<a target="_blank" rel="ugc" href="https://en.wikipedia.org/wiki/One_Hundred_Views_of_New_Tokyo">One Hundred Views of New Tokyo</a> ((新東京百景 or Shin Tōkyō Hyakkei in Japanese) was a subscription series of <a target="_blank" rel="ugc" href="https://publicdomainreview.org/collection/aftershock-of-the-new/">Japanese woodblock prints</a>, produced by eight artists between 1928 and 1932. It was the flagship work of the <a target="_blank" rel="ugc" href="https://en.wikipedia.org/wiki/Sōsaku-hanga">sōsaku-hanga</a> movement, which aimed to redefine woodblock printing as a new kind of individual-driven, unified art.Their model was <a target="_blank" rel="ugc" href="https://en.wikipedia.org/wiki/One_Hundred_Famous_Views_of_Edo">One Hundred Famous Views of Edo</a>, a woodblock series published in the late 1850s by Utagawa Hiroshige — <a target="_blank" rel="ugc" href="https://en.wikipedia.org/wiki/Edo">Edo</a> being the former name of Tokyo. The "new" Tokyo they were chronicling was prompted by the <a target="_blank" rel="ugc" href="https://en.wikipedia.org/wiki/1923_Great_Kantō_earthquake">1923 Great Kantō earthquake</a>, which had killed more than 100,000 people and demolished much of the city. Many of their images focused on the city's modernization through rebuilding, featuring scenes of movie theaters, coffee shops, and putt-putt golf rather than just traditional nature scenes. Some approached an illustrated realism in their depictions, while others rendered forms in abstractions. This embedding was based on <a target="_blank" rel="ugc" href="https://publicdomainreview.org/collection/aftershock-of-the-new/">30 prints from One Hundred Views of New Tokyo</a>, created by Fujimori Shizuo, Fukazawa Sakuichi, Henmi Takashi, Kawakami Sumio, Maekawa Senpan, Onchi Kōshirō, and Suwa Kanenori. It was cooked for a total of 300 steps on base SD 1.5: 16 vectors per token, a 0.004 learning rate, a batch size of 6, and 5 gradient steps.Your ratings, especially of the five-star variety, are very much appreciated.

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