This system developed by Disney Research converts the recorded sound into special signal data. A person with a recording microphone touches the other ‘s ears, causing the eardrum to vibrate, making it possible to experience a voice as if hearing from the fingertip.

It was YURI SUZUKI who took on the role of manager as one of its development members

Yuri Suzuki is a sound artist, designer and electronic musician who explores the realms of sound through exquisitely designed pieces. His work looks into the relationship between sound and people, and how music and sound effect their minds. His sound, art and installations have been exhibited all over the world.

Suzuki was born in Tokyo in 1980. After studying Industrial Design at Nihon University, he worked for the Japanese art unit Maywa Denki (who created the Otamatone). He then moved to London to study Design Products at the Royal College of Art under the tutelage of Ron Arad. During this period, he also worked with Yamaha to produce musical experiences.

In 2013, he started teaching at Royal College of Art as well as becoming a research consultant for Disney, New Radiophonic Workshop and Teenage Engineering.

During this same year, he set up Yuri Suzuki Design Studio, focusing on R&D, sound and design consultancy work, where he collaborates with many clients including Google, Moog, will.i.am, Panasonic and Disney to name a few.

Later on in 2013 Suzuki created a DIY musical instrument, the OTOTO (comprising of a built in synthesiser and sampler) – with Mark McKeague and Joseph Pleass as Dentaku Ltd – to much public acclaim.

In 2014, Museum of Modern Art New York acquired his work OTOTO and Colour Chasers to their permanent collection.

Yuri Suzuki and Yuri Suzuki Design Studio are based in London with an international client base, who are looking to push the boundaries of design, technology and sound.
Former · assistant of MEIWADENKI, currently based in the UK, is a sound artist working with several companies such as Disney Research.
He is such a person, but actually he says, “There is little technical knowledge.” Still, what is the reason why the world like “ISHINDENSHIN” can participate in development projects that draw attention?

From the findings of YURI, it may be possible to obtain a work technique that leads the project to success, which is important for creators, especially those who are responsible for management.

He is such a person, but actually he says, “There is little technical knowledge.” Still, what is the reason why the world like “ISHINDENSHIN” can participate in development projects that draw attention?

From the findings of YURI, it may be possible to obtain a work technique that leads the project to success, which is important for creators, especially those who are responsible for management.

Meiwa Denki entered as assistant at almost the same time as university admission. I majored in industrial design at the university, but what I teach in the lesson was not so attractive as it was only a formal way of thinking to become a company’s immediate fighting force.

Meiwa Denki, while developing creative creative activities, was also doing advertising projects and establishing it as a work.
Originally it was a fan of Meiwa Denki’s work and I wanted to absorb a lot of things while working as an assistant.

Meiwa Denki’s Assistant era carried out a wide range of genres such as exhibitions, concerts, toys production and recording.

In each case, I experienced many roles including designers, musicians and engineers. With a variety of genres, I got a wide range of activities to do various roles.
At the time MEIWADENKI was older brother – NASAMICHCI – san changed from president to NOBUMICH.
From the etiquette to the knowledge of the design, we truly appreciate and appreciate many things for the two of us.

“It is important to match the intention of the site at times”
In those days “Because creators thought that it is natural to go their own way”. It was a valuable experience that I learned when I was young that such “flexibility” is also necessary to make work as a creator
I learned how to assemble the work to NOBUMICH. Briefly, the logic to build tasks after sharing the vision among members of the project.

Regardless of the role of any person, it is important to share your vision and to tell you that there is your task as one of those processes. That way, even if it is a simple task, you can work with subjectivity.

That will increase the growth speed, as well as the active exchange of opinions among the members. As a result, efficiency of the entire project is improved. I get such a job skill.
After graduating Meiwa Denki, he entered the Royal College of Art in London (RCA).

RCA was a free schoolwind and it was good to have any theme. I was impressed there and enrolled in it, but the theme of “music and technology” was the only thing I could do.
For RCA, artists and designers from all over the world gather. Even if we compete with them in the field of art and design from the front, we will not catch up with them at all.

So, I thought about 2 years at RCA as a time to upgrade my skills. The result leads to activities as a sound artist now.
No, I was planning to get a job at the beginning. I had received my job takeda, but it was canceled by Lehman shock.
When I was at a loss, my graduation work “The physical value of sound” got a reputation even outside the school and I decided to hold an exhibition all over the world. As a result of this, requests for advertisement and exhibition come to come and we will act naturally and free.

Actually, YURI is poor in technical knowledge, only about the very basic programming “Max”.
However, it conversely led to differentiation from other works. In the case of YURI, it is made mainly of quite analog technology which is different from other people even if it says technology. I am using such technology because I am not conscious of differentiation, I can only do it.
It was good that we could establish the style of fusing ‘music and technology’ learned with Meiwa Denki as their style in RCA.
If you know “mechanism”, you know what kind of programming you need and who you should ask.
Understand “mechanism”, share vision to project members and assemble tasks. There are two main roles that YURI has in the project.
By successfully doing it, I believe that the project succeeded and that we were able to participate in many projects as a result.

Work techniques gained by Meiwa Denki’s activities are being utilized. The knowledge is an important know-how common to domestic creators and project managers.

In overseas projects such as thinking about the design just before the exhibition are on the rough side. Still, people at the scene are used to it, so it gets to be manageable.
It is important to abandon such logic in Japan and follow the village when going to the village. If you do, your network will spread and work will be done in any place.

As a first step towards discarding logic, it is recommended that you work with foreign clients. It is the same as staying abroad and working in Japan with clients in Japan. Many people are watching the surroundings. Then, it ends only by making Little Tokyo overseas.

To operate overseas, do not use Japanese companies. If you do that, people will spread, and you can quickly learn about manufacturing and job logic that fits that climate.

For five years since becoming free, I continued to make monozukuri in laziness. I was able to do a wide range of art works, advertisements, exhibitions, product creation etc. However, there was a place where I could not stop braking when I was doing it alone, I lost my physical condition for a while.
Even so it is a waste to narrow the range of work, and we established a company there. I will do more planned activities by organizing. The task of YURI in the future is to have a business vision.

In addition, I also want to focus on nurturing the backwards, I have been teaching at RCA since this year.

The brand with the four rings will also attend this year’s Milan Design Week 2017 with the fifth edition of ‘Audi City Lab
The premium manufacturer from Ingolstadt will return in great shape to Milan Design Week 2017 with the fifth edition of the Audi City Lab, housed in the historic building commissioned in 1565 by San Carlo Borromeo with access in Corso Venezia 11.

The public will be able to explore the different aspects of contemporary society on the occasion of multidisciplinary talk to be held on the role of artificial intelligence and its interaction with man. The vanguard second Audi is in fact the search for mobility solutions through to support human-machine interaction technologies. A vocation that generates innovations such assistance systems to high-end guide which are called intellingent assistance.

Inside the cloister of Corso Venezia 11 will be on display the entire range of the new Audi A5, along with the new Audi RS 5 Coupé. There will also be an unusual sound installation of sound designer Yuri Suzuki. Called ‘Sonic Pendulum’, the work of Suzuki will create, thanks to a specially developed algorithm, a continuous musical background processing sounds coming from the surrounding space and visitors and thus creating a constantly evolving sound, a sort of between technology and public dialogue .

Artists expected to be active in the future

WIRED from  http://www.sportfair.it/

WIRED from http://yurisuzuki.com/