Today, artists are creating more than just objects based on aesthetics: shapes, materials, and colors. For example, they are also creating interactive, experiential works and new media that utilize technology, recreating communication and community through these. We spoke with Daito Manabe about the possibilities of technology and expression. --Is technology central to establishing a single form of expression across different fields like dance, music, and programming? I believe that music and dance, my main fields, are particularly impacted by new technology. Personally, I've not only created new things, but I've also made instruments using devices from other fields, such as medical sensors. For example, the development of a new drum machine can lead to the creation of a sampler, which can then become mainstream. Technology can sometimes reinvent genres, and that's something I strive for. --I think that's because you also program your own work. What's your advantage? I became interested in programming because it allowed me to create music I'd never imagined. However, other artists have been doing it for a long time, and it's become commonplace. That's why I've recently become very interested in the development of artificial intelligence. I sometimes create new music using AI, but by creating an avatar of myself, I can also unravel the characteristics of my own playing. For example, I can objectively recognize that I'm not good at songs with heavy reverb effects.

--I believe that your premise, as a creator, rather than a researcher, is that you are a creator. What do you keep in mind to bring technology to the level of expression?

When applying new technology to a piece of work, the key is how to elevate it to expression, rather than just a technical spectacle, and that's the difficult part. Anyone can come up with an idea. However, to optimally realize it, humans often have to make demands on technology, and vice versa. Sometimes we have to create original software rather than using existing software, and the key is to skillfully combine our creative sensibilities with our engineering skills. We do everything from ideation to implementation ourselves, but there are some aspects of expression that we can't achieve on our own, so collaboration is necessary.

--In interviews and documentaries, you often hear people say, "I want to try things that no one has done before." Does that mean that expression is a kind of invention, and that creators also have a pioneering role?

Our role, or the challenges we face, is to find expressions that no one has tried before, so it doesn't matter if the technology is already mature. Simply using technology to create content doesn't produce new expressions; ideas and ingenuity are required. To do this, it's important not only to consider technology but also to research precedents. Specifically, there are various ways to do this, such as attending academic conferences and reading papers, or visiting research institutes to conduct interviews. I think it's also important to be exposed to a wide range of works.

--Is there anything you consider to ensure that viewers of new expressions understand them?

It makes a big difference whether you present it as art or entertainment. In the case of entertainment, it's important to have a briefing with the director. The direction should not make the technology seem too obvious. If the technology is too prominent, it becomes a technical explanation. The demos and prototype introduction videos we give to directors are technology demonstration videos and do not reach the level of expression. Directors like MIKIKO-sensei and musicians like HIFANA and Noda Yojiro of RADWIMPS elevate them into expression.

On February 2nd, we ask Manabe about "the creativity of the Apple Watch."