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洞窟の壁は人類初のキャンバスでした。現在はそれはデジタルスクリーンになっています。このプロジェクトは、ブルガリアのマグラにある先史時代の洞窟壁画を取り上げ、すべてのデータがバイナリで記録されている1万年以上後の現代世界から、人間の感覚と知覚というテーマを探求しています。
アーティストの小島健治は、自分の周りの世界は混沌とした情報で満ちていると考えています。進化の過程で、私たちはゆっくりと世代を重ね、生存のための環境を把握する機能として五感を発達させてきました。人間は目を使って外界の形や色を知覚します。目を持たない深海の生物は、どうやって外界を知覚しているのでしょう。あるいは皮膚がその役割を果たしているのかもしれません。コウモリは音波を通して三次元空間を知覚します。私たちは五感から得られる情報を信頼しているので、他の感覚器官の能力を無視しているのかもしれません。私たちの感覚器官はフィルターのように、混沌から視覚や聴覚情報など特定の要素だけを抽出して、世界を構築しています。それは暗号を解読するかのように、感覚器官という「鍵」を使って自分の世界を構築することです。
ビデオの始めにある洞窟壁画は、暗号化技術を使って混沌とした色のモザイクになります。これは与えられた画像の色情報に、乱数をビット単位で排他的論理和して作成した暗号化画像です。各正方形には、赤、緑、青の情報が含まれています。乱数は画像のデコード処理中にビデオ画面に表示され、バイナリ値として見ることができます。この乱数は、暗号化された画像の鍵と考えることができます。
このプロジェクトのモザイクは、キャンバス上で混合された色を物理的に配置するのではなく、光学的な色混合からインスピレーションを得ています。ジョルジュ・スーラが試したように光の色要素を混ぜて、元の画像を再現するプロジェクトです。これは、ワンタイムパッドと呼ばれる暗号化技術を使用して、すべての画像データに乱数をビット単位でXOR演算することで、色情報を暗号化しています。つまり暗号作成解読キー（乱数）とコード（ランダムに配置された正方形の色付き画像）とに分離されていると言えます。
暗号化された混沌とした色彩は、鍵にマッチした乱数で復号され、ブルガリアのマグラ洞窟にある洞窟壁画となります。アーティストの小島は、混沌から得られる視覚情報は聴覚情報も混ざり合っていると考えています。プロジェクトの次の段階は、マグラ洞窟壁画から色彩情報をバイナリ形式で取得し、音階への変換を試みました。これはロシアの作曲家アレクサンドル・スクリャービンや、画家ワシリー・カンディンスキーが表現しようとした、色彩と音楽の関係を探っています。RGB値の中心をピアノ鍵盤の中央ドに設定し、自動的に12音階に割り当てた。しかし、映像で表現された音は、20世紀後半の実験音楽のような、非常にテンポの速い混沌とした音階になりました。
テクノロジーが作る新しい価値：
アーチストの小島は「NFTアート」はアートではなく、金融商品と考えています。デジタル・アートの最大の特徴は本物のアートワークを、無限に複製できることにあります。本物のアートワークを無限に複製すると、その金銭価値は消失するでしょう。彼は資本主義に組み込まれたアートの、異常な金銭的状況を無くして違う意味を持たせようとしています。もしアートの金銭的価値がなくなっても意味があるならば、アートはここの鑑賞者とのつながりを復活させるでしょう。
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Project Description:
Cave walls were mankind's first canvases. Now they have become digital screens. This project takes up the prehistoric cave paintings of Magura in Bulgaria. It explores the theme of human sensation and perception from the perspective of a modern world more than 10,000 years later, where all data is recorded in binary.
Artist Kenji Kojima believes that the world around him is full of chaotic information. In evolution, we have slowly and slowly repeated generations to develop the five senses as a function to grasp the environment for survival. Humans use their eyes to perceive the shape and color of the outside world. How do creatures in the deep sea that have no eyes perceive the outside world? Or maybe skin plays that role. Bats perceive three-dimensional space through sound waves. We trust the information provided by the five senses, so we may ignore the capabilities of other sense organs. Our sensory organs construct the world by extracting only certain components from the chaos, such as visual and auditory information, like a filter. It is that you construct your world with the "key" of a sense organ as if you were deciphering a code.
The cave painting at the beginning of the video becomes a chaotic color mosaic using encryption technology. It is an encrypted image created by bitwise exclusive-ORing random numbers to the color information of a given image. Each square contains Red, Green, and Blue information. The random numbers can be seen as binary values displayed on the video screen during the image decoding process. This random number can be thought of as a key for encrypted images.
The mosaics in this project are inspired by optical color mixing, rather than the physical arrangement of mixed colors on canvas. The project is to recreate the original image by mixing color elements as Georges Seurat did. This uses a cryptographic technique called a one-time pad to encrypt color information by performing a bitwise XOR operation on all image data with random numbers. In other words, it can be said to be separated into the code-breaking key (random numbers) and the code (colored images of randomly arranged squares).
The encoded chaotic colors are decoded using random numbers that match the key and become a cave painting in Magura Cave, Bulgaria. The artist Kojima feels that the visual information obtained from chaos is also mixed with auditory information. The project's next stage was to obtain the color information from the Magura Cave Murals in binary form and attempt to convert it into a musical scale. He explored the relationship between color and music, as Russian composer Alexander Scriabin and painter Wassily Kandinsky had attempted to express. He set the center of the RGB value to be the middle C of the piano keyboard, automatically assigning it to the 12-tone scale. In the video, however, the sound expressed here is a chaotic scale with a very fast tempo, like experimental music of the late 20th century.
Show: Kenji Kojima's Biography
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Kenji Kojima was born in Japan and moved to New York in 1980. In the first 10 years, He painted contemporary egg tempera paintings using medieval materials and techniques. 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. He noticed in the history of art that as society and people's minds and technologies changed, materials developed and visual art changed. Ecologically, he had felt guilty about wasting materials in the name of art. The personal computer improved rapidly in the 1980's. Working on the computer was clean and made him feel lighter. He felt more comfortable with computer art than paintings. He moved his artwork into the digital arts. He studied programming by himself. In the modern world where all data is recorded in binary, he had an interest in binary as art materials. He developed the computer software "RGB MusicLab" and created an interdisciplinary artwork that explores the relationship between images and music. He programmed interactive software for his art but soon encountered a big problem. The software would not run on the new operating systems. He converted the artwork to video while the software ran on the operating system. He also started making videos and was more interested in ecological art themes. His digital art series has been shown at media art festivals worldwide, including Europe, South America, the Middle East, Asia, and the USA, and solo exhibitions in New York.
Kenji Kojima PDF Rerume.
Binary as Art Material (2007 - 2021): Written by Kenji Kojima
Digital Art Exhibitions:
the USA: 2024 OtoZono at HEART, New York. / 2024 the New Media Art Space at Baruch College, New York. / 2024 All Street, New York / 2023, 2020 Torrance Art Museum, Los Angeles, USA. / 2023 THE ELASTIC MIND, BROWARD College, Weston, Florida. / 2023 SOJOURNER, New York, NY. / 2022 Asian American International Film Festival, New York, NY. / 2012, 2016 Light Year, Brooklyn, New York. / 2021 UNCG International Sustainability Shorts Film Competition, UNC Greensboro, NC, USA. / 2019 The Harold B. Lemmerman Gallery, New jersey City University, Jersey City, NJ. / 2019, 2016, 2015 Williamsburg Art & Historical Center, New York, NY. / 2018 The Exchange, Bloomsburg, PA. 2018 WhiteBox, New York, NY. / 2015 ACM SIGGRAPH Digital Arts Community. / 2014 MediaNoche, New York, NY. / 2008 AC Institute, New York, NY.
Europe: 2024 Profusion of Colors, A.E. Corner, Galleria di Tirano, Viale Italia / 2024 Summer of Anthropocene, The New Museum of Networked Art, Cologne, Germany / 2024 DIGITAL VIDEO ART INTERNATIONAL STREAMING FESTIVAL 'The films of the Official Selection 2024', Vienna, Austria / 2024 Technocene Berlin Templehof, Germany. / 2024 Open Media Art, Košice, Slovakia / 2024, 2023, 2022, 2020, 2019 Ie Rencontres Internationales Traverse, Toulouse, France. / 2021 FEX comtemporary media art, Cologne, Germany. / 2020 Institut für Alles Mögliche, Stützpunkt Teufelsberg, Belrin, Germany. / 2019 The festival BINNAR, Vila Nova de Famalicão, Portugal. / 2019 MADATAC X New Media Arts Festival, Madrid, Spain. / 2018 Athens Digital Arts Festival, Athen, Greece. / 2018 Mitte Media Festival, Berlin, Germany. / 2017 Simultan Festival, Timisoara, Romania. / 2016 Simultan Festival, Timisoara, Romania. / 2016 Brave New World Beyond the Wall, Berlin, Germany. / 2015, 2013 ESPACIO ENTER, Tenerife, Canary Islands, Spain. / 2014 BRAVE NEW WORLD, Berlin, Germany. / 2011 Jyväskylä Art Museum, Jyväskylä, Finland. / 2010 PROCESS Festival, Berlin, Germany. / 2009 RE-NEW Digital Art Festival, Copenhagen, Denmark. / 2002 Free Manifest, Frankfurt am Main, Germany.
Brazil: 2023, 2022, 2020, 2016, 2012, 2011, 2010 FILE (Electronic Language International Festival) São Paulo, Brazil. / 2012 FILE RIO, Rio de Janeiro, Brazil. / 2010 FAD (Festival de Arte Digital), Belo Horizonte, Brazil.
the Middle East: 2020, 2012 Istanbul Contemporary Art Museum, Turkey. / 2020, 2019 Paadmaan Video Event, Isfahan, Iran.
Asia: 2021 Thailand New Music and Arts Symposium, Bangkok, Thailand. / 2020 the 150th Anniversary Gandhi Event, Kolkata, India. / 2019 Capital Normal University College of Cape Cod, Beijing, China & China University of Mining
and Technology Yinchuan College, Yinchuan, China. / 2018 Gunung Sunda Festival, Sukabumi, West Java, Indonesia. / 2016 CeC 2016, North-Eastern Hill University, Shillong, Meghalaya, India. / 2010 Contemporary International New Media Art Invitational, Wuhan University of Technology, China.
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