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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.

The videos are free to share You can show them without permission. Create your version from Green Background Video. 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. Download: • 2:00 / Green Background Chroma Key Text / 21.3 MB • 7:15 / Green Background Chroma Key Text / 119.9 MB • This Planet is Our Home / Wood / 91.1 MB • This Planet is Our Home / Grassland / 90.5 MB • This Planet is Our Home / Fallen Leaves / 97.1 MB • This Planet is Our Home / Snow / 91.6 MB • This Planet is Our Home / Steam / 94.5 MB • This Planet is Our Home / Tall Grass / 94 MB Open: This Planet is Our Home / PIKA DON   Series "Copy It, Share It!" is licensed under Creative Commons Attribution 4.0 International License. Credit must be given to the creator. Please Support Kenji Kojima's Artworks. 日本からのドネーションはここをクリック。 日本から任意の金額のドネーションはできません。

Show: Japanese / 日本語 Hide: Japanese / 日本語 ビデオは５か所の自然を背景に、24の言語で「この惑星は私達のホームです」と宣言しています。 現代文明は、より良い生活のために物質的な豊かさを追求してきました。しかし現在では人間の生存に必要なもの以上の物質の生産は、生物の生存を脅かすことが広く認識されています。過剰な物質消費は、生物の生存にとって深刻な脅威です。 物質的な豊かさは、人間の生存のために追求されてきましたが、今や状況は逆転しています。物質的な豊かさの追求よりも、生物の生存を優先することが急務です。この問題に対処するには、世界中の価値観やライフスタイルの多様性を見直し、豊かさの概念を再定義する必要があります。 上記に共通するのは、より多くのものを手に入れることが、必ずしも将来の幸福や充実につながらないということです。私たちはこの惑星で共に生きなければなりません。これが最優先事項です。そうしなければ、人間だけでなく、すべての生物が絶滅することになるでしょう。私たちは別の惑星に移住して快適に暮らすには、十分な時間はありません。宇宙開発は大量のCO2を排出し、環境を悪化させます。今は宇宙開発の知力と科学を資源として活用して、生態系を改善すべき時です。 絵画にトマトスープを投げつけるよりも穏健な抗議： ビデオは自由に配布できます。20世紀末、アーチストの小島健治は、地層に廃棄物の痕跡を残す物質芸術の制作をやめました。アートワークが物質的欲望の対象になることを望みませんでした。人新世の大部分は、貨幣経済における限りない物質的欲望の蓄積です。私たちアーチストも、生き方を再構築する必要に直面しています。デジタルアートの最大の特徴は、本物の芸術を無限にコピーできることです。金銭崇拝の貪欲な物質的所有を破壊し、アートの異常な金銭的商品価値を回復し、個々の鑑賞者とのつながりを復活させましょう。アーチストの小島は資本主義に埋め込まれたアートの異常な経済状況を解消し、別の意味を持たせようとしています。もしアートが金銭的価値が消えた後も意味を持つのであれば、鑑賞者とのつながりを復活させることができるでしょう。このビデオはCCライセンスの下でフリーで配布、無許可で展示できます。 Hide: Japanese / 日本語             The videos proclaim "This Planet is Our Home" in 24 languages on natural backgrounds. Modern civilization has pursued material wealth for a better life. However, excessive material consumption poses serious threats to the survival of living things, including climate change and waste pollution. It is now widely recognized that the production of materials beyond what is necessary for human subsistence threatens the survival of living things. It has also led to many conflicts and pollution. To solve this problem, we need to redefine the concept of wealth and happiness. What the above points have in common is 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 don't have enough time to live comfortably on another planet.             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 video is free to copy, share, and distribute. You can also create your version of "This Planet is Our Home" from the Greenback Texts' video. The greatest thing about 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. NFT art is merely the wrapping paper of financial products. This project 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 shown without permission.　 The Infinite Proliferation of Digital Art: A Restoration of Artistic Integrity Art has long been entangled with commerce, often reducing creative expression to a commodity valued more for its scarcity than its intrinsic beauty or meaning. The rise of digital art, with its capacity for infinite proliferation, challenges this paradigm, offering a way to dismantle the greed-driven mechanisms of the traditional art market and restore a more authentic relationship between viewers and artworks. Infinite Reproduction and the End of Scarcity One of the defining features of digital art is its reproducibility. Unlike a painting or a sculpture, which exists as a singular physical object, digital art can be copied and shared endlessly without loss of quality. This removes the concept of scarcity, which is the cornerstone of capitalist valuation in the art world. By eliminating scarcity, digital art undermines the notion that value is tied to exclusivity. Instead, it shifts the focus to the emotional, intellectual, and cultural impact of the artwork itself. Reclaiming Art for the Many The traditional art market has often been inaccessible, catering primarily to wealthy collectors and institutions. Digital art, however, democratizes access. Anyone with an internet connection can view, share, and even own a piece of digital art. This shift has the potential to dismantle the elitism of the art world, making art a collective experience rather than a luxury item. The infinite proliferation of digital art aligns with the idea that creativity should be a universal right, not a privilege reserved for the few. Challenging Capitalist Norms In a capitalist system, the monetary value of art often overshadows its aesthetic or cultural significance. Digital art disrupts this norm by existing outside traditional market constraints. Artists can distribute their work freely or experiment with new models like open licensing or pay-what-you-want systems. These approaches prioritize connection over profit, fostering a more direct and meaningful interaction between artists and audiences. The Role of Technology in Artistic Restoration Critics may argue that infinite reproduction dilutes the significance of art. However, this perspective often stems from an attachment to outdated market-driven values. In truth, technology offers tools to amplify artistic voices and reach wider audiences. Platforms for digital art encourage collaboration and innovation, breaking down barriers that once limited creative exchange. By embracing technology, artists can focus on storytelling, experimentation, and expression rather than producing works tailored to market demands. A New Era of Artistic Connection The proliferation of digital art invites us to reconsider what we value in art. Is it the price tag or the emotions it evokes? The exclusivity or the ideas it conveys? By dismantling the monetary hierarchy of the art world, digital art allows viewers to engage with works on a deeper level, unclouded by the pressures of ownership or investment. This reconnection between audience and artwork signals a restoration of art’s original purpose: to inspire, challenge, and unite. The infinite proliferation of digital art is not merely a technological phenomenon; it is a cultural shift. By removing scarcity and prioritizing accessibility, digital art dismantles the greed-driven structures of capitalist art markets. 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 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 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. Hide: Kenji Kojima's Biography

Other Ecological Projects by Kenji Kojima


Rising Tides / The Rockets Make the Planet Cry
Climate Messages from Rap, Aria and Reggae

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Anthropocene, Spaceship Earth, Bee
Participation in the "Anthropocene Project" in The New Museum of Networked Art.

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"420 Bee Photos Slideshow" 2011 -
The slide show depends on the day of the week. 60 photos x 7 days

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Project: Bitwise Splitting and Merging of Pixels


Begins with Chaos - Lascaux
"Chaos and Order," "Perception and Cognition,"
and "New Value Created by Technology.

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https://kenjikojima.com/
Email: index@kenjikojima.com