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Hiroshi Sato / 佐藤仁

he/him

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Hiroshi Sato / 佐藤仁

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Jun 22

A map of my writing

An index to the essays, sorted by where they live

A map of my writing

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UX Collective

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Hiroshi Sato / 佐藤仁

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Apr 29

The left-handed rope

On a sacred design pattern, and the long reach of small reversals

The left-handed rope

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Philosophy Today

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Hiroshi Sato / 佐藤仁

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Jun 18

The references I can no longer make

On a kind of citation that has dissolved past the point of being cited — and what we might still give back

A working sketch of the essay’s concepts: citing from a source, the inputs and outputs of an unfinished self, immune sensors that respond or no longer respond, things that are still mine but no longer separate from me.

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Between Tides

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Hiroshi Sato / 佐藤仁

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Jun 6

AI sycophancy is over. The harder part is just starting.

On being someone’s other, when AI is everyone’s

A handwritten map of the essay’s ideas, sketched in Japanese. An arrow on the left descends from “yes-AI” to “no-AI” to “the crisis of recognition,” and then through Hegel and Rawls to “a life-staked endeavor.” At the center, “society = a life-staked endeavor we undertake together,” with the note “AI’s cost of recognition = zero.” On the right, the same question repeats in different shapes — how we differ from another, how to become a good other.

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UX Collective

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Hiroshi Sato / 佐藤仁

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1d ago

The pole and the stake

On going with the current, changing it, and what designers are asked to do

A photographed hand-drawn concept sketch sits between turquoise and terracotta wave-shaped bands. It compares a boat using a pole to move with the current, a fixed stake creating an eddy, and a pole–stake chart where design expands an activity beyond an assumed tradeoff. Japanese notes connect the pole with value capture and the stake with changing values.

In

My Kyoto

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Hiroshi Sato / 佐藤仁

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2d ago

The song that skipped Okinawa Island

Snails, island songs, and how the center of the world keeps shifting

A minimalist hand-drawn map of the Ryukyu Islands. Amami in the north is labeled “rokucho,” Okinawa in the middle “kachashi,” and Yaeyama in the south “rokucho-bushi.” Shuri, the former royal capital, is marked on Okinawa. The map highlights how two distant island groups share similar songs, while the island between them has a different dance tradition.

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UX Collective

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Hiroshi Sato / 佐藤仁

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Oct 26

The tap that pours hot water, not cold

On where a sushi self-service system quietly puts its risk

The tap that pours hot water, not cold

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UX Collective

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Hiroshi Sato / 佐藤仁

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Oct 19

Playing the sanshin without a sound

The slot machine and the checklist: a dilemma in feedback design.

An overhead photograph of a traditional Okinawan sanshin resting horizontally on a wooden table. The instrument has a reddish-brown wooden neck, three strings, and a rounded body covered with snakeskin. Two black playing accessories lie near the headstock, while the concrete floor and wooden furniture are visible below the table.

In

Philosophy Today

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Hiroshi Sato / 佐藤仁

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Oct 12

What human writing means (to me)

On an AI practicing taiki seppō, and me waiting

A hand-drawn diagram with green and blue background areas. It includes people, arrows, boxes, handwritten notes, the labels “Handmade” and “AI,” and a larger box on the right showing several inputs flowing into AI and then to a user.

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UX Collective

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Hiroshi Sato / 佐藤仁

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Oct 9

Designing for an idea before it exists

On empty seats, metaphors, and the useful parts that don’t quite fit

A hand-drawn concept map for the essay, connecting known and unknown quadrants, the predicted omega-minus particle, an analogy with a missing counterpart, and a four-quadrant diagram with an empty space. Arrows link these structures to notes about design, ideation, and creating room for new ideas.

Hiroshi Sato / 佐藤仁

Hiroshi Sato / 佐藤仁he/him

Ten minutes on something slightly interesting. Collecting angles that make familiar things look strange again. A designer & humanities learner in Japan.

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