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This Planet is Our Home.

24 Languages: English, Japanese, Slovak, Chinese, Spanish, Korean, German, Hindi, French, Thai, Swahili, Italian, Turkish, Greek, Swedish, Ukrainian, Dutch, Indonesian, Finnish, Vietnamese, Polish, Arabic, Russian and Hebrew.

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This Planet is Our Home. Vertical, No-Sounds, 23 Languages
Participation in "Open Media Art" in a public space in Košice, Slovakia.


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This Planet is Our Home. 24 Langages, 372.4 MB
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This Planet is Our Home. 23 Langages, 356.1 MB



            The video walks through a forest somewhere on Earth, far from civilization and geography. It declares in 24 languages, "This Planet is Our home," while looking up at the sky. Modern civilization has pursued material wealth for a better life. However, it is now widely recognized that the production of materials beyond what is necessary for human subsistence threatens the survival of living things. Excessive material consumption is a serious threat to the survival of living things. Material wealth has been pursued for human survival. But now the situation is reversed. It is imperative to prioritize the survival of living beings over the pursuit of material wealth. To address this issue, we must reexamine the diversity of values and lifestyles around the world and redefine the concept of wealth. What the above points have in common is that acquiring more things does not necessarily lead to future happiness or fulfillment. We must live together on this planet. This is the highest priority. Failure to do so will lead to the extinction of all living things, not just humans. We don't have enough time to live comfortably on another planet. Space exploration only worsens the environment by emitting huge amounts of CO2. We should use the brainpower and science of space exploration as a resource to improve the ecology.
            The video can be freely distributed. At the end of the 20th century, the artist Kenji Kojima stopped making material art that left traces of waste in geological formations. He did not want the artwork to become an object of material desire. A large part of the Anthropocene is the accumulation of limitless material desire in a monetary economy. We artists are also faced with the need to reconstruct our way of life. The greatest feature of digital art is that real art can be copied infinitely. It destroys the greedy material possessions of money worship, restores art's extraordinary financial commodity value, and revives its connection to the individual viewer. He tries to eliminate the abnormal financial situation of art embedded in capitalism and give it a different meaning. If art had meaning even after its monetary value disappeared, it would revive the connection with the viewer. This video is freely available under a CC license.

Show: Kenji Kojima's Biography
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            Kenji Kojima was born in Japan. He moved to New York in 1980 and began his artistic career in 1980. 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 he felt stuck in the future of modern civilization and under capitalistic art. 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 in the history of art that as society and people's minds changed, materials developed and visual art changed. His egg tempera paintings have been collected by Citibank, Hess Oil, and others.
            The personal computer improved rapidly during the 1980s. He felt more comfortable with computer art than paintings. Ecologically, he 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. He studied computer programming himself. His early digital works were archived at the New Museum - Rhizome, New York. 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 converted the artwork to video while the software ran on the operating system. He also started making videos and was interested in ecological art themes. He programmed the software "Luce" for the project "Techno Synesthesia" in 2014. His digital art series has been shown at media art festivals around the world, including Europe1, Brazil2, the Middle East3, Asia4, and the USA, including solo exhibitions in New York City5.
            After Covid-19, he could not go out to shoot a video. He found many archival artworks on the net. In 2021 he started the new series "The Musical Interpretation of Paintings", which creates music from classical image data such as paintings, photographs, and films. The project "Bitwise Splitting and Merging of Pixels" manipulates color pixels by bitwise operation. Generative AI has been greatly improved in 2023. He is considering using Music Generative AI. Kenji Kojima Resume



Digital Art Exhibitions:
the USA: 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, 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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