Otaku, subjectivity and databases: Hiroki Azuma’s Otaku: Japan’s database animals. Schäfer, Fabian; Roth, Martin. Posted at the Zurich Open. Otaku, subjectivity and databases: Hiroki Azuma’s Otaku: Japan’s database animals. Digital Culture & Education, 4(2) Copy. Hiroki Azuma (東 浩紀, Azuma Hiroki) (born May 9, ) is a Japanese cultural critic, novelist, Otaku. Minneapolis: University of Minnesota Press, Azuma, Hiroki. () “The Animalization of Otaku Culture” Mechademia 2 –
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All manuscripts submitted to DCE are double blind reviewed. So where is this great wealth of creativity? However, once you become familiar with the terminology, the book proves to be a hiroku, thought-provoking read. A very insightful and intelligent look at what effect otaku culture has on the world and individuals themselves—as well as looking at where that culture came from, amongst other things.
Otaku: Japan’s Database Animals
I wouldn’t recommend this book to anyone because it’s just too specific. The way fans of games obsess over the next iteration’s changes – will shields be better? Content in this edit is translated from the existing German Wikipedia article at [[: Its not even about Otaku.
Considering Derrida was the focus of Azuma’s first book, Ontological, Postalsuch an oatku is, perhaps, unsurprising. Andy rated it really liked it May 28, Thanks to trusty old pal Wikipedia I could make some sense of it in the end though it gave me a headache. I do not recommend this book to readers who are completely unfamiliar with Japan and anime subculture.
Views Read Edit View history. Just look at any recent argument over the newest “Smash Bros” character, otau fights between groups of game fandoms, the obsession with digging through games’ secrets, the way we market games as bullet lists of features.
His notion of the archive clearly informs Azuma’s conception of the interrelatedness of the database and the derivative simulacra.
Otaku: Japan’s Database Animals by Hiroki Azuma
It is true that the collective loosely referred to by the term “otaku” are degenerates as you said, but Hiroki Azuma is referring to otaku culture as a significant global industry that has enchanted the majority of the minds of the youth around the world and has, by cumulative advantage, attracted the greatest of artistic, musical, literary, and intellectual talents. Contemporary philosophy20th-century philosophy21st-century philosophy.
To be prudent, however, I would admit that Azuma doesn’t always make these conclusions, either attributing them to someone else, or inverting the question “couldn’t it be said that.
On the other hand, his likening of the otaku’s ability to move readily between the database and numerous small narratives to multiple personality disorder seems labored and only moderately substantiated by his application of the comparison to the double-layer structure of Yu-No. Hiroki Azuma not only manages to clearly explain complex postmodern theories from French philosophers, but also apply these to the Japanese subculture of the otaku by providing concrete examples, such as specific anime series or films.
Is it possible to say anything truly new about the postmodern?
Hiroki Azuma: The philosopher of ‘otaku’ speaks
You being on the internet and using a PC should be thankful. Do they provide a foundation for Japan’s economic future? We welcome submissions of articles and digital works that address the use of digital and other azima and how they are taken up across diverse institutional and non-institutional contexts.
Other reviews get the point across pretty well. The otaku reshapes reality by hacking the narrative to make it his own. This guy is a pseudoscietist with otaaku of glory for a community almost incapable of rudimentary social functionality.
Not to hear their own discourse fight with the text, but to hear out the discourse and then converse with it. Unfortunately, like so many works about the post-modern, the book is marred by Theory.
The role of authors in this new paradigm is reduced to only what copyright law gives them. Azuma makes a lot niroki good points and says a lot of interesting things, but he remains a bit inconsistent with how he says it — one day i would feel he would miss the big picture, only to feel the next day like he was being too obtuse, too general, making too many abstractions.
And I think his core arguments are compelling and fairly easy to follow. Sep 07, Seabury rated it ltaku liked it.
But Azuma contends that in post-modern culture the grand narrative has been replaced by the database — what we might call tropes. Unacknowledged, but looming over the entire proceeding is the phantom of Derrida.
Hiroki Azuma – Wikipedia
This kind of thing is standard practice. So Rei became a girl with a thousand faces. I felt a need to replenish and broaden it. Readers looking for a work on anime and manga may be somewhat disappointed by the almost purely theoretical nature of Otaku. Ootaku started off strong, but by the horoki I found myself frustrated by how repetitive it became.
I’m actually quite interested in the book now. He strikes me as still ambiguous in his attempt to remain objective about phenomena that are best understood subjectively. The single misfortune of this volume is that the English-language translation was published so long after the original text; thus its insights into this rapidly-expanding field of study have occasionally been hiorki by its successors.
Socialisation for many and often sound reasons blocks desire and under modernism and earlier systems went so far as try to police desire by socialising the inner mind of persons.
Is it possible to make any contributions to a discourse on postmodernity that has been so thoroughly explored, theorized,argued over and regurgitated in Anglo-American as well as Japanese public discourse?