and beauty of residential neighborhoods Gene is a leader in Pasadena’s open space movement dedicated to preserving and protecting Pasadena’s natural open space by successfully having fought to keep the Edison right-of-way from being developed into storage units he has also led the effort to combat crime in East Pasadena Major issues going forward are: homelessness continuance of balancing the city’s budget providing quality city services and health & safety for the residents Gene was a former board member of the Pasadena Educational Foundation which raises millions of dollars teacher grants and field trips for the PUSD He continues to support PEF and the Boys and Girls Club that provides after school homework help character building experiences and recreational activities His advocacy for quality education is driven by the desire to provide a solid foundation for the youth of Pasadena who are the hope and future of our community Gene is a retired business owner and former president of an East Pasadena neighborhood association He graduated from California State University Los Angeles with a Bachelor of Science in Business Administration a married daughter and three grandchildren AD Mar 22 (Sat) 2025-May 25 (Sun) 2025 19 days left Leave a rating/comment#Manga / Comics#Exhibitions to see during GWBack to ArticlesSHARE Left: Wade Guyton　 Right: Tomohiro Masuda　Photo by Tokyo Art Beat Wade Guyton's solo exhibition, Thirteen Paintings, is on view at Espace Louis Vuitton Tokyo until March 16 He is renowned for his conceptually rigorous works spanning photography Known for his large-scale inkjet-printed canvases Guyton merges traditional media with digital processes creating unexpected results through the deliberate misuse of technology He is one of the most influential artists of his generation reflecting on and producing images in the digital age This exclusive exhibition is part of the Fondation Louis Vuitton’s “Hors-les-murs” program which showcases previously unseen holdings from the Collection at Espaces Louis Vuitton worldwide a series of thirteen paintings publicly displayed for the first time a researcher and curator at the National Museum of Modern Art Their conversation delved into the intentions behind the unique design of the venue and the ideas that resonate throughout the series ——On the occasion of his exhibition in Tokyo in 2020 British painter Peter Doig told me that his impression of the painting changed every time he saw it exhibited “oil paint is on the move.” I hear it is your first opportunity to see this work since you let go of it Would you say the same about your work with inkjet ink Was there any physical or psychological change I haven't looked at these paintings in almost two years―they were made as a group that would stay together as a single work and this is the first time they've been shown I believe that works are not complete until they're exhibited because they take the exhibition’s context and space into account and drag that history along with them These thirteen paintings are intended as a “stack,” so they are always in physical contact and visual dialogue with each other Some paintings in this exhibition depict and contain each other When we first discussed showing the paintings here I was interested in the transparency of the walls―the glass windows―and realized that the exterior could also be brought into dialogue with the works There are also images of my studio’s windows in the paintings ——You decided on the exhibition layout this time but is it appropriate for the owner of works to arbitrarily display the work as they want the paintings are hung at a specific height because I want a specific physical relationship People usually hang paintings relatively high to have experience with the head Hanging paintings on the windows was also a rather radical decision I'm open to seeing how the work can live outside my involvement ——I was surprised to see your works stacked at the Beyeler Foundation it is rather challenging to display works in such a manner just from curatorial decisions This is especially true for works without frames because they must be protected Taking a painting down from the wall and letting it slide from the vertical to the horizontal reminds me of Robert Rauschenberg's “combine paintings,” which can be seen as both paintings and sculptures the stacked paintings emphasize their physical existence not only the volume but the sides that stand out This is how paintings are often stored in my studio I often also call the paintings “objects” and think of them architecturally or in relation to my body different aspects of the artwork come to light―you suddenly only see the edges how we look at art today has become very flat You must also have an uneven number when you stack them to have one facing the viewer ——The installation and the pipe structure suggest that this place is in the process of producing work and evokes a provisional sense the painting put on against the wall could be replaced with other paintings on different occasions I feel there is an underlying theme in the back-and-forth between production and distribution Some works are documenting paintings being made or moments in time like reading the news while I'm in the studio There's a long history of using newspapers in collages and modern art The ads and headlines are constantly changing and it is a portal to many information channels The paintings fix this instability for a moment the work becomes an archive of its own making The abstractions are images of my previous works that have been expanded or enlarged “What can a painting be today?” or “How do I make a work that is in dialogue with art history and feels authentic in the present?”  this show may be about “painting,” but I am approaching it from a different angle because of the technology I use but I am also trying to zoom out to allow the outside world into the studio and to understand these unclear boundaries ——Your way of making a work by printing it multiple times reminds me of Gerhard Richter's method of creating abstract paintings Richter’s picture plain does not reflect subjectivity repeatedly applying the paint with the squeegee as well as removing it he eliminates subjectivity as much as possible and allows objective images to be created it is impossible to dismiss the subjectivity completely subjectivity is reduced to a matter of choice how much pressure to apply with the squeegee but I don't think of myself as a painter.” Richter also defines himself not as a painter (Maler) but as an image maker (Bildermacher) What do you think of defining you as an image maker And what do you think of Richter's work There is a similarity in the idea of being interested in the materiality of a painting I think about the materiality of ink and canvas it is various kinds of information interacting the printer’s head moves from left to right works are being produced in a methodical and technological way that relates to writing or typing My earliest works were on paper using a printer and language I was thinking about writing and the object’s physicality there is a similarity in the analysis of the material and the information photographic information combined with indexical marks—like how the ink drips versus how the ink is dragged across another painting—are also on my mind ——Could you tell me about the making process but some marks are made by handling the materials the wet ink imprints onto another painting when it lies on the floor A lot of physical contact happens during the production process and when the paintings are stacked but they also react to the studio’s environment ——Some paintings have interesting marks that were made by the printer or some kind of error Some marks come from wet ink during the printing or folding process extra ink spills inside the printer and creates drips from gravity there are also printed images of the drips ——Have you tried using printers other than Epson or ordering from a supplier?I have done both These inkjet printers were developed to destroy photography as we knew it and end darkroom production―this industry changed the course of image making I find it interesting to stay with an industry whose standards are not mine but also to be subject to and dependent on them I'm using the machine in a way it's not meant to be used Epson makes a new model and new and “improved” inks every few years and I need to figure out how to do something they don't want me to do again I understand the history of the readymade or the diminishment of the artist's hand But I'm also realistic about what the readymade is now there is an unrealistic expectation of freedom and the tools we have The romanticized freedom of making art depends on limits imposed by industry and technology ——Do you have any standards for saying that the painting is complete If we are talking about individual objects the painting is complete once I've stretched it because I can't go back and edit it there were many other works to select from and the visual nature came together organically and these emerged as having dialogue among themselves I might not show these paintings alone because they need context―some are stronger or more interesting in dialogue with others ——How did you come up with the idea of using the printer?The idea first occurred in the early 2000s when I made drawings by hand and I thought it would work better than my hand it was a solution to a labor problem.——Were you interested in the idea of reproduction You come from a place not necessarily surrounded by art so I assumed you started reproducing images or copies Did that affect your interest in using the printer?I grew up in rural Tennessee without access to an art museum My only access to art in university was through magazines and books so my understanding of art history developed through printed material My first works on paper also used torn pages I became interested in postmodernism and appropriation artists of the 80s It wasn't a strict interest in the Pictures Generation only but from many different directions ——I feel that using digital technology to create works with reproduction images is very relevant to people like us in the Far East Studying the geographic dimensions of urban space and rights to better understand and support the health and well-being of marginalized populations: this research supports policy development for more equitable urban environments so that all Canadians have equal opportunities to enjoy healthy Most Canadian cities have areas that are “unhealthy,” where residents are deprived of basic amenities such as safe streets and access to good transit The people who live in these areas—often located in inner cities—are usually among the most marginalized citizens But why are some neighbourhoods healthy while others are not Explaining the close connection between our living environments and social inequalities is at the core of Dr As Canada Research Chair in Environmental Health Equity Masuda works closely with marginalized populations in inner cities documenting their efforts to create healthier neighbourhoods for themselves and their families Masuda’s research offers an alternate view of Canada’s inner cities viewing them as areas that also have positive aspects His work has shown that people who face social prejudices—like racism and mental health stigmas—view their neighbourhoods as refuges from persecution and sources of mutual support Masuda believes it is possible to build healthier communities for all Canadians by distributing social He hopes his research will help Canadians find ways to create healthy neighbourhoods that are built on our collective right to live healthy lives Proud member of the U15 Group of Canadian Research Universities Web Privacy Queen’s University is situated on the territory of the Haudenosaunee and Anishinaabek NEWS FEED - Prospect Watch - Prospect Watch: Japanese Bantamweight Riku Masuda Japanese boxing is currently dominating the 118-pound division The next fighter who hopes to make inroads and win a world title in the division is bantamweight prospect Riku Masuda (5-1 Despite accumulating over fifty wins in the unpaid ranks Masuda received little fanfare as an amateur The resident of Tokyo turned professional in September 2022 and is starting to make a name for himself it is customary that when an up-and-comer starts to show some serious potential That was the case for the 26-year-old southpaw who fought to a draw with former world flyweight champion Daigo Higa he lost to Tsutsumi by a unanimous decision in a competitive ten-round scrap Masuda rebounded with a stunning first-round knockout over former world title challenger Jonas Sultan in February A vicious left to the body put Sultan down for the count with less than a minute to go in the opening round That win earned Masuda the attention of the world sanctioning bodies he scored a fourth-round knockout over Fumiya Fuse on July 18 in Tokyo 3kingsboxing.com has seen Masuda in action there are things that he needs to improve from a defensive perspective Masuda has solid technique and the natural aggression that you like to see from a young prospect Japanese fighters currently hold all four major world titles at 118 and Masuda believes he’s got what it takes to follow in the footsteps of his countrymen Ruiz: “God Made Me A Champion Chubby; Why Change That?” Garcia Threatens Davis & Lopez: “I’d Bite Both Of Yall Balls Off!” Dmitry Bivol vs Lyndon Arthur Title Fight in the Works Dmitry […] Alberto Puello vs Rolly Romero: WBA Title Fight at 140 In […] Is Lauren Price In Over Her Head Against Jessica McCaskill? May […] Volume 5 - 2024 | https://doi.org/10.3389/fcosc.2024.1303239 This article is part of the Research TopicNew Challenges and Perspectives in Conservation Breeding ProgramsView all 10 articles Conservation breeding program practitioners select potential mates in an attempt to maximize pair compatibility and maintain genetic diversity or the number of breeding seasons that individuals retain the same mate is practitioner-determined in these settings There is a critical need to evaluate whether pair duration influences reproductive success in ex situ assurance populations particularly for socially monogamous species Corvus hawaiiensis) is a monogamous forest bird that is currently extinct in the wild ‘Alalā exist only in human care for intensive conservation breeding We analyzed breeding program data from 2018-2021 to determine the effects of ‘Alalā pair duration and age on reproduction (nest building We found that pair duration does not influence reproductive outcomes and thus practitioners can be more proactive when re-pairing birds influenced the probability of nest building Nest building and clutch production probabilities were high (near 1) and stable as females aged from 2 to ~ 12 years old overall reproductive success (from building robust nests to rearing at least one nestling to fledge) increased with age from 2 to ~ 9 years old peaked and reached an asymptote with males ≳ 9 to ~ 13 years old and decreased in males ≳ 13 years old integrating age into the pair selection process will increase the likelihood of achieving conservation goals we are the first to utilize empirical pair duration results to provide specific management recommendations for mate selection in an avian conservation breeding program Our findings have critical utility for guiding ‘Alalā pairing decisions and more broadly underscore the importance of evaluating mate retention and selection protocols in other conservation breeding programs practitioners may re-pair potential breeders more frequently or allow individuals to have simultaneous access to multiple potential mates and how often to re-pair animals to maximize productivity Critical to this decision is assessing the effects of mate retention (referred to as pair duration in this study) the effects of pair duration in conservation breeding programs (in monogamous species) have not been thoroughly studied it remains unclear how pair duration affects reproductive success for bird species in human care Figure 1 An ‘Alalā pair at Maui Bird Conservation Center Photo credit: Mālie Naho’olewa When ‘Alalā were observed in the wild, they were observed in monogamous pairs with strong mate fidelity (Banko et al., 2002). Based on this and work with other monogamous species (e.g., Clum, 1995; Spoon et al., 2007; Griggio and Hoi, 2011; Ihle et al., 2015) would be an adequate proxy for pair compatibility due to the fact that incompatible pairs are separated and re-paired We therefore predicted that pair duration would be positively related to reproductive success due to better compatibility and/or greater familiarity where mates that were together longer would have a greater probability of engaging in nest building and achieving other downstream reproductive milestones While this study design does not allow these underlying mechanisms to be fully understood it does allow us to evaluate alternate management strategies related to maintaining pairs Testing this hypothesis will inform practitioners’ decisions about maintaining existing pairs versus separating and re-pairing with different individuals across reproductive seasons we are the first to leverage pair duration data from an avian conservation breeding program to produce results with direct links to management recommendations for mate selection most pairs in our study were kept together for more than one breeding season (71%) based on the rationale that some pairs may need to be together for multiple seasons prior to reaching various reproductive milestones (nest building Some first year pairs were split up and re-paired particularly if there were clear behavioral indicators of incompatibility observed such as observations of highly concerning or persistent aggression (e.g. which can compromise the safety of the birds it is generally unclear whether unsuccessful mates should be separated to find more suitable mates in an effort to improve breeding outcomes All pairs reside in open-air aviaries with wire-mesh walls pairs remained socialized except when caretakers occasionally moved one member of a pair into a separate but adjacent aviary compartment (within the same building) to administer medication to a sick bird or to address pair compatibility issues In addition to collecting data on nest progress and nest quality caretakers monitored and recorded data on egg laying Because the conservation breeding management approach taken throughout our study was centered on parental breeding we did not examine most eggs for signs of fertility to minimize human disturbance Figure 2 Examples of the nest building platforms offered to ‘Alalā with maximum widths ranging from 0.4-1.1 m We tested whether pair duration predicted nest building and overall reproductive success (in pairs with a minimum of one clutch) We examined potential pair duration effects on nest building to capture evidence of breeding behaviors particularly in pairs that did not necessarily produce clutches (but pairs with clutches were also included in this analysis) We operationalized nest building attempts as nests containing a minimum of “many sticks.” Although we currently do not have sufficient data to formally analyze differences in reproductive outcomes associated with the various nest platform types provided preliminary assessments suggest that nest building behaviors do not vary systematically with platform type Because not all females consistently lay from year-to-year we also investigated potential pair duration effects on the probability of clutch production Overall reproductive success was measured by assigning each pair a discrete ordinal “success” score ranging from 0-3: 0 = pair laid a clutch of eggs in a low-quality nest (scored < 4) 1 = pair laid a clutch of eggs in a high-quality nest (scored ≥ 4) and 3 = pair had ≥ 1 fledgling (at ~ 60 days after hatch) The set of submodels utilized in model averaging were derived from the global models using the dredge function in the MuMIn package (Barton, 2018) Model averaging included all submodels within 2 AICc of the most parsimonious model (i.e. and was conducted with the natural average method We used the relative importance (RI) scores generated from model averaging to guide inferences made from the results which we limited to fixed effects with high RI scores (≳ 0.8) ‘Alalā pair duration ranged from 0 to 10 consecutive breeding seasons across the dyads included in our study (2.5 ± 0.2 SE) Males and females in our study were 2-19 (9.6 ± 0.3 SE) and 2-20 (8.9 ± 0.3 SE) years old We removed year as a random effect from the global model of nest building because near 0 variance was associated with this term Male age × pair duration was removed from our clutch production analysis (with pair duration as a numeric effect) as this interaction term had VIF > 5; however we were able to retain these interactions in the model with pair duration as a binary fixed effect (all fixed effects had VIF < 5 in this analysis) in addition to all submodels used in model averaging Table 1 Model-averaged GLMM results for nest building attempts Table 2 Model-averaged GLMM results for clutch production Table 3 Model-averaged CLMM results for reproductive success scores Figure 3 Female age effects on the probability of laying ≥ 1 clutch. Predictions in this figure were calculated using the model-averaged intercept and slopes of age and age2 to illustrate quadratic age effects, and back-transformed using the invlogit function to facilitate interpretability (Gelman and Su, 2018) The probability estimates were calculated with all other parameters in the model being at their means Figure 4 Male age effects on reproductive success scores. Predictions in this figure were calculated using the model-averaged intercept and slopes of age and age2 to illustrate quadratic age effects, and back-transformed using the invlogit function to facilitate interpretability (Gelman and Su, 2018) Ordinal response levels include: 0 = pair produced a clutch in a low-quality nest (scored < 4) 1 = pair produced a clutch in a high-quality nest (scored ≥ 4) The probability estimates were calculated with all other parameters in the model held at their means We tested whether pair duration in the critically endangered ‘Alalā influenced reproductive outcomes across four breeding seasons during which a parental breeding management approach was adopted for the species Our results clearly show that pair duration did not impact the probability of nest building including the successful rearing of nestlings to fledge Although senescence was not the focus of our study we found that female age influenced the probability of nest building and clutch production and male age affected overall reproductive success all females in our care are immediately re-paired after any mate separations so this test would only be relevant to the males in our population (i.e. because there are more males than females in the flock) to disentangle the effects of breeding experience and age The findings of our study have several important implications for the ‘Alalā conservation breeding program increasing compatibility across a higher proportion of the pairs in the flock is paramount given the monogamous mating system of the species could increase reproductive success if the potential mates selected are indeed keen to breed The problem of having too many moderately compatible or incompatible pairs in the program is a challenge that we hope to help resolve through ongoing mate choice studies (Greggor et al. since our findings indicate that pair duration does not lead to higher productivity birds can be more aggressively re-paired with other potential mates While we aim to have all pairs established ahead of each breeding season we may take a last-minute pivot approach to pairing by finding more suitable mates for members of newly selected pairs that are not exhibiting promising signs of breeding early in the breeding season (such as nest building or at least some potential pair bonding behaviors such as perch sharing we recommend that age be integrated into the ‘Alalā pair selection process Although releasing pairs has been considered as a future option there are currently no immediate plans to release established ‘Alalā pairs to the wild reproduction in the wild comprises a vastly different system than breeding in human care; thus researchers study any future released pairs to understand if there are pair duration effects on reproductive success in the wild determining what is working and what is not; this is the best path toward a more evidence-based ex situ conservation strategy and practice that can contribute optimally to broader conservation goals The original contributions presented in the study are included in the article/Supplementary Material Further inquiries can be directed to the corresponding author The data used in this study was collected as part of the ongoing ‘Alalā conservation breeding program ‘Alalā conservation breeding is presently conducted under U.S Fish and Wildlife Service permit TE060179-6 State of Hawai‘i Department of Land and Natural Resources permit WL21-08 and San Diego Zoo Wildlife Alliance IACUC 22-011 The animal study was approved by the San Diego Zoo Wildlife Alliance Institutional Animal Care and Use Committee The study was conducted in accordance with the local legislation and institutional requirements The author(s) declare financial support was received for the research Richard Robbins representing the Max and Yetta Karasik Family Foundation and anonymous donors provided financial support to conduct studies to improve conservation breeding outcomes particularly for the conservation breeding of ‘Alalā was provided by the U.S State of Hawai’i Division of Forestry and Wildlife We are very grateful to current and former ‘Alalā caretakers without whom this work would not have been possible The author(s) declared that they were an editorial board member of Frontiers This had no impact on the peer review process and the final decision The views and conclusions contained in this document are those of the authors and should not be interpreted as representing the opinions or policies of the U.S Government or the National Fish and Wildlife Foundation and its funding sources Mention of trade names or commercial products does not constitute their endorsement by the U.S or the National Fish and Wildlife Foundation or its funding sources The Supplementary Material for this article can be found online at: https://www.frontiersin.org/articles/10.3389/fcosc.2024.1303239/full#supplementary-material and rise of alternate mating strategies in a social carnivore CrossRef Full Text | Google Scholar “Demographic and genetic management of captive populations,” in Wild Mammals in Captivity Google Scholar “Hawaiian crow Corvus hawaiiensis,” in The Birds of North America Google Scholar Barton K. 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This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY) *Correspondence: Alison M. Flanagan, YWxmbGFuYWdhbkBzZHp3YS5vcmc= †These authors have contributed equally to this work and share first authorship A beer "nommelier" is in Milwaukee to sample suds in the city known for making them Yoshinori "Yoshi Beer Nommelier" Masuda, a Japanese man who lives in New York, reviews beers from around the country and shares them on social media. Masuda described a "nommelier" as a drinking expert, noting in an interview posted by YouTuber Teban RC that the word comes from a combination of the Japanese word nomu Last week he announced he would be visiting Milwaukee from July 14 to July 17. In a post on X on Monday he said he planned to visit Best Place at the Historic Pabst Brewery Lakefront Brewery and Eagle Park Brewing Co Although this is his first trip to Wisconsin Masuda has sampled beers from the state in the past He once reviewed a Miller High Life and said it was better than other mass-produced beers "This has a nice malty sweet taste to it," he said during a TikTok review Masuda has also sampled and reviewed New Glarus Spotted Cow, Leinenkugel's Summer Shandy and Pabst Blue Ribbon It became one of Masuda's favorites because it's refreshing For more than two centuries, the city has been home to many of the largest and best-known breweries in the United States. As late as 1950 four of the country's 10 largest brewers — Pabst On Masuda's first day in Milwaukee, he posted a video of himself as he sampled a Lion's Tail Brewing Co and he talked about his Wisconsin experience so far "The timing to come to Wisconsin was a little bit crazy," Masuda said referencing the Republican National Convention that is in town through July 18 a Neenah-based brewery that has a taproom in Wauwatosa Crisis Management the seventh award ceremony for the Japan Medical Research and Development Awards was held at the Prime Minister's Office of Japan Distinguished Professor Takahiro Masuda of the Division of Molecular Neuroimmunology at the Medical Institute of Bioregulation received the Japan Agency for Medical Research and Development (AMED) President's Award The Japan Medical Research and Development Awards were established to recognize significant contributions to advancing research and development in the medical field for the benefit of global medical progress the AMED President's Award is given to individuals recognized for outstanding achievements particularly for the encouragement of young researchers four recipients from Kyushu University have been honored with this award the award was granted in recognition of Professor Masuda's groundbreaking work in studying special immune cells known as "CNS-associated macrophages" and for being the first to elucidate their characteristics CNS-associated macrophages are specialized immune cells located in the brain’s boundary regions Professor Masuda's research has revealed that CNS-associated macrophages share the same progenitor cells as microglia another type of immune cell found in the brain they acquire distinct genetic and functional properties that differ from those of microglia in the brain parenchyma His research has also clarified the process by which CNS-associated macrophages settle in the brain boundary regions Further development of this research is expected to contribute to controlling depression and cognitive decline elucidating the mechanisms of brain-related disorders such as Alzheimer's disease as well as advancing innovative treatments and drug discovery The award ceremony for the Japan Medical Research and Development Awards President of Japan Agency for Medical Research and Development(left) and Takahiro Masuda 九州大学Kyushu University744 Motooka Nishi-ku Fukuoka 819-0395 Contact Us | Visit Colossal Retro digital aesthetics meets analog techniques in the ceramic sculptures of Toshiya Masuda. The Japanese artist (previously) fuses the low-resolution pixelated imagery associated with early virtual worlds with quotidian objects from a similar time in pop culture history Blurry cubes of painted clay form a bright red boombox and cassette tape and a Polaroid camera with a crinkled photo emerging from its slot Masuda creates what he calls an “image gap,” an uncanny feeling in which the unreal is made tactile Nostalgic and youthful, the sculptures reflect technological evolution and our increasing reliance on devices. Masuda tells designboom: and by the time I was a university student these were followed by smartphones and tablets I am part of the generation where digital objects gradually increased their presence in our lives… One of the most important things for me when I create my work is to make sure that it expresses the times in which I live A few years back, Keiko Art International produced a short film documenting Masuda’s process and thinking that’s worth the watch. You can find more of his work on his site Do stories and artists like this matter to you? Become a Colossal Member now Join more than 200,000 subscribers and get the best of art and visual culture from Colossal Copyright © 2025 Colossal. See our Terms of Service and Privacy Policy WAXED: GET YOUR MUSIC PRESSED ON VINYL FOR FREE Skateboarding is returning to its roots and there’s a new breed of shredders that can skate and surf the way it was when it all got started Ryji is part of that new breed that can rip on both man-made concrete and the forces of mother nature he will be pushing the limits of gnar.’ — Arto Saari Give us some background on these photos Arto took Arto invited me to shoot on the last two days of his stay The surf in Anglet was kind of a gnarly shore break and was a bit too much for me to do airs or turns Then we went to skate this DIY called Ramputene in San Sebastian where the skaters responsible are actual freeway (motorway) builders and they used the leftover concrete and rainwater to make an incredibly smooth park with amazing features We also drove out to Bilbao to skate La Kantera skatepark It was a jampacked day and a half with such an amazing guy I love surfing with my Hawaiian friends out there What’s the best thing that has happened to you as a result of surfing I made so many friends around the world and I get to go on trips as an advocate for RVCA built a board riding heaven in his hometown of Canton du Valais and an indoor and outdoor skatepark with an airbag and an acrobatic trampoline zone up the hill at Alaïa Chalet there is Alaïa Park with a halfpipe and kickers during the snow season He also has a MasterCraft wake surfing place at the lake An evil wizard tells you that you can only have one: surfing or the internet because I’d rather hang with my friends and go surfing in person than chat with them online or surf the net What are the best and worst things about being 13 years old in 2022 The best is that now I can go surf and skate wherever I want The worst is that we are living in a world with the threat of World War III Are you a good older brother or a lame one A significantly more evil wizard than the last wizard tells you that you have to choose between surfing or skateboarding—you can’t have both I choose surfing because I could try and surf like how I skateboard But then what if the wizard said you can keep doing both but your little sister has to be turned into a frog I’d choose to keep my sister as is because my human sister is as much as I can handle or is Christian just another older skater dude to you Christian really helps each of his riders to develop their individual style The team sessions together all the time too Otherwise riding with friends when and wherever possible To see more from the 2022 Monster Children Annual, pick up your copy here.