This is a work from Shinnosuke Enomoto (Akame) 2025.

As the second installment of the “Time-Efficient Folktale Series,” which challenges itself to compress information to the absolute limit by using low-resolution pixel-art animation techniques and the familiarity of Japanese folktales, this parody video of Urashimataro ends in just 16 seconds from start to finish, following the first installment, “Momotaro That Ends in 20 Seconds.” A song based on the folk song “Urashima Taro,” deconstructed to the point where only traces of the original remain, was produced and used as the background music.

The eerie fantasy world of a middle-schooler in the throes of adolescence

This work was created for the exhibition “Patterns of Flow.” --- “Patterns of Flow” is an exhibition celebrating a new generation of Japanese artists who create work using code. Following in the footsteps of computer art pioneer Hiroshi Kawano’s experimental aesthetics and continuing the international dialogue initiated by Jasia Reichardt, this exhibition explores the power of generative systems to capture a world in flux. Led by Shunsuke Takao, who inspires the Japanese Processing community through his daily coding practice, Patterns of Flow is a collaboration between Right Click Save and MASSAGE MAGAZINE, and is presented at Feral File and NEORT++ in Tokyo’s downtown district. Patterns of Flow @NEORT++ 2024/9/25 - 2024/10/6 https://two.neort.io/ja/exhibitions/patterns_of_flow --- description: mole^3 speculates that, in postwar Japan, Hiroshi Kawano may have sought, through the art of Piet Mondrian, to sublimate the negative emotions brought about by war through the pursuit of beauty. Her work “Changes, Cycles, and Shapes in Between” analyzes the process by which Mondrian arrived at his final forms through an approach in which shapes and colors evolved organically. In painting, “form” has axes of and , while “color” also has an axis of . Referring to the “Diagram of Composition in Painting,” mole^3 developed a method of simultaneously circulating multiple visual idioms and expressed that cycle within the work itself. In this way, “Changes, Cycles, and Shapes in Between” evokes the shifting state of digital material oscillating between figuration and abstraction—literally, “patterns of flow.” Furthermore, by incorporating textures printed with a baren, she encoded her identity as a printmaker in a native digital form. Feral File: https://feralfile.com/explore/series/bian-hua-xun-huan-sonojian-noxing-changes-cycles-and-shapes-in-between-dal?viewMode=Grid ---