From the late 1960s to the end of the 1980s, artists were given access to computer and video equipment in laboratories, studios and institutions dedicated to research and creation. This gave a new impetus to the ideas initiated by the avant-garde at the beginning of the century, and evoked the films and videos (sometimes in the form of a study) of John Whitney, Ed Emshwiller and the duo, Steina & Woody Vasulka, all of which continue to pace up and down the territory of abstraction, while filmmakers such as Robert Cahen and Gary Hill explore the boundaries of portrayal and language. Since his early work in the mid-2000s, Ryoichi Kurokawa has followed the same work process: distorting (with the help of software) images and sounds that he himself records in natural environments, such as urban spaces.

Through digital manipulation, his source materials gradually move away from their original form, gaining abstraction, revealing a visual and auditory universe of tints and tones, sometimes poetic but more often dynamic, animated with light convulsions and hypnotic pulsations. Technological and innovative as they may seem, in effect, his works originate from the most concrete reality and more still from the surrounding nature that the artist considers "not from a romantic point of view, but rather formal", drawing inspiration from "its structures and its movements". His works are often modelled on the numerous Japanese practical artists whom, from calligraphy and poetry to theatre and dance, often develop their work within a willingly animist relationship with nature: its rhythms, forms and seasons. However, the novelty of this work is that here, Kurokawa’s approach originates from a more scientific viewpoint than in the past.