More information: anti-utopias.com/art/norimichi-hirakawa-indivisible/

There are three construction rules Norimichi Hirakawa based his new work, The Indivisible (Prototype No. 1), each revolving around the artist’s interest in the principles and laws underlying our world. What the artist seeks to explore is whether it is possible for human beings to deal with principles and natural law underlying the world which natural science has been aiming to succeed in solving. The three rules governing this exploration are:

1. To let a computer program do a meaningful calculation.
2. To depict only by using numerical values that appear in a calculation process.
3. (However) Do not represent a calculation object as object itself.

For the young Japanese artist, whose work was recently presented as part of TodaysArt Japan at T-Art Gallery, this real-time, processual approach is a means to address the world differently than we normally would, without the mediation of perception or apprehension.

We live in times when technology and culture interact with each other more than ever. Our contemporary, information-intensive environment shifts our perception of time and influences the way we navigate spaces, both physical and virtual. Often unnecessary noise takes away our focus and affects our ability to see. Consequently, as Robert Irwin once pointed out, we miss out “on this visual Disneyland happening all around” us, all the time.
And the Whole World Stops is a series of short films and a visual exploration of our daily environment that we often assume to be predictable and mundane. It is a glance into the landscapes that we consider familiar only because we cast a membrane of knowingness over them. But what happens when we slow down and take a look around us? You might be surprised…
Eventually, a Great Blue Heron has become a metaphor in my work for mindful stillness and a symbol for surviving, adapting and thriving in an environment that is undergoing constant change.
wioletakaminska.com

http://www.norwichoutpost.org/artist_pages/89_benedict_drew/index.html