
Pageant in Gifu Prefecture allows all races, genders, species, and levels of existence to enter
You don't get much more inclusive than that.
Beauty pageants aren't quite as big as they used to be, with a lot of major organizers moving on to other things like becoming president of the USA. But they still go on, especially in more rural areas such as Gifu Prefecture, where the annual Nohime Gran Prix is held.
'Nohime' means 'Lady of No' referring to a historical region of No, where she is said to have come from. Little is known about her for certain other than she was married to the famed daimyo Oda Nobunaga around the time that he gave the area of Gifu its current name.
▼ This famous print shows Nohime (among the background crowd, dressed in white) fighting alongside her husband prior to his death in the Honno-ji Incident, but there is no evidence she was actually there.
The Nohime Festival was established in 2019 as a feminine answer to the Gifu Nobunaga Festival and Dosan Festival, both of which were in honor of men. The idea was to make a festival where women could shine, but along the way it was decided to open it up to celebrate everyone and everything.
One of the main events of the Nohime Festival is the Nohime Gran Prix, which isn't a beauty pageant in the strictest sense of the term, but very similar in that the winners become spokespeople for the event during that year. The rules for entry state that it is open to 'anyone who wants to promote Gifu Prefecture regardless of age, gender, or nationality (biological status is not an issue).'
That parenthesized part seems to just point out that biological sex is irrelevant, but it actually goes a lot further than that judging by this year's winners. In first place, we have Yui Takenaka. Her runners-up are Shion Sakuragi, Hanako Nawa, and a pair of corgies Mira and Ramu. The winners can all be seen in a photo tweeted by festival committee chairperson Rui Kawakami, who also points out that a parrot had won in a previous year.
濃姫グランプリがバズってる😳
濃姫グランプリを企画している #濃姫まつり は 濃姫生誕500年の2035年まで毎年開催しますのでご興味をもった方は次回ぜひご応募ください!\'年齢・性別・生体種不問'です🌸/過去にはオウムさんの入賞も🦜どなたでもご応募頂けます❤️🔥
by濃姫まつり2025実行委員長 https://t.co/Wuw3At3X7S pic.twitter.com/A9hpG4ECSB — 川上るい【濃姫まつり2025実行委員長】 (@rui_hitohito) April 17, 2025
The inclusion of not only other genders but even animals got a lot of attention on social media, with several people asking where the Nohime Gran Prix drew a line and Chairperson Rui Kawakami was more than happy to answer.
Question: 'Since it's not a living thing, a stuffed toy can't enter, right?'
Kawakami: 'As long as they have a love for Gifu, it's OK!'
Question: 'Can a strawberry run too?'
Kawakami: 'Of course they can apply! It doesn't matter what kind of organism it is.'
Question: 'Even VTubers can do it?'
Kawakami: 'Of course, that's OK! We haven't received applications from any yet, but we'd be happy to hear from you someday.'
Question: 'These are wonderful qualifications to apply. By the way… might AI be OK?'
Kawakami: 'AI!!! Of course, it's OK! We welcome AI contestants, but none have applied yet. We look forward to seeing you next time.'
It certainly appears that anything goes when it comes to the Nohime Gran Prix as long as entrants are all about promoting the festival and Gifu Prefecture in general. The response in online comments has been largely positive, saying that this is the way pageants should be.
'It's diversity but it doesn't feel heavy-handed. It seems so peaceful.'
'That group photo of the winners has a great atmosphere.'
'It's like an open weight class beauty pageant.'
'This is all over the place and I love it.'
'It's a pageant of cute things, whatever they may be.'
'This is what diversity should be, not forcing it but embracing it.'
'With all the negative news, this is really nice to hear.'
'I don't really get it, but I think it's really good.'
This year's winners were already declared in March, so we'll have to wait until next year to see who or what enters the next Nohime Gran Prix. On the bright side, this gives everyone a chance to come up with interesting entries alongside humans. I'm actually not a fan of eating them so much but always found strawberries to be rather aesthetically pleasing fruits and well overdue to win one of these things.
Source: Twitter/@rui_hitohito, Noruhime Matsuri, My Game News Flash
Top image: Nohime Matsuri
Insert image: Wikipedia/Nobukazu Yosai
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Japan Times
24-05-2025
- Japan Times
AI fiction is already here. Are humans ready?
In January 2024, Rie Qudan won Japan's most prestigious prize for early and mid-career writers, widely seen as the country's literary kingmaker. At the press conference, where she accepted the Akutagawa Prize for her novel 'Sympathy Tower Tokyo,' Qudan made an unthinkable admission to the press and literati: She had used AI to write it. Throughout 'Sympathy Tower Tokyo,' the narrator converses with a chatbot and the author said she took the bot's half of the dialogue directly from chatGPT, accounting for about 5% of the novel's total text. 'This novel really started with chatGPT,' Qudan later told national broadcaster NHK, saying she made 'full use' of the LLM (large language model) bot to conceive the story. The Japanese-language press seized on the story, which then spread to international media. Comments poured in online ranging from condemnation that Qudan's AI use was tantamount to plagiarism to jokes that chatGPT should receive 5% of the award money. A common sentiment read like a prophecy: 'I'm sure we'll see more writers using generative AI text in the future.' In Rie Qudan's AI-written story 'Kage no ame' ('Rain Shadow'), an abstract disembodied entity reflects on the end of the human race. | JIJI A year later, Qudan was back in the news. Piqued by the backlash over 'Sympathy Tower Tokyo,' editors from advertising magazine Kohkoku approached the 34-year-old author with a commission for their next issue: How would the author feel about, say, a story that was just 5% her — and 95% chatGPT? 'My editor said, 'That's so rude — obviously you can't accept?'' said Qudan at an event on April 6 at Tokyo's Aoyama Book Center to promote the new magazine issue, before adding with a giggle, 'I said, 'Ah, oops, I've already accepted.'' The magazine editors stipulated that Qudan would interpret 5% and 95% as she saw fit and she would publish the prompts she fed to the AI alongside the story. All told, Qudan said at the event, she felt her overall contribution was actually about half. Creating a decidedly nonhuman work for a nonliterary magazine appealed to her as a provocation and experiment. 'I am always looking for more possibilities,' she said. 'I'm someone who actively wants to do things that would be a little scandalous, things that would be out of the ordinary.' Human endeavors The Akutagawa Prize is given for literary fiction, called junbungaku in Japanese, or 'pure literature.' Like in English-language publishing, the lines between literary and genre fiction are blurry, yet attempts to draw or redraw those lines tend to bring out the cultural pearl-clutchers. In 'Kage no ame' ('Rain Shadow'), published March 25, an abstract disembodied entity reflects on the end of the human race. 'The last human drew their last breath without anyone noticing; the last emotion, too, melted away and disappeared without anyone to observe it.' The narrator, suggestive of an AI network with some semblance of consciousness (so to speak), contemplates the nature of human emotions using the memories of someone only identified as E.S. Memories, we learn later, which have been downloaded, because E.S., like the rest of humanity, is now gone. This isn't just another neural net waxing on the essence of human nature (more on this later); E.S. himself searched throughout his life for something like a 'pure' emotion that would, if isolated, allow people to get closer to reality. But the story, like its writing, maintains a hazy ambivalence. 'Emotions are simply tools,' E.S.'s mother tells him on her death bed, managing to sound both like a robot and a therapist. Write what you know What could be written off as a PR stunt for a magazine literally called Ads, takes on new import in the context of a relatively minor but nonetheless disconcerting event from a few weeks prior. On March 12, Sam Altman tweeted around 1,100 words (with the username @sama, which to a Japanese speaker sounds not unlike someone referring to himself as god). Like Qudan's 4,000-character story, his post is a work of fiction. It, too, involves a disembodied pseudo-consciousness contemplating the mechanics of human expression, in this case, grief. But unlike Qudan, Altman is not a writer; he's the CEO of OpenAI. And unlike Qudan's story, his was written completely by chatGPT. Altman reportedly fed chatGPT the prompt, 'Please write a metafictional literary short story about AI and grief,' and it responded with a story about Mila ('because that name, in my training data, usually comes with soft flourishes — poems about snow, recipes for bread, a girl in a green sweater who leaves home with a cat in a cardboard box') who for unknown reasons is grieving a character called Kai. In the same tweet, Altman asserts that his yet-to-be-released model is 'good at creative writing' and 'got the vibe of metafiction so right.' By seeming to come directly for writers, he must have known he'd get acerbic trolling right back. Critics compared the story to the work of an undergrad 'who has read a lot of Reddit posts and maybe one David Foster Wallace collection,' written with 'corny sentimentality and showiness (that) tends to fall back on clunky, graspingly incoherent imagery.' Both Rie Qudan and Sam Altman's AI-written stories had an AI narrator — a safe choice as an AI-written human narrator might quickly ring false with readers. | GETTY IMAGES 'This is the part where, if I were a proper storyteller, I would set a scene,' says Altman's AI narrator. 'Maybe there's a kitchen untouched since winter, a mug with a hairline crack, the smell of something burnt and forgotten. I don't have a kitchen, or a sense of smell.' Both stories have an AI narrator who views humanity at a confused remove. (A safe choice — an AI-written human narrator might quickly ring false with readers.) This shared conceit shows us both what draws people to AI-generated fiction and why it falls apart as a form of art. We are still in the 'AI — look, it sounds just like us. Can you tell the difference?' phase. But when art is a mere gimmick, the moment the gamut is revealed and the initial awe is past, we scroll quickly onto the next thing in our feeds. Perhaps the question isn't whether AI lit can make us feel — but can it make us feel seen? Great literature lingers, and when it's at its best, we feel understood. We feel we're not alone, that reaching across time and circumstances is the grasp of someone who has lived. Readers debate authorial intent ad nauseam, but what matters is that it exists. A neural network has never been anywhere, has never touched the wool of any sheep on any hillside, or been walloped by any betrayal. It can only summarize reports of grief or give a statistical approximation of joy. The bots know that. That's perhaps why Qudan's and Altman's stories both come to the same place — an artificial intelligence who just doesn't get us. Or maybe these two AI-generated works have something else to reveal: That for all our psychological and neurocognitive plumbing, we humans are still groping in the darkness to figure ourselves out. Kohkoku Case #01 is available at bookstores in Japan, visit for details. Rie Qudan's 'Sympathy Tower Tokyo' will be available from September 2025, visit for details.


Asahi Shimbun
08-05-2025
- Asahi Shimbun
French tapestry of scene from ‘Spirited Away' shown in Nagoya
A tapestry depicting a scene from 'Spirited Away' is on display at the Aichi Prefectural Museum of Art in Nagoya on April 11. (Photo by Yoshinobu Matsunaga © 2001 Hayao Miyazaki/ Studio Ghibli, NDDTM) NAGOYA--A colossal tapestry from France depicting a scene from Hayao Miyazaki's animated masterpiece 'Spirited Away' is on display at a special exhibition that opened on April 11. The exhibition at the Aichi Prefectural Museum of Art in the Higashi-Sakura district of the Nagoya's Higashi Ward will run until Aug. 17. The tapestry, which took nearly two years to complete, was woven by the International Aubusson Tapestry City, a renowned cultural and artistic center in Aubusson, France. Measuring 3.05 meters in height and 7.57 meters in width, the tapestry, shown in Japan for the first time, depicts the iconic scene of 'Spirited Away' protagonist Chihiro confronting enigmatic spirit Kaonashi (No-Face). The exhibition is part of a collaborative project connecting the 20th World Expo 'Ai-Chikyu-haku,' celebrating the 20th anniversary of the 2005 Aichi World Exposition, and Osaka Kansai Expo 2025, which opened on April 13. Aubusson tapestry-making, a craft originating in the Creuse region of central France, boasts a rich history dating back to the 15th century. In 2009, UNESCO recognized the traditional techniques and artistry of Aubusson tapestry as an Intangible Cultural Heritage of Humanity. Since 2019, the International Aubusson Tapestry City has embarked on a project titled 'Hayao Miyazaki's Imagination in Aubusson Tapestry,' which transforms scenes from the director's films into large-scale woven masterpieces. So far, four tapestries have been completed. At the exhibition in Nagoya, visitors can explore documents, preliminary sketches and trial weavings that illuminate the intricate tapestry-making process and offer a rare glimpse into the traditional techniques of Aubusson craftsmanship. Junichi Nishioka, vice president and head of publicity at Studio Ghibli, which produced 'Spirited Away,' shared his admiration for the tapestry. 'I was deeply impressed by the exceptional level of skill and passion,' Nishioka said. 'The tapestry conveys a striking sense of grandeur, radiance and the warmth unique to handwoven art.' Another tapestry, inspired by Miyazaki's 'Princess Mononoke,' will make its Japan debut at the French Pavilion of the Osaka Expo. It depicts protagonist Ashitaka and his loyal red elk, Yakul, standing together in a forest scene. Admission for the exhibition in Nagoya is 500 yen ($3.5) for adults, 300 yen for high school and university students, and free for junior high school students and younger. The museum is closed on Mondays, except for holidays, and from June 9 to July 3 for exhibition changes.


SoraNews24
22-04-2025
- SoraNews24
Pageant in Gifu Prefecture allows all races, genders, species, and levels of existence to enter
You don't get much more inclusive than that. Beauty pageants aren't quite as big as they used to be, with a lot of major organizers moving on to other things like becoming president of the USA. But they still go on, especially in more rural areas such as Gifu Prefecture, where the annual Nohime Gran Prix is held. 'Nohime' means 'Lady of No' referring to a historical region of No, where she is said to have come from. Little is known about her for certain other than she was married to the famed daimyo Oda Nobunaga around the time that he gave the area of Gifu its current name. ▼ This famous print shows Nohime (among the background crowd, dressed in white) fighting alongside her husband prior to his death in the Honno-ji Incident, but there is no evidence she was actually there. The Nohime Festival was established in 2019 as a feminine answer to the Gifu Nobunaga Festival and Dosan Festival, both of which were in honor of men. The idea was to make a festival where women could shine, but along the way it was decided to open it up to celebrate everyone and everything. One of the main events of the Nohime Festival is the Nohime Gran Prix, which isn't a beauty pageant in the strictest sense of the term, but very similar in that the winners become spokespeople for the event during that year. The rules for entry state that it is open to 'anyone who wants to promote Gifu Prefecture regardless of age, gender, or nationality (biological status is not an issue).' That parenthesized part seems to just point out that biological sex is irrelevant, but it actually goes a lot further than that judging by this year's winners. In first place, we have Yui Takenaka. Her runners-up are Shion Sakuragi, Hanako Nawa, and a pair of corgies Mira and Ramu. The winners can all be seen in a photo tweeted by festival committee chairperson Rui Kawakami, who also points out that a parrot had won in a previous year. 濃姫グランプリがバズってる😳 濃姫グランプリを企画している #濃姫まつり は 濃姫生誕500年の2035年まで毎年開催しますのでご興味をもった方は次回ぜひご応募ください!\'年齢・性別・生体種不問'です🌸/過去にはオウムさんの入賞も🦜どなたでもご応募頂けます❤️🔥 by濃姫まつり2025実行委員長 — 川上るい【濃姫まつり2025実行委員長】 (@rui_hitohito) April 17, 2025 The inclusion of not only other genders but even animals got a lot of attention on social media, with several people asking where the Nohime Gran Prix drew a line and Chairperson Rui Kawakami was more than happy to answer. Question: 'Since it's not a living thing, a stuffed toy can't enter, right?' Kawakami: 'As long as they have a love for Gifu, it's OK!' Question: 'Can a strawberry run too?' Kawakami: 'Of course they can apply! It doesn't matter what kind of organism it is.' Question: 'Even VTubers can do it?' Kawakami: 'Of course, that's OK! We haven't received applications from any yet, but we'd be happy to hear from you someday.' Question: 'These are wonderful qualifications to apply. By the way… might AI be OK?' Kawakami: 'AI!!! Of course, it's OK! We welcome AI contestants, but none have applied yet. We look forward to seeing you next time.' It certainly appears that anything goes when it comes to the Nohime Gran Prix as long as entrants are all about promoting the festival and Gifu Prefecture in general. The response in online comments has been largely positive, saying that this is the way pageants should be. 'It's diversity but it doesn't feel heavy-handed. It seems so peaceful.' 'That group photo of the winners has a great atmosphere.' 'It's like an open weight class beauty pageant.' 'This is all over the place and I love it.' 'It's a pageant of cute things, whatever they may be.' 'This is what diversity should be, not forcing it but embracing it.' 'With all the negative news, this is really nice to hear.' 'I don't really get it, but I think it's really good.' This year's winners were already declared in March, so we'll have to wait until next year to see who or what enters the next Nohime Gran Prix. On the bright side, this gives everyone a chance to come up with interesting entries alongside humans. I'm actually not a fan of eating them so much but always found strawberries to be rather aesthetically pleasing fruits and well overdue to win one of these things. Source: Twitter/@rui_hitohito, Noruhime Matsuri, My Game News Flash Top image: Nohime Matsuri Insert image: Wikipedia/Nobukazu Yosai ● Want to hear about SoraNews24's latest articles as soon as they're published? Follow us on Facebook and Twitter!