Project: Bitwise Splitting and Merging of Pixels
A Sunday Afternoon
on the Island of La Grande Jatte

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.

A Sunday Afternoon on the Island of La Grande Jatte

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Participation in the Online Solo Show in March 2024 at All Street, New York, NY

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"A Sunday Afternoon on the Island of La Grande Jatte"

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"A Sunday Afternoon on the Island of La Grande Jatte"

This artwork video "Bitwise Splitting and Merging of Pixels /
A Sunday Afternoon on the Island of La Grande Jatte" can be shared for free.

You can donate to the artist if you approve of the copied video as art.
Even if you disapprove of art can have a copy.
But it has no artistic value, as you have decided.
Ultimately, if you can appreciate it as art,
It has artistic value even if you don't own it, or even if you do own it.

Other "Bitwise Splitting and Merging of Pixels" Projects
Begins with Chaos - Lascaux, Wheat Field with Cypresses,
Metamorphosis Caterpillar, Road with Cypress and Star,
Theodore_Roosevelt, Lady Agnew of Lochnaw, Retrato de Juan Pareja

One-Time Pad Encoding: LiveCode Programing
A part of the programming of this project.

Project Application: Developed by Kenji Kojima

This application is not distributed.

Freeware: RGB MusicLab MIDI (macOS only)
Image to Music Developed by Kenji Kojima

Hide: Japanese / 日本語

            このプロジェクトは、バイナリレベルでピクセル カラーを操作します。 画像内のピクセル数は非常に多いので、制作を容易にするため画像をモザイクに変換することにしました。 結果として得られる色付きの正方形のモザイクは、1970 年代初頭のゲルハルト・リヒターの「シリーズ・オブ・カラー・チャート」絵画や、1950 年代のエルズワース・ケリーの「偶然によって配置されたスペクトル色」に似た視覚を呼び起こすかもしれません。 彼らは物理的なチューブの色の混合から、インスピレーションを受けました。 このプロジェクトは、キャンバス上で物理的に混色するのではなく、光学的に色を混ぜることで見る人の目を惹きつけようとしたフランスのポスト印象派の画家、ジョルジュ・スーラにインスピレーションを得ています。スーラのアイデアに従って、このプロジェクトは 2 つのバイナリ カラー要素をデジタル カラー ブレンドします。
        このプロジェクトは、ビット単位の演算によって実行されます。 デジタル カラー画像の各ピクセルには、赤、緑、青の 3 つの光の原色が含まれています。 このプロジェクトのひとつのアルゴリズムは、乱数によるビットごとの XOR 演算を使用するワンタイム パッドとして知られる暗号化技術で、元の画像データを 2 つのモザイクに分割します。もう1つは同じサイズ(ピクセル数)の画像を、やはり論理演算によって分割混合する方法です。 アーティストの小島は、外界は暗号のようなものであり、人間の感覚器官によってそれを解読し、感じることができると考えています。 結果として得られるモザイク画像のペアは、暗号と鍵にたとえることができます。 また、小島の RGB Music メソッドを使用して、ピクセルのカラー値を音符に変換します。 赤、緑、青のピクセルは 3 つの音符で1つのハーモニーを作ります。しかし、音楽データ演奏に時間がかかりすぎるため、このプロジェクトでは 2 倍のモザイク データを使用します。

Hide: Japanese / 日本語

            I envision binary as the fundamental material for its construction, eschewing the collection of banal visual art forms in AI. What artists can do now is not to collect past visual 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 profound 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 to 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.
            This project focuses on manipulating the colors of binary data, the primary digital material, which is performed 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 can 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 twice as much mosaic data for shorter music. Each mosaic image contains half the visual information of the original image. The project video shows first the merging of the two mosaic data sets 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 developed interactive software for his artwork, but it happened a big problem, the software did not work on OS soon. He turned his artwork into a video while it worked. 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, the Middle East, 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. The latest project is "Bitwise Splitting and Merging of Pixels". Generative AI will be wonderfully improved in 2023. He began to use Music Generating AI. LiveCode programmer.

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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Sunday Afternoon on the Island of La Grande Jatte"
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