Platinum Generative, Algorithmic, Parametric and AI-Assisted Design · 2024
Hinemosu 30 Computer Display
- A' Design Award 2024 Platinum Winner in Generative, Algorithmic, Parametric and AI-Assisted Design
- Awarded April 15, 2024
- CLIENT: The Utsuroi Lab
- Estimated Number of Design Views: 1,504,255
- Verification code 290F383213 · Verify this award
About Hinemosu 30 Computer Display
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.
Drawing upon traditions of kinetic and light-based artistic practice that emerged through the twentieth century and continue to evolve through computational technologies, Yuichiro Katsumoto's Hinemosu 30 Computer Display represents a sophisticated meditation on the relationship between systematic order and organic variation, between programmatic control and perceptual experience. The work employs thirty identical modular units arranged in a precise six-by-five grid against absolute darkness, each unit comprising luminous biomorphic paddle-shaped elements capable of rotational articulation around central axes, creating a visual field that simultaneously asserts mechanical precision and suggests the rhythmic breathing of a living organism. The compositional achievement lies in the delicate balance between repetition and variation, where the crystallographic grid establishes underlying order while individual element orientations introduce controlled asymmetry, inviting the eye to move across the surface discovering subtle differences within apparent sameness. Chromatically, the work operates within the most austere possible palette of pure white against pure black, yet this apparent simplicity yields remarkable perceptual richness as the luminous quality of each form creates soft gradations, gentle glows, and ethereal edge transitions that complicate the stark binary opposition. The technical facility demonstrated suggests mastery of both engineering precision and aesthetic sensitivity, with each articulation point enabling smooth rotation while the light-emitting surfaces achieve even diffusion without visible mechanism. Thematically, the work appears to explore temporality and perception, inviting contemplation of how repetitive yet subtly varying visual patterns create meditative states and altered awareness of passing time. The title itself, suggesting continuous duration throughout the day, reinforces this temporal dimension while the display format positions the work within traditions of both functional technology and contemplative art object. One might consider how this work transforms the computer display from tool of productivity into instrument of aesthetic contemplation, and how systematic technological precision might paradoxically generate experiences of organic presence and meditative stillness.
Press Kit
- Unique Properties
- Hinemosu 30 is a computer display that shows the time and date by twisting five white elastic bands. The five thick lines are controlled by thirty actuators and display a dizzying kinetic typography and motion graphics. The moving image generated by the computer software connected to the device evoke textile patterns, ocean waves, mountain storms, and falling snow. The mechanical sounds produced by the actuators are reminiscent of the sounds of water and wind in nature.
- Dimensions & Packaging
- 280mm (W) x 120mm (D) x 300mm (H), 5kg.
- Tags
- Kinetic Typography, Motion Graphics, Visualization, Physicalization, Elastic Band, Rubber, Clock
- Production Technology
- Components: Elastic Bands, Servo Motors, Micro Controllers, Aluminum Flame, Acrylic Board, MacBook Air.
- Design Challenge
- The creativity and novelty of this device lies in the fact that it displays computer-generated information using line-like and particularly strip-like objects rather than dot-like or brick-like objects. In comparison to discrete objects, the control of linear objects is more difficult to express delicately because of mutual interference in mechanics. These limitations were overcome in terms of hardware and software in this project through circular prototyping.
In this work, five white elastic bands are arranged horizontally in a black picture frame. Each band is 250 mm long, 40 mm wide, and 1 mm thick. Six white plastic guides are attached to the band horizontally at 42 mm intervals. These guides are used to tilt the band and are linked to servo motors mounted on the back of the picture frame. The servo motor can twist the band in a range of approximately -60 to 90 degrees, although there are slight individual differences. When the servo motor is at 0 degrees, the apparent width of the elastic band is thickest, and at 90 degrees, it is thinnest.
This work uses thirty servo motors, all of which are controlled by a software running on Mac. This software was developed using Cycling '74 Max and generates motion graphics and kinetic typography, calculates the numerical values to control the thirty actuators individually. And it sends the data to the micro controller in Hinemosu 30 via USB Cable. - Project Duration
- This project started in the fall of 2022 and partially finished in the summer of 2023.
- Operation Flow
- Automatic operation by software.
- Research
- This project had been explored kinetic typography by manipulating slender objects such as springs and strings with robot arms. Beyond such practices, the current focus is on flat liner object such as strips, ribbons, and tape with two sides of widely varying widths. Those lines change in apparent thickness depending on the viewpoint. For example, if the ribbon is tilted 90 degrees, the line will appear or disappear. If it is twisted from both ends, the line weight changes continuously like a sine wave. Lines drawn by humans with a brush or calligraphy pen also have continuous changes in line weight. Inspired by this similarity, Hinemosu 30 was designed.
- Inspiration
- The human life is often likened to a line. The line is never straight. It bends, twists, thickens, and thins. The lines are similar to lines drawn by humans for writing. Modern computers output data using points (pixels). Conversely, this designer believes that lines are the source of our life and creativity and wants to let the computer control linear objects. The fruition of this intention, Hinemosu 30 displays letters and patterns by twisting five white elastic bands with thirty actuators to represent the passage of time.
- Image Credits
- Yuichiro Katsumoto
- Patents
- Copyrights belong to Yuichiro Katsumoto, 2023.
Colors of Hinemosu 30 Computer Display
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Kinetic Art Installations and Design Research
We create innovative kinetic displays merging physical computing with artistic expression. Our Utsuroi Lab specializes in motion graphics and interactive installations using novel materials. We offer commissioned artworks, research collaborations, and lectures on experimental media.
G0E1 ShopDesign Interview about 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.
I have been researching information presentation with linear objects since 2016. It was in 2021 that I realised the potential of strip-shaped objects, and it was in 2022 that the concept directly linked to this work was born.
There was no client for this project. I was looking for expression by linear objects rather than point objects.
I have not decided.
Computers use pixels to present information, while humans use lines rather than dots to write and draw. Interested in this difference, I started working on using computers to control linear objects and present the information.
The representation of information through material is one of the themes of the 21st century. It has been challenged by masters such as Daniel Rozin, Jurius Popp and Art+Com.
I was making this work with the intention of communicating my findings to typographers and media artists.
It differs from its predecessors in that it uses linear objects. Computing and digital ideas try to make all objects discrete. But perhaps because we humans value continuity, we prefer to metaphorise even life in terms of lines rather than dots. Lines are imbued with human feelings. If this is the case, computers should also be able to handle lines.
The name of the work means 'from morning to night' in Japanese. The idea came from the way it is constantly changing.
Anything I need.
New and good. My work fuses research and design.
For design, technology is like a car. If you drive well, you can go fast and far.
I am constantly trying out materials, mechanisms, behaviour and shapes. For me, the trial and error itself is research, and the result of the research is the work.
Materials and durability,
I wanted to spread my findings to the public.
It is a hard fun to struggle with materials and mechanisms that are unfamiliar to me. There were many first-time experiences in this time too and I learnt a lot.
I always thank my family and friends.
Grand Interview about Hinemosu 30 Computer Display
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.
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.