Gregory Colbert

I met with the photographer Gregory Colbert at the Grand Hyatt Hotel in Tokyo. It was a wonderful opportunity to discuss his unique approach to capture the joy arising from a proximity between humans and other animal species. The interview was done for the "Brutus" magazine published by Magazine House (which carried a special issue devoted to this humble writer recently, by the way).

Some of Gregory's photos are truly incredible, e.g. where he swims with sperm whale mother and calves. These are carnivores, Gregory said. Did he not have fear? I asked. "Of course I had fear", Gregory said. When he overcame his fears through a careful planning and meticulous techniques, what emerged were breathtaking images of profound revelations.

I asked Gregory whether he felt privileged to be present in, and personally experience, these projects himself. He said yes. He likened what he has been doing to the adventures of astronauts, in search of the unknown.

In his case, the ritual might be one of the long forgotten, too. Looking at Gregory's photos, we are inspired and awed. We feel as if we have touched been touched by entities in the hidden dimensions previously unknown in our life in the "civilized" world. When Gregory shows these photos to the indigenous people, however, they show no surprise. It appears that enjoying the interaction with other animal species is a natural and unfortunately forsaken habit of our ancestors.

It is an interesting question where the newly surging awareness of interspecies proximity would bring to us. It would take us out of the status quo of what Gregory describes as the "species ghetto", and eventually guide us to a better harmony between man and nature. From a scientific point of view, it is a challenge to work out a model where interspecies empathies
contribute to a better survival of all the species involved.

I asked Gregory whether he regarded his photos as documentaries. He said no, despite the fact that no artificial manipulations or retouching has been applied. His are the faithful depiction of what actually happened. It is then a case, repeatedly demonstrated in history, where revealing the truth results in a awe-inspiring beauty, which has been hidden to be discovered by an artist. Talking to Gregory reminded me of the many secrets hidden and forgotten in the universe where we find our mortal lives.



Man (Gregory Colbert himself) swimming with sperm whale mother and calves.

http://www.ashesandsnow.org/

Persuasion

In a recent magazine article (in "Kangaeru Hito" ("The Thinker"), a quarterly published from Shinchosha, Tokyo), Yasujiro Ozu is quoted as saying thus.

My theme is "mono no aware" (the pathos of things), which is very Japanese. Since I am depicting the Japanese people in the films, this should be fine.

From the modern point of view, "Mono no aware" is nothing but the contingent occurrences in life. Things are not certain. Very important and life-transforming things can originate from seemingly irrelevant and unexpected incidents.

In the great "Noriko trilogy" (Tokyo Story, Late Spring, and Early Summer), important events in life are influenced by seemingly trivial things.

In Early Summer, Noriko (played by Setsuko Hara) is persuaded to marry a widower doctor by his mother (played by Haruko Sugimura). The couple is secretly attracted to each other, but had it not for the "agony aunt" type intrusion by the eager mother, their love would never have materialized. A beautiful ending has bloomed from a behavior on the verge of a bad taste.
It is this kind of subtle observations of life's moments of truth that make the Ozu films all time masterpieces.



The "persuasion" scene from "Early Summer"

Ultraman

Earlier, I wrote about the recurring dream in which Godzilla would appear as a menacing presence. As a child, I was not aware of the atomic origin or connotations. I just enjoyed the films as entertainments, but deep down, I think I was aware of the invisible origins, which I came to realize only after I became a mature adult.

I think that similar invisible origins were lurking behind the "ultraman" series. The reason why heros in these films were depicted as humanoid figures with silvery skins is probably due to the disillusionment of the people in my country about their own physical appearance. After the defeat in the 2nd world war, and the American occupation, people for sometime could not regard their own visual appearance as something fit for a hero or heroin. The image of heros came from the Hollywood films instead, blue eyes, blond hair. Therefore, from psychological needs, a new image of the heroes had to be coined, resulting in the ultraman, kamen rider, and other tokusatsu television series.

As a child, I was not aware of these deep psychological implications. I simply enjoyed the films. If true creativity comes out of a troubled water, then the tokusatsu films are beautiful archetypes.

Recently I learned that one of the key creators of the first ultraman series, Tetsuo Kinjo, originated from the Islands of Okinawa, a region particularly hard-hit during the war.


Ultraman--invisible origins.

Wrath

Violence brings only sorrow into this world, but wrath and indignation, when managed and directed properly, can sometimes generate good and beautiful things.

When one is indignant about the status quo, seeing clearly the defects and shortcomings of the present system, wrath can be the source of a hyperactive creation, resulting in pieces never seen or imagined by humanity.

Wrath is the emotional manifesto of the underdog, dedicated to beauty and truth. When the powers that be stink, get rotten, become unimaginative and oppressive, the wrath of the underprivileged explode and spray fragrance and luminance around.
There is such a thing as the wrath of god. Even the god can be an underdog from time to time. Not to mention us mortals.

The Miracle Apple

Mr. Kimura was one of the guests of the "The Professionals" program broadcast on NHK, which I host. He harvests apples in Aomori, the northest prefecture in Honshu, one of the four main islands of Japan.

His produces are called "miracle apples", as no pesticides or artificial nutrients are used. Such a feat was deemed impossible before his successful undertaking, as apples are particularly susceptible to insects and germs. After many years of failure, in which he came close to suicide (an episode dramatically described in "The Professionals" program), his apple orchard boasts a rich ecological system of plants and insects, in which his apples trees flourish.

The use of pesticides and fertilizers reduces the complexity of the ecological system and results in a mono-culture. In terms of yields, the modern intensive agriculture is one practical solution. Mr. Kimura has found another solution, by allowing a rich ecology thrive in his orchard and preventing the rampant increase of pests by the "check and balance" between the many biological species that find their respective habitats in Mr. Kimura's orchard.

Controlling the orchard as a complex dynamical system is more difficult than simply killing all the insects by spaying pesticides. The intensive agriculture is based on a "holocaust", as a result of which a barren land is left, onto which the artificial nutrients are bombarded. In contrast, Mr. Kimura's approach is based on very careful observations and manipulations of some of the fine parameters that make up the orchard.

Mr. Kimura's apples taste really good. The apple trees are given the opportunity to fully develop their biologically prepared potentials, a process inhibited in the typical intensive agriculture. It is the complex network of plants and insects that forms a soft and nutritious soil which gives a vital force to Mr. Kimura's apples.



A scene from Mr. Kimura's orchard

Red.

When I was very small, up to the age of three or four, I was very fond of the color red. I would ask my parents to buy red things for me. I would insist that everything I wear, carry, be red. I wore a red hat, carried a red basket, etc.

Then, at a certain time, I realized with a cognitive shock that red was meant to be the color for girls in the cultural context. I was very ashamed and abandoned my color preference.

When I went to the kindergarden, at the age of 5, there was a choice between normal milk and coffee flavored milk at lunch time. Parents would make the kids bring either a white bag or a red bag, with some small coins in it, to indicate the choice. I very much liked the coffee flavored milk. However, my mother, probably caring for my health, did not allow it. I would always bring the white bag, and have normal milk. I envied my friends who brought the red bags and enjoyed the coffee flavored variety.

As I remember these things in the past, the significance changes like a living and trembling water. The past is not fixed. It transfigures in its significance as one looks back, constantly rewritten and relived, metamorphoses leading to fresh insights and reincarnations. One can experience life many times over, discovering meanings and joys, by reflecting on one's own past, smiling and crying.

Through self-referential ponderings, red has entered into the sacred shrine of my soul. When I see a rose, an apple, the setting sun, reverberations enrich and shake the tiny remembrance stone in my core.

The American way of being explicit

The American way of communication has been said to be unique to that particular nation. When I go to the States, people say hello to me on the lift, waiters state their names aloud when I sit in a restaurant. In meetings, people articulate their background with lengthy words.

In other societies, it is usually considered a bad taste to be so explicit. In Japan, people rely on an implicit understanding of the social norms and aesthetics, which are seldom mentioned. In the United Kingdom, where I did my postdoc for two years, the American way of stating everything was kind of looked down. Some people thought that it was a manifestation of a lack of wisdom.

But things are changing.

The reason why the American mannerism developed over the years, of course, is to be found in the social construction of the nation. The American society is made up of people from various backgrounds. No matter what your ancestor's nationality was, whether you are an immigrant or a native-born citizen, you are a "typical" American. With such a variety of backgrounds and cultural traits, it became necessary to state the very assumptions and paradigms that frame your actions and value systems in a explicit way. Otherwise people don't understand you.

With the advent of internet, things are changing. As more and more people start to interact within the small-world network, crossing over borders and less frequently language barriers to my regret, it is becoming necessary to state your background in a more explicit way.

In the cyberspace, the situation is much more "American" than the physical nation itself, in terms of the heterogeneity of people surfing the web. Maybe we should all start stating our names aloud and take pains in explaining everything that is tacitly assumed in the respective home society. We should, in a sense, all emulate the American way of being explicit. Otherwise we would probably miss the great revolution that is happening here and now in the cyberspace.

Mono no aware

"Mono no aware" (the pathos of things) is an important concept in understanding Japanese literature and way of seeing the world in general. It is an awareness of the vulnerabilities of life, the ever-changing faces of things, the non-permanence of human existence. It was famously employed as a critical tool by Motoori Norinaga (1730-1801), the founder of Kokugaku (Japanology) in the Edo period.

Those who possess a sense of "mono no aware" are sensitive to the sufferings of the weak and underprivileged, as they know that they might fall into these misfortunes themselves. They are aware that nothing is permanent, love, social structure, human relationships, not to mention politics. They do not therefore take a "no-nonsense" approach in coming to terms with conditions of the outcasts and the estranged. They are full of compassion and commiseration.

In the Japanese society, there has always been an implicit conflict between the bureaucratic and hard-nosed and those with a soft heart for the "mono no aware". In the Heian period (749 to 1185), the ruling class prided themselves on having a feeling for "mono no aware", as exemplified in the beautiful story of Genji. The Japanese history had seen some periods where people insensitive to their own and others' vulnerabilities unfortunately found central positions in government.

I myself would like to live fully immersed in "mono no aware". I would like to expose myself to the vulnerabilities of life, both within and without, and constantly find a new self. It is the only way to grow spiritually.

Those were the thoughts as I walked through the forest of the Meiji Shrine in the heart of Tokyo, on my way to the NHK broadcast center one recent afternoon, with the sky above being cleared of clouds which brought rain earlier in the morning.



The torii (sacred gate) of the Meiji Shrine. I walk past this gate into the forest behind twice a week on my way to the NHK (Japan Broadcasting Corporation) broadcast center.

"Emergence" originates in "emergency".

The present paradigm of neuroeconomics is too narrow in its conceptual setup in order to encompass all that is truly relevant and important in life. It starts from the assumption that the human beings are selfish and then goes on to study various anomalies (e.g. altruism) as something added to the fundamental assumptions. However, after some careful considerations it would appear that the fundamental assumptions themselves are very much restricted for the purpose of accounting for the development and maintenance of the self in the complex world that we find ourselves in.

Let's draw an analogy with the cycles of life here. In order to account for the fact that there are various forms of life on the earth, one needs to "doubt" the stability of existing life-forms and delve straight into the underlying vulnerabilities. If the life forms were not mortal, meeting their respective destinies in the struggle for life, there would not have been any evolution of the species.

The same can be said for the origin of the self. If the self does not "bleed" and "threatened" and even "destroyed" from time to time, it cannot really "evolve" in the course of an individual's life or over generations. "Emergence" originates in "emergency". Fury, envy, enchantment, bewilderment, hate, love, all these emotions that makes life such a complex and colourful experience is nothing more than reflections in one's psyche of the contingent processes that form the self in the interactions with the environment and other agencies.

Game theory, neuroeconomics, all these wonderful theories of the origin of human cognition and behavior are just scratches on the surface of the gigantic mass of mentality out of which our humble every day life is formed.

The Firefly

Two years after the end of the war, my mother passed away. Mother's death affected me very deeply. Compared to this sorrow, the great war, while shaking my flesh physically, did not move my spirit in any discernible way.

A few days after my mother's death, I had a strange experience. My house at that time was situated in the remote parts of the Ougigaya valley, where there was a brook running along the path. It was already twilight. As I went out of the gate, I saw a firefly floating through the air. Fireflies are something common in the region at their season. However, it was the very first sighting that particular year.

The firefly appeared large like I had never seen, the light in the dusk shining prominently. My mother has now become a firefly, the thought suddenly occurred to me. Strolling after the floating light, I could not let myself free from this strange idea any more.



Excerpt from the opening sentences of Hideo Kobayashi's unfinished work "Impressions", in which Kobayashi discussed at length the philosophy of Henri Bergson. The war Kobayashi refers to in the text is the Pacific War (1941-1945).

Translation by Ken Mogi.

Polar star in the night sky

When small things tend to let you down in life, it is useful to think of the really wonderful things.

In my case, I remember how wonderful the achievements of Newton and Einstein have been, what a sense of bewilderments the fruits of the strivings of these giants have given to humanity. I also ponder the beautiful moments in the music of Mozart, Beethoven, and Wagner. I remember the poignant depiction of the human condition in Yasujizo Ozu films.

Remembering all these wonderful things gives me a sense of value and goal in life. I would not dare call this perception absolute or Platonic without the modern "small prints". Whatever the nature, the remembrance of these wonderful things serves as the "polar" star in the night sky of my mentality, the immovable and guiding principle in life.

That is not to say that small things in life would go away. These troubles would still torture me from time to time. It is only that I can become immune to some extent, thanks to the smile and joy the remembrance of beautiful things brings to my soul.

On the ecological complexity of novels.

A few years ago, I was giving a joint talk with Masahiko Shimada, the famous Japanese novelist of my own generation, at the Asahi Culture Center in Tokyo. We were discussing the nature of good literary works, and I happened to mention that the repetition of words was not necessarily a bad thing, although abhorred by editors in general. What I was trying to allude to at that time was the importance of repetitions in the spoken language, especially those that accompany dances and other rhythmic actions in daily life. Close to life in its nature, the liberation of repetition could broaden the universe of literal expression, I suggested

Masahiko then said something interesting that set me pondering. He said that any great novel is like a dictionary. To take an example from the Japanese literature, consider Soseki Natsume. The vocabulary that Natsume uses in his novels is quite vast, and it encompasses a large sea of words employed in the written and spoken forms of the Japanese language. A Natsume novel is a "dictionary" in effect structured along a storyline, covering and giving a lively list of virtually all the words that are used in the cosmos of our native tongue.

The discussion with Masahiko at that time prompted a wave of thoughts about the richness that complexity would generate, how it is related to the philosophy of life. In the Amazonian rainforest, it is known that the same species of vegetation thrives far apart from each other, a multitude of different kinds mixing and co-existing within a tightly woven ecological system. In such a system, the lack of repetition of the same element is a hallmark of the richness of complexity. An obvious analogy can be made between ecology and novels.

It is a worthy ambition for anybody interested in linguistic expression to author a "virtual-dictionary" type work of literature. Technical writings in science and mathematics often suffer from monoculture in words, for the very reason that certain expression and phrases needs to be eradicated to ascertain logical coherence. It is then by no accident that in the beloved literature of the world insanity and illogicality must sometimes surface, as these traits are admittedly major members in the universe of human spiritually, calling for appropriate corresponding expressions in the spoken and written language.

Englishness

Strolling around Grantchester Meadow, I do think that this is a very nice, relaxed environment. I am sitting now in the Red Lion pub in the open air backyard, with a pint of IPA and a pack of Walkers crisps, cheese and onion flavour.

This is the kind of thing I took for granted while I was in Cambridge. Indeed, I can even say that I kind of looked down on these typically English traits. I did not swell in it. I rather thought myself as being tired of it. I felt that the English is a rather boring and common species.

But now I realize that these environments have become an integral part of my mind and blood, this relaxed way of looking at things, this balance of the man and the nature. I got to know the central Cambridge area in and out. I can imagine myself walking through the streets of Cambridge without any problem. The Englishness has gone into my blood.

The warm reception of me by Horace and the lunch in the Trinity college had much to do with the change of my perspective of what is English in general.

(Excerpt from the diary written during a revisit to Cambridge in 1998. I stayed in Cambridge from 1995 to 1997.)

A Chimera between Einstein and Darwin

One thing that is lacking from the intellectual endeavors in today's world is that of synthetic creativity. With the advent of an attitude to quantify and compete in a specific context, the laudable tradition of going over the borders and come to grips with the essential problems that encompass all walks of men's intellectual activities is gone.

In some areas, the lack of an all-encompassing activities might not pose an urgent and serious problem. For example, when one tries to develop a new blue laser diode, knowledge in related areas might suffice.

For some themes, however, the absence of a synthetic effort can be fatal in the effort to achieve. In trying to understand the human brain, for example, it is necessary to attend to the various aspects of this complex system, from the molecular mechanisms of synaptic regulation to the whole-brain transient synchronization observed in the moment of one-shot learning.

In understanding and preserving ecology, it is necessary to appreciate the complexity of life-forms and the multi-faced interaction that exists between various species. In fields such as cognitive science, biology, sociology, etc., the awareness of the complexity of the whole system is a necessary ingredient of any successful and truly useful theory. The field of consciousness studies is clearly one where such a synthetic effort encompassing various fields is necessary.

On the other hand, a mere collection of miscellaneous facts is not sufficient to solve the enigma of consciousness. We need a sharp, focused intellect directly facing the most abstract and intractable conceptual problems concerning the mentality. Thus, we need a "Chimera between Einstein and Darwin", attending to the various aspects of a complex system with the greatest care and pertaining to cut into the heart of an abstract problem structure at the same time.

Lost on the way to Florence

Once I visited Pisa for a conference. I had a free afternoon, and decided to venture off to Florence. I took the train from the station, filled with anticipations for the great Renaissance city which I was visiting for the first time in my life.

After a while, I noticed that something was strange. I thought I had taken the express train, but actually it was stopping at every station. Evidently, I was on the wrong train.

I started to worry, being afraid that it would take many hours to make it to Florence. Maybe I would not be able to see the galleries. It might become dark. Uneasiness began to fill my heart.

I was traveling alone. Around me was a cheerful family and several students, all talking aloud in Italian. I don't know what it was that transfigured me at that time. Maybe it was the exasperation at having taken the wrong train, or the actual worry of arriving in Florence too late. Anyway, I started to feel as if I was to live in Italy for the rest of my life.

I would have to speak Italian, write Italian, listen to Italian always, day after day. There would be nothing else for me other than to work in Italian, somehow find a lover in Italian, have a family, raise kids, always immersed in the Italian language. As this illusion swelled in me, I felt as if I was being suffocated. It was as if there was now no escape from the world of the Italian people and language.

What happened was the result of the dynamics of a partially imagined context in which I found me. Before that incident, I was enjoying the context of being a traveler in a unknown land. A traveler has a home country to return, a native tongue to rely on, so speaking a foreign language is just a joy of acting a particular role temporarily, which one can leave after a few days.
Making a living in a foreign culture is a quite different thing all together. There is no escape. There is no joy of acting a particular context.

Because I was bombarded with a seemingly never-ending Italian conversation on the train in trying circumstances, my vivid imagination made me feel as if I was to stay and somehow make a living in an alien culture.

Fortunately, the train arrived in Florence after a few hours. The galleries were still open. I could see "The Birth of Venus" and other famous paintings. The joy of acting the role of a tourist gradually returned to me.

However, the insight gained from this small incident remained with me to this day.

The Dog and the violet

The Dog and the violet

The Origin of Consciousness blog

10th January 2007

http://origin-of-consciousness.blogspot.com/　

Mistaking milk for coca cola

One day I was watching a film, sitting on a sofa in my room. The film was quite exciting, and I was deeply absorbed in it.

Occasionally, almost unconsciously, I sipped coca cola from the glass on the table. All my attention was directed towards the movie, so I was not aware of the qualia that accompany the act of drinking coca cola, namely the bubbling on the tongue and the tickling on the throat, the smooth black color, and the sweet aftertaste on the palate. I was not paying attention to these qualia of coca cola. All the same, I unconsciously recognized that the drink I occasionally sipped was nothing other than coca cola.

I was drinking the liquid like that, when I suddenly felt a strange, unknown taste in my mouth. I could not tell what it was, and I almost panicked. The human brain is configured in such away that when one has something unfathomable in the mouth, a rejecting reaction is incurred. As it would be possibly disastrous to take in a alien material unnoticed, this is a natural reaction. I felt a strong urge to spit out the unrecognizable liquid in my mouth.

Within the time course of a few seconds, I slowly became aware that the strange taste and flavor that I was feeling in my mouth was actually that of milk. The panic subdued, as I became confident that I had actually drank the familiar milk, and nothing else. It was just that I incidentally reached for the milk glass which happened to be beside the coca cola glass.

(Discussion on the distinction between sensory and intentional qualia follows)

(Excerpt from Ken Mogi's "Introduction to Qualia", Chikuma Gakugei Bunko (2006). Originally published as "When the mind feels the brain" from Kodansha (1999). Translation from Japanese by the author)


The cover of "Introduction to Qualia"

Alligator night

I have been to the Amazon once. It was an exciting time. As I flew from Sao Paulo towards Manaus, I was watching the scenery below. The green area went on and on, without any break, no artificial constructs in sight. I was an awe-inspiring experience. I wonder how much of that green vastness has been destroyed, but there must be pretty much still left.

In the city of Manaus I visited the famous opera house and the market. In the market, I had a mixed fruit juice the like of which I had never tasted, and had not encountered ever since. It is somehow hard to describe the qualia, but you felt that there were "molecules of vitality" in every sip you took from the glass.

I stayed in Manaus area for only two nights. On the second day, I went on a river tour. A boat took me to a floating house on the shore of the Amazon river. I slept on the hammock and looked at butterflies and it was almost like a dreamtime. As a kid, I always wanted to go to the Amazon. It was my precious dreams-come-true experience.

The highlight of this very small Amazon venture, at that particular visit, was the "hunting of alligators" in the middle of the night. As night fell, there was complete darkness, as no artificial light source was around. We were put on a small boat and set on a cruise on the great river. There was no sound to be heard except for the engine. We went into one of the branch flows, and the engine was cut off. There was complete silence, and the boat cruised on very smoothly by momentum.

The tour guide took out a flashlight, and directed it to the shores. After some searching, he spotted it. There were this barely discernible pair of "gleaming round pebbles" on the shore. As the boat silently approached, the gleaming became increasingly strong, and before you knew it, the guide stretched out his arms and the next moment, a small alligator was hung by the tail in his hands. We helpless people from the north applauded, secretly admiring the swiftness of the guide's actions, which looked almost miraculous and done by what appeared to us wild instinct, enjoying from the depth of heart the whole experience.

As the boat made its way back to the floating house, a feeling of bliss surged inside me. We were buried in the soft darkness, and when I looked up, I could see the sky-filling stars. I discovered then that the phrase "becoming one with nature" was a very accurate and literal expression of what actually happens under certain circumstances.

That was then, this is now. I am stuck in the megalopolis of Tokyo. I haven't been to Amazonia for more than 10 years.

The chasm and qualia

When I was an undergraduate student studying Physics in Tokyo, I took a particular joy in the calculation of complex mathematical formula. I remember sitting for hours in the lecture room of the Physics department and deciphering the universe of special functions, oblivious of what was going on in the outside world.

When I was done with the calculations, I would sometimes walk through the Ueno park and go to a concert in the Tokyo Cultural Center, and listen to my favorite music. As I listened to the beautiful sound of the violin or a soprano, I could tell that I was moving into a completely different state of mind.

At that time, one thing was puzzling and worrying me. From my childhood I was interested mainly in two things, science and the arts. In addition to listening to the music and looking at paintings, I was fond of reading novels. As a raging youth, I was very envious of the novelists. Here is the reason why.

As you grow up, you experience things. Love triangles, farewells, encounters, regrets, etc. I was puzzled and worried why all these incidents in life did not have anything to do with the professional life of a Physicist as I understood it at that time.
If you are a novelist, you could reflect your real life experiences in your work. If you have a hard time in a love triangle, you can write about it in your work and have some justification at least. A lot of achieved Japanese novelists had actually done just that in the genre of the so-called "private novels".

When you are a Physicist, on the other hand, you cannot really make a professional use of what you experience in your private life. A clumsy translation from the real life into physics theory or vice versa usually ends in tears and disappointments. It is laughable to try to account for the complexity of what happens in a love triangle in terms of three-body equations. There was this deep perceived chasm between what a Physicist experiences in the private life and what he or she is professionally supposed to do.

As I was walking through the Ueno park to go to the concert, I was experiencing a transformation from the objective to the subjective. At that time, it seemed that there was no means of bridging this particular gap, the wide open "valley of death" between the spiritual and the materialistic. So it came as a personal redemption as well as a complete rewriting of my world view as a scientist when I realized in a moment of flash the problem of qualia as I was riding on a train on my way back from the research institute one cold night in February 1994.

A cappella man

The Qualia Show video release

A man dances to the a cappella music performed by a girls chorus on a street in Osaka

http://www.youtube.com/watch?v=pw5WXb9VsFY