Norimichi HIRAKAWA

Posted: October 14, 2011 by younu84 in Uncategorized


HIRAKAWA Norimichi was born in 1982. He creates works with computer programming and real-time processing, focusing mainly on image/sound installations. Using intuitive interfaces and interactive expressions he creates works that enable viewers to experience on macroscopic scale events that are ordinarily difficult to perceive. These works encourage people to reinterpret the everyday affairs through new senses, stimulating observers’ imaginations as a device that enables people to rediscover the world.

He mainly uses audio and video. Also he uses many other kinds of media depends on the work, on his motive, such as both three-dimensional objects and photographs.

He’s recent work contains more logical elements. Since he major in college was a media art, it was natural for him to be theoretical. He believes that without being theoretical programs won’t run. So it’s important to be a bit logical in that respect.

He enjoys brainstorming part of production phase the most that he would like to produce. And he also enjoys when the work is nearly finished. According to him, it’s almost like a mount climbing. People get excited when they getting to the top.
And talk about how he approaches producing his work, he doesn’t think he’s a programmer so he doesn’t posses the spark for programming. Yet, he’s passionate about setting the theme. He initiates his work in the theme, at the point of initiation; he considers which media is best to fit the approach of the theme and how to marry a work plan that is feasible to it.



On his exhibition, he introduced two installation art pieces and photographs.

The first installation artwork was for the audience to observe the computer, which simulated gravity.  This simulator showed coordinate value and 3D plotting on the monitor.  There was also a video camera, which recorded the image on the monitor to create an atmosphere as if the audience became a part of the simulator.

The second installation artwork was to visualize the sound of a computer calculating.  To visualize sound, sound sample of a computer fan and hard disk were collected.  After all the data had been processed, it was projected on 8:3 wide screens.  In addition, there were noise effects when the data was projected on the screen and these noise effects were generating irreproducible images on the spot.

The work of photography was about the universe.  Photos of fixed stars that were shot in two different methods were displayed.  One method was using photographs of the observable universe, which is based on billions of years worth of calculation.  The other ones were one dot computer generated photographs that were calculated in a few second by the computer.  The resolutions of both types of photos were adjusted so that it was hard to recognize what was being seen by the naked eye.

“Real time” was the key theme for this exhibition.  He wanted to create a space where an audience could be able to feel the moment of the work.  He wanted to help them imagine the phenomenon.

He also wanted this exhibition to be as a place where he can reexamine or reunite my expression method.


Reaction to the exhibition and how he communicated with the audience

There was a wide range of people, from young children to the elderly, who came to view the exhibition.  He felt that the work was a bit complicated for the audience to fully absorb though.  Even for the people who are familiar with these kinds of topics had found it hard to fully understand.
Most of the audience was able to feel the works intuitively.  After observing the mass dots, which were geometrically arranged, an eighty year old female doctor said that she saw a “Life” through this work.  Even one child stated that he felt the “Universe” when he saw the machinery that was painted in black.  Those comments made an immense and permanent impression on him.

Finding the better approach of communication through work is a very difficult process. Of course it must depend on the quality of the work and he thinks that since computer has an interactivity element, the creator can program a physical reaction. When the audience views this prepared reaction, they tend to stop thinking or imagining past the prepared reaction.

At this exhibition, he prepared installation artwork that didn’t involve an interaction element.  He created a closed space where the audience was allowed to only observe.  The creator only prepares spices, and these spices triggers the audience’s imagination.  As long as there is a space for the audience to think or imagine, it is not always necessary to understand the whole meaning behind the work.  This is one way of communicating with the audience.


Creating visuals with programming geek

Because these are art pieces, it is important to include attractive visuals for an audience.  By capturing their attention by visuals, it generates enough time for the audience to think and imagine.  He started as an amateur programmer, so he often approaches the visual creating first, instead of the programming.  Perhaps his peculiar process has an effect on his visual making skill.




It is an algorithmic installation art.  It will capture the audience’s movements by using algorithmic technology and it will hyper link endlessly. The audience will become one of the parameters and will wonder around in the cyberspace.  The objective of this project is to exhibit structure of the Internet and the vast information that is involved in the system.  It is a complete nonlinear system that eliminates the audience’s control over to browse through contents.  There are various versions in exists now but the most recent version is called a “version –1” and that is not an interactive version.




It was reconstructed by computer programming based on an accumulation data of GPS log data. The project was made from images and sound that were recorded by a fish-eye lens camera and microphones that were installed on the roof and around a car. Then recorded a collection of sound and imagery of major landmarks and cities that were synchronized with the non-virtual world by computer and then was projected onto a screen.  As opposed to the previous work, “Global Bearing”, which took on a sphere shape in order to resemble the earth, this work was presented as a horizontal image.  He wanted the audience to visualize the image as if it was stretching out to the world horizontally.



a circular structure for the internal observer

A computer-generated image projected onto the wall is transformed by sounds generated by the computer that originally drew it. That is to say, the image changes in accordance with how actively the computer is operating. The work is structured so that when the image transforms, a load is placed on the computer, causing the sound of the drive to change, which in turn impacts the generated image again.

Just as holding a microphone to the speaker to which the microphone is attached causes howling, in systems where there is an output for every input, the action of inputting the output back into the system is called “feedback.” This work has a circular structure in which the sounds generated by the computer are input as parameters and images generated in real time. Once the system is started up, it continues generating images and sounds in a closed system, but because outputting the noise of the computer through the speakers means that noise is constantly being input into the system, it is said to be impossible for this system to generate exactly the same image twice. Internal observation refers to observing an observed object not from the outside but from the inside of the system, and in this work the transformation of the projected images is also impacted by the degree of noise in the exhibition space as visitors move through.



1982, Born in Shimane-ken,JP.
2005, graduated Information Design Department of Tama Art Univ.
2007, completed graduate school of Tama Art Univ.
He reconstructs universal and underlying phenomenon in sensory level of audience and releases as installations.
His work centers around not only device design or algorithm design which enables analog input for digital system, but also AV programing and spacial design.
He does the total implementation of artworks.


Exellence Prize : Art Division @ Japan Media Art Festival 2004 [8th]. ( GLOBAL BEARING )
Grand Prize : interactive category @ SFC Digital Art Awards 2004. ( GLOBAL BEARING )
Grand Prize : interactive category @ 10th Student’s CG Contest. ( GLOBAL BEARING )
Awards for Exellence : interactive art @ Asia Digital Art Award 2005. ( GLOBAL BEARING )
Exellence Prize : interactive category @ 11th Student’s CG Contest. ( DriftNet )
Jury Recommended Works : Art Division @ Japan Media Art Festival 2005 [9th]. ( DriftNet )
Grand Prize : interactive category @ SFC Digital Art Awards 2006. ( DriftNet )
Finalist Prizes : interactive art @ Asia Digital Art Award 2006. ( DriftNet )
Award of Distinction : interactive art @ Prix Ars Electronica 2008. ( a playting for the great observers at rest )


2003 :
Frontiers of Communication @ NTT ICC , Tokyo JP.

2004 :
installed sences @ old-Mikawadai Junior High., Tokyo JP.
Exhibition ” Ex- ” @ Media Center / Tama Art Univ., Tokyo JP.

2005 :
Japan Media Art Festival 2004 @ Tokyo Metropolitan Museum of Photography, Tokyo JP.
DESIGN X ART (Graduation Works Exhibition) @ YOKOHAMA AKARENGA, Yokohama JP.
Where am I ? @ Miraikan, Tokyo JP.
The Exploration of Time @ YCAM, Yamaguchi JP.
Japan-Korea cultual exchange exhibition @ COEX Pacific Hall No.4, Seoul KR.
Shizuoka Contents Valley Festival @ Old-Fuji Bank Building, Shizuoka JP.

2006 :
transNonFiction @ BankART Studio NYK, Yokohama JP.
Japan Media Art Festival 2005 @ Tokyo Metropolitan Museum of Photography, Tokyo JP.
The Art of Passat-ism @ Marunouchi oazo, Tokyo JP.
Yokohama EIZONE @ BankART1929 Yokohama, Yokohama JP.
ZeroOne San Jose: A Global Festival of Art on the Edge / ISEA2006 @ San Jose, CA, US.
Re:search @ Sendai mediatheque,Sendai JP.

2007 :
Power of Expression, JAPAN @ NATIONAL ART CENTER, TOKYO, Roppongi JP.
AUTAMATICA @ BankART Studio NYK,Yokohama JP.
Invisible Garden (Art Installation for LEXUS @ MILANO DESIGN WEEK 2007) @ via savona 35,Milano IT.
scopic measure #04 @ YCAM, Yamaguchi JP.
Japan Media Art Festival in Shanghai @ Shanghai Sculpture Space, Shangai CN.

2008 :
transmediale.08 @ The House of World Culture, Berlin, DE.
LandmarkProject III @ BankART Studio NYK,Yokohama JP.
CyberArts2008 @ OK Center, Linz AT.
Digital Art Festival, Taipei @ Museum Of Contemporary Art, Taipei TW.
Solo Exhibition: observers @ Iwami Art Museum, Shimane, JP.

2009 :
measuring ice @ Koriyama City Museum, Koriyama, JP.
I mondi di Galileo @ San Giorgio Maggiore, Venice IT.
Festival della Scienza 2009 @ Palazzo della Borsa, Genova, IT.
Digital Art Festival, Taipei 2009 @ Museum Of Contemporary Art, Taipei TW.

2010 :
Solo Exhibition: Global Bearing in Irreverisible @ Kapelica Gallery, Ljubljana SI.
log/score – measuring ice @ MONKEY GALLERY, Tokyo, JP.
Japan Media Art Festival Istanbul @ Pera Museum, Istanbul TR.


A circular structure for the internal observer [installation 2008] []

DriftNet interactive [installation 2005] []

APMT5 []

A playing for the great observers at rest [installation 2007] []

DriftNet Ver1 []

Global bearing, 2005 []

Compath, 2006  []

A playing for the great observers at rest  []



COUNTERAKTIV, viewed 27 August 2011,,,

ALICEONNET, viewed 5 September 2011,

DESIGN YOUR DREAM, viewed 5 September 2011,

ICC ONLINE, viewed 25 August 2011,

NORIMICHI HIRAKAWA, viewed 2 September,

HITSPAPER, viewed 3 September 2011,

MOTIONDJ, viewed 1 September 2011,

  1. karjadi15 says:

    wow….that’s pretty cool stuff there. I know the value of these works because I tried doing them earlier in my bachelor studies. The whole human interaction with computer programming and creating movements within the computer every time there’s motion outside of it or something like that. THAT WAS A NIGHTMARE! 😛

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