Reading about Ryoichi Kurokawa made me think differently about how scale and control work in audiovisual art. What stood out to me most was his idea of “de-naturing” nature, to uncover structures that are usually invisible. He breaks natural phenomena down into data, sound and image to create works that feel both precise and unstable at the same time, which makes the experience feel alive rather than fixed.

I was also drawn to how Kurokawa thinks about time. He sees his work as “time design” and he justify by constantly adjusting and reshaping it across performances and installations. His slow and evolving approach contrasts how quickly technology usually moves – he doesn’t seem interested in novelty for its own sake, but in letting ideas develop gradually, the way nature does.

Another aspect I found compelling is that Kurokawa doesn’t confine himself to a single platform or format. He moves fluidly between concerts, installations, sculptures and data-driven visuals, choosing the medium based on what the idea requires rather than forcing the work into one system. This flexibility reinforces his larger interest in scale and transformation, and it made me reflect on how artistic practice doesn’t have to be tied to one tool or discipline to remain coherent.