yuuuta.

too sweet

is not my type.

YUTA architects visceral experiences as a creative director and developer, crafting interactive visuals, designing unique identities, and exploring concept-driven matters. 

yuuuta.
Art, Trend
(2025)

Why design must evolve alongside technology

(placement) What I have just said might suggest that, in eating, Olivia became closed into herself, absorbed with the inner course of her sensations; in reality, on the contrary, the desire her whole person expressed was that of communicating to me what she was tasting: communicating with me through flavors, or communicating with flavors through a double set of taste buds, hers and mine.

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(placement) “Did you taste that? Are you tasting it?” she was asking me, with a kind of anxiety, as if at that same moment our incisors had pierced an identically composed morsel and the same drop of savor had been caught by the membranes of my tongue and of hers. “Is it cilantro? Can’t you taste cilantro?” she insisted, referring to an herb whose local name hadn’t allowed us to identify it with certainty (was it coriander, perhaps?) and of which a little thread in the morsel we were chewing sufficed to transmit to the nostrils a sweetly pungent emotion, like an impalpable intoxication.

“Complicity: the word, the moment it came into my mind”

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(placement) referring not only to the nun and the priest but also to Olivia and me—heartened me. Because if what Olivia sought was complicity in the almost obsessive passion that had seized her, then this suggested we were not losing—as I had feared—a parity between us. In fact, it had seemed to me during the last few days that Olivia, in her gustatory exploration, had wanted to keep me in a subordinate position.

a presence necessary, indeed, but subaltern

(placement) obliging me to observe the relationship between her and food as a confidant or as a compliant pander. I dispelled this irksome notion that had somehow or other occurred to me.

(placement) In reality, our complicity could not be more total, precisely because we experienced the same passion in different ways, in accord with our temperaments: Olivia more sensitive to perceptive nuances and endowed with a more analytical memory, where every recollection remained distinct and unmistakable, I tending more to define experiences verbally and conceptually, to mark the ideal line of journey within ourselves contemporaneously with our geographical journey.

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Figure 2.1: Image placement for insight000 under transitioning.

(placement) In fact, this was a conclusion of mine that Olivia had instantly adopted (or perhaps Olivia had been the one to prompt the idea and I had simply proposed it to her again in words of my own): the true journey, as the introjection of an “outside” different from our normal one, implies a complete change of nutrition, a digesting of the visited country—its fauna and flora and its culture (not only the different culinary practices and condiments but the different implements used to grind the flour or stir the pot)—making it pass between the lips and down the esophagus. This is the only kind of travel that has a meaning nowadays, when everything visible you can see on television without rising from your easy chair. (And you mustn’t rebut that the same result can be achieved by visiting the exotic restaurants of our big cities; they so counterfeit the reality of the cuisine they claim to follow that, as far as our deriving real knowledge is concerned, they are the equivalent not of an actual locality but of a scene reconstructed and shot in a studio.) —Under the Jaguar Sun