Project: Bitwise Splitting and Merging of Pixels
The Seine at La Grande Jatte (1888)
Painting by Georges Seurat
Artist: Kenji Kojima, 2023

NFT Art is a financial product. Let digital art multiply infinitely. This video is free to share. You can donate any amount to the artist if you approve of the video as art. Even if you disapprove, you can keep it. But it has no artistic value, as you have decided. To overflow with the limit of the desire to own a work of art. However, the individual appreciates art as art, and art does not exist just by possessing it.

Hide: Japanese / 日本語             自然言語処理は、アートワーク作成の分野における高度なコンピューター言語の頂点です。しかし、私はバイナリをアートを構築する最も基本的な素材として想定しています。つまりAIを使ったステレオタイプの芸術形式の集積を避けます。AI以降の創造するアーティストにできることは、AIで過去のデータを収集することではなく、AIが収集していないデータを作り出すことです。その1つにバイナリを最も基本のアート素材にすることと考えています。つまり単一の値のこれまでにない配置の変化で、多感覚の集合を作り出すことです。         正方形の色彩パターンは、ゲルハルト・リヒターの「Series of Color Chart」やエルズワース・ケリーの「Spectrum Colors Arranged by Chance」と同じような印象を受けるかもしれません。 彼らのアイデアは共に、絵の具という物質で絵を描くことから生まれました。 フランスの後期印象派のジョルジュ・スーラは、キャンバス上で物理的にではなく、鑑賞する人が視覚的で色を混合することを考えました。         このプロジェクトはビット演算（コンピュータのデータをビット単位で論理演算）を使って、最も基本的なデジタル・マテリアルであるバイナリからできている色彩を、直接「ワンタイムパッド」と呼ばれる暗号化技術を使って操作します。 デジタル ・カラー画像のピクセルには、光の３原色である赤、緑、青が含まれています。プロジェクトのアルゴリズムは、乱数でピクセルをバイナリ・レベルで分割し、2つのモザイク画像を作ります。モザイクには、オリジナル画像の半分づつの暗号化された視覚情報が含まれています。またアルゴリズムはピクセルのカラー値を音符に変換して演奏します。次に2つのモザイク・データを元の画像に融合させ、ピクセルのカラー値を音符に変換して再生します。プロジェクトは段階を追って発展し、ゴッホの糸杉は現実世界とのつながりを考えてみました。 Hide: Japanese / 日本語             I envision binary as the fundamental material for its construction, eschewing the collection of banal art forms in AI. What artists can do now is not to collect past data with AI, but to create data that AI cannot collect. One of them is to make binaries the most fundamental art material for the digital world. Because data is a collection of continuous single values. I looked at the deep relationship between sight and sound and realized that they share a common foundation in binary code when expressed digitally. This principle extends beyond the visual and auditory realms to encompass all other forms of media. All forms of media today are represented in binary. I thought about the possibility of exchanging or transforming their data into alternative forms. When we represent these media in digital works, we inevitably return to the realm of binaries.             This project deals with the manipulation of binary pixel colors. Given the very large number of pixels in an image, I decided to convert the image into a mosaic format for ease of production. The resulting mosaic of colored squares may evoke an aesthetic similar to Gerhard Richter's "Series of Color Chart" paintings from the early 1970s or Ellsworth Kelly's earlier "Spectrum Colors Arranged by Chance" paintings from the 1950s. They were inspired by the mixing of physical tube colors. This project, however, is inspired by Georges Seurat, the French Post-Impressionist painter who sought to engage the viewer's eye by optically blending colors rather than physically mixing them on the canvas. Following Seurat's idea, this project merges two binary color elements into a digital color blend.             The focus of this project is to manipulate the colors of binary data, the basic digital material conducted by bitwise operations. Each pixel in a digital color image contains three primary light colors: red, green, and blue. The project's algorithm, which uses bitwise XOR operations with random numbers, splits the original image data into two mosaics using an encryption technique known as a one-time pad. Kojima, an artist, is based on the idea that the outside world is like a code and that human senses decipher and feel it. Conceptually, the resulting pair of mosaic images can be compared to a cipher and a key. It also converts pixel color values into musical notes using Kenji Kojima's RGB Music method. A pixel that is red, green, and blue makes three harmonious musical notes. The one-time pad uses the same number of pairs of mosaic images. But music data takes too long for music, so the project uses double the size of mosaic data for shorter music. Each mosaic image contains half of the visual information present in the original image. The project video shows first the merging of the two mosaic datasets back into the original image, and then the splitting of the original image. Show: Kenji Kojima's Biography Hide: Kenji Kojima's Biography             Kenji Kojima is a digital artist. He has been experimenting with the relationships between perception and cognition, technology, music, and visual art since the early 1990s. Primarily he has interested in the relationship between seeing and hearing. He was born in Japan and moved to New York in 1980. He painted egg tempera paintings that were medieval art materials and techniques for the first 10 years in New York City. His paintings were collected by Citibank, Hess Oil, and others. The personal computer improved rapidly during the 1980s. He felt more comfortable with computer art than paintings. He switched His artwork to digital in the early 1990s. His early digital works were archived in the New Museum - Rhizome, New York. He developed the computer software "RGB MusicLab" in 2007 and created an interdisciplinary work exploring the relationship between images and music. He programmed the software “Luce” for the “Techno Synesthesia” project in 2014. His digital art series was exhibited in New York, at media art festivals worldwide, including Europe, Brazil, and Asia, and the online exhibitions by ACM SIGGRAPH and FILE, etc. Anti-nuclear artwork “Composition FUKUSHIMA 2011” was collected in CTF Collective Trauma Film Collections / ArtvideoKoeln in 2015. After Covid-19, he could not go out to shoot a video. In 2021, he started the new series "The Musical Interpretation of Paintings", which creates music from classic image data. LiveCode programmer. Kenji Kojima Resume Hide: Kenji Kojima's Biography

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