Experience-Driven Showcase [11]Rhizomatiks directs Yaskawa Electric's 100th Anniversary Ceremony!
Manabe Daito
Rhizomatiks
Ishibashi Moto
Rhizomatiks
Haruko Ishibashi
Dentsu Inc.
Shinichiro Sekiguchi
Dentsu Live Inc.
Yaskawa Electric celebrated its 100th anniversary in April. While the company is known for the buzz-worthy project movie 'YASKAWA BUSHIDO PROJECT' —where its industrial robot "MOTOMAN MH24" challenges the divine art of iaido—there are actually other stories of innovation. That was the stage performance held at the commemorative ceremony. Centered on the theme of "human-robot collaboration," it fused Yaskawa's industrial robotics with Rhizomatiks' technology and expertise. This time, we interviewed Daito Manabe and Motoi Ishibashi of Rhizomatiks, who created the stage, along with Haruko Ishibashi of Dentsu Inc., who managed the event, and Shinichiro Sekiguchi of Dentsu Tech.
Interview Coordination: Aki Kanahara, Dentsu Inc. Event & Space Design Bureau
I've always been very interested in Yaskawa Electric's robot technology.
Haruko Ishibashi (hereafter Haruko): It's been half a year since our first meeting at the end of January this year. We often had to feel our way forward through trial and error. What are your overall impressions now that it's finished?
Motoki Ishibashi: When we first discussed it in January, I thought we had plenty of time. I felt we had time to try various things, so we experimented a lot.
Ultimately, I think the direction, visuals, and the dancers' skills were major factors, but I'm glad it turned out well. As the technical director, I was relieved that the technical aspects also worked out smoothly.
Manabe: Since it was client work, we knew there would be constraints. But looking back, it feels like we managed to create something not too different from what we usually do with the Elevenplay team – our regular collaborative projects.
Osamu Ishibashi: From our side at Dentsu Inc., there's a need to avoid failure and prioritize reliability. But Rhizomatiks' appeal lies in constantly challenging themselves, so it was difficult for us to keep up with that drive for innovation. Still, looking back, we learned a tremendous amount.
Motoki Ishibashi: We were already interested in Yaskawa Electric's robot technology. We've even toured their factory before.
Manabe: We took lessons, like training sessions, from Yaskawa Electric's development program. We made lesson attendance cards about two or three years ago.
Motoki Ishibashi: I've taken it twice myself (laughs).
What kind of work did you create while collaborating with Yaskawa Electric's technology?
Sekiguchi: When you first took on the job, did you have any specific ideas for what you wanted to do?
Manabe: "I probably said something like, 'I want to use 100 robots!' (laughs). Since it wasn't my first time using robotic arms, I had a sense of how they'd feel. I also hung out at bars with the team developing the famous Bot & Dolly plugin for CG (※1), asking them about the tricky parts and what would be interesting to try. So, I vaguely had a plan from the start of what I hoped to achieve.
*1: Bot & Dolly... Bot & Dolly Inc. is one of the robotics companies acquired by Google, specializing in special effects production using cutting-edge technologies like robots.
Ishibashi Moto: Initially, we brainstormed various possibilities—using drones and robots, equipping them with lasers, mounting dancers on robotic arms. We focused on exploring technically interesting approaches, while choreography director MIKIKO handled integrating those into the overall production.
This time, it took quite a while to settle on the core elements we'd use, while simultaneously exploring collaborative development with Yaskawa Electric's technology.
Osamu Ishibashi: Due to time constraints, we couldn't just tackle each element one by one. As we progressed with both the direction and development simultaneously, we found that once development made progress, the direction became clearer and expanded, and vice versa. This created a situation where things didn't solidify easily.
What were the most challenging aspects?
Motoki Ishibashi: It might not be the best way to put it, but I knew that if we just focused intensely, we could shape it based on our past experience. Precisely because I knew that, I wanted to try a collaborative development approach and create a new way of working with Yaskawa Electric. Deciding where to draw the line on that was quite a struggle.
Sekiguchi: What was the initial goal you were aiming for?
Motoki Ishibashi: It was about creating one completely new tool. Specifically, a robotic arm tool designed for performance or expression itself. I haven't given up on that idea now. I still believe such tools are necessary, and I think many people would agree that having them would absolutely expand the range of expression possible. I want to pursue that.
Sekiguchi: You couldn't do it without Yaskawa Electric's technical cooperation, right?
Motoki Ishibashi: Yes. Fundamentally, having a robot arm move exactly as it would in CG software isn't necessary for industrial robots right now. But if it existed, it would absolutely open up possibilities for future business, right?
Sekiguchi: In the broader trend, we should expect robots to program themselves directly in factories using CG, without human intervention.
Manabe: It's the issue often called the Singularity (※2), but it comes down to judging whether to invest the cost to develop it.
*Note 2: Singularity: The Technological Singularity refers to the precise and reliable limit of future models derived from the history of human technological development ("event horizon") in futurology.
Approach to Developing and Creating the Production Plan
Osamu Ishibashi: How did you decide on the direction?
Motoki Ishibashi: I felt we needed some kind of narrative element that would convey a sense of that 100-year timeline, starting from when Yaskawa Electric began. I wasn't sure if it would be conveyed through video or what form it would take, but I felt it was necessary to make the audience feel that 100 years. Also, since it was already decided that robots would be fixed in place on the lower stage, I felt the upper space needed some kind of staging to avoid feeling empty. We managed to combine everything nicely by using servo motors to suspend the Flying Cube from the ceiling. We decided that first, then moved on to figuring out the video projections, and finally had evala create the music for the production. That was the sequence.
Osamu Ishibashi: Regarding what movements to give the robots, I remember consulting with Yaskawa Electric's technical team. We discussed things like, "What about this movement?" or "Hmm, this one might take a bit of time." After that, the Rhizomatiks team refined the robot movements. Did MIKIKO then watch those movements and think, "Well, if the dancers did this kind of movement, that might be interesting," so it was a simultaneous process?
Motoki Ishibashi: MIKIKO-san had experience choreographing for robots before. She'd choreographed for five SoftBank Pepper units and for three robotic arms, so she already had a sense of the required speed and such.
Manabe: MIKIKO does this kind of work regularly, so I think she has a comprehensive view of the entire production. She treats the robots like people. She's also very skilled at creating interactions and the interplay between visuals and people.
Ishibashi Moto: The choreography comes first, then the robots are synchronized to it, and the video team creates the visuals based on that. This is something our team can do because we always work this way.
Ishibashi Osamu: So it's a skill honed through years of accumulated experience.
Sekiguchi: Surprisingly, when the cube or other elements were unstable, we'd discuss things like, "Well, should we just track it with infrared?"
It's interesting because back in the day, the goal was to use infrared tracking in real-time to follow human movement, but this time we're using it more as a kind of backup.
Ishibashi Moto: We're using camera models we haven't tried before. This time, conditions like the distance to the stage being far or needing to capture the entire 10-meter width meant we had to change various equipment. It's not just backup; we're also developing new parts to fit those conditions.
If there's a future for this, I think a higher goal would be developing a camera system or projection system with more versatility, one that could be used for regular future shoots.
I want to teach programming, visual expression, and performance to children!
Osamu Ishibashi: You're holding workshops for kids during summer vacation, right?
Motoki Ishibashi: Yes, I will. Limited to middle and high school students.
Manabe: I've been thinking lately that teaching college students is too late. Kids around high school age who can program really can do it. It's easier to gather amazing high schoolers than amazing college students.
Motoki Ishibashi: In the workshop, we create performances. So people who can't program are totally okay (laughs).
Manabe: For dancers, maybe famous high school dancers will join. I think it's important to help them build connections. Amazing programmers, dancers, and video artists. I think high schoolers can create great works together. It's way better than half-hearted interactive expressions by working adults (laughs). We'll also have MIKIKO join as an instructor. Limited to 10 participants.
Ishibashi Osamu: Those 10 people are incredibly lucky!
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Author
Manabe Daito
Rhizomatiks
Born in 1976. Graduated from the Department of Mathematics, Faculty of Science, Tokyo University of Science; graduated from the DSP Course at the International Academy of Media Arts and Sciences (IAMAS). Creates works by reinterpreting and combining familiar phenomena and materials from different perspectives, participating in various projects utilizing programming across genres and fields. Also focuses on educational outreach, conducting workshops worldwide including at MIT Media Lab and Fabrica.
Ishibashi Moto
Rhizomatiks
Born in 1975. Graduated from Tokyo Institute of Technology's Department of Control Systems Engineering and the International Academy of Media Arts and Sciences (IAMAS). Focusing primarily on device fabrication, he energetically engages in numerous advertising projects, art production, workshops, and music video creation.
Haruko Ishibashi
Dentsu Inc.
Joined Dentsu Inc. in 2007. Assigned to a TV station, then transferred to the Promotion Business Bureau in 2009. Handled a wide range of projects from campaigns for beauty and toiletries to events. In 2011, transferred to the Event Specialized Office and Space Branding Office (now the Event & Space Design Bureau). In the current bureau, primarily handles planning and production of "brand experience spaces" for beverage manufacturers, including promotional events and pop-up stores.
Shinichiro Sekiguchi
Dentsu Live Inc.
After majoring in Spatial Design at Chiba University's Department of Industrial Design, he joined Dentsu Prox (now Dentsu Tech). He participated in projects involving branding—including creative and strategic aspects—as a producer in the promotion field. His role extended beyond the promotion domain, supporting Dentsu Inc.'s activities as a partner in building brand identities.