一期一会 東京 (Tokyo Once) · Token Detail
一期一会 東京 (Tokyo Once) #55
一期一会 東京 (Tokyo Once) is a 1000‑piece generative fine‑art photo‑cinema collection inspired by the Japanese concept 一期一会 — Ichigo Ichie — “this moment exists only once.” The collection honors the beauty of fleeting connection and the memory of a love that shaped eternity. Each image is crafted in ultra‑realistic 1980s film‑grain photographic style: neon rain on wet pavement, cherry blossoms falling in blue hour light, silhouettes crossing bridges, empty shrine pathways, rooftop sunsets, and reflections moving like breath across glass and water. A tribute to Tokyo as the heart remembers it: quiet, luminous, unforgettable.
Token information
- Collection
- 一期一会 東京 (Tokyo Once)
- Token ID
- #55
- Subject
- Lone Figure Crossing Street
- Time / Light
- Overcast Blue Hour
- Weather / Atmosphere
- Light Rain on Pavement
- Film Mood
- Warm 1980s Colour Film Grain
- Colour Palette
- Neon Blue and Amber Reflections
- Composition / Depth
- Strong Vanishing Point Down Alley
- Detail / Symbol
- Train Station Signage in Soft Focus
- Rarity
- Common
Owner information
More from 一期一会 東京 (Tokyo Once)
Other Collections
Katheros
Katheros is a generative fine-art collection of ink-based geometric compositions — pure lines, sacred shapes and interference patterns rendered with mathematical clarity and quiet aesthetic restraint.
Remanence
Remanence is a study of the human face recorded as light over time.
Each work depicts a recognisably human facial form rendered as a sparse spatial point cloud and subjected to long‑exposure spectral recording. Motion across the exposure produces temporal echoes — red‑shift and blue‑shift afterimages that reveal the face at different moments in time.
These are not portraits. They are residual impressions: what remains of form once time, movement, and wavelength have been allowed to interfere.
Spectra
Spectra is a study of matter revealed as light.
Each work is rendered as a long-exposure spectral field — a restrained, museum-grade image where compounds and materials appear as bands and lines held against deep charcoal. These are not diagrams. There are no axes, grids, labels, or legends. Only the quiet evidence of a signature.
Across the collection, four regimes are held in tension: hydrocarbons, nuclear fuels, clean-energy materials, and metal alloys. The politics is embedded in comparison, not slogans — warmth versus precision, diffusion versus containment, abundance versus legacy — expressed only through light.