We participated in ALTERNATIVE KYOTO, an art festival held across various locations in Kyoto. At Muko Shrine, a historic shrine in Muko City, Kyoto Prefecture that houses Important Cultural Properties, we reconfigured Corey Fuller’s 2020 work “Sanctuary” into an installation on a 12 × 3 m LED screen. In the serene space of the shrine after sunset, the ambient work, with its slowly transforming vivid landscapes, created a warm and soothing atmosphere. The space drew not only fans of digital art, but also families and local residents, who spent long periods watching the ambient work as time passed gently. Rather than an interactive or surprise-driven piece, it proposed an ambient, chill-out perspective, inviting viewers to gaze at the landscape from a bird’s-eye view.

A reel of activities that are not limited to existing monitors, such as in cities, immersive spaces, and installations. The concept is to create a spatial video world that is not limited to any device, and to have the video device function, each time the opportunity arises, as the point of contact between that video space and the viewer’s real space.

Using classic motifs from electronic music, Voice of Vision suddenly begins a countdown toward something unknown. With a techno-pop feel, this motion graphic appears on the streets of Shinjuku out of nowhere. This graphic is an experimental collaboration between graphic creator Seiya Nakano and the musician duo Satoshi & Makoto. Seiya Nakano is a technical director who has worked on many high-profile projects in Japan, with extensive experience ranging from projection mapping to large-scale visual installations. Satoshi & Makoto are artists who met at Kraftwerk’s Japan concert tour, and their releases on the Dutch label Safe Trip have drawn attention. The music is original, created by Satoshi & Makoto specifically for this work using vintage synthesizers from the ’80s and ’90s, along with meticulously simulated sound sources. Both the visuals and the sound were produced using unique methods and vintage equipment, unlike the tools used in today’s mainstream scene. With its creative roots in the old-school techno-pop of the 1980s, we enjoyed this collaboration as an homage to techno culture with artists who share that sensibility. A work presented in 2018 for the public art project Shinjuku Creators Festa, which has been participating since 2013. Using classic motifs from electronic music, a motion graphic with a techno-pop feel appears on the streets of Shinjuku and begins counting down toward something. This time, the visuals were created in an experimental collaboration with Seiya Nakano, and the music with the artist duo Satoshi & Makoto. Seiya Nakano is a technical director who has handled many prominent projects in Japan, including projection mapping and large-scale visual installations, while Satoshi & Makoto are artists who met at Kraftwerk’s Japan live performance, and their works released on the Dutch label Safe Trip have attracted attention. The music is original, created for this project by Satoshi & Makoto using vintage synthesizers from the 1980s and 1990s, as well as meticulously simulated sound sources. Both the visuals and the music were produced using unique methods and vintage equipment, rather than the mainstream tools of today. With its creative origins in 1980s old-school techno-pop, we enjoyed this collaboration as an homage to techno culture, working with artists who could relate to the idea.

Description: This is the live performance by Corey Fuller Break Ensemble, which fully recreated Corey Fuller’s electronic ambient album “Break” in ensemble form at WWW Shibuya in 2019. This acoustic performance was presented again as an audiovisual live show at MUTEK.JP in 2020, in collaboration with Synichi Yamamoto. Sound signals from the main parts, such as bass and piano, were received in parallel from the PA and used to drive TouchDesigner parameters, creating unique visuals in real time. Rather than using a subjective expression of feelings such as healing, which are themes in Corey’s work, the piece was deliberately composed from an objective perspective.

"Noesis" premiered at MUTEK at the National Museum of Emerging Science and Innovation as a 3D fulldome audiovisual performance work, and was later presented in domes in Canada, Mexico, and other locations. Based on the concept of the work as a spatial video piece that "cuts out and unfolds space according to the venue each time, depending on the output," a flat-screen version was realized in 2020 on a three-screen immersive setup at the Haneda Airport venue of the Agency for Cultural Affairs' Distributed Museum, with the cooperation of MUTEK.JP.