Kurokawa’s method of composition is innovative in its approach as it combines the science of synesthesia and the deconstruction of nature. It is interesting that he approaches these two subjects from a mechanical standpoint in addition to an aesthetic one. Synesthesia is all about how the body and brain perceive the senses, and nature is all about its impact on the body. He also brings in a third element, which is time, to give more prominence to synesthesia and nature’s impact overall. The effect is visible in his digital and computational landscaping work of shaping graphics, universal images, lines, etc. Kurokawa seems to be very methodical in his approach to creating his composition pieces. He is doing his work of helping nature evolve, sculpt time, and find pleasure through acknowledging transience and imperfection.

The reading prompted me to explore some of Ryoichi Kurokawa’s work, and I found “Re-Assembli” at the ETERNAL Art Space Exhibition really interesting. What’s cool about it is his approach to de-naturing – transforming familiar landscapes of trees and buildings by altering their settings to black and white or inverting their colors, then presenting these transformed scenes through striking, unconventional camera views. As the images move, they often blink rapidly in sync with industrial-like sounds, creating an uncanny, almost synesthetic experience. This synthesis of audio and visuals not only deconstructs traditional notions of nature but also immerses the viewer in a unique sensory journey. Another aspect of “Re-Assembli” that resonated with me was the juxtaposition he created by the two screens placed side by side. On one screen, visuals of trees and nature were played, while on the other, he played images of buildings and interior spaces. This contrast was particularly fascinating because it accentuated the tension between the organic and the constructed, inviting viewers to reflect on how nature and human-made environments coexist and interact. By deliberately placing these two narratives in parallel, Kurokawa challenges our conventional perceptions and encourages us to consider the impact of urbanization and technological intervention on the natural world.

Another thing that I found really cool was Kurokawa’s approach is his choice to work without internet in his studio, even though he uses technology as a tool for his art. This detail made me wonder if he deliberately avoids the internet to minimize distractions or to protect his originality from being influenced by the endless stream of external ideas. I was recently discussing with a friend how ChatGPT can generate creative suggestions that might, paradoxically, lead to a decrease in overall creativity by making us less inclined to think of new ideas on our own. In this light, Kurokawa’s decision to forgo internet access might be a conscious effort to create a focused, unmediated space for artistic exploration, where his creative process remains untouched by the constant influx of digital information.

Also, his indifference toward both old media and the latest innovations highlights his focus on the essence of creativity itself. By working in a fluid, adaptable manner, much like the gradual evolution of nature, he ensures that his artistic process remains open to new ideas and free from the constraints of technological trends. This philosophy not only protects his originality but also allows his work to develop at its own pace, echoing the natural, unpredictable progression of life.