Interviews with Yuichiro Katsumoto

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.

I studied film production as an undergraduate and pursued graduate studies in design thinking and physical computing. After obtaining my PhD, I worked for several years at a research institute specializing in Human-Computer Interaction (HCI). Currently, I am employed as a university faculty member.

I design because I love creating and I have a desire to see new things. I am not sure if the title of "designer" accurately represents my job. However, I engage in iterative processes with intent and purpose to create new forms and formats.

I aim to make physical objects behave informationally. Currently, I am designing computer displays using linear objects.

I still consider myself to be inexperienced. There is much to learn from others, regardless of age, gender, or cultural background. Often, I feel a sense of despair when I witness the accomplishments of young prodigies.

A good designer explores the unknown. A great designer shares the fruits of their exploration.

As far as my field is concerned, good design should embody innovation in both technology and expression. Moreover, good design reflects the designer's intent and philosophy while addressing the demands of the time and society.

Good design shapes the future. Without those who pioneer the future, the world would regress into a dark age. It is essential to invest time and opportunities for exploration.

If I could dedicate time to design outside of work, I would like to design a home for my family. I believe that the experimentation involved in this process would also benefit my professional work.

I aspire to create a large-scale piece that can be permanently installed in a public space. I am currently preparing for this project.

There is nothing but hardship.

There are too many predecessors whom I admire so much that no matter how many names I write down, I will leave them out. If I dared to name one, it would be Shigeo Fukuda and Bruno Munari. They have remained free in their approach to design itself.

The award-winning work, Hinemosu 30, was made in the great footsteps of predecessors such as Daniel Rozin, Julius Popp and Art+Com. I have never forgotten my respect for them.

I always try to make the best work I can and I think I've achieved that. But a lot of people are more pleased with the toys I was making earlier in my career.

When I was a student, I used to transcribe books in the library. At that time, I had neither the money to buy books nor the ability to earn money, but I had plenty of time. The knowledge I gained from transcribing books still helps me in my work today.

I probably would have been a failed comedian or a member of parliament who could only criticise.

Design is about creating new forms and formats through trial and error with intention and purpose.

First of all, my family. Without their understanding, I cannot continue my work. Secondly, my friends, my supervisor and senior colleagues from my student days, and my boss and colleagues from my time at the research institute. They helped me when I was struggling. Then the Art Community at SIGGRAPH, who always encourage me to take on my challenges.

I am not a great designer.

As long as I am trying new materials and techniques that are new to me, there are only obstacles in my design process.

Any way. I often present my work at international conferences such as SIGGRAPH.

I aspire to create a large-scale piece that can be permanently installed in a public space. I am currently preparing for this project.

I wish I could keep working until I die.

I don't think I am esteemed. I consider that my students think of me as an uncle who complains a lot.

All design always contributes to creating a good society, as long as we do not shout loudly about the importance of design.

Even I get excited when I find new ways of using materials and mechanisms through prototyping.

Every project is satisfying because it makes me grow.

The design industry should be more involved in education. The only way to increase good design is to increase the number of people who understand design.

Now I usually take one to two years to finish a project.

Prototyping of core ideas.

Don't worry, Be Happy.

Design is a mirror and window into the zeitgeist.

Technology is an integral part of design, both in the past and in the future. For me, the technology of making pencils is equivalent to the technology of making CAD.

Anything I need.

Furuta Oribe. He was a warlord of the Sengoku period and a great artist. He combined the interest of distortion and error with novelty and beauty.

No, I was not. But I loved reading biographies of Edison when I was little.

Humans are simply trying out the present in the face of an endless future.

I wish everyone to be happy.

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.