Hinemosu 30 Computer Display

Creating ideas from prototyping and tinkering. To realise a concept in a simple way.

I wanted to explore the expressive possibilities of banded objects and convey their beauty and interest.

I would like to increase the size of the device and install it permanently in public spaces.

Throughout 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.