Noesis -7 trucks Visual Concepts (2018)

#01 Inner Earth
"Inside-out perspective of the Earth"
We live in the world existing on the surface of a globe named Earth.
In this track, we can conceptually experience the "reversal of view point" by watching the landscape of the entire world from the view point of "inside-out" contained within the globe (=the Dome). Like someplace on the opposite side of the earth.
For example, Linz in Europe, the opposite place would be the ocean in New Zealand. But it does not appear under the ground where you’re standing, but in the landscape in front of you. The landscape which you watch in the Dome gives you the feeling of watching the whole Earth from above. Even though you are in an immersive space, it gives you the objective feeling.
Each and every pixel making up the landscape of the entire world seen from the view point of "inside-out" means that the location / address on the earth will be identified by latitude and longitude. Then, such pixel / location starts to melt gradually and changes to something like visual noises. This will portray images of locations on the earth to be released and disrupted.

#01 Inner Earth

#02 Wrapping Noise
"Wrapped by nothingness"
The feeling of being within a space filled with static noise on TV. Then, it changes to the feeling of being wrapped by air devoid of substance, while there is no audio noise. We tried to express the sense of immersing into a space with no substance. For example, standing on a platform where a bullet train does not stop by. The feeling of a train passing by with an enormous speed, but you can’t see it because of its fast speed. We described the sense of being hold by something enormous without substance. By using 3D visual and surround sound system, we tried to describe the sense of invisible.

#02 Wrapping Noise

#03 Shifting Border
"Remix of geography"
All the "locations" have collapsed and become noise. As a result of their reconfiguration, there emerge graphics depicting something like ridge lines of continents. Such graphics continue to change by shuffle and remix. It resembles images of continents and border lines changing and remixing on a non-linear basis. Since shape of continents on the earth is decided by the level of the sea which fills the surface of the earth, human beings have been trying to precisely define borderlines and territorial water lines on such shape which is always affected by the contingency of nature as well as dynamic crustal activity.
On the borderlines, there occur various kinds of delicate stories for the human history and politics. In other words, our aim was to create graphics with no borders by shuffle and remix of ridge lines on the earth. The graphic pattern made by generative, gives you the sense of looking at a map that you don’t recognize. In the ambient series of Brian Eno, he also used an anonymousness map. Something like a satellite image gives you the sense to look at the landscape from above and overall.

#03 Shifting Border
そんな地球上にある”稜線”をシャッフルしてリミックスして無効化(No Border)するようなグラフィックのコンセプトです。

# 04 Geographic Tide
"Geographic Tide"
Portamento view change. Over view to another over view. Contour draws a different pattern from various point of view, and the landscape draws a wave. A repetitive pattern drawn by a scenery which is made up from waves and landscapes. A natural pattern with mathematical expressions, we tried to describe such sense. The Constructal Law.
* Portamento: a musical vocabulary, music scale being connected in lines

#04 Geographic Tide
視点変化のポルタメント 俯瞰視点からまた別の角度の俯瞰視点へ。(高さを切り取った)等高線が視点によって異なる模様を描き、地形は波を描きます。
*ポルタメント 音楽の用語で音階がリニアにつながってゆく手法。

#05 Emerging Design
"Trajectory of moments"
When we look at several patterns in nature such as "the shape of trees", "the large-scale structure in the universe", "the nervous system", etc. in a straightforward manner, we see some similarity of the patterns. It is said that when Alfred Wegener discovered the continental drift, he had a simple and instinctive feel that ridge lines of the continents seem to fit like puzzles. Inspired by some "common ground" which can be felt from several patterns in nature such as "trees", "large-scale structure in the universe", "lightning", "shape of rivers" and "nervous system", we opted to set "regularity found in the shape to be formed in the lapse of time" and "contingency" as the visual concept of this project.
For example, if there might be a fixed overall blueprint for the growth of trees and the trees should grow efficiently in accordance with such blueprint, it is likely that the shape of trees will look more linear in a mathematical manner, but the shape of the actual tree branches is twisted minutely.
This is because various factors such as the daily temperature variation and the duration of sunshine will affect the growth of trees.
When a tree branch grows, its targeted coordinates will slightly change by swaying, but as a whole, it looks like completing the shape of such tree in a balanced manner. Without realizing the final design as a whole, the shape of the tree branches is drawn as a result of a collection of decisions for each moment and from a broader perspective, the entire tree looks like the one which has been intentionally designed by nature. Given this, various factors for each moment including ephemeral decisions, confusion, happenings as well as collection of these will enable trees to draw lines of tree branches which sometimes change their positions along a serpentine course and are extended by division. Keeping in mind the design of nature in balanced shape and dynamic form as well as lines which have generated in the lapse of time, a graphic system has been used for depicting trees as a whole.
Our approach to this project was to enhance small flickers and dynamics of overall comprehensive music as well as formation of audio visual by depicting lines based on uncertain factors such as rhythm and interactive, which are similar to decisions made in nature.

#05 Emerging Design
自然の中にみられるパターン ―「樹木の形状」「宇宙大規模構造」「神経のネットワーク」など。これらを素朴な眼差しで眺めたときに、パターンの類似性や共通の法則性を感じます。ウェゲナーが大陸移動を発見したのも、大陸の稜線がパズルのように合致しそうだという素朴で直感的な感覚がきっかけだったと聞きます。「樹木」「宇宙大規模構造」「雷」「河川の形状」「神経のネットワーク」のような自然のパターン同士から感覚的に感じる「共通性」からインスパイアされて、形状が形成されていく時間変化のプロセスにある法則性と偶然性をビジュアルのコンセプトにしました。たとえば、もし樹木に最終的な全体の設計図があって効率的に形状が成長していくとしたら、それらはもっと直線的で見るからに数式的になるように思いますが、実際の樹木の枝の形状や、その線は細かく蛇行しています。それは、木々が生長していく過程で、日々の温度や日照などのファクターが関与して、枝が伸びていく方向の目標の座標を微妙に変えながら細かく揺れ動き、しかし全体的に見てみると、調和した樹の形状を完成させていっているように見えます。全体の完成デザインを意識しないまま、瞬間、瞬間の決定を堆積していくことで描かれたライン(枝)の形状を、樹木という大きな視点で見るとデザインされたものになっているといった自然の形状から考察して、 一瞬、一瞬の刹那の決定・迷い・偶然などその時々のファクター、瞬間、瞬間の決定の集積が、このような枝のようなラインを描き、ラインは微振動で蛇行しながら時々ポジションを変え、分岐して伸びています。樹木全体では、調和した形状やダイナミックなフォームを描くというような自然のデザインと時間経過の中で生成されたライン(時間のデザイン)を意識したグラフィックシステムで描画しました。小さな揺らぎと、全体の大局的な音楽の強弱、リズム、インタラクティブなどで不確定なファクターで線を描画しながら、オーディオビジュアルで自然の決定と同様のフォーメーションを持った作品アプローチをしています。

#06 Universal Architecture
"The end of thermodynamic universe"
The random substance in a fulfilled space, generally lined up by a rule, at last being lined up equally. We were inspired by the story about the end of thermodynamic, the end of universe is not something dramatic, no difference in energy, everything will become equivalent and ends. In the last frame, it may fade out in black, but not being wrapped up in bright lights. This audio-visual performance was planned to make 50% of the Dome gradually becoming grey.

#06 Universal Architecture
『 熱力学的宇宙の終わり』
空間に満たされたランダムな存在が、次第に法則性でならびはじめ、最後は均等になって終わります。 「宇宙の終わりは劇的なものではなく、すべてのエネルギー(熱)の差がなくなり、全てが均等になってなって終わる」という、 熱力学の終わりの話にインスパイアされ表現しました。 ラストフレームでは、ブラックにフェードアウトしたり、明るい光に包まれたりするのではなく、ドーム 全体が次第に50%のグレーになる計画でオーディオビジュアルパフォーマンスのエンドにしました。

#07 Noesis
"Quantum mechanics and constructivist design."
Non-linear trajectories of randomly appearing things such as the orbit of electrons. This is a graphic animation inspired by the fundamental theory of everything which is based on the vibration of energy.. When we worked on the above-mentioned "The Man from the 9 Dimensions", we developed an application which generates different forms of the Calabi-Yau Manifold as a CGI object. This application was also used in this project. Our aim was to depict vibration, resonance and interference by a graphical approach.
We felt a common sense of beauty among them: The feeling of sound of drum kicks in techno music, not at equal intervals between the 4th and 8th beats of 16 divisions, but the 1st and 5th and 7th beats. Sense of gap in constructivist design. Or the arrangement of the gap of Kyoto's classic Zen Garden, etc. The rhythm of the techno-music used in Noesis gives the audience an aesthetic sense of ‘open space’. While the drum kicks the repetitive sound of 16 beats in a bar, the music does not strike the normal even beats of 4th and 8th, but strikes odd number beats of 1st, 5th, and 7th. These irregular beats create an ‘open space’ within the rhythm which we feel the similarity with the beauty of constructivism and the tastefully placed rocks of the traditional Japanese gardens in Kyoto.

#07 Noesis

Art work by
  • Synichi Yamamoto + Seiichi Sega & Intercity-Express
Concept and Creative Director
  • Synichi Yamamoto
  • Tetsuji Ohno(Intercity-Express)
Visual Creation and Creative Technologist
  • Seiichi Sega
Concept Collaboration
  • Dimitris Kontopoulous
Digital Artist
  • °F
  • Takuya Aoki
  • Yumiko Kasahara
Sound System Technical
  • Ryouta Wada
Sound Mix Engineer
  • Kiyoshi Okabe (Montreal version)
VR Salon: Immersive Realities Curated by
  • Maurice Jones
Visual Producer
  • Masakazu Kagami
Public Relations
  • Kumiko Inutake
Co-Development Research
  • Miraikan × OMNIBUS JAPAN INC.
Special Thanks to
  • MUTEK Japan (Shuichiro Iwanami, Junichi Takekawa, Maurice Jones, Hanae Tamura)
Thanks to
  • Tohokushinsha Film Corporation (Mina Ohara, Ami Mochizuki, Tadashi Uchiike)
  • MUTEK / MUTEK MX / Miraikan / Shinjuku Creators Festa / Société des arts technologiques / JAPAN FOUDATION / Embassy of Canada to Japan / TFC plus