These videos are free to share
and can be shown without permission. If you can contact me, I would appreciate it.
If you approve of the video as art.
You can donate any amount to the artist
Even if you disagree, you can keep it.
But it has no artistic value, as you have determined.
Hide: Japanese / 日本語
"PIKA DON" is the Japanese word for the Atomic Bomb immediately after it was dropped. Japanese people didn't know about the New Bomb. The Bomb was called "PIKA DON". "PIKA" is the Flash and "DON" is the Explosion Sound.
"PIKA DON" is the Japanese word for the Atomic Bomb immediately after it was dropped. Japanese people didn't know about the New Bomb. The Bomb was called "PIKA DON". "PIKA" is the Flash and "DON" is the Explosion Sound.
The video proclaims "This Planet is Our Home" in 24 languages. Modern civilization has pursued material wealth for a better life. However, excessive material consumption is a serious threat to the survival of living things. It is now widely recognized that the production of materials beyond what is necessary for human subsistence threatens the survival of living things. This has led to many conflicts and environmental pollution. To solve this problem, we need to re-examine the diversity of values and lifestyles around the world and redefine the concept of wealth. The above points have in common that acquiring more things does not necessarily lead to future happiness or fulfillment. We must coexist on this planet. Failure to do so will lead to the extinction of humans and all living things. We must rethink what abundance and happiness mean. 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.
Moderate protest than throwing tomato soup at the paintings:
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 and can be displayed without permission.
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
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