Born in Tokyo, Mr. Hayano is a graduate of the Faculty of Fine Arts of the Tokyo National University of Fine Arts and Music. After working at Toppan Printing, Ltd., and Toppan Printing Co. (America), Inc., he served as an executive at a number of companies related to Toppan Printing. Mr. Hayano has wide experience with a great variety of different kinds of work, chief among them research at museums in Europe and North America, negotiations for the rights to reproduce work by artists active both in Japan and abroad, the editing and production of books and promotional materials, graphic design, the organization and promotion of exhibitions featuring art and design from abroad, and the production and art direction for corporate calendars and introductory pamphlets. Since he founded e-Art, he has been involved in: 1) design and consulting for favored customers; 2) consulting in the general production of complete facsimile editions of Japanese picture scrolls (works of the National Treasure and Important Cultural Properties class) and the sale of the facsimiles produced; 3) the design and production of posters, pamphlets, and tickets for exhibitions of paintings and photographs; 4) the handling of negotiations for the copyrights necessary to reprint paintings, photographs, and illustrations in publishing company calendars, together with negotiations with the works' owners for the rights to use them; 5) and the translation from Japanese into English of manuscripts related to art and literature. Since 2001, Mr. Hayano has been volunteering his services in various musical projects, including the sponsorship and support of concerts by up-and-coming sopranos and participation, as a member of the Music Committee of the Foreign Correspondents' Club of Japan, in numerous projects organized by that group. Mr. Hayano founded the Mario Lanza Society of Japan as an NPO; when, having received the full support of the American group The Lanza Legend, the society was formally established in April, 2005, he became its first President. His purpose in the establishment of this organization was to use music to forge international friendships, promoting mutual understanding and cooperation by participating as the Japanese representative in events aimed at keeping alive the memory of the legendary tenor Mario Lanza and otherwise helping to promote exchange among fellow fans of his singing from around the world. Mr. Hayano is also a member of the Japan Advisory Committee of JACCC (Japanese American Cultural and Community Center, located in Los Angeles). He has served as a special lecturer at Shanghai's Fudan University, Musashino Art University, Tama Art University, Kyoritsu Women's University, and other universities.
The word "design" is used in an extremely wide variety of fields ranging from the graphic arts to architecture. The criteria we use to distinguish good from bad aren't always the same, however. This is because standards of value - the particular sorts of measuring sticks by which we evaluate things - vary from nation to nation, market to market, business to business, and company to company. Today, as things grow increasingly confusing on either side of the borders that divide regions, nations, and ethnic groups, we find ourselves forced to confront the reality of a world in which the spread of civilization and the spread of culture don't always go hand in hand. This has led to a decline in the vigor of our understanding of what "design" really means. A narrow pattern of thought that compels us to confine our gaze to a single nation, market, or consumer is stripping design of the universality it ought to possess.
People sometimes talk about the "everyday." The word has been popular with a certain type of critic and manager for at least a decade now. Sad to say, hardly any thought was ever given to its meaning; almost immediately it become a sort of cliche, and now it lies before us looking old and decrepit. If we were to give this word a new meaning that meets twenty-first century needs, however, "the everyday" would surely become a key term in our struggle for survival. In the current multicultural age, the everyday takes off from the recognition that "self = other," which leads us in turn to a whole series of new relations: "producer = consumer," "manager = worker," "aggressor = victim," "ruler = ruled." We should be able to create a whole new sort of design, then, on the basis of this discovery, the realization that there is a way to live with others, not as others, but as ourselves.
To be many-eyed doesn't simply mean to have more than just two eyes; it's also the psychological state of being many-eyed, which comes from being many-eyed. This is related to the fact that originally humans are, in fact, many-eyed. Modern man, it might be said, has lost the ability to exploit fully his many-eyed state as a result of the pressures brought to bear on him by society and its strictures. A whole variety of different perspectives are available to us; our brains work to give them focus and direction. When they all come into focus, we see through things; which is to say that we all have implicit within us a sort of magic eye. When we are simultaneously both many-eyed and magic-eyed, we gain access to a perspective with greater depth, and gain the ability to see forward into an unknown world. Perhaps this is what the 19th century poet Arthur Rimbaud meant when he spoke of the voyant.
Now that we've entered the twenty-first century, the whole world is experiencing all sorts of extreme upheavals: terrorism, war, natural disaster and new epidemics. All of a sudden we find ourselves entering an age in which we are no longer able to say that anything is "none of our business." The spread of mass media, which instantaneously flood the world with news of these things, has brought about a truly astonishing increase in the speed with which all sorts of different problems - political instability, economic stagnation, the stifling of markets, the short life of product value, natural disaster, etcetera - arise, threaten people's day-to-day lives, and sow seeds of worry in their minds. And yet ultimately, we all have to live our own everyday lives in our own country and region.
This is where design becomes relevant. Except that this "design" means something a little different from the word as it was used at the opening of this essay. What we are waiting for now is design suited to the age of globalization, profitable design that can develop vertically and horizontally between people living their everyday lives in a period defined by multiethnicity, multilingualism, and a multiplicity of religions. In order for design to play a determining role in the existence of the human race as such, a flexible intellect and sensibility will have to be part of every change, and each individual will have to establish a multiple identity of his or her own. This is a sort of trump card that can be played in everything that humanity is now involved in, and it will point the way toward a solution to all sorts of problems we now face: how to sympathize with other cultures, how to respond to change, how to live the everyday, how to see things in greater depth.
It's worth taking another look at the etymological root of the word "design": the Italian word "disegno." This word came into use during the Italian Renaissance; early on it served as a source of artistic inspiration, but now it is used in other areas, too, not just the plastic arts. We need design that crosses temporal and spatial borders, design that can contribute to the activities of both NGO and NPO, encouraging development sensitive both to resources and to social welfare, to the protection of both human rights and the natural environment, and to the particular and the universal. Tolerance and patience with respect to cultural difference are essential, as is a willingness to act without compensation. If we can manage these things, we are sure to discover all around us criteria that will pass muster around the world, and will be able to break down the barrier between the visible and the invisible.