Music video for the song KAWARA NO UMI. Words from someone can hurt you, and your own words can hurt someone else. In the same way, someone’s words can also give you hope. And in that way, you realize you’re not alone. Even in an age shrouded in fog, where the future can’t be seen, I want to find the light. Using letters as the key motif, the film depicts one’s feelings drifting across the sea and reaching an unknown someone.

Brand film for C3fit IN-Pulse, a product that lets you measure your heartbeat just by wearing it. Heart rate data sent from runners was converted into beats in real time through programming and a PA system, then played on a track and field course. The film documents the creation of “heartbeat music,” generated by the heartbeat rhythms played by multiple runners and the ensemble they formed together. Although it was a technically demanding project, the skills and focus of the elite team led by Kosai Sekine worked a miracle, successfully capturing the runners at their very best. While highlighting the product’s features, the film keeps its narrative focus squarely on “people,” getting as close as possible to the runners’ genuine emotional shifts—moments of inspiration, excitement, and a sense of accomplishment.

“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.