Sound and images resonate in an architectural space, Manabe Daito’schallenge for opening of VS.

On September 6, 2024, a completely new cultural installation, “VS.”, was
born. The opening exhibition is “Continuum Resonance” by Manabe Daito.
Who is Manabe Daito？Moreover, what is he aiming for through VS.? We
interviewed him on the opening day.

A new musical experience born from the collaboration of mathematics and music.

–Mr. Manabe, your activities are diverse, but could you first tell us about the area of your activities th
at you are most focused on and the origins of your activities?

am engaged in creative artistic works centered on music and programming. For example, I generate
sound through programming and convert it into visual images. I create the software myself, which is o
ne of its key aspects. Both of my parents are musicians, my mother was a sound programmer at Yama
ha and my father was a jazz bassist. I like HIP HOP and started my career as a DJ.

However, I felt that my talent as a musician was limited. That’s why I started making new music, inspi
red by sampling existing music, AI generation, and new tools.

majored in mathematics in college. Around that time, I got to know Iannis Xenakis. He also studied
mathematics and architecture, and after becoming a musician, he created music using probability theo
ry and algebra. Moreover, he experimented with acoustics using large amounts of sound. I was directl
y influenced by him.

‘m currently doing more video works, and that’s what gets me noticed. But most of my work is relate
d to music and mathematics. For example, I collaborate with musicians and reinterpret music and turn
my new interpretation into video. Music always comes first. For me, working with music is more natu
ral, and it’s like breathing.

An installation generated in real time from the static data of the space and the dynamic data of the aud
ience.

–This exhibition is structured to rotate through four spaces: [STUDIO C] → [STUDIO B] → [V
Space] → [STUDIO A].

Initially, I had planned to summarize my work so far., but I was so impressed by this building supervised by Tadao Ando that I changed my plan to create a new work using this space as a motif. First, I scanned the gallery and digitized it, then generated a rhythmic pattern from the structure of the space. In addition, a dynamic factor was added by having viewers enter the space..

For the past year, I’ve been developing a synthesizer called “PolyNodes.”

The sound is controlled by passing the viewer’s position, center of gravity, and movement direction into its parameters. I also add harmonies that I composed separately, and the effects and the position of sounds change depending on the viewer’s position. The same information is reflected in the video software, so the video is generated in perfect sync.

The first work at Studio C, “PolyNodes Installation Debug Views,” is an introduction to the entire exhibition, where the sensor values ​​are output directly as they are. I think that visitors will understand how it works by seeing the images and sounds synchronized with their movements. The next work, “PolyNodes Visualization,” at Studio B and “PolyNodes Augmentation” at V Space are works that apply and expand on this idea.

The last space, STUDIO A’s work “Synthesis of Body-Space-Music,” is not generated in real time, but rather displays fixed content in a loop. If the entire exhibition is likened to a course meal, this is the dessert. Here, the viewer is passive and fully immersed in the experience. Oskar Schlemmer, a choreographer and artist at the Bauhaus, used body, space, and geometry to create visual expressions. We tried to create a modern version inspired by his work using PolyNodes. This piece involved actual dancers, whose movement data was recorded and used to generate sound.

Each exhibition space has a sequence of about 10 minutes, but I want the visitors to see and feel without being too concerned about that. I think it’s fine to just close your eyes and listen to the music, or just enjoy the atmosphere, take photos and go home.

–How long did it take to make all your artworks?

It took 11 months for planning and one month for production. Turning it into content is really the last part. It’s the system part that takes the time. Creators like me who use programs to make works first create the software and system, and then turn it into content. There are many things that we realize for the first time when we set up a projector and play the sound through speakers. Also, I notice things by watching the audience as they enter and appreciate the work. This is the inevitable for media art that is generated using the data and values ​​of the environment and the audience. Today was the first time that an audience experienced my work, and I want to update the work after seeing how they behave in the space. Our stance is to “experiment as much as possible,” so even if you have seen it once, it may be completely different the next time you come.

“VS.” is a cultural hub that aims to create a community.

–What do you think about “VS.” as a new cultural device?

Actually, I have been participating in VS. projects for many years, providing information from overseas and proposing interviews with artists. There are many museums and galleries overseas that can disseminate media art, but there are still very few in Japan. For example, when it comes to sound, Japanese galleries are usually located inside commercial facilities. Therefore, they cannot play loud music. Sound is a very important element in immersive works, and immersive galleries with magnificent sound equipment have been built in London and Paris. In that respect, VS. is an independent building and is located underground. Acoustically, there is nothing to be desired.

Of course, the convenient location near the central station is also an attractive point, and Osaka is also a good time to be in the spotlight from overseas with EXPO2025 OSAKA,KANSAI,JAPAN5 approaching.

–Would you recommend VS. to other creators?

I will tell them “There ise a really big gallery!”. I’m sure creators will want to use STUDIO A, which has a high ceiling. V Space may be a challenging space. I’m looking forward to seeing how it will be used by other artists.

This solo exhibition was also created as a demonstration to show the specifications of this museum. I would be happy if my exhibition inspires other creators to think about how they use space.

My goal going forward is to share the content I create with VS. with the outside world. To achieve this, we need to create mechanisms to build a community through lectures, workshops, and discussions that use this work. It would be interesting to see new artists and works emerge from this.

――Night events are also planned for Sunday, September 22nd and Saturday, September 28th.

Three of us, including myself, will be DJing at V Space. It is common overseas to hold DJ events at galleries and museums. It may be surprising in Japan though. Since we can use video, it might be interesting to do something like a VJ. I will not only have the audience dance but also provide other enjoyable elements