Jan 4, 2021

Four Facets of Contemporary Japanese Architecture: City

This is the third course in the “Four Facets of Contemporary Japanese Architecture” series, which focuses on the third facet: city. After the 1970s, Japanese architects are said to have stopped conceptualizing cities and instead focused on designing the individual buildings that make up the cities. However, as cities continue to undergo significant transformations in response to globalization, the advent of information technologies, and so on, Japanese architects are once again engaging the city, and doing so in unique ways. This course on “City” will review the works of those architects who have attempted to conceptualize cities through their architecture and examine the changes over the last half century as well as the issues for the future. Fumihiko Maki, Itsuko Hasegawa, Riken Yamamoto, Kengo Kuma, Jun Aoki, and Atelier Bow-Wow (Yoshiharu Tsukamoto & Momoyo Kaijima) visit their buildings to discuss the ideas behind their respective works.

KUMA Kengo (University Professor, Office of University Professor, The University of Tokyo) OBUCHI Yusuke (Associate Professor, Graduate School of Engineering, The University of Tokyo)

Sep 18, 2017

Words Spun Out of Images: Visual and Literary Culture in Nineteenth Century Japan

In their ambition to capture “real life,” Japanese painters, poets, novelists and photographers of the nineteenth century collaborated in ways seldom explored by their European contemporaries. This course offers learners the chance to encounter and appreciate behavior, moral standards and some of the material conditions surrounding Japanese artists in the nineteenth century, in order to renew our assumptions about what artistic “realism” is and what it meant. Learners will walk away with a clear understanding of how society and the individual were conceived of and represented in early modern Japan. Unlike contemporary western art forms, which acknowledge their common debt as “sister arts” but remain divided by genre and discourse, Japanese visual and literary culture tended to combine, producing literary texts inspired by visual images, and visual images which would then be inscribed with poems and prose. Noticing and being able to interpret this indivisibility of visual/literary cultures is essential in understanding the social and psychological values embedded within the beauty of Japanese art.

Robert CAMPBELL (Emeritus Professor)

Sep 25, 2015

From the Big Bang to Dark Energy

We have learned a lot recently about how the Universe evolved in 13.8 billion years since the Big Bang. More than 80% of matter in the Universe is mysterious Dark Matter, which made stars and galaxies to form. The newly discovered Higgs-boson became frozen into the Universe a trillionth of a second after the Big Bang and brought order to the Universe. Yet we still do not know how ordinary matter (atoms) survived against total annihilation by Anti-Matter. The expansion of the Universe started acceleration about 7 billion years ago and the Universe is being ripped apart. The culprit is Dark Energy, a mysterious energy multiplying in vacuum. I will present evidence behind these startling discoveries and discuss what we may learn in the near future.

MURAYAMA Hitoshi (Professor, Kavli IPMU, The University of Tokyo)

Feb 5, 2026

Visual and auditory perception - How we see and hear the external world

In this course, we will explore the mechanisms of sensory information processing and the distinctive features of vision and hearing from the perspective of cognitive neuroscience. Light from the external world enters the eyes and becomes a mental experience of “seeing,” and sound entering the ears becomes the experience of hearing. These processes involve converting physical stimuli into neural activity in the brain. The course features video materials such as a dissection experiment using a pig’s eyeball, EEG recordings with human participants, and a field experiment demonstrating the mosquito sound phenomenon. Each sensory organ will also be explained three-dimensionally using 3D computer graphics. Please note: The lecture includes footage of a pig’s eyeball dissection, which may be uncomfortable for some viewers.