This work constructs a “controllable space-time” that is different from the world we live in, as a phenomenon that occurs in the viewer’s perception. The basis of the work is a technology called “spatial screen. This technology uses a special rotating object and a projector to achieve stereoscopic vision with the naked eye without limiting the viewing range, inexpensively and simply. The author invented the projection principle of the “spatial screen” and has been improving it with his colleagues who specialize in stereolithography and metal processing. Specifically, the 3D model is cut into a circle toward the back and projected onto a special structure at a speed that the viewer’s eyes cannot keep up with, thereby creating a three-dimensional light. A pseudo-space-time is created by giving further temporal changes to the three-dimensional structure thus created. The monkeys dancing in space-time as a visual phenomenon ask questions such as what is time, what is space, what is mass for a three-dimensional object, what does it mean to “see”, what is the world as we perceive it, and what is existence. In addition, due to the fact that it does not limit the viewing area, it will realize the unprecedented activity of “surrounding the image with others and observing it.
This research was supported by JST, COI, and JPMJCE1308.
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Since art has become a “culture”, works of art need titles to be mentioned. The “language” used in the titles of artworks is a high-resolution tool that narrows down the room for interpretation, and therefore contradicts the perspective of modern aesthetics, which endorses the sensory perception of the viewer. In this work, the “right to name” is transferred from the artist to the viewer. The interpretations of each viewer, which multiply and are shared at will, become the official title of the work each time. In this way, the artist and the viewer are placed on the same layer, and the viewer interacts with each other, so that everyone who commits to the work becomes complicit. In contrast to the recent search for beauty, which requires a linguistic space because it is “cultured,” by giving plasticity to the title, we continue to open up “free interpretation.
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A camera on the monitor zooms in recognized face with a sound effect, forcing the user to stereotyped camera work. The aim was to create a situation where different backgrounds of the presenters who were present at that place had to be mixed through a loosely shared context. At the same time, the compulsory mechanism of zooming in on one’s face is the gaze of someone’s attention and unconditionally affirms the life of the experiencer.
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Exhibition
Hikaru Doubutsuen 2019
MEDIA AMBITION TOKYO 2017
After Five Government
Permanent Exhibition
Mask shop OMOTE
Miraikan Shop (終了しました)
Award
19th Japan Media Art Festival
Entertainment Division, Jury Selection
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An attempt to re-ignite the subtle lives of the images by montage the images on portraits that have been discarded and animation, mediate them, and create stories in the viewer. As an approach different from the “function” that computer-based expressions are good at, like inputting A and returning B, the process was documented by bringing the expression into the memory of the portrait’s man and changing its circuit.
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Exhibition
MEDIA AMBITION TOKYO 2017
Award
WIRED CREATIVE HACK AWARD 2016
Grand Prix
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Interactive installation created at the “Study of BABEL” exhibition hosted by Tokyo University of the Arts, which are related projects of the Brugel’s “Tower of Babel” exhibition. When the face is photographed with a dedicated iPads installed in the venue, the face is reflected in the image of people working inside the 3.4-meter tower. Through creating an activity to look for myself, I aimed for the “feeling” of the elaborate and magnificent charm of Bruegel’s “Tower of Babel”.
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