About the Work “sonus-oleum ; Sonosorium” is a live installation in which visitors can experience works in different forms on each of the three floors of the ship-shaped facility (T-LOTUS M): B1F, 1F, and the rooftop. With the premise that “music becomes the energy that moves the ship,” the work explores the form of music born inside the ship through the following four formats. Live Performance 1 — The Birth of Music — This work begins with a live performance on B1F. The music is an original piece composed by Fumitake Ezaki specifically for this live installation. The performance is by Fumitake Ezaki (piano), Shuntaro Tsuneta (violin), Sonoko Muraoka (cello), and an automatic piano. The venue was designed with eight 3 m × 4 m screens installed on both sides of the performers, enveloping visitors in music and imagery. Real-time motion graphics synchronized with the instruments were projected onto the screens. The elements composing the real-time motion graphics are the piano’s output of keyboard input (88 keys), the strength and duration of pedal presses, and the hand movements of the violin and cello players captured using ring devices. The real-time motion graphics linked to the performers’ movements depict the energy of music being generated and floating upward to the upper levels. Interactive Installation — Variation through Images — The energy of the music born in the B1F live performance appears as bubbles within the interactive work on 1F. Seven 2.4 m × 2.4 m translucent screens were installed throughout the 1F space in alignment with the windows, and interactive visuals were projected onto them. When visitors touch the bubbles displayed on each screen, the bubbles split, and each note of the original piece transforms into a different timbre. Variations born from chance continue to be generated endlessly. Projection Mapping — Music Creates Wind — The variations generated on 1F rise further to the rooftop, where they create the wind that moves the ship. Using four large 30,000-lumen projectors, the wind stirred up by the power of music and striking the sails was projected above the visitors’ heads. Live Performance 2 — A Session with Returned Sound — In the second live performance held on B1F, the automatic piano played in real time the variations generated by visitors touching the bubbles on 1F, while Ezaki (piano), Tsuneta (violin), and Muraoka (cello) improvised along with it. The interplay of visitor-generated variations, improvised live performance, and real-time motion graphics evoked a new form of music. Through these four processes, this live installation created a landscape in which sound was “unlearned” and transformed into new sounds, continuing in circulation. The title “sonus-oleum ; Sonosorium” is a coined word combining sonus, meaning sound, and petroleum, meaning oil.

“Festivals” have long been a source of emotional support and a wellspring of vitality for people, both in the past and today. This work is a video installation centered on celebratory customs and festival events in Tohoku. It seeks to reconstruct the long-standing “special days” traditions of Tohoku by adding new perspectives and interpretations.

Audio-visual live performance by ∈Y∋ (BOREDOMS) at the Institute of Contemporary Arts in London for Parallel Vision #10, hosted by NTS Radio in the UK. The two-hour event consisted of three sets and revolved around Singeli, a fast-paced dance music genre from Tanzania. The visuals were synchronized to its high-tempo beats, expressing the music’s intense energy through imagery. By fusing in elements of AI, the performance amplified an immersive sense of chaos and speed.

This is the music video for the original song “Nibi,” released in 2026. I created the song, the visual system, and the web app. “Nibi” refers to a dull grayish color. In this work, I made ink-like coloration the basis of the visuals. Particles in the four CMYK colors drift through 3D space, repeatedly gathering into and dispersing from the shapes of lyrics and motifs to construct the imagery. For the overlapping colors, I used subtractive color mixing calculations; the denser the particles become, the darker they sink as the inks blend together. Although the work is presented on a display, a texture like dynamic printed matter emerges, as if halftone dots on paper were dancing. The particles converge from flat shapes, noise, pendulums, and other geometric patterns into letters, then scatter once again. Rather than a continuous sequence of completed letters, the transitions of gathering and dispersing themselves are the main visual attraction. All of the visuals in this work are rendered as a continuous video within a web app, and the MV video was exported as a single uninterrupted shot with no cut editing. The lyric text is placed in 3D space and is framed by the camera angles set by the creator. I released this web app itself as a viewer, allowing viewers to freely move the camera in the browser and explore areas beyond the viewpoints selected for the MV. This is an attempt to open up both the production process of the visual work and the experience of the creator’s selection of viewpoint itself. The source code is also available on GitHub. For the particle physics calculations, I used Three.js WebGPU’s TSL compute shaders to enable real-time GPU processing of a large number of particles. In environments that do not support WebGPU, it falls back to WebGL 2 and also works on smartphones. MV website https://monotonmusic.com/nibi/

At Expo 2025 Osaka-Kansai Expo, in the dedicated theater “499 Seconds: My Gattai” within the Signature Pavilion “Shin-Life Adventure” produced by Shoji Kawamori, 30 participants don VR headsets equipped with cameras and, through VR and MR technologies, simultaneously experience a universe-scale food chain—traveling beyond time and space from memories of the past in an immersive exhibition available nowhere else in the world. Through the “universe-scale food chain” envisioned by Shoji Kawamori, creator of numerous sci-fi works, visitors can experience the pavilion’s theme: “Life is fusion and transformation!” We were responsible for the direction and animation of this hyperspace theater “499 Seconds: My Gattai,” and, using spatial audio technology developed by SoVeC Inc. and Terasaka Bio Inc., we combined it with spatial audio produced by Sony PCL Inc. (hereafter Sony PCL), delivering a completely new audiovisual experience unlike anything before.

A 2024 VJ reel composed entirely of visuals rendered in real time with TouchDesigner.

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 work is an audiovisual live performance created for the “Omotesando interactivité Exhibition,” which was held for one week from July to August 2024. Based on the theme of «interactivité» (the dialogue that emerges between two or more entities), it presented in real time how sound and form change in response to one another. The visuals unfold around motifs such as waves and clusters of cubes, and in the middle section, a building appears. Here, a model of the architectural concept “A House That Separates Directions,” by monoton, was used and built so that it could be designed parametrically in TouchDesigner. By varying parameters related to the floor plan and structure, and by manipulating the camera viewpoint and sectional cuts, the work presents the relationship between sound and architectural form. The music was generated through live performance using Ableton Live, and the OSC signals sent from its output, as well as input from MIDI controllers, were reflected in the control of the visuals. The imagery was rendered in real time with TouchDesigner, presenting to the audience a performance in which sound and visuals developed in response to one another.

This is a reel of visuals used in live performance direction. I explored visual production as a lighting effect in a live setting. I experimented with creating visuals using a wide range of tools across genres, including live action, CG (Blender), simulations, audio-reactive systems (TouchDesigner, Resolume), and generative AI (Midjourney, Runway ML). In performances where shamisen parts are exchanged at high speed, manual operation with a controller could not keep up, so real-time visualization with TouchDesigner was effective.

This work is a video piece that was exhibited and screened as part of an ambient projection-mapping presentation at the EXPO Hall “Shine Hat” and the Popup Stage East Outside at Expo 2025 Osaka, Kansai. Taking as its motif the “EXPO 2025 Design System” IDs, affectionately known as “Komyaku” at Expo 2025 Osaka, Kansai, and with Kohta Hikichi, a representative member of the team that created it, serving as an advisor, we drew on the expertise in artificial-life ecological systems that HiRai has long been researching to create a real-time video simulation system and visuals. In producing the video, we referenced the design system’s history of being prototyped based on metaballs, and developed a real-time simulator in which the Komyaku behave as if they were alive while retaining the identity of the design itself. By using GPGPU to calculate the interactions among large numbers of Komyaku in real time, we built a system that can be flexibly expanded to support a wide range of possibilities, including interaction and the generation of one-of-a-kind videos. At the Popup Stage East Outside, we also took advantage of the architectural characteristics of a structure in which the projected image is interrupted by support columns, and created visuals that made it look as though each steel beam were packed full of Komyaku. We pursued video production that made the most of the characteristics of the projection surface. The name “Komyaku” naturally spread as a nickname referring to the IDs that make up the design system. Taking into account this derivative, fan-created cultural expansion, this work intentionally uses the term “Komyaku.”

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.

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.

auve is a 30-minute audiovisual work in which one person performs everything from visuals to music by analyzing images and converting them into sound. Drawing on over a decade of experience in live visual production, it analyzes visuals in real time and transforms the rapidly shifting motion of the imagery into sound through a variety of pixel analysis techniques. In doing so, it reveals the rhythm and tempo hidden within the visuals, creating an integrated audiovisual expression in which the images on screen and the sound are perfectly synchronized.

SOUL MOTION is an interactive map that uses location tags embedded in uniforms. The sensors capture real-time data and also display records of the past three days, such as weather, total communication volume, visitor numbers, and individual trajectories. When visitors approach the “soil” or “sofa” zones, virtual microbes swarm to those locations, showing how they multiply or decline depending on environmental conditions. A light touch on the sensors makes them scatter, revealing a constantly changing, dynamic map. By visualising invisible processes such as microbes, technology, and the delicate rhythms of human relationships, SOUL MOTION prompts us to reconsider the hidden environments around us and creates an opportunity to rethink the connections between people and between people and nature.