![]() Three key overlapping arenas of attention are the centrality of science and technology decolonization, postcolonialism, and the reconstruction of so-cieties after social trauma and the role of the new electronic and visual media. Key Words: social theory and ethnography, science institutions, film and cyberspace, reconstruction after social trauma n Abstract Anthropologies of late modernity (also called postmodernity, postindustrial society, knowledge society, or information society) provide a number of stimulating challenges for all levels of social, cultural, and psycho-logical theory, as well as for ethnographic and other genres of anthropological writing. The study describes six categories of prospective human and non-human members of Society 5.0 and shows that all six have analogues in earlier societies – which suggests that social scientific analysis of past societies may shed unexpected light on the nature of Society 5.0. By distinguishing “technological” and “non-technological” processes of posthumanization and applying a phenomenological anthropological model, the study demonstrates: (1) how the diverse types of human and non-human members expected to participate in Society 5.0 differ qualitatively from one another (2) how the dynamics that will shape the membership of Society 5.0 can be conceptualized and (3) how the anticipated membership of Society 5.0 differs from that of Societies 1.0 through 4.0. This study seeks to investigate the presumed human-centeredness of Society 5.0 by comparing its makeup with that of earlier societies. However, an apparent paradox lies at the heart of efforts to create a more “human-centered” society in which human beings will live alongside a proliferating array of increasingly autonomous social robots and embodied AI. The Japanese Government’s “Society 5.0” initiative aims to create a cyber-physical society in which (among other things) citizens’ daily lives will be enhanced through increasingly close collaboration with artificially intelligent systems. Moreover, it has been suggested that Japanese culture's ancient mix of Shinto and Buddhist worldviews naturally encourages the recognition of a sort of inherent animating "soul" or "spirit" not only within rocks, trees, and streams but also within robots, which thereby enjoy a sort of implicit kinship with human beings that mindset differs from the attitude prevalent in Western cultures influenced by Cartesian dualism, where artificial intelligence is understood as a process of calculation that is readily separable from the physical substrates upon which it is performed (Morris-Suzuki 2012 Coeckelbergh 2013 Richardson 2016). For example, it has been argued that Japanese society manifests a unique "robophilia" that is partly a response to the traumatic experience of having suffered the devastation wrought by atomic bombs during World War II, with the subsequent unspoken resolution that Japan would never again fall behind the world's leaders in technological innovation (Gilson 1998 Budianto 2018). Indeed, it has been observed that the Japanese attitude to emerging technologies differs significantly from that of other countries. On the other hand, the interface between the robot and human being depicted in this anime, in turn, will pave the way for new forms of life and hope for the prosperous nation. Furthermore, the existence of Tetsujin 28 and other robotics technology can be seen as a representation of risk following the development of science and technology. Japan is facing the prosperity era whose development is based on science and technology. ![]() The finding shows that postwar Japan represented in this anime is filled with a great sense of optimism in the middle of modernization. ![]() By using John Fiske’s semiotics analysis, this qualitative research discussed the way Tetsujin 28 initially created by Mitsuteru Yokoyama (1934-2004) represented postwar Japan, as well as the interface between human and new technology developed during the period. Tetsujin 28, as one of the anime engaged with the memory of postwar Japan, however, had an interesting storyline representing the debates over development of new technology at the period. Most of the notable anime produced in Japan during 1940s to 1980s were closely related with the memory of wartime, as well as the development of science-and-technology. This research discussed the debates over the development of science and technology in postwar Japan portrayed in Tetsujin 28 anime.
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