未分類 - SHIMPEI MIURA

未分類 - SHIMPEI MIURA

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16KB カーテン

2026-03-05
幽体するコレクティブ

2025-10-22
《空景装置 / 空景運動》

2025-07-13
E.A.T. の活動から芸術と技術の創発を捉え直す

2025-03-22
ARTIFACT にみる前衛 / 作品の共通性およびその系譜に関する考察

2025-03-20

CATEGORY

art (16)
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diary (26)
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Quixel (1)
research (22)
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think (8)
touchdesinger (3)
unity (7)
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16KB Curtain artcollective ARTIFACT Billy Kluver Blender E.A.T. Experiments in Art and Technology GAIEN-NISHI ART WEEKEND Internet processing Resolume Robert Rauschenberg UE5 WALL_alternative アルキメデス螺旋アートコレクティブインスタレーションカメラコンヴィヴィアリティサウンドインスタレーション俳句円周率創造性幽体必需品文脈日本文化現代芸術生成AI 空景空景運動芸術と技術芸術と科学表現技法身体性

_shimpeimiura

⬛︎ Archives -Void Setup() ⠀ A collective of creati

⬛︎ Archives -Void Setup()
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A collective of creative vanguards — Ryoji Takahashi, Shoto Sasaki, Shimpei Miura, and Michido Honmaru — who strive to transcend established positions in order to experiment freely, without external influences or constraints, creating ex nihilo — as only those from the East can.
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A complex project composed of light bulbs capable of generating delicate suggestions of light and color, evoking the sublime effects that our planet offers at different times of day — shifting atmospheric conditions, unique landscapes, and horizons that change with time and perception.
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Featured in “SaloneSatellite – 20 Years of New Creativity.”
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#salonedelmobile

⠀ PCB道 In installation art, the process of transl

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PCB道

In installation art, the process of translating a sensory concept into an interactive system is essential.

In PCB design for electronic circuits, I make a conscious effort to embed the concept into the wiring itself during the creation of the design pattern.

Through this process, my thoughts become organized, and the overall concept gains structural integrity.

The most fascinating moment occurs when a sensory idea, once distilled into logic, transcends its initial conception during the actual exhibition and emerges as an intuitive, right-brain experience.

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👾🔊
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#newmediaart

⠀ I’ve updated my website for the first time in a

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I’ve updated my website for the first time in a while.
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👾🔊
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Since we’re now in the “vibe coding” era, I’m planning to update the site with an interactive web design that I couldn’t realize before due to my limited implementation skills.

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Web更新
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⠀ My phenakistoscope works have been featured in

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My phenakistoscope works have been featured in Visual Art Journal（@visualartjournal ）.

These pieces were created for @kairihbb ’s music video “Symbolism”, for which I produced a total of eight discs.

The article provides an in-depth look at the creative process and conceptual background behind the project.

Some of the photos featured in the magazine were taken from the music video footage, while others were re-shot in a forest during an exploration of abandoned sites. All photography for the magazine feature was produced in collaboration with @_suho_kim

@neort_2 さんとTOKYO NODE LAB @tokyonodelab さんのプロジェクト

@neort_2 さんとTOKYO NODE LAB @tokyonodelab さんのプロジェクト「DIGITAL SPRINGBOARD」の第1回公募 "PERFORMED IMAGE"にて、作品を選出頂き、虎ノ門ヒルズステーションタワーにて放映頂きました.

@kairihbb の楽曲 Symbolism のMVにて活用した手法を公募テーマにもとづき再解釈し15秒の映像作品を制作。実写撮影は、Videographer @_suho_kim にご協力頂いてます.

I am pleased to share that my video work has been selected for the first open call of “DIGITAL SPRINGBOARD”, a project organized by @neort_2 (Theme: “PERFORMED IMAGE”).

From Monday, September 1, 2025, 18:00 through Sunday, September 14, 2025, my work will be screened on the digital signage installed at the entrance of TOKYO NODE, Toranomon Hills.

The piece is an animation using a phenakistoscope, created to accompany the track “Symbolism” by Human BeatBoxer @kairihbb

For this work, I generated multiple one-second loop videos using generative AI and layered them through video editing software. I then arranged forty frames in a circular format to construct a phenakistoscope, printed the result onto a vinyl record, and filmed it in live action as it rotated on a turntable at 33⅓ RPM.

This method allowed me to achieve a density of looped animation that would be nearly impossible with a hand-drawn phenakistoscope. At a time when the proliferation of generative AI symbolizes the flood and black-boxing of images, I find it meaningful to revisit this 19th-century optical toy. Doing so exposes the primitive operations of perception—rotation, afterimage, and the illusion of continuity—while reaffirming the physicality of the act of “seeing” itself.

Furthermore, in response to the current condition in which artistic creation is increasingly reduced to prompt writing, I deliberately translate AI-generated outputs into analog form as an experiment in reawakening uniquely human poetic experience.

#creativecodeart #newmediaart #new_media_art

⠀ ⠀ ... thought experiment 🗯️🫨🪨🔥🪬💻🔊🍉 ⠀ ⠀ ⠀ #ed

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... thought experiment
🗯️🫨🪨🔥🪬💻🔊🍉

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#editorial #paper #multimediaart #論考

⠀ ⠀ A fragment of a self-introduction paper. 🗯️🫨🪨

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A fragment of a self-introduction paper.
🗯️🫨🪨🔥🪬💻🔊🍉

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#editorial #paper #multimediaart

⠀ ⠀ Presenting artworks in a parallel dimension.

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Presenting artworks in a parallel dimension.

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#exhibition #artwork #digitalart #mockupstudy #soul

⠀ ⠀ Presenting artworks in a parallel dimension.

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Presenting artworks in a parallel dimension.

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#exhibition #artwork #digitalart #mockupstudy #soul

《 Jinki-Tōitsu Shimbun 》(2023–) This work takes

《 Jinki-Tōitsu Shimbun 》(2023–)

This work takes the form of a newspaper consisting of 100,000 characters, published by a fictional news agency. Set in Asia 300 years in the future, it presents imagined news stories that explore a range of topics—social issues, political developments, and entertainment—centered around the relationship between humans and robots. Today, copies are quietly placed in restaurants and cafés throughout Tokyo, blending seamlessly into everyday life. Most people pick it up and begin reading without a second thought, just as they would a real newspaper—only to be shocked moments later upon realizing that everything written is entirely fictional. By subverting the inherent trust associated with the newspaper format, this work raises critical questions about the authenticity and credibility of information.

@artifact_8

#artwork #newspaper #dystopia

⠀ 《Zinki-Mandala #0/Embedding》 424×545 [mm] Silks

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《Zinki-Mandala #0/Embedding》
424×545 [mm]
Silkscreen printed on paper, black ink on transparent film.

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Using the fictional newspaper Jinki-Tōitsu Shimbun as material, its pages are restructured into a complex form—a mandala.
The fiction, embedded within the “order of form” that defines the mandala, quietly brings to light the human desire to believe—even as it questions our unconscious trust in information

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Photography by Suho Kim

⠀ ⠀ Editorial Archive ⠀ 再起動するライティング文化 issue1（201

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Editorial Archive

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再起動するライティング文化 issue1（2019）

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The project had been on hold due to the impact of COVID-19, but we’re now laying the groundwork toward 2026.

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🗯️....

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When did I start becoming interested in writing? Yes, it must have been when I was in Grade 4 in elementary school. I disliked having the same cover with the image of a flower on my Japonika-Gakushucho(Japanese standard notebook) as everybody else, so I wrote my name in bubble letters on it. I don’t remember why exactly I used bubble letters but I still remember the feeling of elation when I finished the job. My name had many curvy alphabets such as “S” and “M”, and my obsession at that time was drawing airy and smooth curves on these alphabets. At that time, I didn’t realize what I just did writing. To me, it was the same as drawing a picture. I didn’t know until recently that there was a large context to the background of that action. ―I completely forgot about writing until I came to Tokyo but when the tags and throw ups around the city came naturally into my line of sight, it almost became impossible for my brain to filter them so I started taking photos of them. It has almost been four years since I started taking photos of writing in Tokyo and other cities in the world. The more photos I take, the more I have thought experiments about the cultural aspect of writing and its future. Moreover, recently, I have been trying to redefine writing itself through several viewpoints intersecting between the illegality and artistry of writing culture. In this edition, I would like to introduce a part of that.

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@graffiti_hunt_tokyo

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#editorial #artbook #graffiti #artresearcher #photograph

⠀ 西洋の廃墟が、過去の栄光を静止したまま残す巨大人工物だとすれば、日本の廃墟は、自然が忍び寄り、時

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西洋の廃墟が、過去の栄光を静止したまま残す巨大人工物だとすれば、日本の廃墟は、自然が忍び寄り、時間とともに変化しながら覆っていく、儚く生きた空間といえる。
そこには、草木や霧といった変化する自然が、言葉と共に退廃の美を形作るという、日本独自の感受性がある。
深草、秋風、浅茅、露、野べ、冬、或いは、殖ゆ

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If Western ruins are massive artificial structures that preserve the glory of the past in a state of stillness, then Japanese ruins are ephemeral, living spaces—gradually overtaken by nature as time quietly passes.
In them, the ever-changing elements of nature—grass, trees, mist—intertwine with language to shape a uniquely Japanese sense of aesthetic decay.

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Photography: Suho Kim

. 限りなく進化し続けるメディア・テクノロジーの時代において、あらゆる物質性が質的な変化を遂げ、物質

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限りなく進化し続けるメディア・テクノロジーの時代において、あらゆる物質性が質的な変化を遂げ、物質性そのものが再編されつつある。
そうした中で、自然と同化したメタルのような人工物に対して、これまで以上に強くノスタルジーを感じるのは、近年のLLMの爆発的な進化によって、自身の身体感覚そのものの変容がさらに加速していることに起因しているのではないだろうか。
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Photograpy: @_suho_kim
The phenakistoscope used in the MV for @kairihbb ’s "Symbolism".
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In an era marked by the relentless advancement of media technologies, all forms of materiality are undergoing qualitative transformations, leading to a fundamental reconfiguration of materiality itself.
Within this context, the emerging sense of nostalgia toward artificial objects—such as metals that appear to have assimilated with nature—can be understood as a response to the profound transformation of bodily perception. This response has become particularly pronounced in light of the recent, rapid developments in large language models (LLMs), which have further destabilized previously embodied modes of sensory experience.
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#phenakistoscope #mediaart

. 《 Zinki-Mandala #0/識界》 364 × 515 [mm] Black ink

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《 Zinki-Mandala #0/識界》
364 × 515 [mm]
Black ink on transparent film.
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《人機統一新聞》を素材に曼荼羅を制作
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《人機統一新聞》は、 @artifact_8 による、”2nd EXHIBITION 【Scrap & Yellow】”にて展示/販売された2323年12月8日の架空の朝刊。新聞には、人間とロボットが共生する社会の様子が、約10万字のテキストと約100点の画像によって描かれている。
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Artwork by @_shimpeimiura
Photography： @_suho_kim

. 《 Zinki-Mandala #0/Embedding 》 424×545 [mm] Silk

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《 Zinki-Mandala #0/Embedding 》
424×545 [mm]
Silkscreen printed on paper, black ink on transparent film.
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《人機統一新聞》を素材に曼荼羅を制作
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《人機統一新聞》は、 @artifact_8 による、”2nd EXHIBITION 【Scrap & Yellow】”にて展示/販売された2323年12月8日の架空の朝刊。新聞には、人間とロボットが共生する社会の様子が、約10万字のテキストと約100点の画像によって描かれている。
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Artwork by @_shimpeimiura
Photography： @_suho_kim

. 《 Zinki-Mandala #0 》 515 ✕ 728 [mm] . . 《人機統一新聞》

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《 Zinki-Mandala #0 》
515 ✕ 728 [mm]
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《人機統一新聞》を素材に曼荼羅を制作
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《人機統一新聞》は、 @artifact_8 による、”2nd EXHIBITION 【Scrap & Yellow】”にて展示/販売された2323年12月8日の朝刊。新聞には、人間とロボットが共生する社会の様子が、約10万字のテキストと約100点の画像によって描かれている。
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Photography： @_suho_kim
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Mandala created using 《人機統一新聞》 as its source material.
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《人機統一新聞》 is a fictional morning newspaper dated December 8, 2323, depicting a society where humans and robots coexist. It was exhibited and sold at “2nd EXHIBITION: Scrap & Yellow” by @artifact_8.
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⠀ 阿頼耶識 ⠀ This is a demo of an audio-reactive visu

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阿頼耶識

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This is a demo of an audio-reactive visual made with TouchDesigner using live-action footage. By layering effects to create an oil painting-like texture and incorporating bloom, the expression gains additional depth.

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#realtime #touchdesigner #touchdesignercommunity #realtimerendering #audiovisual #newmediaart #creativecodeart #audioreactivevisuals

⠀ 阿頼耶識 ⠀ This is a demo of an audio-reactive visu

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阿頼耶識

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This is a demo of an audio-reactive visual made with TouchDesigner using live-action footage. By layering effects to create an oil painting-like texture and incorporating bloom, the expression gains additional depth.

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#realtime #touchdesigner #touchdesignercommunity #realtimerendering #audiovisual #newmediaart #creativecodeart #audioreactivevisuals

⠀ 阿頼耶識 ⠀ This is a demo of an audio-reactive visu

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阿頼耶識

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This is a demo of an audio-reactive visual made with TouchDesigner using live-action footage. By layering effects to create an oil painting-like texture and incorporating bloom, the expression gains additional depth.

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#realtime #touchdesigner #touchdesignercommunity #realtimerendering #audiovisual #newmediaart #creativecodeart #audioreactivevisuals

. 《@artifact_8 3rd. EXHIBITION》 . core . Created

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《@artifact_8 3rd. EXHIBITION》
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core
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Created with the motif of the generative process of the “Xiantian” diagram and the trigrams.
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I was responsible for the phenakistoscope apparatus, AI implementation, and projected imagery.
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華道家 @koichihashiguch1
回転幻灯機/絵師 @tob_i_dot
太極立体造形 @takuro115
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A small camera captures each pattern of the phenakistoscope that represents the Bagua in real time. Using a stable audio latent diffusion model, it continuously generates 44.1kHz audio files corresponding to each pattern. Those audio files are then dynamically remixed by the original "ambient machine" from @mujuryoku_session_official and @omegaf2k, perpetually producing the sound of the “here and now.”
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At the center, Taiji emits light images generated from both the sounds and the Bagua patterns, illuminating the entire space; this interplay subtly alters each pattern’s appearance, which in turn transforms the resulting sound.
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Within this endlessly generating and circulating system—beyond the resolution of our vision and hearing—we attempt to evoke something new in the mind’s eye.
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video : @_suho_kim
photo : @aachasp
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#installationart #mediaart #intermediate

⠀ I had the opportunity to contribute to the openi

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I had the opportunity to contribute to the opening video for ONE OK ROCK’s 2024 PREMONITION WORLD TOUR. Utilizing generative AI, I created footage depicting dynamic scenes of Tokyo, Kaohsiung, Düsseldorf, Paris, London, and Los Angeles.

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Photo by Tom Pandi
Dir. INNI VISION

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#oneokrock

AudioReactive / X-ray Skelton / 遊

AudioReactive / X-ray Skelton / 遊

#creativecodeart #audioreactive #realtime #reels #technology #digitalart #data #generative #glitch #generativeart #touchdesigner #ai

Let's forget ourselves, chant the Nembutsu（念仏）, an

Let's forget ourselves, chant the Nembutsu（念仏）, and dance wildly.
#202407

In this audio-reactive video, @touchdesigner is utilized.
The footage of Buddha dancing is created using StreamDiffusion. For utilizing StreamDiffusion, a .tox file developed by @dotsimulate is employed.
It's truly a fantastic tool. Thank you for making it publicly available 🔥

sound: brotes by tomas-nvova, Artlist, RF

#creativecodeart #audioreactive #realtime #reels #technology #digitalart #data #generative #glitch #generativeart #touchdesigner #息抜き

. “PROJECTION TAPPING” COMEDY TECH PROJECT. . Full

. LIKE . Love used to require a slow approach to w

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LIKE
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Love used to require a slow approach to win over the other person’s heart. Nowadays, dating apps allow us to instantly approach and communicate with multiple people. The use of technology has managed to lower the hurdles of meeting and developing love, birthing a new kind of relationship process compared to a decade ago. Love is changing from “LOVE” to “LIKE.”
In this piece, a smartphone with a virtual dating app and an automatic swipe machine are displayed in frames. Searching for a match based on facial features, ethnicity/race, and the similarities of colors in each image, the machine automatically swipes “LIKE” or “NOPE.”
When a match is made, a digital human with characteristics of both is born, leading it to grow rapidly to the age where they can use dating apps.
The piece makes it possible to witness the efficient modern “love” and “breeding” by repeating this cycle semi-permanently.
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かつての恋愛は、相手の心を掴むために時間をかけたアプローチが必要であった。しかし現代では、デーティングアプリを使用することでパンデミック時でも複数の相手に対して瞬時にアプローチし
コミュニケーションを取ることができる。テクノロジーを活用することで、出会いから愛を育むまでのハードルが下がり、ひと昔前とは違う恋愛のプロセスが生まれている。恋愛は「LOVE」から「LIKE」へと変わりつつある。本作品では、仮想のデーティングアプリがインストールされたスマートフォン、自動スワイプマシンが様々な額縁に入った状態で展示されており、デーティングアプリ上では実際には存在していないデジタルヒューマン同士が顔、人種、画像色の類似度をもとに自動で「LIKE」または「NOPE」の判断をしてマッチングする相手を探す。マッチングが成立すると、両者の特徴を受け継いだデジタルヒューマンが新たに誕生しデーティングアプリを利用できる年齢まで急成長する。このサイクルを半永久的に繰り返すことで、効率化された現代の「恋愛」と「繁殖」を俯瞰して鑑賞することができる。
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Venue : CONTRAST
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Artwork by
@noll_tokyo @genya084 @takuro115 @inagaki6 @madlab2.0 @_shimpeimiura
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#mediaart #installationart #intermedia #humanandaicollaboration #aiart

. LIKE . Love used to require a slow approach to w

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LIKE
.
Love used to require a slow approach to win over the other person’s heart. Nowadays, dating apps allow us to instantly approach and communicate with multiple people. The use of technology has managed to lower the hurdles of meeting and developing love, birthing a new kind of relationship process compared to a decade ago. Love is changing from “LOVE” to “LIKE.”
In this piece, a smartphone with a virtual dating app and an automatic swipe machine are displayed in frames. Searching for a match based on facial features, ethnicity/race, and the similarities of colors in each image, the machine automatically swipes “LIKE” or “NOPE.”
When a match is made, a digital human with characteristics of both is born, leading it to grow rapidly to the age where they can use dating apps.
The piece makes it possible to witness the efficient modern “love” and “breeding” by repeating this cycle semi-permanently.
.
かつての恋愛は、相手の心を掴むために時間をかけたアプローチが必要であった。しかし現代では、デーティングアプリを使用することでパンデミック時でも複数の相手に対して瞬時にアプローチし
コミュニケーションを取ることができる。テクノロジーを活用することで、出会いから愛を育むまでのハードルが下がり、ひと昔前とは違う恋愛のプロセスが生まれている。恋愛は「LOVE」から「LIKE」へと変わりつつある。本作品では、仮想のデーティングアプリがインストールされたスマートフォン、自動スワイプマシンが様々な額縁に入った状態で展示されており、デーティングアプリ上では実際には存在していないデジタルヒューマン同士が顔、人種、画像色の類似度をもとに自動で「LIKE」または「NOPE」の判断をしてマッチングする相手を探す。マッチングが成立すると、両者の特徴を受け継いだデジタルヒューマンが新たに誕生しデーティングアプリを利用できる年齢まで急成長する。このサイクルを半永久的に繰り返すことで、効率化された現代の「恋愛」と「繁殖」を俯瞰して鑑賞することができる。
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Venue : CONTRAST
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Artwork by
@noll_tokyo @genya084 @takuro115 @inagaki6 @madlab2.0 @_shimpeimiura
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#mediaart #installationart #intermedia #humanandaicollaboration #aiart

. LIKE . Love used to require a slow approach to w

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LIKE
.
Love used to require a slow approach to win over the other person’s heart. Nowadays, dating apps allow us to instantly approach and communicate with multiple people. The use of technology has managed to lower the hurdles of meeting and developing love, birthing a new kind of relationship process compared to a decade ago. Love is changing from “LOVE” to “LIKE.”
In this piece, a smartphone with a virtual dating app and an automatic swipe machine are displayed in frames. Searching for a match based on facial features, ethnicity/race, and the similarities of colors in each image, the machine automatically swipes “LIKE” or “NOPE.”
When a match is made, a digital human with characteristics of both is born, leading it to grow rapidly to the age where they can use dating apps.
The piece makes it possible to witness the efficient modern “love” and “breeding” by repeating this cycle semi-permanently.
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かつての恋愛は、相手の心を掴むために時間をかけたアプローチが必要であった。しかし現代では、デーティングアプリを使用することでパンデミック時でも複数の相手に対して瞬時にアプローチし
コミュニケーションを取ることができる。テクノロジーを活用することで、出会いから愛を育むまでのハードルが下がり、ひと昔前とは違う恋愛のプロセスが生まれている。恋愛は「LOVE」から「LIKE」へと変わりつつある。本作品では、仮想のデーティングアプリがインストールされたスマートフォン、自動スワイプマシンが様々な額縁に入った状態で展示されており、デーティングアプリ上では実際には存在していないデジタルヒューマン同士が顔、人種、画像色の類似度をもとに自動で「LIKE」または「NOPE」の判断をしてマッチングする相手を探す。マッチングが成立すると、両者の特徴を受け継いだデジタルヒューマンが新たに誕生しデーティングアプリを利用できる年齢まで急成長する。このサイクルを半永久的に繰り返すことで、効率化された現代の「恋愛」と「繁殖」を俯瞰して鑑賞することができる。
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Venue : CONTRAST
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Artwork by
@noll_tokyo @genya084 @takuro115 @inagaki6 @madlab2.0
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@_shimpeimiura / Role: Machine Learning/Concept Making
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#mediaart #installationart #intermedia #humanandaicollaboration #aiart

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