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Date: June 22âNovember 10, 2024 Venue: NTT InterCommunication Center [ICC] Gallery B, Theater Hours: 11:00amâ6:00pm (Admission until 30 minutes before closing) Closed: Mondays (If Monday is a holiday, then Tuesday), Maintenance day (August 4)
Admission fee: Adults 500 (400) Yen, University Students 400 (300) Yen ICC Annual Passport: 1,500 Yen
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vimeo
Slack Tide #2
Silent, Seamless Loop(4min,43sec)
2024
Ryu Furusawa
Mid Tideã·ãªãŒãºãã掟çããSlack Tideã¯ãMid Tideãšåæ§ã«å®æ¯æ åããŒã¿ã«ããžã¿ã«æäœãå ããŠå¶äœãããã·ãŒã ã¬ã¹ã«ã«ãŒãããæ§é ãæã€ã
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Slack Tide is a series derived from the Mid Tide series. Like Mid Tide, Slack Tide was created by digitally manipulating actual scene footage, and it features a seamless looping structure.
To date, two works in this series have been released ( #1 and #2). The details of the project are clearly stated #1.
Slack Tide #2
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Slack Tide #2 is structured to freeze the moment when waves crash against rocks. Nevertheless, the image continues to move, and you may feel a special flow of time. The endless dispersion of breaking waves suspends the viewer's perception.
The splashing droplets scatter in all directions and are eventually caught by gravity, falling uniformly. This movement, spreading out over time, is strongly connected to linear, one-way time, often referred to as the "arrow of time." Therefore, manipulating the flow of time in video footage that captures such motion generates a very strange sensation. (The oscillating sea surface does not feel out of place even when played in reverse.)
Just as you unconsciously anticipate what will happen next when you are in sync with the rhythm of music, movements based on natural laws like this make the viewer expect the next moment. However, in this work, that expectation and the actual movement never converge.
vimeo
Rendering Parameters
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In this work, the trajectory of playback cross-section applies rotational transitions. When simply rotated, only the central axis (the center line of the screen) is completely stopped in time, causing one side to move forward in time while the other reverses. By applying this trajectory and sliding the central axis left and right while rotating, the flow of time follows a more complex transition.
Furthermore, the playback cross-section of the entire image is adjusted so that the center line (vertical) of the screen is fixed to the time code at the moment the wave hits the rock. In other words, time is always stopped along the center line of the screen.
However, since the center line of the screen is not the same as the rotational central axis, it appears as if the rock and sea surface are moving across the screen from left to right. Yet, one can never witness the moment when the shattered waves converge. As a result, the viewer experiences a sensation akin to being unable to catch their breath.
Ryu Furusawa solo exhibition Mid Tide, Art Space Kimura ASK?, Tokyo Japan, Jan 2024
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vimeo
Slack Tide #1
2024
Silent, Seamless Loop (21min)
Ryu Furusawa
Mid Tideã·ãªãŒãºãã掟çããSlack Tideã¯ãMid Tideãšåæ§ã«å®æ¯æ åããŒã¿ã«ããžã¿ã«æäœãå ããŠå¶äœãããã·ãŒã ã¬ã¹ã«ã«ãŒãããæ§é ãæã€ã
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Slack Tide is a series derived from the Mid Tide series. Like Mid Tide, Slack Tide was created by digitally manipulating actual scene footage, and it features a seamless looping structure.
While Mid Tide traverses various time scales from micro to macro, exceeding human time scales, Slack Tide stays close to the standard time scale based on human senses but focuses on deviations from it. Specifically, instead of conventional linear video playback, differences in the flow of time (playback rate) are gradually introduced for each part within a single frame, creating a multilayered flow of time. This series focus on the interactions between the motifs' movements and the manipulation of video playback to draw viewers into video playback that includes such multilayered flows of time.
To date, two works in this series have been released (#1 and #2).
vimeo
Slack Tide #1
Slack Tide#1ã¯ç¹°ãè¿ãæã¡å¯ããæ³¢ã®åãã«çŠç¹ãåœãŠãäœåã§ãããæ°Žå¹³ç·ãæé€ããç¹°ãè¿ãæã¡å¯ããæ³¢ãšããããªç å°ä»¥å€ãåãåããšããã極ããŠéå®çãªãã¬ãŒãã³ã°ã§ã¯ãæ³¢ã®ãåãããšãèçã®åŸé
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Slack Tide#1 focuses on the movement of waves repeatedly washing ashore. By excluding the horizon and cropping out everything except the repetitive waves and a sliver of sandy beach, the framing is extremely limited, forcing viewers to perceive depth using only the limited cues of the waves' "movement" and "gradients of texture." Additionally, the lines of the waves cross the screen diagonally, emphasizing an all-over composition that creates an ambiguous space where even the switch between still images and moving images can cause a perceptual shift.
The playback cross-sections are limited to manipulations that tilt in the temporal direction while almost eliminating spatial changes. The tilt of the cross-section disrupts simultaneity within a single frame, introducing time discrepancies between the left and right sides of the screen. This time difference deconstructs the movement of the waves that typically flow back and forth horizontally. For example, a wave surging from right to left takes four seconds to reach the left edge of the picture plane. If there is a time difference where the left edge is four seconds ahead of the right edge, this movement is canceled out, appearing as if water is simultaneously overflowing from the land. Furthermore, because the diagonally tilted cross-section is combined with parallel movements along the time axisâsuch as reverse playback, forward playback, and slow motionâthis combination creates various movements in conjunction with the inherent fluctuations of the waves. In addition, the spatial axis of the cross-section is designed to invert every ten minutes. This inversion progresses extremely slowly, and since the sandy beach visible on the screen is minimal and often disappears under the waves, by the time one notices, the positional relationship between the shore and the sea has flipped left to right, giving the impression that the viewpoint has shifted. In this way, there are very few cues to grasp the flow of space and time unfolding in this work. Although the viewer's perception accelerates in search of stable time and space, it never reaches them.
Exhibition
Ryu Furusawa solo exhibition Mid Tide, Art Space Kimura ASK?, Tokyo Japan, Jan 2024
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Mid Tide#3 in Prix Ars Electronica Exhibition 2024 which was part of Ars Electronica Festival âHOPE â who will turn the tideâ Date : September 4 â 8, 2024 Venue : Lentos Museum
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Mid Tide #3
Ryu Furusawa
2024
silent 48:49 seamless loop
This video installation captures the acatual view through two lenses, namely camera and computer. The images change very slowly. Space-time as depicted within the images transforms, just as the tide gradually erodes the landscape. The incoming waves during this transformation unknowingly sweep the viewerâs perception into a unique space-time flow within the image.
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Photo
å€æŸ€éŸåå± Mid Tide
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Exhibition view
vimeo
Mid Tide #3, 2024,3 channel video, silent 48:49 seamless loop
Ryu Furusawa solo exhibition "Mid Tide" | art space kimura ASK (Tokyo,Japan), 2024
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Video
vimeo
Mid Tide#1,#2Â
Ryu Furusawa
multi-channel video, multi-channel sound
seamless loop
2023
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"Mid Tide" is a multichannel video and sound installation that manipulates the time and space dimensions for about 1 hour video and audio data captured with a fixed-frame camera.
Audio and video are processed the same way. Different time streams of video occur simultaneously for different parts of the footage. Similarly, the audio is adapted into mulitple time streams based on a single audio source, and these multiple time streams are synthesized within the exhibition space. When the viewer stands at a position that takes in all of the screens, the viewer will also hear all of the audio synethsized within the space. When the viewer approaches the screens, only hear the audio correponding with that part of the image will be audible.Thus, the sound and images of each repeating wave functions as an index indicating a point in the flow of time.
This work is structured as a seamless loop. Within this structure, time progresses, stagnates, compresses and expands in space, endlessly shifting and reversing itself. The waves repeat over and over without the passage of time, as there is no change in the tides or the sun.The viewer's physical sensations are gradually eroded by the repetitive waves within suspended space-time.
Work list
Exhibition view
"Maneuver" | art space kimura ASK P (Tokyo,Japan), 2023
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Photo
æŽç°è¡åãéæã Official Music Video
2022
ãšãïŒå€æŸ€éŸã倧ååŽåãæ³å·æºä¹ïŒÂ
youtube
æŽç°è¡å | Satoko Shibata - éæ | Understood _ Official Music Video
youtube
Behind the scenes of Satoko Shibata âUnderstoodâ Music Video
 [Music Video Staff]
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Music: Satoko Shibata "Understood"Â
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Direction: YOF (Ryu Furusawa / Takayoshi Ohara / Tomoyuki Yanagawa)Â
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 Assistant: Yukako Kaiwa / Shizuka Matsui / Yuya Sugiyama / Aki AmitaniÂ
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 Support on Lighting Equipment: Color Kinetics Japan Inc.
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Photo
Paraillusion [2022001]
ãšã | YOF
2022
Video(4min42sec loop), 3-sided projection, Aperture on wall
W437ÃH240ÃD200cm
vimeo
0 notes
Text
vimeo
Moiree Surfer | ã¢ã¢ã¬ãµãŒãã¡ãŒ Ryu Furusawa Sound performance 2/19/2021 Binaural Sound Broadcast Concert âImaginary Domeâ -AMC OPEN LAB 2021- Organized by Art Media Center,Tokyo University of the Arts.
ãã€ããžããªãŒããŒã ã - AMC OPEN LAB 2021 - ã¯ãCOVID-19ã®åœ±é¿ã«ããã8ãã£ã³ãã«ã®ãµãŠã³ãã·ã¹ãã ã«VRãã€ã¯ãèšçœ®ããŠãªã¢ã«ã¿ã€ã ã§é
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The "Imaginary Dome" - AMC OPEN LAB 2021 - was held in a special format due to the impact of COVID-19. It featured an 8-channel sound system with VR microphones installed and transmitted in real-time.
I created a mechanism to suspend and remotely move the VR microphones. By moving the microphones through the space between the eight speakers, the viewer experienced surfing a choppy sea created by the slight frequency differences of the sine waves.
0 notes
Video
vimeo
Waves EtudeÂ
Ryu Furusawa
video, stills
2020-2022
âWaves Etudeâã¯ãæ³¢ãå«ã颚æ¯ãæ®åœ±ããæ åããŒã¿ã«å¯ŸããŠæ空é軞ã®çœ®æãé·ç§»ã«ããååºåãããïŒïœïŒåçšã®æ åäœåãåçäœåã§ããã
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"Waves Etude" is a 1-5 minute video/photographic work that is a reworking of video data of a landscape c ontaining waves, with the substitution and transition of spatio-temporal axes. The transformation algorithm was initially created in imitation of the classical technique of slit-scan photography, since then in the process of its developing, it was derived into several types. Transposition" (2020-) is produced by substituting the temporal and spatial axes. Interpolation" (2020.8-), which involves transitions between the temporal and spatial axes, "Blow up" (2021.8-), which stretches the resolution of the temporal axis, and âWave trans" (2021.12-), in which the speed and direction of the time flow changes gradually. In his still image works, he overlays geometric figures such as spheres on a cube of pixels arranged in the direction of the time axis to obtain a cross-sectional view of the frame. In each case, the artist does not manipulate the color information, but rather recombines the read positions of the vast matrix of color data in the video image by code. This is a continuous project that will continue to examine the perception of space-time through media while updating codes and filming techniques.
In the images of the work, various cyclical differences in nature appear as textures with a gradual continuity from complexity to repetition, bringing a new perspective to nature and bringing to the forefront our perceptual characteristics of space and time. For example, a stationary object such as a rock breaks away from its usual appearance and appears as a series of flat stripes across the entire picture plane. On the other hand, the ever-changing sea surface retains its corrugated shape even after deformation. This indicates that wave motion is a phenomenon with a certain symmetry with respect to the spatio-temporal dimension.
Thus, the people, objects, and waves have different rhythms and vectors, and their difference appear on the screen as movements of color and texture. This work is a continuous project to discover such hidden rhythms of nature and new perspectives, and to recapture our physicality with respect to space and time through visual expression.space and time through visual expression.
vimeo
Waves Etude [TYX-60pps 2009061303]
Transposition
vimeo
Waves Etude-Transposition-digest
X軞ããŸãã¯Y軞ãšãT軞ãšã®çœ®æïŒTranspositionïŒã«ãã£ãŠãçæãããæ åã®ã·ãªãŒãºã§ãããããããäœåã¿ã€ãã«ã«ã©ã®ããã«çœ®æããã®ãã¬ã·ããèšèŒããŠããã
These works were generated by transposition of the X or Y-axis and the T-axis. The title of each work describes the recipe of how the XYT data was replaced.
vimeo
Transition Algorithm Illustration
XTYã§ããã°éåžžXYT(暪ã»çžŠã»æé)ã®äžŠã³ã®YãšTã眮æããŠããããšã瀺ããŠãããå
æ åã®Y軞ïŒçžŠæ¹åïŒãæé軞ãšãªãããšãæå³ããã TYXã§ããã°éåžžXYT(暪ã»çžŠã»æé)ã®äžŠã³ã®XãšTã眮æããæ åã®X軞ïŒæšªæ¹åïŒãæé軞ãšãªãã ãŸããã®æã®æ¯çã¯ppsïŒãã¯ã»ã«ããŒã»ã³ã³ãïŒã®åäœãæèšããããšã§æ åæ®åœ±ããéã®åãåãæ¹ãšé瀺ããŠãããäŸãã°30ppsã®å Žåã¯ïŒãã¯ã»ã«ã¯1/30ç§éã«çžåœãç»é¢ã®å·Šå³ç«¯ïŒ3840ãã¯ã»ã«ïŒã§2å8ᅵᅵã®å·®ãçããã2.55ppsã§ã¯ç»é¢ã®å·Šå³ç«¯ã§25åã®æéå·®ãçããã äœåæéã¯ãæé軞ãšäº€æãã空é軞ã®è§£å床ã«ãã決å®ãããã4k ç»è³ªã®æšªå¹
ã3840pxãåçŽã«ãã¬ãŒã ã«çœ®ãæãã30fpsã®ãã©ãŒãããã«åããããšäœåã®æéã¯2å8ç§ãšãªããæ®åœ±ããå
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å ±ã®è«ç空éã«ãããŠååé¢ä¿ãšãªãã
If it is âXTY", it indicates that Y and T in the normal XYT (horizontal, vertical, time) sequence are replaced, meaning that the Y axis (vertical) of the original video becomes the time axis. If âTYX", it usually replaces X and T in the sequence XYT (horizontal, vertical, and time), meaning that the x-axis (horizontal direction) of the video becomes the time axis. The ratio is specified in units of pps (pixels per second) to indicate the cropping method used when the image is taken. For example, at 30 pps, one pixel corresponds to 1/30 second, resulting in a difference of 2 minutes and 8 seconds at the left and right edges of the screen (3840 pixels), and at 2.55 pps, a time difference of 25 minutes at the left and right edges of the screen. The duration of the work is determined by the resolution of the spatial axis exchanged for the temporal axis; simply replacing the width of the 4k image, 3840px, with frames and adjusting to the 30fps format, the duration of the work is 2 minutes 8 seconds. The original video data and the output video data are in a mapping relationship in the logical space of information.
Transposition work list
Interpolation
vimeo
Waves Etude-Interpolation-digest
XYTã®çœ®æãè£å®çã«é·ç§»ãããã·ãªãŒãºãæ åã®é·ç§»ã¯ããã€ããã¿ãŒã³ããããäžã€ç®ã¯ç»é¢ã®äžå¿ç·ã軞ã«ãåçæé¢ãå転ãããŠããææ³ã§ããã
These works were generated by interpolation of XYT transitions. There are several patterns of image XYT transitions. The first is to rotate the playback section around the centerline of the images.
vimeo
Transition Algorithm Illustration
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Waves Etude[TYX 1.8-30pps 201113]
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Transition Algorithm Illustration
Blow up work list
Wave trans
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Waves Etude[wavetrans 2111301044]
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Transition Algorithm Illustration
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Work List
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 2D Painting [MatiÚre]Â
ãšã|YOF
2021
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2D Painting [MatiÚre 04]
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Materials : WOOD,LED,Paper, Acrylic on MDF Board.
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2D Painting [7 Objects, 3 Picture Planes]
YOF
Installation
2019
LED Lamp, LED Strip, Wood, Computer
W5500 x H3000 x D10000 mm, plane size : W720 x H535 mm
Nov 23rd, 2019 - Dec 22nd Tokyo Arts and Space Hongo,Tokyo
Cooperation : Graduate School of Film and New Media, Tokyo University of the Arts, Philips Hue
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â2D Paintingâ is an installation work on the theme of "spatiality," which has been dealt with in the history of visual art, mainly painting.
The first work in this series was presented in March 2019, and this second work was presented in Tokyo (Tokyo Arts and Space Hongo) in November 2019.
This work consists of 3 rectangles cut out on a wall and 7 objects and multiple LED lights placed in the space behind it. As the illumination changes, the color pattern of the objects change at a constant interval.
The â2Dâ in the title refers to two types of âdepth.â
This work is perceived as a two-dimensional image (pictorial space) depending on the special structure and color scheme that cause loss of localization, but actually the image is composed of objects arranged in three-dimensional space.
However, when the viewpoint and the viewing distance change, the work will be recognized as actual three-dimensional space through binocular parallax, motion parallax, focal difference and slight texture.
This work contains two depths: real three-dimensional space, and a pictorial space evoked by the two-dimensional color scheme. Viewers will cross between these two depths.
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