An audiovisual live performance that premiered at MUTEK.jp 2021.

A 30-minute live performance brought together high-resolution topographic data obtained from artificial satellites, waves depicted by algorithms, terrain, and minimalist motion graphics inspired by Starlink’s orbit.

We designed an ambient LED signage display that “mimics ductwork.” The LED signage is modeled after ducts installed on the ceilings inside actual buildings, and has been designed as cylinders and rectangular prisms that are the same size as real ducts. It represents a new form of LED signage that coexists with architecture. The economic information displayed on the LED signage is updated in real time every day with economic data from SPEEDA and NewsPicks provided by Uzabase. It was conceived as a scene in which the information flows through the ducts together with water, racing through the city of Marunouchi, one of the centers of the Japanese economy. To mimic ductwork, we simulated how sunlight enters over the course of a year. In addition, by installing illuminance sensors and linking the display to the lighting in the interior space, we designed the visuals on the LED signage to be overlaid with shadows. By reflecting color from elements such as the staircase, we pursued “mimicry” as closely as possible.

Video installation created by a trio: photographer Taisuke Koyama × creative collective PARTY × musician Shohei Amimori “GINZA GROUND GAP” is an installation that brings subtle changes to the rooftop garden space through a chain of three media—video, photography, and sound—recorded, shot, and captured in the streets of Ginza. In this work, the scenery at ground level and the view from the rooftop gradually blend together, giving the streets of Ginza and the people passing through them a faint sense of unease and uplift. The video is created from the movement of people striding through Ginza; the photographs from objects on the street surface and those that create boundaries; and the sound from people’s footsteps and the vibrations of the air.

"WIRED" Japan Edition OFFICIAL MOVIE (2021 ver.)

Since the Muromachi period, Japanese people have used a restoration technique called “kintsugi” (Golden Repair), in which broken parts of ceramics are decorated with gold powder and regarded as “scenery,” finding artistic value in them. The footage, which also appears to be the surface of ceramics, is actually the Earth’s surface captured by a satellite. The images optimistically portray the Earth being “kintsugi”-repaired by human will, as melted Arctic ice caused by global warming and forests lost to wildfires are restored and begin to grow again. “Do not leave the cracked Earth as it is. We want to pass on this beautiful scenery to the next generation.” Isn’t such strong human will and action what is needed now? Produced for the Agency for Cultural Affairs’ FY2020 project “CULTURE GATE to JAPAN” Exhibited at VISION GATE (at Haneda Airport and Narita Airport)

A work exhibited at Jeep Real Hybrid e-Creators. Using visual programming, it depicts river confluences and boundaries that evoke the laws of constructal flow, and, with the regularity of terrain formed over long periods of time as its theme, this audiovisual work links dynamic crustal activity to sound, while the expressions of the landscape created by differences in elevation transform linearly.

As part of the “Media Arts Japanese Culture Promotion Project at Airports, etc.” organized by the Agency for Cultural Affairs, this work was exhibited in the “ETERNAL ~ A Thousand Seconds of Stillness” exhibition held at Haneda Airport. This work was created with inspiration from the production approach of the “Kirin Mon Mandala” designed by Sho-ryu and Yoji Hatoba. The technique of monshō-ue, in which circular emblems have been designed by combining perfectly round circles since the Edo period, as practiced by monshō-ue artist Mr. Hatoba, was applied to waveforms drawn through physical simulation by Seiichi Sega. Through the simple linear combination of variously sized circles, the work finds a sense of natural beauty and harmony, layering it over landscapes that seem to have arisen by chance, such as waves and terrain, and expressing the “moment of composition” in beauty. In response to the sound image by Kyoka, in which ripples are composed as a visualization of sound along the x, y, and z axes, a massive space surrounded by three screens was created.

A motion graphic created as a teaser movie for MUTEK.JP Edition 3. As an announcement for a music and art event, we used “TouchDesigner,” which has become a common programming tool for audiovisual performances and media art installations, to generate graphic materials for the teaser as well. We created a generative program in which multilayered lines and colors, matching the flat graphic imagery, are delayed and unfold over time. By interactively controlling that program, we live-recorded the endlessly generated line patterns on a PC and cut them together into a clip. Since it is promoted mainly on social media, the design development emphasizes a square format, such as dividing the frame at 45°.

In 2013, Shinichi Yamamoto worked on “The Movements,” a data visualization piece based on scientific data. This work is a spherical image piece created as a permanent program for “Geo-Cosmos,” the spherical display at the National Museum of Emerging Science and Innovation. http://www.omnibusjp.com/supersymmetry/research/project_3.html Then, in 2015, two years after “The Movements,” he began production on the 3D fulldome work “The Man from the 9 Dimensions,” which was released in 2016 and screened at Dome Theater Gaia at the National Museum of Emerging Science and Innovation. He was responsible for visualizing scientific concepts related to superstring theory in theoretical physics, as well as for the film’s visual direction. http://www.omnibusjp.com/supersymmetry/research/project_7.html In the media art scene, science and art have been drawing closer together, and visualization of data and waveforms has been actively pursued. Building on the two works mentioned above, which focused on data visualization and the visualization of scientific concepts, this work is a philosophical concept visualization piece (※) that visualizes, from an artistic perspective, the concepts and ideas that arise when considering the origins of nature, the universe, and all things. The work has a total running time of 30 minutes, and each track has its own theme, such as “reversal of perspective,” “invalidating position,” “elementary particle,” and “time.” Overall, however, the main theme of the entire work is the shape of the trajectory traced by time, expressed through the concept featured in Track 04, “Emerging Design”: the accumulation of moments. Since 2016, he has collaborated on the concept with science curator Dimitris Kontopoulos, and together with Intercity-Express (Tetsuji Ohno), with whom he has continued to collaborate on sound design, they created the work in eight tracks. For high-resolution 3D visualization, Seiichi Sega (superSymmetry) also took part, contributing not only computer-generated imagery based on physical calculations but also interactive performances using TouchDesigner. ※ Philosophical concept visualization: In this context, “philosophy” refers to the knowledge, experiences, and view of life gained through pursuing the nature and principles underlying all things. - Premiere screening at MUTEK.JP: Since the main venue for MUTEK.JP in 2017 was the National Museum of Emerging Science and Innovation, we planned and presented a version optimized for the museum’s Dome Theater Gaia 3D dome system, allowing audiences to experience the audiovisual performance in the best possible way, fully taking advantage of the dome’s specifications.

Teaser movie for MUTEK.JP, a global event for electronic music and digital art. While preserving the tone of the artwork developed in Montreal, the home of MUTEK, the teaser for MUTEK.JP extends that world and renders it in 3D. Within a three-dimensional space, it experiments with effects in which objects merge with one another or, conversely, are subtracted from one another.

Video installation featuring sixteen 85-inch large monitors arranged in a 16 m x 8 m gallery space. The looped video on each monitor is paired with a different sound and chord, and as the visuals and audio played at their respective cycles mix together in the large gallery space, they create a one-of-a-kind, once-in-a-lifetime experience.

A video work for the Nihonbashi Immersive Museum. One of the clips from Noesis, a spatial video work the artist has been working on since 2018, was reconfigured for the square space of the Immersive Museum. On view from July to September 2023.

superSymmetry’s reel clip from 2014 onward. A record of work that has crossed between artwork and client projects under the concept of expanding the possibilities of moving image.