Interview about Hinemosu 30 Computer Display, winner of the A' Generative, Algorithmic, Parametric and AI-Assisted Design Award 2024
Hinemosu 30 displays letters and patterns by twisting five white elastic bands with thirty actuators to represent the passage of time. The computer software that controls the device generates dynamic images that evoke textile patterns, ocean waves, mountain storms, and falling snow, as well as the date and time. The mechanical sounds produced by the actuators are reminiscent of the sounds of water and wind in nature. The creativity and novelty of this device lies in the fact that it displays computer-generated information using line-like objects rather than dot-like objects.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsThroughout history, humans have inscribed knowledge and articulated ideas through the elegance of lines—whether in the form of written language or intricate diagrams. Yet, in the realm of computational representation, efficiency has led us down the path of pixels, discrete points that construct our digital reality. Since the early 21st century, the manipulation of physical materials by computers has offered new avenues for information display. However, when tasked with conveying concrete data—be it text or imagery—the medium inevitably reverts to the granular, the particulate. The digital paradigm is inherently discrete, but human appreciation does not always align with this fragmentary nature. I am intrigued by the prospect of utilizing continuous, analog materials to manifest computational information in a form that resonates more profoundly with human perception. Hinemosu 30 stands as a pivotal exploration of this dialogue between the digital and the tactile, a venture into the seamless integration of the synthetic and the organic.
The sounds of nature—like wind and rain—are devoid of intention, as are the mechanical noises emitted by machines. It is always the human observer who ascribes meaning to these sounds. What fascinated me in this project was how, when attempting to represent wind, the actuators naturally produced sounds reminiscent of it. Similarly, when depicting dripping water, the gears of the servo motors generated a sound akin to droplets. This serendipitous alignment led me to refine the control algorithms so that the sounds would become more harmonious and pleasing. In the process, the motion graphics displayed also evolved into something remarkably compelling, creating a symbiotic relationship between the auditory and visual elements.
In the earlier project, Robotype Mojigen, I was also exploring ways to display characters using slender objects. However, Mojigen relied on an optical illusion, which required the viewer to close one eye to read the text clearly. The speed of character display was slow, and there were numerous other challenges. I started to wonder if the whole concept of representing text with linear objects was a failure. It was during this time of doubt that I realized the potential of using ribbon-like objects—something between a line and a surface. This discovery felt like a breakthrough, allowing me to preserve the linear aesthetic while overcoming the practical limitations, which eventually led to the creation of Hinemosu 30.
The behavior of Hinemosu is controlled using Cycling '74 Max. Since Max was originally developed as a programming environment for musicians, it excels in managing time-based expressions, much like those found in music and video. After conducting numerous studies on how to manipulate the elastic bands, I established a conceptual framework for the display. From there, as mentioned earlier, I relied heavily on auditory feedback, refining the algorithms to create motion graphics patterns that were not only visually captivating but also harmoniously synchronized with the sounds produced by the actuators. This iterative process allowed me to craft organic, flowing movements reminiscent of both textile designs and natural phenomena.
Controlling discrete, point-like objects is relatively straightforward since they operate independently without physical interference. However, with linear objects, each one pulls and interacts with the others, creating mechanical tensions and complexities that are far more challenging to manage. This interplay posed significant difficulties, as the actuators had to work in perfect harmony to avoid stressing the system. Yet, this very challenge also became the most intriguing aspect of the project. Overcoming these obstacles required meticulous fine-tuning of the synchronization algorithms, which ultimately shaped the fluid, organic movements that define the final design of Hinemosu 30.
The alphabet, as exemplified by the inscriptions on Trajan’s Column, was shaped by the chisel. In contrast, Japanese characters were formed with the brush in mind. Currently, Hinemosu 30 displays only the alphabet, but I aspire to extend its capabilities to include Japanese characters in the future. When that time comes, the variation in line weight will play an even more significant role, allowing the display to fully embrace the nuanced expressiveness inherent in brush-written script. This connection between traditional calligraphy and modern technology deeply informs my design philosophy, blending the timeless elegance of ancient practices with contemporary digital innovation.
In the 1990s, Mark Weiser introduced the concept of ubiquitous computing. While the industry has often misinterpreted it, its core essence is that "computers don't need to look or behave like traditional computers." My design philosophy extends from this idea. I have demonstrated that concrete information can be displayed not only with point-like objects but also with linear ones. This challenge opens up new possibilities, and I hope it inspires others to develop even more fascinating projects. I envision this approach to physical visualization shaping the future of human-computer interaction by encouraging more diverse and organic forms of information display.
At The Utsuroi Lab, which I lead at Tokyo Denki University, our core mission is to design for change and transformation. As an engineering institution, Tokyo Denki University naturally strives for universality and permanence. However, as humans, we are captivated by things that change—the waxing and waning of the moon, the turning of leaves in autumn, the ebb and flow of emotions. These transient phenomena have long inspired poetry and art. In essence, impermanence is universal, and transformation is constant. To bring this concept to life, it’s essential for me, as the lead, to create and demonstrate it firsthand to my students. Hinemosu 30 embodies this philosophy, serving as a tangible manifestation of our mission.
Receiving such a prestigious award is truly an honor beyond what I ever expected. When I first heard the news, I felt a deep sense of awe, especially when considering the remarkable individuals who have received this recognition in the past. Only recently have I begun to realize that perhaps I, too, have managed to achieve something unconventional. Setting challenges, no matter how big or small, and overcoming them is a deeply rewarding process. Every challenge transforms work into an adventure. So, let's embrace the adventure and continue exploring new frontiers in design.
In an era where virtually all knowledge is accessible online, the true value of a school lies in providing tangible, firsthand experiences. At our university, students particularly appreciate real-life stories and examples from their instructors and are eager to learn through hands-on practice. In Japanese, the word for "teacher" (先生) implies being a pioneer—and a pioneer is also a practitioner. Through the creation of Hinemosu 30, I believe I’ve embodied this dual role, showing my students the practical path to merging art and technology in ways that bring theoretical concepts to life.
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