雑誌・座談会の企画書 (Proposal for a magazine feature and round-table discussion)

Notes

From the 端山貢明アーカイブ (Hayama Kōmei Archive), item 55456 in the コンピュータアート category, registered 2023-07-10: https://d-commons.net/hayama/?c=&p=55456. Published by the 端山貢明アーカイブプロジェクト (Hayama Kōmei Archive Project), directed by 前川道博 (Michihiro Maekawa) of Nagano University, on the D-Commons platform, and licensed CC BY (表示). The source documents come from the 端山文庫, the papers kept in Hayama's laboratory at Tohoku University of Art and Design, digitised by the project with the agreement of his family; his autograph scores were given to the University History Archives of the Tokyo University of the Arts in 2026. Source: Manuscript working papers on 宣伝会議 (Senden Kaigi) and Kubota Advertising Research Institute 35×25 squared manuscript paper; 4 scanned pages, two of them a duplicate pair.. Dated: The archive dates it [1982?]. The notes fix the round table for 10月29日（金）and the feature for the January issue, with copy due 11月10日; 29 October fell on a Friday in 1982.. The archive publishes this item as 4 separate page scans rather than as a PDF; the download here was assembled from those scans in page order, each taken at the higher of the two resolutions the archive serves. A working proposal for a magazine feature and round table on the communication problems of science, technology and industrial technology. The Kubota Advertising Research Institute sheet sets out a five-part structure under the provisional title 「科学技術・産業技術のコミュニケーション的課題（仮）」: a general section on the social utility of products, from energy and heavy chemicals to fashion goods, and on social assessment — alcohol and cirrhosis, food pollution and additives, drug-induced injury; a section on industrial-technology public relations and the circulation of technical information inside firms; a section on the exhibition hall as a medium of such PR, with cases named — the Science Museum, the Telecommunications Science Hall, the Toshiba Science Museum, Ginza Seven, the Computer Salon, Fujitsu's 数の科学館, a paper museum run by a paper company, a confectionery museum run by a confectioner; a round table; and a closing section asking who holds the know-how for science and technology PR. Page allocations pencilled against each part total thirty pages. The 宣伝会議 sheets rework the same material as 「科学技術と人間とのコミュニケーションを考える（仮）」. They argue that science and technology is becoming a major theme of communication, cite the failure of the nuclear-power campaign, and note that confrontations between monopoly firms and residents' movements — pollution, plant siting — usually turn on technical questions. Cases are classified by who communicates (state and local government, public corporations and utilities, firms), by tool (sales shows, expositions, events, film and video, exhibition halls, mass media) and by audience. The last sheet fixes the event: 座談会・1月号特集, participants 端山氏, 竹森氏 of Dentsu, 平野繁臣氏 of 現芸研, 山口勝広氏 and one more under negotiation from Hakuhodo, on Friday 29 October, 12 to 2 p.m. A hand-drawn map of Tsukiji and Higashi-Ginza locates the restaurant 「ふじや」 at Chūō-ku Tsukiji 2-15-4, with the Senden Kaigi office, the Tōgeki, Shōchiku Central and Tsukiji Hongan-ji marked around it. Contents as the document gives them: 1 総論 / 2 各論1 / 3 各論2 / 4 座談会 / 5 結び (with page counts totalling 30 pp.) · 1. 科学技術はコミュニケーションのテーマである · 2. 科学技術についてのコミュニケーションのケース（主体・ツール・対象による分類） · 3. 企画構成 ①概論 ②③④各論 ⑤ケーススタディ（展示館のハードとソフト） · 座談会・1月号特集 出席者. People named: 端山貢明 (Hayama Kōmei), 竹森 (Takemori — Dentsu), 平野繁臣 (Hirano Shigeomi — 現代芸術研究所), 山口勝広 (written thus; 山口勝弘, Yamaguchi Katsuhiro). Noted: The year is the archive's conjecture; nothing on the sheets gives one. The internal dates (Friday 29 October, copy by 10 November, a January issue) are consistent with 1982 but would also fit 1976. Yamaguchi's name is written 山口勝広 on p. 4 and 山口氏（造形大、ツクバ大）on p. 1; the archive notes that 広 is an error for 弘, i.e. Yamaguchi Katsuhiro. The affiliation of one round-table participant on p. 1 is written as a single circled character which could not be read; p. 4 gives 現芸研, which the archive expands to 現代芸術研究所. Much of the pencil annotation in the margins of pp. 1–3 — bubbles reading 合意形成, 世論とメディア, pre conflict, 生活のPR and similar — is faint and partly illegible, as are the layout sketches on the right half of p. 1. Pages 2 and 3 are two scans of the same pair of sheets, the second with fewer pencil additions. The surname 竹森 is read from handwriting and the given name is not written.