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The concluding highlight of Expo 2025 Osaka, Kansai’s Theme Weeks will be a special 90-minute panel discussion featuring all eight Theme Project Producers.

Since the earliest stages of preparation, Expo 2025 has been guided by a fundamental question: “What is life?”
Each Producer has explored this profound inquiry through their Signature Pavilion, addressing it from different perspectives—ranging from science and technology to culture, society, and the environment.

In this culminating session, the Producers will come together to reflect on their journeys, share insights from their creative challenges, and reveal how their visions connect to the future of humanity. More than a retrospective, this dialogue will open the central question of “life” toward the future: How can it shape the design of our societies? What challenges must we embrace and pass on to the next generation?

This 90-minute finale will reimagine the vision of a “Future Society for Our Lives” that Expo 2025 aspires to co-create, and serve as a new starting point for collaboration.
As the culmination of the Osaka, Kansai Expo Theme Weeks—and as a dialogue that opens the door to the future—we warmly invite you to join us.

【Program Summary】
This session brought together eight Theme Project Producers—each representing the vision of “Designing Future Society for Our Lives,” the core theme of Expo 2025 Osaka, Kansai. The producers reflected on the achievements of their respective Signature Pavilions, sharing diverse perspectives on “Life” that emerged through the Expo and discussing possibilities that extend beyond the SDGs. Each speaker, from the fields of science, art, architecture, media, education, and technology, explored life from a unique angle, presenting creative visions for a sustainable—and more importantly, regenerative—future.

【Speaker Summary: Hiroaki Miyata】
Professor Hiroaki Miyata, who oversaw the entire program, emphasized the significance of bringing together eight Thematic Project Producers, each presenting their own unique worldview and philosophy on the theme of “Life.” For Miyata, Expo 2025 is not merely an exhibition or showcase, but a living process—a platform for dialogue where human imagination and the potential of society intersect to co-create the future.
At the outset, he noted that having all eight producers gathered in one forum was an exceptionally rare opportunity. Through the fusion of their distinct personalities and areas of expertise, a multi-layered vision emerged—one that transcended the conventional model of the Expo as a single, unified narrative or fixed vision of the future. Each producer’s thematic pavilion illuminated the universal theme of “life” from a different dimension—science, art, philosophy, ethics, and technology. The very act of these diverse perspectives colliding and resonating with one another, he said, embodied the essence of the “Designing Future Society for Our Lives” vision that the Osaka–Kansai Expo aims to realize.
Reflecting on the six-month Expo, Miyata remarked that beyond visitor numbers and satisfaction levels, what mattered most was the increase in visitors who continued to ask questions. Each pavilion functioned not as a place to provide answers, but as an instrument to share fundamental questions such as “Why?” and “How should we live?” He stressed that “the Expo is no longer something to observe—it has become an experience of thinking together.” This transformation, he argued, marks a shift from achieving the “goals” of the SDGs toward a new phase—Beyond—in which people reconstruct their own values and collaboratively create futures that extend beyond predefined objectives.
Miyata also referred to the organic connection between the Theme Weeks and the main Expo exhibitions. By interlinking national pavilions, civic events, and academic sessions, the Expo cultivated a network of resonating fragments of knowledge. In this sense, the Expo was not a collection of displays, but rather a co-creative arena that united wisdom from across the world.
In conclusion, Miyata stated that “the future is not singular, but plural—Futures.” This idea rejects a top-down, technocratic utopia and instead affirms a plurality of futures in which diverse cultures, ideas, and forms of life each weave their own rhythms. For him, a “Future Society for Our Lives” is not a completed ideal, but a society that values the very process of resonance, co-creation, and becoming.
Miyata’s reflections encapsulated the transformation of the Expo from a place that provides answers into a place that continuously shares questions, perfectly embodying the spirit and philosophy of SDGs + Beyond.

【Speaker Summary: Shin-ichi Fukuoka】
Biologist Shin-ichi Fukuoka presented, through his Signature Pavilion “Dynamic Equilibrium of Life,” the essence of life not as a history of “struggle,” but as a continuous chain of “symbiosis” and “altruism.” Although there were initially skeptical voices about the Expo, he reflected that over time, many visitors returned multiple times, transforming the site into a place where people could personally experience the meaning of “life.” In particular, he cited the phenomenon in which a massive emergence of midges was followed by the arrival of dragonflies, swallows, and bats, restoring ecological balance without human intervention. He described this as a “live demonstration of life’s dynamic equilibrium,” an opportunity for people to feel the self-regulating power of nature beyond human control.
At the core of the pavilion lies the concept of Dynamic Equilibrium—the idea that life is not a fixed structure but is sustained through an ever-changing flow of molecules, embodying stability through constant transformation. Fukuoka rejected the traditional view of evolution as a “history of competition,” redefining it instead as a “history of coexistence and altruism.” He warned that when human society forgets this principle of life, sustainability itself is lost.
From the perspective of SDGs + Beyond, Fukuoka pointed out that “humans alone have created an unsustainable world.” While all living systems function through flow—continuously passing resources to others rather than storing excess—human civilization has built systems of stock, accumulating and dividing rather than sharing. True sustainability, he argued, lies in maintaining circulation and mutual sharing, as life itself does.
He also compared the axis-based structure of Expo 1970 to Expo 2025’s Grand Roof Ring, describing the latter as a “cell membrane”—a permeable, oscillating space that connects the inside and the outside. Human society, too, he argued, must evolve into a flexible network of mutual influence, rather than a closed and rigid order. He further criticized the modern “job description–based” organizational model and urged that society learn from the stem cell–like flexibility of living systems—structures that adapt their roles to changing circumstances and support one another cooperatively.
Finally, Fukuoka stated that “life is not designed; it emerges.” He concluded that instead of relying on excessive control and planning, humanity should find order within fluctuation and generation itself. Returning to the principles of life—coexistence, reciprocity, and circulation—he affirmed, is at the very core of SDGs + Beyond.

【Speaker Summary: Shoji Kawamori】
Director and mechanical designer Shoji Kawamori presented his Signature Pavilion “Adventure of Life,” built around the theme of the continuous “chain reaction” in which life connects, encounters, and transforms. He explained that he sought to express life not as something consumed in a linear process, but as an ongoing “process of fusion and transformation” that arises through mutual interaction among living beings.
At the heart of the exhibition was an immersive experience that allowed visitors to perceive the world from the perspectives of other living beings—fish, birds, and microorganisms. Kawamori invited visitors to imagine that when humans eat fish, they are “merging with the fish to become a new living being.” Through this, he redefined the act of “eating life” not as domination but as symbiosis, encouraging a shift away from an anthropocentric worldview.
He also stated that “life is an infinite chain reaction,” extending this concept to intellectual and emotional exchange as well. Reading, he explained, is one such form of fusion and transformation—when we internalize another person’s thoughts and merge them with our own, we are participating in a living chain of ideas. The exhibition was designed to enable visitors to feel physical and emotional changes as they connected with nature, others, and society, ultimately allowing them to realize that “the brilliance of life lies in its continual transformation.”
Kawamori’s remarks intertwined his creative imagination with a profound philosophy of life. The recurring motif of “fusion and transformation,” which has long characterized his animation works, was reinterpreted here as a philosophy of living beyond the realm of entertainment. From the cosmos and sunlight to air, water, and microorganisms in the soil, all existences continuously interact and transform themselves. Within that endless cycle, he said, lies the universality of life.
He further noted that while social life requires adherence to individual rules, we are all living beings participating in an infinite chain of existence. He called for renewed awareness of humanity’s connection with other forms of life. Through film, sound, and spatial design, his pavilion embodied this philosophy, offering visitors an experiential sense of vitality and circulation.
Kawamori’s work transcended the boundaries of science and art, providing an experiential symbiosis through the senses that inspired many visitors to recognize that “they too are part of nature.” In his words, “the brilliance of life” is precisely the continuous process of transformation through resonance with other lives.

【Speaker Summary: Naomi Kawase】
Film director Naomi Kawase presented the concept of “Dialogue Theater – Testimony of Life” as an experimental space that reveals divisions existing throughout the world and seeks to address them through dialogue. Instead of showcasing exhibits, this theater holds nine intimate dialogue sessions per day, where people face each other directly and connect heart to heart in one-time-only encounters.
In each session, a visitor is randomly paired with one of 99 “speakers” to engage in a ten-minute conversation. The dialogue ends abruptly at the ten-minute mark, but the experience continues within each participant—who carries forward the realization that life can change depending on one’s state of mind. Kawase expressed her wish that participants would take home the feeling of “finding me within you, and you within me.”
She also hosted several special dialogues. One session on April 21 focused on a film about women from Palestine and Israel, during which the invited Israeli director and her mother shared the moving statement: “The color of the tears we shed is the same.” Another memorable session invited a war photographer from Kyiv, Ukraine, to speak in Nagasaki on the anniversary of the atomic bombing; he expressed his desire “to let go of the hatred that gives rise to conflict.” On April 25, a terminally ill couple engaged in a dialogue in which the husband said, “The final day continues forever—it never truly ends,” and he passed away 60 hours later.
Kawase stated her wish to carry forward the “recreation of life through dialogue” as a legacy for the future. Over the course of the exhibition, more than 1,600 dialogues took place in the theater. All of them were recorded on video and are being archived. Kawase explained that her intention was to create a “pavilion without answers”—entrusting each visitor with the task of continuing the story in their own hearts.
Her message serves as a profound contribution to the Expo’s broader discourse on peace and human rights, standing out among the eight thematic projects as one that directly engages with the very core of these universal values.

【Speaker Summary: Kundo Koyama】
Writer and producer Kundo Koyama, in his pavilion “EARTH MART,” explored the theme of reexamining “life” through the lens of “food.” At the beginning of his presentation, he recited his own poem titled “Life,” declaring, “To be able to eat is to keep other lives alive,” and “‘Itadakimasu’ is a word of gratitude, while ‘Gochisousama’ is a vow to live for tomorrow.” Through these words, he invited visitors to reconsider the ethical and spiritual significance of eating.
The pavilion was designed in the style of a supermarket, visually depicting, for example, the approximately 28,000 eggs a person consumes in a lifetime, as well as exhibits that allow visitors to feel the lives of fish, vegetables, and animals. These installations were intended to pose the question: “How many other lives do we receive in order to sustain one human life?” Moreover, by displaying photographs of dining tables from around the world, highlighting cultural and economic disparities, the pavilion encouraged visitors to reflect on “what it means to eat.” It offered a perspective that “to eat is to live together, gathered around the dining table of the Earth.”
Through these exhibits, Koyama hoped that visitors would experience “the happiness of eating,” and that saying “Itadakimasu” three times a day would serve as a “switch of gratitude,” inspiring mindfulness toward others and rediscovering the power of words. Visitors shared impressions such as “It made me feel kind,” which Koyama interpreted as evidence that the pavilion became “a place to reconsider self-centered thinking through the act of eating.”
As for his thoughts on the concept of “SDGs + Beyond,” Koyama stated that it should not simply mean “going beyond the SDGs,” but rather creating new systems. As one idea, he proposed introducing and sharing words or concepts from different countries and Japanese dialects that are little known elsewhere—publishing a new selection each year by country or region—to expand mutual understanding.
In conclusion, Koyama emphasized that what truly matters is how often we can recall the realizations gained at this Expo in our daily lives. He explained that our way of seeing and feeling changes through our “heart” and “gaze,” and that approaching people, nature, and the planet with a kind heart is, in itself, the essence of the SDGs. Finally, he stated that for people with different values to connect, it is vital to share emotional experiences such as “deliciousness” and “beauty”—moments that move the heart together—and that culture and the arts are indispensable for making such shared experiences possible.

【Speaker Summary: Hiroshi Ishiguro】
Roboticist Hiroshi Ishiguro used his Signature Pavilion “The Future of Life” to reexamine the relationship between humans and technology. He explored fundamental questions: “What is life?” and “What distinguishes humans from machines?”—approaching them at the intersection of science and philosophy.
At the center of the exhibition was a short film depicting a story between a grandmother and her grandson. After the grandmother’s death, the grandson struggles with whether to transfer her memories and personality into an android. The work invited visitors to ponder whether storing human memory in AI constitutes an extension of life or the birth of a new being.
Through this narrative, Ishiguro raised ethical and existential questions about how far technology can recreate life. Post-exhibit surveys showed that only about 25% of visitors said they would want to “become an android,” but nearly half supported the idea of preserving the memory of a loved one. “The division of opinions itself is meaningful,” Ishiguro emphasized, “because 93% of visitors said the experience made them think about the meaning of life.”
He argued that as AI and robotics advance, humanity must redefine what it means to be human. Abilities once considered uniquely human—emotion, empathy, connection—are now increasingly replicable by technology. Therefore, this is the moment for humanity to reflect on its own awareness of existence. “We need not fear technology,” he said. “Instead, we should use it as a mirror to better understand ourselves.”
In the context of SDGs + Beyond, Ishiguro stressed the importance of co-evolution between humans and technology. Technology should not merely be a tool for solving problems but a partner that expands human potential and fosters new ethics and values. As AI and robotics inevitably evolve, society must reconstruct a human-centered understanding of technology.
He concluded by saying that the future should not be feared but shaped through dialogue between humanity and its creations. For Ishiguro, the brilliance of life lies in that evolving relationship—where the human and the artificial reflect and transform one another.

【Speaker Summary: Sachiko Nakajima】
Musician and mathematician Sachiko Nakajima, through her pavilion “Jellyfish Pavilion – Playground of Life.” embodied the concept of “democratizing creativity across diverse forms of life.” Her vision was to create a society where everyone can access the joy of creation—one that transcends boundaries of disability, nationality, age, and social position, recognizing the mere act of existence itself as a source of value. Nakajima emphasized that “creativity is not a special talent, but a diverse power inherent in all forms of life,” and that the mission of this pavilion was to create a space to draw out that creative potential.
The Jellyfish Pavilion was an experiential playground that transformed through light, sound, and motion—as if the entire space were breathing. Explaining why she chose the jellyfish as its symbol, Nakajima said she was inspired by the “playful fluctuation” essential to both life and creativity. The jellyfish, with its transparent body, transcends the fixed sense of self and drifts harmoniously with other beings. It represents “something that cannot always be fully expressed in words,” she noted—an embodiment of the subtle, ineffable qualities that enrich life.
One of the pavilion’s most distinctive features was the participation of people with severe disabilities, intractable diseases, and visual or hearing impairments, who joined as attendants, volunteers, and members of the production team. From the creation process itself, Nakajima practiced the spirit of “co-creation among diverse beings,” stating that “diversity means allowing coexistence and weaving the future together.” Participants also came from abroad—including youth and artists from Mozambique, Ghana, Liberia, Jordan, and Italy—dramatically expanding a cross-border network of co-creation and collaboration through dialogue, art, music, culture, and education.
In the open admission space, around 270 workshops were held in collaboration with roughly 40 countries, welcoming visitors of all ages to play freely in a lively and inclusive environment. In the reserved area, about 5,700 live performances took place, each an improvisational celebration of life shared among diverse participants.
The exhibition featured interactive installations where visitors could “play the space”—touching or moving objects triggered responsive sounds and lights. Nakajima explained, “The world moves through diverse rhythms, and the resonance among those differences generates the richness of life.” In the Jellyfish Pavilion, this “harmony of different heartbeats” was made visible and audible, illustrating a vision of society where everyone can resonate and co-create at their own pace. She described this state—where diverse beings listen to one another’s existence and live authentically—as “the music of life.”
In closing, Nakajima stated, “We all possess diverse and explosive creativity,” presenting the philosophy of SDGs + Beyond as a pursuit of the “democratization of creativity”—a society that opens and nurtures such creative potential. The Jellyfish Pavilion, she concluded, served as a prototype for a future society where everyone, regardless of disability or nationality, can create and celebrate life together—a model for a “future society for lives to shine,” and emphasized that the next crucial step is social implementation of these ideals.

【Speaker Summary: Yoichi Ochiai】
Media artist Yoichi Ochiai reexamined the relationships between humans and technology, matter and time, and memory through his Signature Pavilion “null².” He described the Expo not as a temporary event, but as “a living, evolving organism,” a project that continues to change as visitors and creators weave connections within it.
Ochiai envisioned the entire venue as “an organic network of circulating consciousness and information,” praising the self-driven participation of citizens and youth on social media. “Even when major media were indifferent,” he recalled, “citizens themselves generated enthusiasm. That is the new form of a ‘Future Society for Our Lives.’”
He recounted how, during the pavilion’s operation, fragments of the pavilion’s membrane were distributed through crowdfunding. Many visitors expressed a desire for “used pieces” rather than new ones—a sentiment that deeply moved him. “Scars,” he said, “are where memories reside.” These fragments became not mere materials, but symbols of shared experience and collective memory.
Behind this idea lies Ochiai’s aesthetic principle that “matter gains value only when touched, used, and changed over time.” He explained, “Recycling is meaningless without people. True recycling is bringing materials back into circulation after they’ve absorbed human stories and memories.” Through this, he expanded the SDGs + Beyond framework from material regeneration to emotional and sensorial circulation.
Drawing on the legacy of Expo ’70, Ochiai cited artists and architects such as Taro Okamoto, Kenzo Tange, and Arata Isozaki, whose creations continued to influence their later work. Likewise, he hoped his pavilion would live on as a memory within others—an experience to be rediscovered ten or twenty years later. “If someone laughs one day and says, ‘I still remember how my skin tingled in the null² Pavilion,’ that will be the legacy,” he smiled, viewing the Expo not as an ending but as a beginning.
For Ochiai, the brilliance of life lies in shared memory. When technology and materials are transformed through human touch, emotion, and time, they attain a kind of vitality. He concluded, “The future is not about achieving completion—it is the process of continual transformation itself.” In this sense, SDGs + Beyond becomes the practice of recycling emotion, memory, and sensibility as the essence of human progress.

【Discussion Summary】
In the final discussion, the eight producers shared visions of SDGs + Beyond from their respective fields. Ishiguro argued that humanity’s next stage is a civilization co-evolving with AI—a partner that amplifies emotion and intelligence rather than replacing them. Fukuoka reframed sustainability as perpetual transformation: “Among 3.8 billion years of life, humans are the only species failing to sustain themselves.” Nakajima stated that in the fields of education and human resource development, what is needed are “the ability to generate questions” and “playgrounds of diversity where everyone can mix freely.” She emphasized that creativity (the power of art) and inclusivity are the essence of what lies “Beyond.” Kawamori highlighted emotional engagement as the driver of change, calling for science-art integration. Kawase spoke of listening as a moral act that fosters empathy across divides. Koyama envisioned peace at the dining table through gratitude for all life. Ochiai stressed redesigning ethics and aesthetics in an era where digital media expands human sensibility. Miyata summarized that “Beyond is a civilizational challenge to redesign the relationships of life itself.” The dialogue bridged technology and art, ethics and economy, intellect and emotion—marking a shift from an age of “maintaining sustainability” to one of “resonating and co-creating.” The participants concluded that the future will not be built by a single genius but by collective creators, committing to a civilization centered on the resonance of life.