I was fascinated by his focus on synesthesia and the deconstruction of nature. He takes the natural randomness of our environment, such as the chaotic motion of microscopic particles, and translates it into highly controlled, digital audiovisual experiences. By acting as a “time designer,” Kurokawa ensures his pieces never just dissolve into a mess of noise. Instead, he carefully layers real-world field recordings with computer-generated graphics so that what you hear and what you see feels like a single, connected unit. This approach shows how we can use digital tools to completely rebuild our perception of the natural world.

Kurokawa’s style offers a great lesson on the importance of flow and artistic intention. When coding generative art, it is very easy for an algorithmic composition to lose its structure and overwhelm the audience. However, Kurokawa proves that by carefully guiding the transitions between order and disorder, an artist can successfully harness that chaos. His work is a powerful reminder that mastering the audio-visual flow is what transforms raw data and abstract code into a truly engaging and meaningful performance.