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• Billy The Kid, Tintype at Fort Sumner, 373.8 MB
• 坂本龍馬, Sakamoto Ryōma,
Wet Plate Photo at Ueno Hikoma Photo Studio, 302 MB
Show: Japanese / 日本語
Hide: Japanese / 日本語
初期写真術のバイナリー的解釈：
アーティストの小島健治は、写真術の初期発展に着想を得て、画像をバイナリーとして解釈するという概念を探求しています。これは現代のデジタル表現の時代に、深く結びついた考え方です。写真技術の起源は、ルネサンス時代のカメラ・オブスキュラにまで遡ることができますが、19世紀になってダゲレオタイプ、アンブロタイプ、ティンタイプといった画像の固定化を可能にする技術が登場し、視覚文化に大きな影響を与えました。
このプロジェクトは、初期の写真技術をデジタル技術のレンズを通して再解釈するものです。バイナリー・レベルでの暗号化・復号化、粒子分解、ランダム再構成、デジタルグリッチといったプロセスを用いることで、小島は視覚芸術における「真実」と「独創性」という従来の概念に挑んでいます。ビデオスクリーンは垂直に分割され、同じ画像を異なる変容の様相を呈しています。あるセクションでは、「ワンタイムパッド」と呼ばれる暗号手法を用いて、乱数によるビット単位のXOR演算を適用することで画像の色データを暗号化し、画像をコードと復号に必要な鍵の2つの部分に分離します。他のセクションでは、写真画像が色の粒子に分解され、ランダムに再配置され、視覚的なノイズと秩序が統一された場へと再構成され、段階的な視覚的遷移が表現されます。
デジタルグリッチは、バイナリオーバーレイ（「0」と「1」の層）のずれによって発生し、画像の滑らかな表面を乱します。同時に、画像の色データから直接音が生成され、視覚と聴覚の相互作用を生み出します。
ジョルジュ・スーラの点描画からインスピレーションを得たこのプロジェクトは、有機的なプロセスとアルゴリズム的なプロセスを並置しています。21世紀において、すべての情報はバイナリフレームワークの中に存在します。この作品は、19世紀の写真技法と現代のデジタル技術の溝を埋め、視覚的記憶、作者性、そしてAIとアルゴリズムの時代における芸術創造の進化というテーマについて考察を促します。
デジタルアートは、その無限の複製可能性によって際立っており、これが伝統的な芸術形式とは一線を画す特徴です。例えば、このビデオは自由に共有・配信することができ、物理的な芸術作品が際限なく複製される世界におけるデジタルアートの可能性を浮き彫りにしています。このような状況下では、物理的な芸術作品の市場主導による金銭的価値は低下する可能性があります。こうした制約を取り除くことで、デジタルアートは新たな可能性を提示し、所有権や資本という概念から、芸術そのものの体験的・概念的な側面へと焦点を移します。
Hide: Japanese / 日本語
Binary Interpretation of Early Development Photography:
Inspired by Early Development Photography, Kenji Kojima delves into the concept of interpreting images in binary terms—an idea deeply ingrained in our contemporary era of digital expression. The roots of photographic technology can be traced back to the Renaissance with the camera obscura. However, it was not until the 19th century that techniques like the daguerreotype, ambrotype, and tintype emerged, enabling the fixation of images and profoundly shaping visual culture.
This project reinterprets early photographic techniques through the lens of digital technology. By employing processes such as particle decomposition, random reconstruction, and digital glitches, He challenges conventional notions of "truth" and "originality" in visual art. The video screen is divided into vertical sections, each presenting distinct modes of transformation. In one section, a cryptographic method known as the one-time pad encrypts the color data of the image by applying a bitwise XOR operation with random numbers, effectively separating the image into two parts: the code and the key required for its decryption. Other sections showcase gradual visual transitions where photographic images are broken down into color particles, randomly rearranged, and recomposed into a unified field of visual noise and order.
Digital glitches arise from the misalignment of binary overlays—layers of "0"s and "1"s—disrupting the smooth surface of the image. Simultaneously, sound is generated directly from the image's color data, creating an interplay between visual and auditory perception.
Drawing inspiration from Georges Seurat's pointillism, the project juxtaposes organic and algorithmic processes. In the 21st century, all information exists within a binary framework. This work bridges the gap between 19th-century photographic practices and contemporary digital technologies, inviting reflection on themes of visual memory, authorship, and the evolving nature of artistic creation in the age of AI and algorithms.
Digital art stands out for its limitless reproducibility, a feature that sets it apart from traditional art forms. This video, for instance, can be freely shared and disseminated, highlighting the potential of digital art in a world where physical artworks can be endlessly duplicated. In such a scenario, the market-driven monetary value of physical artworks may diminish. By eliminating these constraints, digital art offers fresh possibilities, redirecting the focus from ownership and capital to the experiential and conceptual aspects of art itself.
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 shot the artwork to video while the software ran on the operating system. He started making videos, not only about programming art but also about ecological issues in art by shooting videos. 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 archival artworks online. He launched a new series titled "The Musical Interpretation of Paintings" which transforms classical image data such as paintings, photographs, and films into music. 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, including The Da Vinci Code, as well as a binary interpretation of Van Gogh's and Gauguin's time in Arles. He also started a participatory video art project called "This Planet Is Our Home," which focuses on the Anthropocene and ecology. Kenji Kojima Resume
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