A table and a large construction scaffolding are arranged on the stage, while a circle of LED lights is installed on the ceiling. Accompanied by sound that embraces the entire space, and visual projections onto a screen in the back of the stage, these elements are elaborately interlocked with the performers' movements by way of sensors, resulting in a spatial setting that appears as an extension of the performers' bodies. In addition to the performers' movements, the audience perceives through the instantly changing stage at large the differences and gaps between "phenomena" as we see them, and "cognition" based on our reading of social environments and everyday stories.
For this piece, original small-sized sensor devices were developed using "myoelectric sensors" to detect minute electric potential differences radiated by muscles. Attached to the two performers' bodies, these devices convert all sorts of movements into data, and thus interlock the performers with elements of sound and stage setting.
Looking quite ordinary from the outside, the table contains next to a projector and other devices also a built-in variability mechanism, and functions in a way as the work's central system. A globe, a glass, and other objects randomly placed on the table are fitted with various mechanisms as well that trigger interaction with the performers.
Originally developed mainly by Fujimoto himself, the lighting device consisting of LED lights arranged in a circle of 8 meters in diameter is controlled via a computer to instantaneously flash in arbitrary colors from arbitrary points on the circle.
A huge vibrator is mounted to a construction scaffolding, and vibrates in tune with the lights and sounds. The noise this vibration produces charges the stage space as a whole with a sense of mass and physicality.