According to legend, "Nomi no Sukune" is regarded as the father of Japanese sumo. He is also said to have abolished the practice of human sacrifice at the tombs of powerful chieftains and devised haniwa, unglazed clay sculptures, in their place, and to have died in Tatsuno, Hyogo Prefecture.

“Mr.” is the first music video in a collaborative project between YOASOBI and four Naoki Prize-winning authors. The song is based on the novel My Own Owner by Rio Shimamoto, and the music video was planned and directed with the idea of what it might look like if the world of the novel were animated. The story sequences were created through hand-drawn animation, while the music video feel was achieved by combining several forms of motion graphics. Character designs by pomodorosa.

In 2013, Syinichi Yamamoto was engaged in the project of "The Movements" which focused on visualization of big data. "The Movements" was created for the spherical display "Geo-Cosmos" installed at the National Museum of Emerging Science and Innovation as part of the permanent exhibition:- http://www.omnibusjp.com/supersymmetry/research/project_3.html In 2015, 2 years after the completion of "The Movements", he started the production of a 3D fulldome film entitled "The Man from the 9 Dimensions" which was released in 2016 and is been screened at the Dome Theater Gaia at the National Museum of Emerging Science and Innovation ever since. He was in charge of the visualization of scientific concepts about superstring theory in theoretical physics and was also in charge of thevisual direction of the film:- http://www.omnibusjp.com/supersymmetry/research/project_7.html Science and art have been getting closer in media art scene. Visualization of data and visualization of wave shapes has been actively pursued. As an extension of the above-mentioned 2 projects which focused on data visualization and visualization of scientific concepts, the project of "Noesis" represents philosophical concept visualization which visualizes the concept and thoughts of the origins of Nature, the Universe and all things from the perspective of art. The whole duration of the work is 30mins with each track having its own theme such as: Each track with total length of 30-min has its own theme such as "view point reversal", "position invalidation", "elemental particle", "time", etc., but on track 04 "Emerging Design", the concept of "trajectory of moments" is featured as the main theme of the project as a whole which follows the trajectory of time. Dimitris Kontopoulos, a science curator with whom Synichi has been collaborating since 2016 participated in making the concept of this project. Tetsuji Ohno (Intercity-Express) who has continued to collaborate with Synichi helped him to create the sound design of the 8 tracks. For 3D visualization in high resolution, Seiichi Sega (superSymmetry) also participated in this project and provided not only drawings of computer generated images by physics calculations, but interactive performances using TouchDesigner. - Premiere screening at MUTEK.JP: Because the main venue of MUTEK.JP held in 2017 was the National Museum of Emerging Science and Innovation, we decided to create a version of "Noesis" which would be highly optimized to the 3D fulldome system of the Museum’s Dome Theater Gaia, so that viewers can enjoy an audio visual performance of the project under the specifications of the 3D dome system to the fullest extent. 山本信一は2013年に科学データに基づいたデータビジュアライゼーション作品「軌跡～The Movements」を手掛けました。 この作品は、日本科学未来館の球体ディスプレイ「ジオ・コスモス」の常設コンテンツで、球体映像作品です。 http://www.omnibusjp.com/supersymmetry/research/project_3.html そして、ビッグデータの可視化に取り組んだ「軌跡～The Movements」の2年後の2015年から制作を開始し、2016年に日本科学未来館のドームシアターガイアで公開された３Dフルドーム作品「9次元からきた男」に参加し、理論物理学の超ひも理論をテーマにした科学概念の可視化やビジュアルディレクションを担当しました。 http://www.omnibusjp.com/supersymmetry/research/project_7.html メディアアートシーンではサイエンスとアートが近づき、データや音の波形などのビジュアライゼーションが積極的にされてきましたが、本作はデータビジュアライゼーションや科学の概念を可視化した先の２つの作品の延長上で、今度はアート的視点から自然や宇宙、万物の根源を考えた時の概念、思想を視覚化したフィロソフィ　ビジュアライゼーション（philosophical concept visualization）作品（※）です。 トータル30分を構成する各トラックでは、それぞれ“視点の逆転”“位置の無効化”“素粒子”“時間”などをテーマにしながら、全体では、トラック04の「Emerging Design」でフューチャーしたコンセプトである”瞬間の堆積”が描き出す、時間が描く軌跡の形状をこの作品トータルの大きなメインテーマにしています。 2016年からサイエンスキュレーター・デミトリス　コドプロス氏（Mr. Dimitris Kontopoulos）とコンセプトでコラボレーションしながら、サウンドデザインでは継続的にコラボレーションをしているIntercity-Express（大野哲二氏）と8つのトラックで構成しました。 また、高解像度の3Dビジュアライズでは瀬賀誠一(superSymmetry)も参加し、物理演算によるCGイメージの描画だけでなくTouchDesignerのインタラクティブパフォーマンスを行ないました。 ※フィロソフィ　ビジュアライゼーション・・・この場合の「フィロソフィ」は、万物の根源のあり方や原理を追究して得られた知識や経験、人生観を指す。 -MUTEK.JPでのプレミア公開。 2017年に開催されたMUTEK.JPのメイン会場が日本科学未来館であったため、同館の有するドームシアターガイアの３Dドームシステムに最適化されたバージョンで、ドームのスペックを最良に体感できるオーディビジュアルパフォーマンスを計画し、公開しました。

A 360° hand-drawn VR animation by Kazuki Yuhara, who is enrolled in the Animation program of the Graduate School of Film and New Media at Tokyo University of the Arts, this work is also a music video for the song of the same title by Shugo Tokumaru, whose work combines an experimental spirit with pop sensibilities. Centered on the theme of a single canary’s encounter with the world, every inch of the 360° space has been hand-drawn in vivid, meticulous detail. Compatible with VR headsets, full-dome screens, computers, and smartphones, the piece uses cinematic direction while guiding viewers toward immersion in a vast world within a virtual space that retains the freedom unique to VR. A work that seeks to redefine the music video, from something to be watched into something to be experienced.