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The Iron Patriot's armor, as seen in Iron Man 3. What's in it: - Two NPCs for each set of armor, good and bad. Sorry, they just use the standard rebel and combine base - no flying, la Created by korka Star Wars Republic Commando Models. Created by Captain Charles. Contents: -Clone Commando white -Clone Commando Tda Chibi Miku Append v2. Silviu's Silly Dragon playermodel. Created by Silviu. Teletubbies Playermodel. Created by manatails. Original Teletubbies Playermodel for GM13, built back in I did not mean to upload this on Workshop, but due to the popularity and requests I am releasing it here.

Homestuck Playset 2. Finally after tons of hours he's done. So far this is the second playermodel I have rigged. He was one of my favorite ones to do. I had fun. Tda Zatsune Miku v2. Warhammer 40k - Tau Firewarrior Playermodel. For the Greater Good! Is it finally a Tau Playermodel that's not the Tau Commander? Why yes, yes it is. Supports Playercolor. The model and textures be Tomb Raider: Lara Croft Playermodel. She is presented as a beautiful, intelligent, and athletic British archaeologist-adventurer who ventures into an Minecraft Playermodel.

Created by Sam. This is the minecraft player model rigged to Valve's HL2 skeleton. Hold C and click on the player model icon to use. The size of the player model is a limitation of not creating custom animations, which I am not willing to do myself. Thanks to Ma Created by Super Chief. Gaige the Mechromancer from the game Borderlands 2. The model has 12 interchangeable heads. Interchangeable 2n Features 1 Eyes poseable by means of the joint tool. Timeshift Beta suit. Created by VLSN. Timeshift guy in Beta suit from Timeshift game by Saber Interactive. Included playermodel with hands and weapons props of pistol and rifle from this game.

Ported to gmod by me with P H2O Delirious Player Model. Here it is, a H20 Delirious Player Model. The method we were trying to do to rescale wasn't working but then we saw CBB's proportion method and decided to try it out for ourselves Thanks Toy Story: Woody Playermodel.

Created by Vinrax. Created by superhooks Thanks to Mariokart64n for porting the model into Source. Also thanks to Idie for teaching me how to upload to the workshop. Thanks to Ellistron for updating the ragdoll and texture coloring. Resident Evil 2 Player Models Pack. Dark Souls: Darkwraith.


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Created by Darkwraith. It helps motivate me to do more work, a. Mario Bros. Created by bravemator. These are one of the top Mario Bros. Player modles created by me for the community! Dont forget to like and rate! I also code for Gmod and can create more player modles PM me or comment down below! Created by LibertyForce. Version 2. SligWolf's Robot-PlayerModel. Created by SligWolf. Walter White Playermodel. Created by The Scientist. Hai there! I didnt see anywhere the model of Mr. White so I picked a random model player to change the material of the head.

Female Nanosuit. A little thingy from scrap I made a while ago. I like Nanosuit 1 more. Cool physics. Have fun Two versions actually; the standard Rat Team edition with full bodygroups and also a bonus Army servicedress uniform version that is more or less an accurate-sh recreation Created by Star Wars Battledroids. Resident Evil 5 Playermodels Repack. Created by zodiacaca. Including Chris,Jill,Sheva and Wesker.

Vanoss Player Model. Anybody who is looking the new model that vanoss is currently using you can find it here Vanoss player model. Dota 2 - Windrunner. Created by Shinji Spyro the Dragon Playermodel. Spyro the Dragon from the Spyro video games series! Spetsnaz Playermodels. Credit goes to him for original models Playermodels all have the bodygro PMC playermodels. Created by maJor. Hello everyone, this is my first workshop addon and my very first convertion of a ragdoll into a playermodel. Content: All 84 mo Star Wars Stormtroopers. Created by Professor Heavy.

Barnes Romka -models valve Predaaator. Created by TrueBobert. The Talos Principle playermodel. A robot model I made using playermodel for Serious Sam 3 by noam And congratulation - you're the user who comment "I, Robot" in here. You guys are sooo funny Mad Moxxi from The Borderlands series! Spacesuit Playermodel. Spacesuit playermodel as seen in the game Fallout 3. TF2 Scout Player Model. Created by Pengstah. You can change the bodygroups and colour him.

This player model does not require TF2 to be installed. Please check my workshop uploads if you're looking for any of the other characters! Should work. Knight Playermodel. Created by Mr.

The Asia-Pacific Journal: Japan Focus

Cyrax Playermodel. The model and textures belong to Warner Bros [www. Crysis C. Credits: natko, Vad36, Crytek and Professor Heavy. Dishonored - Assassin. Model ported from game Dishonored. Model belongs to it's creators. Changed skeleton to ValveBiped for playermodel. You can colour it while selecting a player model. Dota 2 - Drow Ranger Traxex. Whathered soldiers, both female and male versions. NPC and Playermodel. Good for posing. The method we were trying to do Batman Playermodel.

Created by best player. Neo Heavy Combine. Created by Me and the Boys Jojoi. Warframe Tenno Pack: Girlframes. Also, they are playermodels. Check my Warframe Collection to find ported models that are ready for Gmod. Borderlands Full Pack. Lizardmen Player Model. Hello everyone! This is a conversion of the Lizardmen model from Chrysaetos. It includes the bodygroups, skins might come later. This is a fun project that took me quite a while to finish.

I transplanted the original mesh onto a Valve skeleton, and t Xenomorph Player Model. Created by Vuthakral. A Xenomorph playermodel using the model from Alien vs Predator 2. This is a fairly old submission, and the visual quality is honestly pretty Although some people actually like it so I guess I'll leave it as is And if you happen to like this, feel free to check out my others! Created by LegendaryPeelz. Credits simkas - Model Dok Bane PlayerModel.

Stay in touch to get more good playermodels, Subscribe, and follow me! Crash Twinsanity Player Model. Created by Dopey. Finally here in the workshop! It's been a while since I saw some Twinsanity related items, so I decided to add some with the help of some others I will add in the credits. Ever wanted to play as your childhood, spin-kicking hero? Fear no more, for Crash Maya siren from the game Borderlends 2. Changing heads in body groups. Momiji Inubashiri Playermodel. Created by Sophie-bear.

52nd All Japan Kendo Championships Finals

Momiji Inubashiri from Touhou as a playermodel. This model was created for Obsidian Conflict by Mesark Pony Player Models. Created by Scentus. This is the continuation of Terezi's open source Pony Playermodel Editor. It allows customizable ponies to be used as the player model on supported servers. Since Terezi has discontinued support for the addon and released the source we have taken over and Warframe Tenno Pack: Primeframes. Raven Warrior Playermodel.

Created by Chrysaetos. Anthro raven warrior burd playermodel. Dota 2 - Crystal Maiden. Note: not a wip any more Deathstroke Playermode and npc from Injustice: Gods among If you like this or any of my others, keep those positive rating rolling so i can make more! Mirrors Edge: Faith Connors Playermodel. Faith Connors is the primary protagonist in the Mirror's Edge series. An independent young woman, Faith detests the domineering, totalitarian regime that rules the city and the lives of its inhabitants.

Faith's attitude towards the government is roo Warframe Tenno Pack: Boyframes. Blaziken Player Model. Created by Keaton. This took about two hours. It's really not that hard, I'm just a lazy person. I didn't make the model; Nintendo made it for Pokepark and Rand Tekken Kuma Costume Playermodel. Tekken from Hyperdimension is now a playermodel in her adorable Kuma costume! Amazing Spider-Man 2 Player Model. Created by Delta Wolf.

Well, this is the first addon I upload to the workshop :D Ported from League Of Legends, it is the first model I rigged so there are going to be some problems, like the elbows and the weapon holding, but everything else is fine. Any suggestions are appre ME2 Inferno Armour. Created by SilverSpiritUK. Includes helmet as a separate prop. Star Wars Death Troopers. Created by sond. Spawn Playermodel. Hitman Absolution: Agent 47 Playermodel.

Divii's Werewolf PlayerModel. Created by Divii. Dark Khan Playermodel. Tda Akita Neru v2. General Grievous PlayerModel. Created by [2P] Tyler John. The requested General Grievous PlayerModel!! Star Wars PlayerModel Pack. Created by MS Credits: Infinity Ward and Professor Heavy. Created by NutOnHerLip.

And if you happen to like this, feel free to check out my Predator Player Model. Created by Zombie. Just a ported predator player model from gm I take no credit just reuploading Serious Sam 3 playermodel. Created by Akumetsu. Asuna from SAO as a ragdoll, playermodel and npc. Huge thanks to ASideOfChidori for fixing the rig. Kirito will come eventually once I stop being lazy Halo: Reach - Elite.

If you have any suggestions, post them on this group! Sanic's Ryuko Player Model. Created by Sanikku. Started Agust 24 of FBI Playermodels. Resident Evil - Vector Revised. Created by Srgt. I fixed up the Vector model from Resident Evil so it used the game's original bump and specular maps, as well as changed rigging. Credits go to Nikout for the or Steampunk Plague Doctor. Something quick I did overnight.

Made mostly of Killing Floor stuff with CoD heads. Credits to Tripwire Interactive and Infinity Ward. Feel free to m Created by Deity Link. That's my first player model ever, and getting followed by a horde of mini-juggernaut NPCs is hilarious. The model comes from the Dota 2 files but I re-rigged it to the HL2 human male skeleton so he looks smaller and some of his animation will look a bi Crash Of The Titans - Playermodel!

Created by Wolvindra-Vinzuerio. My first playermodel workshop, and It's our legendary hero, Crash Bandicoot from Crash of the Titans Games for crash bandicoot lovers! TF2 Pyro Player Model. Created by FOG. Lost Coast Fisherman Ragdoll and Player. Created by Sirgibsalot. You do not need The Lost Coast mounted as this includes a Harry Potter.

He grew up with Muggles, and then came to Hogwarts where he faced dangers and Features: 1 Full Faceposing. Figured out how to incorporate faceposing now so no need to use joint tool 2 Full Fingerposing. Amazing Spider-Man Player Model. EDIT: There may be a slight glitch in the right arm but im working on it. Vin Diesel Playermodel. Mark V[B] Spartan Playermodel. Tyrael playermodel. You asked for it, there ya go! Created by Kuro.


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It features 2 alternate skingroups: green from Digimon Battle Spirit, and a lighter color scheme based on Digimon World 3. The model features altered proportions, Vince - The Walking Dead. Created by InfernoKun. Before the outbreak, Vince was convicted of shooting an unarmed man in Macon in order to pro Head of Security SS Indiana Jones Playermodel. UK Police Playermodels. Homer Player model. Created by Stryparen. A bit goofy, but hey, he's here! This port is in my opinion the most successful versions of Alyx Vance from FakeFactory mod.

Port is made by me, also added hands from 1st person. The original models - Fak [cinematicmod. Warhammer 40k - Blood Ravens Playermodel. Instead of updating my old one with a new model and texture, I gave it its own addon. Faith Playermodel Plus Runner's Bag. Created by Nexus. Just saw Celeste on Workshop, but not Faith. Here she is, eye posable, face posable and finger posable. Includes a Runner's Bag. Now available as a rudimentary playermodel. Works with Gmod legs too. If the original creator requires me to take this Ahri,The Nine-Tailed Fox.

Created by J Created by FZone League of Legends Red Card Katarina playermodel and npc. Created by Harry Sachz. Red card Katarina ported from League of Legends. I could not port Katarina's classic skin because there were too many triangles in the model, and it would not compile. This is the second model I have ported, so it is not perfect. Character model for G-Mod. Comes with tons of shaders and complete faceposing including HL2 phonemes. Hatsune Miku Player Model :. Created by Vex.

Tda Rotten Miku v2. Finally i can add bodygroups now : Credits: Treyarch and i didnt port them. Weapons are Customizabl TF2 Spy Player Model. Lui Calibre Player Model. Here it is, a Lui Calibre Player Model. Moon Knight Playermodel. In a similar fashion to the Veemon model, here is Guilmon. The addon features both a player model, and an NPC. This is far from perfect, as it was originally kind of a nightmare to make this, and it was more of an experiment to see if it could be done. Thanks to Ninja for making the ragdoll for this, superhooks12 for making the player model, and me for uploading it!

This is a player model and ragdoll of Jason Brody from Far Cry 3.

Thanatos Gambit

Credits: Ubisoft for the original model Ninja for porting the mode Created by alatnet. I am only uploading it to the steam workshop. Don Vito Corleone. An old model I made with TheKritter71 and Asteroidrules. Includes: Mafia Raincoat and formal clothing, playermodel, no faceposing or eye posing. Credits: VLSN for rigging the mode Playermodel and NPC. Enhanced since the previous release on gmod. Havel the Rock. Watch Dogs - Defalt Playermodel.

Created by Katazuro. May from ORAS as a playermodel. I rigged her and created alternate costume textures. Ruby is her original costume from O On a serious note this is a CreepyPasta character I never quite understood on how people chose to visually portray and instead chose to ruin a rather potentially insanely scary figure. So I chose to give my twisted take on him by combining the fan ap Created by Sgt Stacker. This is the Swamptrooper ported from Jedi Outcast. All I ask in return is that you credit me for porting it. Created by PoteComPao. Model made by me Thanks to Ellistron for the colorable version of Renamon.

The player model works perfectly! Sci-Fi Citizens Playermodels. Does not include the textures, downloading just this file will mean pink and black checkerboarded playermodels. Zack Halloween Playermodel. Alan Wake Playermodel. Batman Scarecrow. One link to rule them all! QuickBMS is ever open to crazy ideas and suggestions so feel free to contact me with any feedback. WCX , supported from version 0. Japan itself is unfolding a policy mix and public-private collaboration to recapture some of the outright dominance the country held in robotics during the s.

Komatsu's project clearly has the full backing of the Japanese state, being part of a business-government "Robot Revolution Realization Council" report released on January 23, The labour shortages already plaguing construction and other projects in Japan's ageing and shrinking society are in fact a major reason for Komatsu's new business model. The suite of technologies composing Komatsu's smart construction also aim to bolster the climate-resilience of roads, bridges, and other core infrastructures, while reducing the escalating costs of their maintenance and repair.

Indeed, this article suggests that Komatsu and its paradigm might be key to building majoritarian political coalitions to accelerate resilience and sustainability through smart communities. It is common to encounter the contrary assertion, that resilience and sustainability are primarily about grassroots activism, with smart technology at best secondary if not delusionary or even dangerous.

But timely mitigation and adaptation to climate change appear to require massive and rapid shifts in energy-related infrastructure enabled by technological change, organizational discipline and powerful incentives. Komatsu's example perhaps illustrates some of the creative destruction required to build smart communities centred on renewable energy, efficiency, new materials, and other technologies. Komatsu takes its name from the city of Komatsu, Ishikawa Prefecture. The company was founded there, in , by Takeuchi Mining Industry as a subsidiary to supply industrial tools. It held on by finding markets, in the s, for construction and farming equipment in the Japanese colonies of Manchuria and Korea.

Komatsu truly gained traction in the postwar rebuild. It received an enormous boost from the reconstruction of Japan's devastated cities, especially Tokyo, introducing the workhorse D50 bulldozer in Like Toyota, Honda, Fujitsu and other non-zaibatsu firms, Komatsu emerged as one of the new Japanese industrial giants that blended entrepreneurialism with a zeal for innovative technology and thus reaped immense opportunity in Japan's postwar growth miracle. Bombed-out Tokyo on March 9, Komatsu relocated its head office to Tokyo in , while remaining the major employer in its corporate birthplace of Komatsu City.

This general lack of awareness concerning Komatsu seems largely be due to what it makes. For example, Sony Group's global employment of , is thrice that of Komatsu, but its brand recognition many multiples greater. A Komatsu hydraulic shovel at work. Komatsu is well-known among business analysts and other specialists because of the outstanding success of its dantotsu "unrivalled" business model that stresses continued organizational and technological innovation where it sharply contrasts with ailing Sony.

Komatsu is also a leader in the aggressive deployment of renewable energy and efficiency in its factories and equipment, bringing to market the world's first hybrid electric forklift trucks in and hydraulic excavators in Its Komtrax wireless equipment monitoring systems remotely monitor, in real-time, myriad such parameters as fuel consumption, location, and productivity. Together, these items tell the customer whether their machine is making money and whether it is safe and in good health. Moreover, in the wake of Japan's disaster on March 11, , Komatsu doubled-down on its commitment to efficiency and renewable power, spending YEN 74 billion in to refurbish domestic facilities towards its corporate goal of halving its power demand.

For example, Komatsu subsidiary Kelk was part of the New Energy and Industrial Technology Development Organization NEDO initiative to attain high-efficiency thermoelectric generation, which uses waste heat to produce electricity. Komatsu's ambitious projects have long caught the attention of technical specialists in Japan. They are also an increasingly visible benchmark for city planners and others devoted to transforming the energy economy.

The most recent evidence of this attention was a January 24, symposium "Aiming at Green Energy in Tochigi," at Tochigi Prefecture's Utsunomiya University, in Utsunomiya City population: , roughly km north of Tokyo. Representation from area academic and research institutions was supplemented by the University of Tokyo through its "Green ICT Project".

But the event was framed by Komatsu's Oyama factory 30 kilometres from Utsunomiya production-technology division's presentation on the details of their aggressive deployment of environmental measures. Komatsu's deep power-demand cuts are surely essential to any realistic programme for sustainability, so for that reason alone the firm deserves to be made a benchmark. Japan's ambitious National Robot Strategy was unveiled on January 23, It was developed by the "Committee for the Implementation of the Robot Revolution," which had its first meeting on September 11, Its membership included heavyweights straddling business and government, such as Kuroiwa Yuuji, Governor of Kanagawa Prefecture just south of Tokyo with a population of 9.

The committee met five times in late The strategy outlined by the committee's report aims to quadruple the current domestic robot market from YEN billion at present to YEN 2. The challenges highlighted by the report include the Chinese robotics programmes, the US "Industrial Internet Consortium", as well as the German "Industry 4. The Japanese documentation conveys deep concern that their annual take-up of robotics peaked in terms of shipments in , and that the robots are concentrated in automotive and electronics factories.

The Japanese authorities want to expand the use of robots in other industries such as elderly care, services, construction, disaster resilience, and farming. To promote this goal, they aim to reduce the size of robots compared to current industrial robots and enhance their connectedness via ICT so as to make them more readily adaptable in small and medium-sized firms that at present have no alternative to scrambling for scarce human labour.

The Japanese Robot Strategy explicitly uses the above competitive challenge as well as the upcoming Tokyo Olympics as spurs to action. To help achieve this aim, the strategy will identify and promote at least 30 cases of best-practice use. Elderly care is also a large target for robots and automation. Policymakers aim at expanding the elderly-care robotics market to YEN 50 billion by Japanese workers employed in nursing the elderly totaled , in , a figure that by had increased to 1.

By , employment is estimated to increase to reach 1. These numbers imply great stress on tight labour markets as well as on the workers themselves. The robot strategy aims to alleviate both problems, using robotic assistance to displace labour demand and to zero-out the current high risk of injury to care givers from handling the sheer weight of the elderly. Thus robotics will be used to help in moving the elderly from beds, in assisted walking, in bathing and use of the toilet, as well as in care of those with dementia.

Survey data indicates that Moreover, among recipients of care, the desire to be assisted by robots is already higher, at The strategy highlights startling facts about the fields of infrastructure, disaster-relief and construction. Total employment of 6. The 45 year and above cohort in these fields comprised Conversely, the demographic under 34 years declined from The strategy thus aims to automate maintenance checks and otherwise back up technical staff. Robots such as drones are seen as means to more quickly identify the location and scale of disasters as well as aid in facilitating rescue.

Robotics will also be deployed to assist in repair work. Similar devices will also be adopted for assistance in such severe natural disasters as mudslides and forest fires. Robotics is also to be expanded in farming and forestry as well as food processing, where ageing and declining population have also led to severe labour shortages. The average age of Japan's 1. The strategy is thus quite aggressive and explicit in its ambitions of deploying automated tractors and other farming equipment to raise productivity to hitherto unthinkable levels.

The use of power-assist exo-skeleton equipment will also be used to mechanize and automate as much as possible of the sector's heavy work. The strategy aims to have automated tractors and other equipment in place and operating by and to have over 20 different kinds of new robot processes in place in the primary industries as well as food processing. Japan's ageing, while more pronounced than most of its competitors, is also common to all of them. The attached chart on "Average age of population aged 20 and more, " shows, for example, that China will catch up to where Japan is now in under two decades, one of the consequences of the now abandoned one-child family policy.

Should Japan get a head start on creative and competitive uses of robotics in age-related fields, it may build itself enduring export opportunities. We noted earlier that the Committee for the Implementation of the Robot Revolution included some very senior representation. On January 23, Noji gave the committee, meeting at the Prime Minister's Offices, a presentation on smart construction.

This presentation came three days after Komatsu CEO Ohashi explained smart construction at the above-noted January 20 event in Shibuya. Noji brought no drone for his discussion of smart construction. Perhaps the theatrics were not necessary: the attached photo and video clip show that the full committee — with PM Abe in attendance — had already beheld a disaster-relief drone fly about the room, during their first meeting on September 11 of Tsuda delivered a presentation on industrial robots to the committee on January Porter argues that one of Japan's advantages in building up and diffusing robot technology during the late s and the s was cooperative trade unions that did not have to worry about their protected employees being displaced.

He also highlights the strong role of engineers in Japanese firms as well as "the emergence of Japanese companies as the premier manufacturing companies in the world in a wide range of industries. Through high levels of automation, reorganization of work flow, and extreme attention to quality, Japanese companies redefined manufacturing practice. Porter goes on to relate how these and other factors worked together to make s Japan "the earliest, largest and most sophisticated market for industrial robots in the world.

A disaster-relief drone flies on September 11, meeting of Committee for the Implementation of the Robot Revolution. That was then, and this is now. But Japan's manufacturing elite and public sector are clearly trying to stage a repeat performance, with different assets and a different cast of characters. As with Komatsu, some of the same innovative firms, still vibrant, remain at the centre of the mix, and a few rising stars are also represented on the committee. But in contrast to four decades ago, Japanese policymakers and business elites are now hoping to use labour shortages, ageing, environmental crises and other constraints as spurs to action and innovation.

And they wield the Olympics as a deadline for achieving a wide variety of targets. The Japanese do not appear to be unrealistic in their estimation of the competition. One example is seen in Taiwan's Foxconn Technology Group, the world's largest contract electronics manufacturer. Foxconn is a major supplier not only to Apple, Microsoft, Samsung and other global electronic giants, but notorious for suicides due to "mundane and grueling work.

Foxconn currently employs 1. The factory has reportedly achieved an incredible level of precision, with only 97 defects per 1 million units. Whether corporate Japan can move fast and nimble enough to regain the momentum in this strategic industry remains to be seen. Komatsu's smart construction went on-line domestically on February 1, , and it will take at least a few months to see if the model merits the obvious pride on CEO Ohashi's face.

And Japan's Huis Ten Bosch theme park in Nagasaki Prefecture will, in mid-July, open a hotel with robot staff and face recognition technology rather than room keys. Japan's official programme to restart and reboot its robot revolution bears watching over the next five years to the targets and beyond. The above has only skimmed the surface of items that deserve to be explored in Japan's new commitment to accelerate a technological revolution. In particular, there are legitimate concerns about the implications of such swiftly unfolding paradigms as smart construction.

The many well-informed critics of the overall smart city concept, including the LSE's Adam Greenfield, 27 a former sergeant in the 7 PSYOP Gp psychological operations group of the United States Army's Special Operations Command, might see Komatsu's smart-construction model as an amalgam of gimmickry or perhaps yet another threatening portent of unbridled technological change.

Many will surely be concerned at the further deployment of drone technology that is elsewhere being used in spying and deadly airstrikes, with Arab, Asian and other children among its collateral damage. Muddying the moral waters ever more, Komatsu's products still include military equipment, built by its Defence Systems Division. This deployment was in Japan's cooperation with America's still-unfolding disaster of invading Iraq on the pretext of a tissue of lies floating on a sea of oil.

Against this backdrop, as well as our era's unprecedented inequality, it is small wonder that many oppose the smart city, or at least having big business in it. Yet we appear to need smart technology, and even a lot more of it. We also seem to lack robust and ready alternatives to incentivizing corporate actors, like Komatsu, that innovate and deploy it. This point remains true even if much of the basic research is funded by taxpayer money or especially in the US by the direct military demand Mariana Mazzucato detailed in her book, The Entrepreneurial State.

Let us look at the politics of this dilemma from a different angle. Few of us display any qualms in boarding a Boeing jet, save for lamenting the cramped size of our economy-class seat. Yet the is built with automated orbital drilling and other technologies that presumably kill jobs through greater speed and precision. We certainly want to have this greatly increased safety and efficiency when we fly, yet criticisms of the smart city, ICT and automation gloss over this perhaps inconvenient truth.

Nor has any critic taken on the stubborn fact that the core of the smart city includes the smart power grid whose technology appears essential for the diffusion of such intermittent renewables power sources as solar and wind. And if Komatsu's Light Armoured Vehicle and history of howitzers and tanks raise objections when it comes to its smart construction business, then what of Boeing? It doesn't only make passenger aircraft that we readily board. Boeing's "Defense, Space and Security" arm is a USD 33 billion business whose 56, employees worldwide outnumber Komatsu's total workforce.

Boeing also built the iconic B, that carpet-bombed Vietnam, and the advances that have kept that airframe flying for 60 years are incorporated in and upgraded for the as well. Boeing also builds such potentially lethal drone technology as the Phantom Eye, whose liquid-hydrogen propulsion system which leaves only water in its wake has such exceptional fuel economy that it can stay aloft for four days at 20 kilometers in the sky.

And its kilogram payload of sensor packages can spy on motion and communications across a kilometre line of sight horizon. Bell Boeing's V Osprey in flight. The Climate and other people-centered narratives of how to fight climate change, resource scarcity and compounding collective crises. Yet as the very climate-and energy-literate Elizabeth Kolbert has suggested, and with compelling detail, there are perhaps too many hard facts and unpleasant choices being left out of such accounts.

Weighing all these factors, on balance, Komatsu's ambitions seem credible, creative, and worthy of recognition. Surely Komatsu is a firm to learn from rather than pointing disapproving fingers at. As we have seen, Komatsu's deep efficiency and renewable-power rebuild of its Japan-side factories have set a high bar that at least some communities see as a benchmark. Its increasingly automated shovels and trucks also help reduce the precious oil required for getting at the depleting ore grades of copper we increasingly use in smart phones and electric cars.

Komatsu's resilience-oriented ambitions also link to a global movement, the Resilient Cities Acceleration Initiative, which includes big capital like IBM alongside NGOs, to "transform cities" and foster community-based resilience. In the Japanese context, Komatsu and its initiatives could become key to a coalition that creates a majoritarian political movement for resilience and sustainability. We need smart communities centred on renewables, efficiency, new materials, and other technologies. And we do not appear to have the time to wait for them to grow organically, confronted as we are with accelerating climate change, increasingly volatile geopolitical and market effects from resource depletion, and the ongoing failure of central banks to blow life — as opposed to asset bubbles — into the energy- and materials-intensive conventional economy.

So this article looks forward to Komatsu's smart construction model quickly becoming an element in collaborative and resilient smart communities. He is lead researcher for a five-year Japanese-Government funded project on the political economy of the Feed-in Tariff. Komatsu's environmental awards are listed in the "Recent External Commendations and Evaluations on Komatsu's Environmental Conservation and Social Activities" section of its corporate website.

See from of the video in Japanese " Committee for the Implementation of the Robot Revolution: September 11, ". On Okinawan opposition to the Osprey, see Matthew M. Disaster is an ever-present, and ever-timely, issue both in Japan and around the world. The triple disaster of 3. In terms of loss of life and material damage, with an estimated , deaths and countless homeless, it is still Japan's worst national disaster. Having marked the 91 th anniversary of the quake on September 1 st , we have an opportunity to learn anew from the media scale of this catastrophe, how different media produce modes of seeing, understanding, and, eventually, remembering.

In the brief excerpt below and the full monograph, Imaging Disaster examines traditional and modern image making practices from the Ansei-era Edo earthquake of to the wartime media event of the Russo-Japanese war, and then up through the temblor, the official reconstruction of Tokyo in , and even the atomic bombings of the Asia-Pacific war, to illuminate the intermedia nature of disaster images that all, regardless of medium, process observable phenomena through the imagination, blurring the boundaries between the real and the fantastic.

This promiscuous commingling of fact, fiction, documentary, and melodrama to produce the visible evidence of history, reminds us of the inherent scopic pleasure of disaster spectatorship, and how for everything that is made visible in the imaging of catastrophic events, many things are made invisible. The Indian Ocean tsunami, Hurricane Katrina, the Sichuan and Haiti earthquakes-the experience of disaster is both universal and particular.

Most of us understand these horrific events through a complex matrix of media, most of them visual, that attempt to record and ascribe meaning to destruction, chaos, and tragedy. Images mediate our experiences. How the visual functions in relation to disaster, however, requires close critical examination. The visual culture of disaster can produce an exploitative aesthetics of horror and spectacle that transforms viewers into unwitting voyeurs. At the same time, people can use images to reclaim disaster sites for social and political purposes. Images can impart emotional value to an event by humanizing, heroizing, and monumentalizing it.

They can also erase or justify aspects of it. Images act on us, or as W. Mitchell has written, pictures "want" things from us and for themselves.

Thanatos Gambit

Major disasters focus the social energy of diverse media on one critical event. Such moments create a density and intensity of visuality that make them ideal to explore the influence of imaging practices. As I demonstrate through the excavation of tropes and motifs that circulated widely, visual culture constitutes an intermedia dialogue to which each medium brings a distinct yet critical inflection. In , viewers encountered photography and film, and visualizations of scientific information, alongside hand-rendered prints, paintings, sculpture, and cartoons. They experienced a public visual sphere in which objective and subjective values were inextricably fused.

Images played a central role in constructing the earthquake as a national event, rather than simply a local tragedy, that demanded solidarity from all Japanese people. Mass media and new scientific technologies globalized Japan's tragedy, inviting empathy from the world. Images of disaster erected a framework of visual authority that legitimated the state's responses to this national catastrophe. Yet the disaster was not the sole preserve of the state. A range of public and private entities, from the imperial household to the leftist avant-garde, used the earthquake to advocate their own visions for the future.

Although proceeding from natural causes, the earthquake became a metaphor for the relentless destruction of tradition by modernity. For many Japanese, the earthquake recapitulated and accelerated the ruptures and dislocations of modernization, which had been subjects of intense debate long before the temblor hit. The disaster not only crystallized these debates but also demonstrated the fragility of modern society: the greater the technological achievement, the more spectacular its destruction.

The shock of the quake became the shock of the modern. Disaster images do not emerge ex nihilo, however; they are part of a cumulative history of visual production. Images draw from local genealogies and pictorial traditions that include secular and sacred representations. As time goes on, they become imbricated in a global network of image making. My interest in this process, and the images, spaces, and discourses that it produces, has led me to write this book. Similarly, disaster is not static. It is an unfolding temporal landscape within which visual production must be historicized.

September 1, , has been stamped indelibly on the mind of the Japanese nation, for on that day, at noon, Tokyo and six other prefectures in Kanto were visited by a terrific earthquake, the fire following which devoured hundreds of thousands of houses, destroyed all means of communications, ran up an incalculable death list, created a million and a half refugees, destitute of homes, food, or clothing, and shattered family ties. Tokyo and Yokohama, the two greatest cities in the districts affected, of whose great buildings and cultural equipment the whole nation has been proud, changed into masses of fire-swept debris, the only remains of the seat of civilization of the Far East.

Japan, however, will not succumb before nature's ravages; such a day of national calamity marks the beginning of a test of the nation's stamina. The Osaka Mainichi has undertaken to publish photographs, taken at great risk and sacrifice by members of the photographic corps of the paper, to enable the readers to realize the damage wrought by the calamity, and supply the public with a costly souvenir of the greatest calamity in the world-a souvenir that can be passed down through the generations. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors' accounts, and sets of commemorative postcards.

Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. These photographs also heroized the vision of their producers, who pointed out that they had taken them "at great risk and sacrifice" to assist the world in comprehending the event.

Many photodocumentary images quickly went from being indexical to iconic through their repeated reproduction and circulation, even setting the grammar for visual responses in other media such as prints and painting. An intermedia dialogue emerged based on the purported verisimilitude of the photodocumentary as a touchstone for narrating the event, but it revealed the inadequacy of any one medium, including the "realistic" mode of photography, to express the totality of the disaster. I examine how the extensive photodocumentary coverage in the mass media allowed people throughout Japan and throughout the world to share vicariously in the plight of Tokyo residents living out a life-and-death drama on the streets of the capital, a supreme example of what Paul Virilio has called "the media scale of catastrophes and cataclysms that dress the world in mourning.

By asserting visual authority, the diverse perspectives of the photographic eye and its technologically mediated vision had an enormous impact on people's perception of the event. Together with the camera, other scientific and technologized modes of visualization, including cartography and seismography, produced visible evidence to buttress this visual authority.

In its social impact, disaster photography embodied a civil contract that forged multilayered power relationships. It simultaneously inscribed and pointed to the limits of visual authority by revealing the heterogeneity of viewing experiences. At a psychological level, the imagery sought to instill national resilience and empathic mourning yet still unavoidably indulged the eye in the perverse pleasures of disaster viewing. The sublimated iconoclasm of poststructuralism has generated an overwhelming distrust of images and vision in theoretical discourse in the past few decades.

And popular cultural theorists such as Susan Sontag have maintained a critical skepticism while acknowledging the power of images to evoke empathy for those touched by calamity. According to Sontag, "Nonstop imagery television, streaming video, movies is our surround, but when it comes to remembering, the photograph has the deeper bite. Memory freeze-frames; its basic unit is the single image. In an era of information overload, the photograph provides a quick way of apprehending something and a compact form for memorizing it.

The photograph is like a quotation, or a maxim or proverb. In , the imaging of disaster ultimately attested to the Japanese nation-state's survival and its tenacity in the face of adversity. This was highly significant because of the unprecedented, "historic" nature of the catastrophe.

In the first few days after the quake, there were rumors throughout Japan and abroad that Tokyo and Yokohama had been completely obliterated. Visible evidence proved otherwise. The cyclical nature of destruction in Japan precluded an apocalyptic vision, even when the nation was seemingly on the brink of total annihilation this would change in the postwar period after the introduction of the atomic bomb. The photographic eye is not singular and the print media are not univocal. Therefore, one must tease out the strands of meaning in these visual representations and ascertain how the visual became imbued with social significance.

Before the advent of popular radio, print news media were the primary means of disseminating information throughout Japan. However, this brief break did not stop the dissemination of information.


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Although still predominantly a regional business, newspapers from throughout the nation published information about the quake-some fact, some fiction-that streamed out of the capital. Even in the first month after the earthquake, news publications collectively began to parse the visual lexicon of Japan's massive natural disaster and to codify the tropes that would define it. Some of the earliest press images of the disaster were from the areas surrounding the capital and ran in Osaka-based news outlets. The coverage indicated how difficult it was for journalists to get close to the center of the devastated region.

It marked the sudden stream of attention inward toward the capital and the flow of refugees outward away from the devastation. With its reporters unable to reach Tokyo, the newspaper featured scenes of the city of Numazu in Shizuoka prefecture. On the day after the event, the front page pictured large fissures in the ground, a house roof dramatically in ruins, and a close-up of displaced refugees waiting at a train station.

The second page featured Osaka residents preparing supplies to send to the stricken region and a pilot boarding his airplane to fly to Tokyo to provide assistance. Subsequent issues had aerial shots of billowing clouds of smoke from the smoldering landmass of the city and ground shots of all aspects of the destroyed cityscape. The photographic eye directly affected perception.

Aerial photographs of the damaged areas dwarfed the people on the ground, emphasizing the expanse of devastation. Such images inherently express scale and magnitude and speak more of civilizational and urbanistic destruction than of individual lives lost.

Photographs of burning land seen at a distance have their roots in the print images of Edo. For example, images in Ansei-Era Observations Ansei kenmonshi show Edo from a bird's-eye panoramic view, highlighting large swaths of billowing smoke rising from the burning city. The new heights achieved in aeronautic technology amplified the vastness of the photographic gaze and further depersonalized the connection between viewer and devastation.

They also added a layer of technological mediation, interposing the aircraft as well as the camera. Aerial photography was already an important strategic technology in war and disaster reconnaissance imaging abroad. The "logistics of military perception" developed during World War I, according to Virilio, had as much tactical importance as the timely supply of ammunition. As a "watching machine," the aerial camera turned the photographic eye into a weapon. Aerial photography is still a critical means of identifying priorities in postearthquake relief operations, providing information for logistical planning and, critically, for determining access routes.

While drawing attention to the devastating extent of the damage, aerial photography's commanding view also communicated a controlling gaze in images of the quake: if the disaster could be presented in its totality, it could somehow be controlled. However, media efforts to establish a commanding vision also articulated the limits of such control as critical sites still in jeopardy remained concealed from view.

Such views reinforced both the tremendous expansion of modernity's vision, literally and figuratively, and its ever more disastrous consequences. Yet while the semblance of totality was useful for the Japanese government, it was deceptive, because no view could encompass the full implications of the event or the ramifications of reconstruction.

Figure 2. By permission of Yomiuri Shinbun. Figure 3. Schematic maps of surviving transportation networks, refugee facilities, and the deployment of military personnel throughout the region affected by the quake also visually supported the authority of the state by implying control over a vast area of devastation. Like aerial photography, such maps were a powerful logistical weapon. The detachment conveyed by the scale and magnitude of aerial photography was echoed in the many chillingly clinical geographical mappings of the disaster, which covered the region with red hatches indicating the complete destruction of vast, blighted sections fig.

For example, it appears in the news kawaraban broadside maps of fire-blighted areas of Kyoto destroyed during the Kinmon or Hamaguri Rebellion Kinmon no Hen or Hamaguri Gomon no Hen of , when the Tokugawa shogunal forces quashed an uprising by antiforeign imperial loyalists. Yet they are not entirely lifeless, for the small patches of red indicating safe havens for refugees look eerily like blood hemorrhaging across the image.

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In photographs, the subtle differences in perspective among elevated and panoramic scenes of the devastated cityscape give hints to the scope of the disaster. Some images visually extended the horizon line of the urban ruins, giving Tokyo the look of a never-ending postapocalyptic wasteland fig. These open, decimated vistas expose recently inhabited land to the observer and show new views born out of the destruction; where a dense metropolitan cityscape previously blocked the gaze and directed it along the axes of major boulevards, now one's gaze can extend for miles unobstructed.

In areas where the burned-out carcasses of monumental Western-style edifices remained, the viewer can see through their empty, charred shells into the distance fig. The known scale of these buildings established a visual benchmark for perceiving the magnitude and enormity of destruction, and the transformation of the solid, opaque structures into open screens reiterates the evisceration of the city itself.

Figure 4. Ishii Toshio Collection. By permission of Japan Publishing Copyright Association.