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.

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/

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

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.