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• This Planet is Our Home / PIKA DON / 24 Langages, 139.2 MB
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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.
ビデオは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
"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.
ビデオは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
"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.
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 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 created encryption-decryption projects like "The Da Vinci Code" and others. In 2024 he started an Anthropocene and ecological participatory video art project called "This Planet is Our Home".
Kenji Kojima Resume
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 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 created encryption-decryption projects like "The Da Vinci Code" and others. In 2024 he started an Anthropocene and ecological participatory video art project called "This Planet is Our Home".
Kenji Kojima Resume
Hide: Kenji Kojima's Biography
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