SOUL BUBBLE is an immersive art installation that visualises an individual’s mental and physical state. Inside a space surrounded by eleven screens, visitors sit on a single-seat sofa equipped with AI and sensors. The sofa reads changes in posture and centre of gravity, heart rate, breathing, and hand movements, visualising these signals in real time. States of mind and body such as relaxation, focus, tension, anxiety, excitement, meditation, and confusion are analysed and transformed into microbial-like patterns that spread throughout the entire space. At the end of the experience, the participant’s own behavioural data is projected onto the screens, stored, and used to advance the AI system. As more participants join, individual and collective data accumulate, revealing differences, distributions, and new tendencies. This ongoing process continually evolves the installation, forming an endless archive that keeps recording human states. Interestingly, many visitors were highly interested in their own results and came expecting to find a pattern of “high relaxation.” SOUL BUBBLE gently envelops the body like a bubble, while also presenting itself as a prototype for future sensing devices, where technology stays close to the body, responds to the soul, and brings to light the hidden layers beneath mind and existence.

"This Single Fragment of Absence" — the music video for a song released at the Mukushoku Toumei-sai

I directed the winter version of TOYO TIRES’ “Carve the Blue.”

The “To the Scientists of the Future” series is a science video released on the official YouTube channel of the National Institute for Materials Science (NIMS), a Japanese public research institution. It is produced to promote NIMS while widely sharing the appeal and fascination of materials research. Episode #20, “Trapping Light,” is a video about the origins of optical technologies that confine and control light within matter, typified by optical fibers.

A work that combines live action and animation. I was in charge of the animation.

Using the pufferfish as a motif, the design is born, repeatedly splitting and multiplying, and ultimately is released into the world as an entity that embodies both poison and beauty.

“Mobile Literature” (English: Mobile Literature) is a series that seeks to merge movement by bicycle and projection technology with literary expression, using a bicycle modified as a visual device to project texts written for each city onto the ground of those places while cycling through them. To date, the project has been carried out in Japan around the Tama River, in Ōgaki City, Gifu Prefecture, Atami, and around Tokyo Station, and overseas in Cairo (Egypt), Lusaka (Zambia), and London (United Kingdom). This work, “Mobile Literature: Kawasaki in the Shotashimura,” is a piece in which text written on the theme of southern Kawasaki City is edited into a visual work, and the text is projected onto the ground while cycling through the area at night on a bicycle. In “Mobile Literature,” writing is the act of inscribing into text the bodily sensation of motion, and the rhythm of breathing and travel, gained through the speed of a bicycle: slower than a car, yet faster than walking, at a human scale. The letters projected onto the ground are linked to physical sensations such as the force applied to the pedals, vibrations from the road surface, and changes in incline; they fluctuate, alter their shading according to speed and the texture of the road, and emerge with a singular, one-time expression, even when the same sentence appears. By treating bicycles and urban space itself as media, this series pursues the possibilities of literary expression rooted in place, as well as a reading experience impossible on paper or digital media. At the same time, because Ōgaki City, Gifu Prefecture—the site of the first work in the series—is the final destination of Matsuo Bashō’s The Narrow Road to the Deep North, the project aims to develop around the world, in the spirit of Bashō’s journey and contemplation.

This was the “Tsukiuta” video for November 2025, broadcast on TV Tokyo’s infant and toddler program “Shinapushu.” Aiming to create visuals that babies and young children could enjoy intuitively, the piece was produced by combining a variety of techniques, including hand-drawn animation, clay stop-motion animation, and live-action compositing. The main character, the mochi “Mocchan,” was sculpted in clay and animated in real life in order to give it a three-dimensional feel. Inspired by the texture and rhythm of SAKANAMON’s music, the video visualizes the feeling of “liking something” through rounded forms and pleasant motion. Set in a fantastical world, it was finished in the style of a road movie, following “Mocchan” on a journey in a kitchen car. Techniques: hand-drawn animation, stop-motion, clay animation, live-action compositing, After Effects

The composition and movement of the letters do not align with their meanings. The letters were freed from the meanings they carry and treated as mere rhythmic forms. The locations and styling were infused with the four seasons.

I searched for algorithms whose names begin with each of the 26 letters from A to Z, and used them to create animated typography. Since the rise of NFTs, the genre of generative art has been undergoing renewed reevaluation. Although I have spent many years writing code and making works myself, when asked, “What is generative art?” I often find myself unsure how to answer. At the core of generative art are algorithms. Of course, one can create one’s own, but there are already many “masterpiece” algorithms in existence. In this work, I reimplemented those algorithms in JavaScript. Through this project, I want to think about the appeal of coding and algorithms, apart from art or design. It is also an attempt to place value on the process, which is often overlooked in the age of AI, and to once again draw out the joy of implementation.

A new craft program that focuses on the “interestingness of movement.” By combining the program’s craft mechanisms with viewers’ ideas, something new is created. Making full use of expressive techniques unique to video streaming, it nurtures children’s interest in and ability for making things. This is the first special episode. Using smartphone- and tablet-based interactive segments such as “Ani-Kougei” and “Ani-Kamera” to suggest new ways of engaging with video, and clearly presenting the “Moving Craft Engine,” where simple crafts create surprising motion, the program also makes use of video expression to introduce and update what it can do now. Please take a look.