"The compositional form of MEMB refers to a subjective mental process in which form-entities act as mental events, penetrating the imaginary plane dividing self from non-self. This is an archetypal process in which the interplay of mental events within their field of activity provides the momentum for a cyclical development. The dissolution of this plane is merely a natural part of the cycle, which could be endlessly repeated, in countless variations. KIYOSHI FURUKAWA produced the sound track at the ZKM, Karlsruhe."

"Several entries in a diary form four sections of this composition. The sections encompass very diverse pictorial elements but the semiotic connections of these elements is not predetermined for the viewer who will find whatever "meaning" is pertinent to him at that time. The four parts are based on various techniques of collage and the juxtapositioning of visual elements in long intertwining lines of change that often attain such a high degree of complexity that only single lines can be followed in each viewing. The film is intended for repeated viewing and intuitive reinterpretation despite the fact that during its production I was guided by a very specific content. KIYOSHI FURUKAWA produced the sound track at the ZKM, Karlsruhe."

"Does an increase in complexity imply a qualitative evolutionary advance and are we able to impose a sense of direction, or indeed a goal, on that process? Are these impositions not in fact the servants of our innate need for purpose related value? Is an illusory orientation more effective than disillusioned disorientation? Or insane contentment better than morbid insight? From this distant perspective, all that can be witnessed is an apparently aimless and fragmented ebb and flow, leaving myriads of spent forms adrift in the virtual afterworld of memory. CYNET art prize for computer animation, 2000. Kiyoshi Furukawa produced the sound track at the ZKM, Karlsruhe."

Cynet art prize for computer animation, 2000

"This composition uses documentary material interlaced in various rhythms. The individual frames of the original material have been reworked and then placed so that their numerical order is retained although they are separated by other sequences of frames. The object of this is to create a new sequence of images by blending different sequences together and by decreasing the continuity of the frames. The video also includes passages of continuous animation."

Media Prize awarded by the Bund Deutsche Industrie, 2001

Asolo Art Film Festival prize for computer animation, 2002

Hoeren und Sehen Production Grant awarded by the ZKM in Karlsruhe, Germany, 2004

"Noemata No. 2 was completed after one year back in Asia. In the West, the most banal of artefacts of contemporary and traditional Asian Culture are often viewed as though, behind their sometimes obvious banality, they were concealing some profound, mysterious insight into the world, obscured from Western vision. Whereas African, Amerindian or Polynesian cultures are often observed with condescending interest, Asian Culture suggests, to the Western eye, that the enchantment of the world, the remystification of nature and existence, may be regained if one could find the key to understanding it's signs and symbols. This is it's mythology. Here we are on an island where reality is always virtual. It comes in nylon, neon, Neo-Post-modern fluorescent TV format, as mobile manga-mania of Fressundfickkultur with false eyelashes and jogging clogs. The Buddha got it right after all. Form IS emptiness. Emptiness IS form. Shigenobu Nakamura produced the sound track."