In the bustling city of Tokyo, Kazutaka Yonekura envisions a future where every individual possesses their own personalized digital “clone” – a virtual representation that can seamlessly undertake various tasks and responsibilities, such as attending virtual meetings on platforms like Zoom.
As the CEO of Alt Inc., a pioneering startup in Tokyo, Yonekura firmly believes that the integration of these digital avatars into our lives could significantly enhance our efficiency and overall well-being.
Currently, his company is diligently working on developing a sophisticated digital double, an animated image that impeccably mimics its owner’s appearance and speech patterns.
This innovative creation holds immense potential, as it can be employed in numerous practical scenarios, ranging from recruiters utilizing it to conduct initial job interviews to physicians leveraging it to pre-screen patients before checkups.
In a recent interview with The Associated Press, an individual named Yonekura emphasized the transformative power of a groundbreaking technological innovation.
With a sense of awe and enthusiasm, he proclaimed that this cutting-edge advancement liberated individuals from the shackles of monotonous and repetitive tasks that would otherwise consume their valuable time in the coming days.
As Yonekura proudly showcased his virtual doppelgänger, a miniature video representation of himself displayed on a computer screen, accompanied by a synthesized replica of his voice, he underscored the profound implications of this novel development.
By seamlessly automating mundane responsibilities, this remarkable breakthrough promised to grant individuals the freedom to pursue more meaningful endeavors, unburdened by the constraints of daily routines and obligations.
When posed with the question, “What kind of music do you like?” Yonekura’s digital clone takes a momentary pause, followed by an elaborate and verbose explanation regarding his penchant for music with energetic and rhythmic qualities, such as hip-hop or rock ‘n’ roll.
Although it may come across as somewhat mechanical, any potential social blunders have been meticulously programmed out of the clone’s behavior.
Yonekura, aged 46, asserts that this technology holds a more personal touch compared to other artificial intelligence systems like Siri, ChatGPT, or Google AI.
Most significantly, he emphasizes that this digital double is solely owned by the individual and not the technology company responsible for its creation.
However, at present, the cost of acquiring such a clone remains exorbitant, with each Alt clone commanding a price tag of approximately 20 million yen ($140,000).
Consequently, it may take some time before this technology becomes accessible to the masses.
The creation of a digital double involves a meticulous process of gathering information from social media platforms and publicly available records.
This vast data collection effort aims to store the data in software, which is then continuously updated to reflect the owner’s evolving habits and preferences.
Yonekura, a proponent of digital clones, envisions a society where individuals can devote more time to their creative pursuits and minimize tedious interactions.
This concept resonates particularly well with the Japanese, a nation renowned for introducing popular cultural phenomena such as Pokemon, karaoke, Hello Kitty, and emojis.
In their eyes, the digital clone assumes a friendly and approachable persona, akin to an animated character. However, Yonekura acknowledges that cultural differences exist, and Westerners may not embrace the idea of a digital clone as enthusiastically.
He expresses his frustration at frequently being asked why a personal clone is necessary instead of a digital agent.
Yonekura’s company, with its extensive domestic investments exceeding 6 billion yen ($40 million), has garnered significant support from venture capital funds operated by major Japanese banks, while also establishing fruitful collaborations with esteemed academic institutions such as the University of Southern California and the University of Tokyo.
However, the realization of large-scale production of digital doubles remains a distant prospect. Presently, the company offers more accessible alternatives, such as voice recognition software and virtual assistant technology.
Matt Alt, co-founder of AltJapan Co., a renowned company specializing in producing English-language versions of popular Japanese video games, as well as an accomplished author with works like “Pure Invention: How Japan Made the Modern World,” asserts that the concept of digital clones holds more cultural significance in Japan.
Drawing parallels to the historical practice of “bunshin-jutsu,” employed by ninjas to create illusions of doubles or helpers during battles, Alt highlights the prevalence of this idea in modern Japanese video games, manga comic books, and graphic novels.
He suggests that the allure of having an intimately understanding companion is universal, but acknowledges that in the Western context, the notion of an existing double may evoke a sense of unease.
One notable example of the replication of human traits through technology can be found in various forms of media, such as movies and animation.
For instance, films like “Invasion of the Body Snatchers” and Disney’s “Fantasia” showcase the concept of entities multiplying or imitating human characteristics.
Expanding upon this notion, INCS toenter Co., a Tokyo-based startup, has achieved remarkable success as a production company specializing in computerized music for a wide range of visual mediums including animation, manga, films, virtual realities, and games.
Their innovative approach involves utilizing Vocaloid artists, which are synthesized singers or musical acts often accompanied by anime- or manga-style characters.
In essence, Vocaloids are a manifestation of Japanese technology that utilizes computer software to replicate human traits or appearances.
INCS toenter has produced several hits, such as “Melt,” a song created in 2007 by the group Supercell, which has amassed an impressive 23 million views on YouTube.
Another notable success is the vocaloid unit HoneyWorks and their song “Kawaikute gomen,” meaning “Sorry for being so cute.” Additionally, Eve, who performs the theme song for the immensely popular anime series “Jujutsu Kaisen,” has garnered a substantial following of 4.6 million subscribers on his YouTube channel.
These examples highlight the increasing prevalence and success of technology-driven replication of human traits in the world of entertainment.
According to Tamura, overseas consumers may perceive it as quirky or excessively cute, with the exception of Japanophiles.
This observation raises an interesting point about cultural differences and the subjective nature of aesthetic preferences.
What may be considered endearing or charming in one culture may be seen as peculiar or even off-putting in another.
The concept of cuteness, or “kawaii” as it is known in Japan, holds a significant place in Japanese society and is deeply ingrained in various aspects of their daily lives.
From adorable mascots representing cities or companies to the widespread popularity of characters like Hello Kitty, the Japanese have embraced cuteness as an integral part of their cultural identity.
However, this cultural phenomenon may not necessarily resonate with consumers from other parts of the world, who may have different aesthetic sensibilities and preferences.
Thus, while Japanophiles may appreciate and even seek out such cute and quirky products, it is important for businesses to carefully consider their target audience and cultural context when introducing these elements into their marketing strategies.
The question of whether digital clones or Vocaloids could gain popularity outside of Japan has been a subject of speculation. While digital assistants, voice software, and computerized music are prevalent in the Western world, they do not possess the same characteristics as clones or Vocaloids.
Yu Tamura, the chief executive and founder of INCS toenter, finds hope in the rising global fame of Japanese animation and manga.
However, he cautions against the “Galapagos syndrome,” a term commonly used in Japan to describe how certain Japanese products, although successful domestically, struggle to resonate with international audiences.
Tamura believes that overseas consumers may perceive these products as eccentric or excessively cute, with the exception of Japanophiles who have a deep appreciation for Japanese culture. In his opinion, they may simply fail to comprehend the appeal of clones or Vocaloids.