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この作品は、ゴッホの「種まく人」をRGBカラースペースにマッピングすることで再解釈しています。各点は時間軸に沿ってプロットされ、接続されることで、絵画をデータへと変換する軌跡が形成されます。ゴッホが浮世絵を視覚システム間の翻訳として研究したことに着想を得て、この作品は絵画をバイナリで符号化された情報として捉えます。画像自身のRGB値から生じるノイズは確率的に拡散し、徐々に画像を再構築していきます。この作品は、マッピングを知覚、コード、そして進化し続ける芸術言語の間の架け橋として提案しています。
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Description:
This work reinterprets The Sower by mapping its pixels into the RGB color space. Each point is plotted and connected over time, forming a trajectory that translates the painting into data. Inspired by Van Gogh’s study of ukiyo-e as a translation between visual systems, this work approaches painting as information encoded in binary. The apparent noise, generated from the image’s own RGB values, disperses stochastically and gradually reconstructs the image. It proposes mapping as a bridge between perception, code, and the evolving language of art.
Project: After Vincent van Gogh
This project showcases the artist's programmed application works of new media.
Currently, all information is stored in binary format. The project "After Vincent van Gogh" aims to discover a new aesthetic sense by deconstructing and reconstructing images using the concept of "After (d'après)" found in Van Gogh's titles. This goes beyond mere imitation or stylistic allusion, seeking to break down the underlying structure of the images. Van Gogh's records reveal that his copying of Japanese ukiyo-e prints was an "experiment in translating the grammar of Western painting" and a training ground for mastering "perspective that is one with nature." Van Gogh's "After" paintings are not mere imitations but strive to unravel their underlying structure. Artist Kojima seeks to use binary code as an ideological link to the next phase of art history. AI currently generates images as an assemblage of previous images. The fundamental material of 21st-century images is not pigments and mediums, but rather a binary logical structure. Instead of creating images through assemblage or painting with a digital brush, as AI does, Kojima attempts to break down visual information into binary, the most basic unit of computing—a concept not typically used for human communication with generative AI—and observes how information is structured, paving the way for the next step.
Kojima believes that our human sensory organs act like filters, extracting specific elements like sight and hearing from the chaotic world around us and constructing them. We perceive and construct this chaotic world using algorithmic filters called our sensory organs.
This project delves into the concept of perception and structure in the realm of digital art visualization. It employs binary code and algorithms to convey this idea. The most significant transformation of our era, from matter to data, necessitates viewing binary as a fundamental artistic medium. Kojima randomly scatters the image's pixels, dispersing all colors and replacing the original data in binary units. Since pixels consist of four binary values, the image gradually becomes a fragmented, glitchy animation. Unlike computer images, which are typically programmed for immediate human recognition, this project compels viewers to witness the passage of time in binary units. The video was constructed using the aforementioned method to analyze three of the copy paintings of Van Gogh, three original paintings of them, and two of his later works. The background sound was created by converting the red, green, and blue values of each painting's pixels into a twelve-tone scale and playing them on a MIDI piano. This project does not intend to revive Van Gogh's visual aesthetic sense, which he introduced to modern audiences. Instead, by utilizing the same concepts Van Gogh discovered in his "After" and deconstructing, reconstructing, and re-examining them within the modern binary system, he aims to pioneer a novel aesthetic sense in the history of art.
Show: Kenji Kojima's Biography
Hide: Kenji Kojima's Biography
Kenji Kojima was born in Japan. He moved to New York in 1980 and began his artistic career. For the first 10 years in New York City, he painted contemporary egg tempera paintings using medieval art materials and techniques. He was strongly attracted to contemporary art but felt stuck in the future of modern civilization and art with excessive material value. He tried to experience the history of the creation of the European concept of art through actual materials and techniques, that is, the history of art that is not written in literature. He was particularly interested in the basic materials of painting, such as ground, pigment, and medium, rather than the visual theme. He noticed that as society developed, people's minds expanded, materials and tools advanced, and the visual arts changed. Citibank, Hess Oil, and others have collected his egg tempera paintings.
The personal computer improved rapidly during the 1980s. He felt more comfortable with computer art than paintings. Ecologically, he had felt guilty about wasting materials in the name of art. Working on the computer was clean, did not waste material, and made him feel lighter. In the early 1990s, he moved his artwork into the digital arts. He was particularly interested in developing interactive artworks. His early digital works were archived at the New Museum - Rhizome, New York. He studied computer programming himself. In 2007, he developed the computer software "RGB MusicLab" and created an interdisciplinary artwork that explores the relationship between images and music. He developed interactive software for his art, but soon ran into a big problem. The software would not run on the new operating systems. He recorded the artwork as a video while the software ran on the operating system. This is how he started using video as a documentary tool—by filming interactive software in motion. He started making videos, not only about programming art but also about ecological issues in art. His digital art series has been shown at media art festivals worldwide, including Europe, South America, the Middle East, Asia, and the USA.
After COVID-19, he could not go out to shoot a video, but he found numerous free archival artworks online. He has started a new series that interprets classic image data using binary numbers. Artist Kojima believes that the sensory organs construct the world by extracting only certain components from the chaos, such as visual and auditory information, like a filter. So we create our world with the "key" of the sensory organs as if we were deciphering a code. In 2023, "Bitwise Splitting and Merging of Pixels" began with the self-question, "With the development of generative AI, can we create visual art that is not an assemblage of past visual data? Currently, all media is recorded in binary form. This fact leads to the manipulation of color pixels using bitwise operations. He developed encryption and decryption projects based on classic paintings, as well as a binary interpretation of paintings. He developed encryption and decryption projects based on classic paintings, which is a method for deconstructing and reinterpreting color information. As he develops his digital techniques, he prioritizes reproducibility over ownership of his works. He believes that the focus should be on the infinite dissemination of digital art, rather than its ownership and control. Kenji Kojima Resume
Hide: Kenji Kojima's Biography
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