XG初のワールドツアー【XG 1st WORLD TOUR “The first HOWL”】のファイナルとして行われた東京ドーム公演。COSMIC LABはライブカメラをモーショングラフィックス、リアルタイムVFXと自由度高く融合させる独自のシステムを構築してコンテンツを制作。 約1年に渡るワールドツアーのファイナルに相応しい熱気あるステージに、生カメ演出の未来を感じる一夜となりました。

∈Y∋とC.O.L.OによるA/V Live ユニット。世界各都市で公演を繰り広げる。 ■ Performances (2025-) Art Week Tokyo— Tokyo, Japan November 15, 2025 / FACETASM MUTEK.JP — Tokyo, Japan November 21, 2025 / Nocturne 1 Powerhouse: International — A New Arts Festival — Brooklyn, New York, USA December 5, 2025 Powerhouse: International A New Arts Festival CTM FESTIVAL — Berlin, Germany January 24, 2026 / Berlin, at Haus der Visionäre REWIRE FESTIVAL —The Hague, Netherlands April 10, 2026 Variations festival — Nante, France April 11, 2026 ∈Y∋は1986年にBoredomsを立ち上げ『Super æ』や『Vision Creation Newsun』などジャンルを打ち壊す作品を世に送り出し、世界中にファンを持つ存在となっている。また、ドラマーを集めて挑んだ壮大な「Boadrum」シリーズでも知られている。Sonic YouthやJohn ZornのNaked Cityのほか、Puzzle Punksなどのプロジェクトにも参加している。 本プロジェクトは、マルチメディアA/VコレクティブCOSMIC LAB創設者でもあるビジュアルアーティストC.O.L.OとのA/Vショーである。C.O.L.Oはテクノ元祖Jeff Millsとの合作『THE TRIP - Enter the Black Hole』や、∈Y∋との『FINALBY()』などで未知のAV体験を作り上げてきており、ヴィジュアルの構造がサウンドを生成し形作る統合システムを開発してきた。音と映像を切り離せない一つのメディアとして扱い、その場ならではの、人を変容させるような体験を生み出している。 AV/DJ/LIVE という枠を超えた加速的なハイブリッド、マキシマイズの先に立ち顕れるミニマライズ 。拡張されたシンゲリフューチャリズムや地殻原子オーディオ・ヴィジュアル・リアクティブで映像・光の不可分を加速。 A swarming bundle of chaos and fun surrounds Yamantaka Eye, aka ∈Y∋, the visionary founder of legendary avant-noise groups Boredoms, Hanatarash, and Puzzle Punks. Working since the 1980s, ∈Y∋'s output has influenced and shaped experimental music in his native Japan and across the globe. From noise and psychedelia to performance art and visual art, ∈Y∋'s career is a collage of creative mischief and devilish collaborations. He has performed with the iconic Sonic Youth, on John Zorn’s Naked City (1990), and with the influential South Korean artist Nam June Paik, among many others. Expect a face-melting and mind-warping audiovisual battery as the mutant cyberkinetic noise of ∈Y∋ is combined with the rampant visuals of C.O.L.O from Osaka’s Cosmic Lab to birth an immersive audiovisual performance. Through projects such as FINALBY( ) with ∈Y∋, C.O.L.O has developed integrated systems in which visual structures generate and shape sound, treating audio and image as a single, inseparable medium to create site-specific, transformative experiences.

In conjunction with the launch of Kurashiki Kako Co., Ltd.’s new corporate brand, “KURATECA,” we were responsible for the direction, design, and editing of the brand concept film. Kurashiki Kako provides products that support comfortable and safe living, leveraging its vibration and anti-vibration technologies used across a wide range of fields. By visualizing this invisible vibration control technology through live-action footage and animation, we created a film that conveys the company’s solid, life-integrated technology and helps support its outreach to the world.

Commentary: [triggering Save Lives ver.] is a new work born in response to the global pandemic, continuing the original [triggering] performance. A visualized representation of COVID-19 has been added to the conventional geometric motifs of [triggering], further enhancing the original interplay between sound and image. The work aims to create a stark contrast between “synesthesia,” the original theme of triggering, and the “chaos” brought about by the ongoing pandemic. “triggering Save Lives ver.” is an updated version of the AV work “triggering” series, which has been performed since 2014, and was created amid the global pandemic. By adding visualized representations of COVID-19 to the synchronization of sound with conventional geometric motifs and color patterns, the work aims to move back and forth between “synesthesia,” the theme of triggering, and the “chaos” caused by the pandemic.

Together with ASIACROSS, HATAMA, and SPOON, we planned and produced “Mayuu’s Chill Out Tunes,” a BGV (Background Video) content series that lets viewers enjoy a playlist from the Japanese Hip Hop label “SUMMIT,” one of actress Mayuu Yokota’s favorites, alongside footage of her spending a laid-back day. We created five situations in total—Morning, Afternoon, Evening, Night, and Midnight—resulting in a long-form piece running about nine hours altogether. From waking up and brushing her teeth, to relaxing in the living room while eating lunch, to talking on the phone against a sunset backdrop, to the moment she drifts off to sleep, viewers can spend a mellow day together with the unfiltered, natural Mayuu Yokota while enjoying the music. Inspired by Yokota’s own love for Japanese Hip Hop, we aimed to make this a higher-quality BGV content that makes the most of her talent and encourages repeat viewing.

Description: This work proposes new possibilities for physical and visual expression by combining a special camera setup and image processing on a high-spec PC while maintaining social distance. By decomposing and reconstructing the body information created by the dancer’s bodily structure and movements using various rules, it generates a geometric world that cannot be created by the body alone.

One MC, one microphone, and a simple beat. That’s all there is in the studio. In this stripped-down setting, what kind of words will be woven? JKD produced Season 2 of “64 Bars,” a content series from Red Bull Music’s special project that records 64 bars in a single take. With Anarchy as curator, the series features nine of today’s hottest rappers and nine trackmakers across generations, including Miles Word, Leon, and Chinza Dopeness.

The Akanko Ainu Craft Cooperative, which is engaged in awareness-raising activities to promote Ainu culture, and the NPO Akan Tourism Association Town Development Promotion Organization, which works on destination development as a Japan-style regional DMO, have revamped the lineup at the Akan Lake Ainu Theater “Ikoro*1.” A new program, “Akan Yukar*2: Lost Kamuy,” which combines digital art and traditional Ainu dance, began public performances on March 19, 2019. WOW was responsible for the stage video direction and production. This program was created to introduce the traditional culture inherited by the Ainu people of Akan Lake Onsen, including their songs and dances, to the many visitors who come to the area from Japan and abroad. Creators attracting attention in fields such as photography, digital art, and sound design, including Nagi Yoshida, Kuniyuki Takahashi, UNO, WOW, and Daisuke Sakamoto (JTB Communication Design), gathered in Akan Lake. Combining traditional Ainu dance, contemporary dance, 3DCG, and 7.1-channel surround sound, they produced the new performance “Lost Kamuy,” which brought the stage to life through five projectors. In the work, a story themed on “the coexistence of the Ainu and the Ezo wolf” is dynamically brought to life through digital technology and dance, allowing audiences to fully experience the Ainu worldview, born from the songs and dances of a people who have revered nature and lived in harmony with it. In addition, the performances “Ainu Traditional Dance” and “The Iomante Fire Festival” have also been renewed, introducing Ainu culture through both traditional and innovative staging. *1 “Ikoro” means “treasure” in the Ainu language. The small “ㇿ” represents an Ainu sound. *2 “Yukar” is a word meaning “epic poem” passed down among the Ainu people.

Live production for Midnight Grand Orchestra, the music unit of Hoshimachi Suisei and Taku Inoue

This is a motion graphics piece for the rap section, produced as part of the background visuals for the TOP 8 opening live performance at KAGARIBI #15, an unofficial Super Smash Bros. tournament held at Makuhari Messe. The rap part of the theme song "THRONED," created by the beatbox crew SARUKANI, has been visualized through motion graphics to craft a high-impact video. While it is 2D-based, I took on the challenge of incorporating 3D footage sparingly to achieve a richer visual quality. By picking up the various lyrics—a mix of Japanese and English—and the unique sounds produced by beatboxing, I have attempted to visualize the music through a diverse range of motion graphics tailored to each specific element.

The 21st installment of "JapEn," a collaboration video project that caps off a year of pen spinning in Japan.

A laid-back talk show featuring the kappa Panini and a puppet of a human child voiced by a voice actor. The show also expanded beyond the program itself into live events. This was a project I planned and brought to life independently because I wanted to create something like s◯kus◯ku-style content, but with voice actors. We also produced in-show animation and puppet comedy sketches. Be sure to check out the opening theme song, “Would You Still Be My Friend If I Had Three Anuses?”, sung by Shunichi Toki and Kento Hama!!

As the culmination of an ongoing music and visual collaboration project with sound producer SKYTOPIA, an EP release party was held. I was in charge of VJing from the latter half of the setlist. Making bold use of the permanent 4K LED screen at Daikanyama Theater Guild, the performance was designed to envelop the entire space. For this show, an Audio Reactive system using TouchDesigner was introduced for the first time. By generating visuals and effects that respond to audio signals in real time, the performance aimed to create an expression in which sound and imagery merge dynamically. On the other hand, there were no shortage of challenges on the technical side, including the complexity of the COMP structure and the flexibility of operation. Going forward, I plan to continue making updates, with an eye toward redesigning the system, including improvements to the layout and operability.

This is a recording of a solo live performance given at the audiovisual event “Flow vol.8” (2025), held at Ritsumeikan University’s Osaka Ibaraki Campus. All of the sound and visuals were performed live in real time by a single person. A 300-inch LED screen was installed in the venue, and the glass windows beside it reflected the screen like a mirror at night. To make use of this environment in the performance, the visuals were designed to move back and forth between the physical screen and its reflected image. Specifically, the visuals were rendered on a canvas equivalent to two screens wide, then folded back and overlaid before being displayed on the screen, allowing the image to move from the screen to the glass and back again. The audience experiences the boundary between the actual screen and the virtual image dissolving, with the visuals freely circulating between the two. The title “Mirrored” comes from this reflective structure. In addition, since the brightness of the 300-inch LED screen itself functions as the venue lighting, the overall light and darkness of the space, as well as the pacing of the performance, were designed through the use of flashes and control of the screen’s overall brightness. The music and visuals are synchronized via OSC, and all images are rendered and controlled in real time. The sound is spatially arranged through 4-channel surround output, and together with the reflected visuals, the performance is designed to envelop the audience through both sight and sound. It is a one-of-a-kind performance inspired by the specific conditions of the venue, and possible only in that place.