Semi-Open Editorial Meeting: 'Public and Citizens' (高野広海)
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ASIBA is both a corporation and a movement. While it does not have a clear stance on any specific agenda, it has two broad directions. One is for individual creativity to transform what is currently taken for granted and create a new norm.The other is to transform the world into one where creativity is valued and where everyone can be creative. In other words, ASIBA collectively explores both the instrumental and intrinsic value of creativity.
It is self-evident that being in a creative state has value in and of itself (i.e., intrinsic value), and it is comfortable to remain there. However, immediacy and instrumental value are two sides of the same coin. In other words, we cannot escape the fact that being creative is both an end in itself and a powerful means of bringing about change.The fact that creative people are regarded as engines of economic growth is proof of this . That is precisely why the possibility of being creative must be open to everyone. And if being creative inevitably carries some degree of political significance as a means to an end, then we should consciously choose to be political.
In this article, I will examine the relationship between the immediacy and instrumental nature of creativity from two perspectives: “being creative while being public” and “being public while being creative.”“Urbanists”—who operate in the overlapping realm of “urban planning experts” and “people who enjoy urban life”—can be described as agents who are both creative and public. However, their autonomous activities do not directly create the public sphere; some form of mediation is required.Furthermore, the pilotis—widely used in numerous government building designs as a foundation of postwar democracy—represent creativity aimed at creating public value. On the other hand, their narrative may have been nothing more than a means to realize beautiful architecture .Finally, regarding the relationship with politics, we turn our attention to Zoran Mamdani, the current mayor of New York City. Mamdani’s victory demonstrated the possibility of taking direct political action—neither through activism nor through business-driven social transformation.On the other hand, the innovative local governments of the 1970s —often cited as analogous to Mamdani—are known for actively creating managed public spaces, such as pedestrian-only zones, while rejecting anarchic yet, in a sense, creative public spaces like Shinjuku West Exit Plaza .Strong political initiatives are inevitably linked to control, thereby eliminating room for creativity.
Through these examples, I would like to explore the relationship between the public and the creative, as well as the direction of the ASIBA movement, which lies along these two vectors.
We believe that it is precisely in things born from an individual’s deep personal need that some form of potential lies. For this reason, the ASIBA Creative League takes an approach that starts with the self but ultimately seeks points of connection with others, transforming those connections into some form of value. Some people can do this naturally, while others are unable to do so until the very end.What is needed for something we started or created for ourselves to alleviate the pain of others or contribute to solving complex social issues?
As seen in cases like the Osaka World Expo and the New National Stadium controversy, it is becoming increasingly difficult to engage in purposeful creation while bearing the burden of public accountability and budgetary constraints.In the face of a shrinking population, the very act of placing hope in the future fails to meet accountability standards. On the other hand, it could be argued that creativity is needed more than ever in this era. So, what is needed to overcome this obstacle?
In Japan, activism has long since lost its momentum, and in its place, movements aiming for social change by balancing it with business value have grown. In recent years, as seen with figures like Zoran Mamdani, the possibility of directly entering politics has also opened up. So, what form will the ASIBA movement take?
