Snake Line A video installation by filmmaker Shinichi Yamamoto and musician Tetsuji Ohno (Intercity-Express). Set at the biotope located at the edge of the forest within the expansive grounds of Nagaoka Institute of Design, the work features a 20-meter screen constructed from 40 connected LED displays. Positioned at the forest's margin — visible from the campus buildings — it unfolds amid the falling leaves of late autumn. From 9 a.m. to 9 p.m., the work continuously shifts in response to the changing quality of daylight, rain, and the darkness of night reflected across the water's surface. Emitting vivid, high-saturation color, the installation neither confronts nor overwhelms its natural surroundings, but settles quietly into the landscape. The sound, composed by Ohno, builds an ambient sonic environment rooted in field recordings of a suikinkutsu — a traditional Japanese water instrument. Snake Line was produced as part of VideoListening, a media art program directed by Shinichi Yamamoto.

Calligrapher Mariko Kinoshita’s inscription of a passage from Kamo no Chomei’s *Hōjōki* is divided into squares and redefined as “fragments.” Film artist Shinichi Yamamoto assigns a time axis to those cells using a unique algorithm, while musician Corey Fuller layers an ambient soundscape built from deconstructed and reconstructed readings of *Hōjōki*, creating a multilayered interplay among the three artists’ expressions. Blending Japanese views of life and death—such as “ku” (emptiness), “engi” (dependent origination), and silence—with a meta perspective on observing landscapes, the work becomes a weighty video poem that explores universality dwelling within impermanence. First unveiled in 2019 across the outdoor large-scale digital billboards of Shinjuku, it continued to evolve and in 2020 was expanded into an immersive spatial presentation at “ETERNAL ART SPACE” in Haneda Airport. In 2024, for its exhibition at Immersive Museum TOK (Shinjuku), it was reconfigured for a vast space of approximately 430㎡ and 6 meters in height. As fragments of calligraphy overlapped geometrically with waves and graphics, it was elevated into an immersive experience as a “reconstructed modern Zen garden,” drawing viewers into a serene spiritual world.

Video installation synchronizing ten 85-inch large displays. A reconfiguration of the Audio Visual work that Shinichi Yamamoto has been creating with Tetsuji Ono since 2009.

A work reconfigured from a large-format video piece originally developed for Shinjuku Unicorn Vision, for projection mapping onto two buildings at Nagaoka Institute of Design. The video was created in collaboration with Seiya Nakano. The music was produced by Satoshi & Makoto, who have attracted attention in the electronica scene for their production style using only Casio’s 1990s synthesizer, the CZ-5000. Both Mr. Nakano and Satoshi & Makoto are fans of Kraftwerk, and this work serves as an homage.

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.

Opening movie for Rakuten Group’s business conference, Rakuten OPTIMISM The logos of Rakuten’s various services were composed into motion graphics using procedural techniques. The music is an original composition by Ikuko Morozumi, who also handles live performances, label management, event organization, and releases from both domestic and international labels.

A video work for a sound installation space by sound artist Corey Fuller of New York ambient label 12K. This was the third collaboration following Fragments on a large screen in Shinjuku and Colure in Ikebukuro. It was a special project created as part of the creator event “Rooms” held at Yoyogi National Gymnasium, where a simple space was set up with two screens placed at right angles in an area of about 10m x 20m. A 30-minute clip made by editing landscape footage gathered through fieldwork in Japan and Iceland was prepared in two versions with different effects applied to the same edit, and these were slowly overlapped at the installation venue in a cycle of parameters generated by TouchDesigner. The result is a one-time-only visual experience born from chance on the spot.

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.

A permanent art installation created for GLOBAL RING in the new Ikebukuro West Gate Park. In collaboration with Corey Fuller, a sound artist from the New York ambient label 12k, it creates an atmosphere of refined stillness in the circular park area amid the bustle of Ikebukuro. As a work in a public space where people pass through, it is based on the concept that the individual cycles of various things—each person, natural phenomena, and more—intersect and interfere with one another to create the “present.” The title, “Colure,” given by Corey, refers to a meridian in astronomy. At the same time, the word’s sound also resembles “Color,” meaning hue. Like phenomena born from the movements of celestial bodies, it creates sound and color through the movement of multiple concentric circles that, while harmonious, remain unsynchronized as they overlap.

“Running water never stops and never remains the same. Bubbles floating in the pools, now vanishing, now forming, never stay long. People and their dwellings in this world are likewise...” Calligrapher Mariko Kinoshita selected and inscribed a passage from Kamo no Chomei’s Hojoki, then divided the calligraphy into square pieces herself. Based on these segmented cells, video artist Shinichi Yamamoto assigned a time axis, and musician Corey Fuller further created a video work built from sound that deconstructed and reconstructed the words of Hojoki. In the video production method, using a technique Yamamoto often employs, he creates a system (equation) that randomly offsets the timing of the segmented characters, substitutes the cell materials into it, and, inspired by the unexpected and accidental patterns that emerge, feeds them back in again and edits them frame by frame to give them a time axis. This time, in the musical process as well, in addition to instruments such as the piano, an attempt was made to record footage of Kinoshita reciting Hojoki, deconstruct it, and use it as audio source material. With Kinoshita’s concepts of emptiness and dependent origination in her calligraphic practice, Corey Fuller’s richly quiet ambient textures, and Shinichi Yamamoto’s meta perspective when viewing landscapes in his works, each artist’s worldview is brought together in collaboration, with Hojoki as the point of intersection. The central theme is the “universal” that is felt even while always observing the “ever-changing.” After being presented on four outdoor screens in Shinjuku as part of the Shinjuku Creators Festa, the project has continued to evolve as an ongoing collaboration, including the development of an immersive installation version at Haneda Airport as part of the Agency for Cultural Affairs’ “Media Art × Cultural Resources: Distributed Museum” initiative.

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.

Since 2013, we have participated in a public art project called “Shinjuku Creators Festa.” Voice of Vision took part in this festival in 2018. Using classical electronic music as its motif, a motion graphic in the taste of techno-pop appears on the streets of Shinjuku and counts down toward something. This time, we collaborated experimentally with graphic creator Seiya Nakano and the artist duo Satoshi & Makoto, handling the visuals and music, respectively. Seiya Nakano is a technical director who has worked on many notable projects in Japan through projection mapping and large-scale visual installations. Satoshi & Makoto are artists who met at Kraftwerk’s Japan tour, and their releases on the Dutch label Safe Trip have attracted attention. The music is original, created by Satoshi & Makoto for this work using vintage synthesizers from the ’80s and ’90s, as well as meticulously simulated sound sources. Both the visuals and the sound were created using distinctive methods and vintage equipment, rather than the mainstream tools used today. With creative roots in old-school techno-pop from the ’80s, we enjoyed this collaboration with artists who could share that sensibility, as an homage to techno culture.

MUTEK.JP Edition 3 のティザームービーとして制作したモーショングラフィックス。 音楽とアートのイベントの告知として、ティザームービーでもオーディオビジュアルパフォーマンスやメディアアートのインスタレーションの共通言語的プログラミングソフトとなりつつある”TouchDesigner”を使用してグラフィック素材を生成しました。 平面グラフィックで展開しているイメージに合わせた多層的なラインと色彩がディレイしてゆくジェネレイティブプログラムを制作。 そのプログラムをインタラクティブに操作して無限に生み出されてゆくラインパターンをＰＣでライブレコーディングを行い、カットアップしてクリップにしました。 SNSでの訴求が多いため、フレームを45°で分割するなど正方形を意識したデザイン展開をしています。

日本科学未来館の3Dフルドームでのオーディビジュアルライブ。 アートイベントMUTEK.JPのプログラムとして公演。 日本科学未来館のドームシアターガイアに常設されている3Dプロジェクターに音楽をシンクロさせながら、 加えて持ち込んだ大型プロジェクターを重ね合わせて投影して3Dでインタラクティブのライブを実現した実験的オーデイオビジュアル作品。 量子力学や自然の形状にみられる法則性における決定のメカニズムなどの視覚化がテーマの作品。

ストーリーで対立する2人のキャラクターを象徴的なモーショングラフィックスで展開。 番組のコンセプト、ストーリーが進んでゆくとみるたびに発見があり解釈がかわる演出。

新宿歌舞伎町に対峙した、65Ｍの巨大ビジョン「ユニカビジョン」で展開したアート作品。 緊張感ある国際情勢のニュースが流れる中、国境や地理をシャッフルするコンセプト。 PVやCM映像のあふれるビジョンや街の空間に、抽象的な色面の映像が展開する実験的パブリックアート作品。