Ryota Kuwakubo

Ryota Kuwakubo (born 1971) is a Japanese multimedia artist. Kuwakubo was born in Tochigi Prefecture. In 1998 he co-produced the project BITMAN with the art unit Maywa Denki.[1][2] Kuwakubo works with varying mediums, most commonly utilizing digital or electronic aspects, and a typical theme his works center on is contrasting matter.[1]

Visitors seeing Ryota Kuwakubo's installation at Kochi-Muziris biennale 2014

In 2010 Kuwakubo exhibited at Cyber Arts Japan, a special media art exhibition hosted by the Museum of Contemporary Art, Tokyo.[2][3] A 2011 interactive art piece of his, The Tenth Sentiment, was displayed at the "Ways of Worldmaking" exhibit at the National Museum of Art, Osaka.[4] In The Tenth Sentiment the viewers walk around a room as a model train with an LED light maneuvers along a set of tracks, focusing a light at commonplace objects on the ground which subsequently cast large shadows on the walls of the room. These shadows change from crowds of people, to cityscapes, to tunnels as the piece continues. The Tenth Sentiment was awarded a prize of excellence at the 14th Japan Media Arts Festival which described it as an "attractive work" which avoids the "cliché interactive art works that tend to depend too much on technology",[1] and described by art critic for The Japan Times, Matthew Larking, as "arguably the most attractive work" of the exhibit.[4]

Education[5]
  • University of Tsukuba, Plastic Art and Mixed Media course 1993
  • University of Tsukuba, M.A., Design (Plastic Art and Mixed Media Dept.) 1996,
  • International Academy of Media Arts and Sciences, 2001

Bibliography

Major exhibitions
  • Cocosocoasoco (2006) together with Reico Yamaguchi under the name Perfektron, Lucy Mackintosh Gallery, Lausanne, Switzerland
  • Cyber Arts Japan (2010), Museum of Contemporary Art, Tokyo
  • Ways of Worldmaking (2011), National Museum of Art, Osaka

Major works[6]
  • Bit-hike (1999)
  • Vomoder(2000)
  • Heaven Seed(2000)
  • Duper/Looper(2001)
  • Video Bulb
  • PLX (2001)
  • ShiriFurin (2009)
  • Nikodama (2009)
  • The Tenth Sentiment (2011)

Commercial collaborations
  • Commercial video for Sony Tablet[7]
gollark: See, this is perfect and without flaw except that the time requirement to make the regex seems to increase exponentially due to greenery.
gollark: Here you go, `b(d(e(e(io|oi)|i(eo|oe)|o(ei|ie))|i(e(eo|oe)|oe{2})|o(e(ei|ie)|ie{2}))|e(d(e(io|oi)|i(eo|oe)|o(ei|ie))|e(d(io|oi)|i(do|od)|o(di|id))|i(d(eo|oe)|e(do|od)|o(de|ed))|o(d(ei|ie)|e(di|id)|i(de|ed)))|i(d(e(eo|oe)|oe{2})|e(d(eo|oe)|e(do|od)|o(de|ed))|o(de{2}|e(de|ed)))|o(d(e(ei|ie)|ie{2})|e(d(ei|ie)|e(di|id)|i(de|ed))|i(de{2}|e(de|ed))))|d(b(e(e(io|oi)|i(eo|oe)|o(ei|ie))|i(e(eo|oe)|oe{2})|o(e(ei|ie)|ie{2}))|e(b(e(io|oi)|i(eo|oe)|o(ei|ie))|e(b(io|oi)|i(bo|ob)|o(bi|ib))|i(b(eo|oe)|e(bo|ob)|o(be|eb))|o(b(ei|ie)|e(bi|ib)|i(be|eb)))|i(b(e(eo|oe)|oe{2})|e(b(eo|oe)|e(bo|ob)|o(be|eb))|o(be{2}|e(be|eb)))|o(b(e(ei|ie)|ie{2})|e(b(ei|ie)|e(bi|ib)|i(be|eb))|i(be{2}|e(be|eb))))|e(b(d(e(io|oi)|i(eo|oe)|o(ei|ie))|e(d(io|oi)|i(do|od)|o(di|id))|i(d(eo|oe)|e(do|od)|o(de|ed))|o(d(ei|ie)|e(di|id)|i(de|ed)))|d(b(e(io|oi)|i(eo|oe)|o(ei|ie))|e(b(io|oi)|i(bo|ob)|o(bi|ib))|i(b(eo|oe)|e(bo|ob)|o(be|eb))|o(b(ei|ie)|e(bi|ib)|i(be|eb)))|e(b(d(io|oi)|i(do|od)|o(di|id))|d(b(io|oi)|i(bo|ob)|o(bi|ib))|i(b(do|od)|d(bo|ob)|o(bd|db))|o(b(di|id)|d(bi|ib)|i(bd|db)))|i(b(d(eo|oe)|e(do|od)|o(de|ed))|d(b(eo|oe)|e(bo|ob)|o(be|eb))|e(b(do|od)|d(bo|ob)|o(bd|db))|o(b(de|ed)|d(be|eb)|e(bd|db)))|o(b(d(ei|ie)|e(di|id)|i(de|ed))|d(b(ei|ie)|e(bi|ib)|i(be|eb))|e(b(di|id)|d(bi|ib)|i(bd|db))|i(b(de|ed)|d(be|eb)|e(bd|db))))|i(b(d(e(eo|oe)|oe{2})|e(d(eo|oe)|e(do|od)|o(de|ed))|o(de{2}|e(de|ed)))|d(b(e(eo|oe)|oe{2})|e(b(eo|oe)|e(bo|ob)|o(be|eb))|o(be{2}|e(be|eb)))|e(b(d(eo|oe)|e(do|od)|o(de|ed))|d(b(eo|oe)|e(bo|ob)|o(be|eb))|e(b(do|od)|d(bo|ob)|o(bd|db))|o(b(de|ed)|d(be|eb)|e(bd|db)))|o(b(de{2}|e(de|ed))|d(be{2}|e(be|eb))|e(b(de|ed)|d(be|eb)|e(bd|db))))|o(b(d(e(ei|ie)|ie{2})|e(d(ei|ie)|e(di|id)|i(de|ed))|i(de{2}|e(de|ed)))|d(b(e(ei|ie)|ie{2})|e(b(ei|ie)|e(bi|ib)|i(be|eb))|i(be{2}|e(be|eb)))|e(b(d(ei|ie)|e(di|id)|i(de|ed))|d(b(ei|ie)|e(bi|ib)|i(be|eb))|e(b(di|id)|d(bi|ib)|i(bd|db))|i(b(de|ed)|d(be|eb)|e(bd|db)))|i(b(de{2}|e(de|ed))|d(be{2}|e(be|eb))|e(b(de|ed)|d(be|eb)|e(bd|db))))` matches all anagrams of `beeoid`.
gollark: I'll run that test later™, I have to test my new `beeoid` anagram regex.
gollark: I don't think it's an optimal regex, but it's generated from the FSM.
gollark: On the plus side, apparently `b(e(es|se)|se{2})|e(b(es|se)|e(bs|sb)|s(be|eb))|s(be{2}|e(be|eb))` matches all anagrams of `bees`.

References
  1. "The Tenth Sentiment". bunka.go.jp/english. Japan Media Arts Plaza. Archived from the original on 19 September 2011. Retrieved 14 October 2011.
  2. Thompson, Mark. "Cyber Arts Japan: As interactive as they want to be". japantimes.co.jp. The Japan Times. Retrieved 15 October 2011.
  3. "Cyber Arts Japan". mot-art-museum.jp/eng. Museum of Contemporary Art, Tokyo. Retrieved 14 October 2011.
  4. Larking, Matthew. "Wonderlands of the artists' making". japantimes.co.jp. The Japan Times. Retrieved 15 October 2011.
  5. According to J. Brucker-Cohen, Gizmodo Gallery: Console Transformations and More with Ryota Kuwakubo
  6. According to Laboratory for New Media 4th Exhibition; a summary description can be found in an interview of Kuwakubo by J. Brucker-Cohen, Gizmodo Gallery: Console Transformations and More with Ryota Kuwakubo
  7. Announcement on personal website; Official website of Sony


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