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์ƒ‰ ์ŠคํŽ™ํŠธ๋Ÿผ ์ƒ‰์œผ๋กœ ์ฝ๊ธฐ & ๋ช…์•”์œผ๋กœ ์ฝ๊ธฐ
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์œ„์น˜๊ธฐ๋ฐ˜ ํ•œ ์˜จ์Šต๋„ ๋ฐ์ดํ„ฐ ์ธก์ • ์˜ค๋ธŒ์ ํŠธ
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๊ธฐ์˜จ ๋ฐ์ดํ„ฐ ์ง€๋„ 1~5
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๋ฐ์ดํ„ฐ ํ’๊ฒฝ โ€“๊ฐœ์ธ ์ˆ˜์ง‘ ๋ฐ์ดํ„ฐ
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์ „์‹œ์„ค์น˜์ „๊ฒฝ
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๋ฐ์ดํ„ฐ ํ’๊ฒฝ โ€“ ๊ณต๊ณต ๋ฐ์ดํ„ฐ
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๊ฐœ์ธ ์˜จ๋„ ๋ฐ์ดํ„ฐ ํ—ˆ๋ธŒ ์›น ์„œ๋ฒ„ : ๊ฐœ์ธ ์Šต์˜จ๋„ ๋ฐ์ดํ„ฐ ๊ณต์œ ๋งํฌ -> : www.yeoulson.com/d

Data Landscape-๊ฐœ์ธ ๋ฐ์ดํ„ฐ ํ—ˆ๋ธŒ ํ”„๋กœ์ ํŠธ
์†์—ฌ์šธ

์ด๋”ฐ๊ธˆ ํ‹€๋ฆฐ ์ผ๊ธฐ์˜ˆ๋ณด์—์„œ๋„ ์šฐ๋ฆฌ๋Š” ๋ฐ์ดํ„ฐ์˜ ๋ถ€์ •ํ™•ํ•จ์„ ๊ฒฝํ—˜ํ•ฉ๋‹ˆ๋‹ค. ์ผ๊ธฐ์˜ˆ๋ณด ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ์ดˆ๊ธฐ ์ค‘๊ตญ์˜ ์ฝ”๋กœ๋‚˜ 19 ๋ฐ”์ด๋Ÿฌ์Šค ๊ฐ์—ผ์ž ์ˆ˜, ์ด์‚ฐํ™” ํƒ„์†Œ ๋ฐฐ์ถœ๋Ÿ‰ ๋ฐ์ดํ„ฐ ๋“ฑ ๊ตญ์ œ์  ์ด์Šˆ์™€ ์—ฐ๊ฒฐ๋œ ๋ฐ์ดํ„ฐ์—์„œ๋„ ์ด์™€ ๊ฐ™์€ ๋ถ€์ •ํ™•ํ•จ์„ ๊ฒฝํ—˜ํ•ฉ๋‹ˆ๋‹ค. ์™œ ๋ฐ์ดํ„ฐ ์ •๋ณด์— ์˜ค์ฐจ๊ฐ€ ์žˆ๊ฑฐ๋‚˜ ์ •ํ™•ํ•˜์ง€ ์•Š์„๊นŒ์š”?
ํ”„๋ž‘์Šค ์ฒ ํ•™์ž ๋ถ€๋ฃจ๋…ธ๋ผํˆฌ๋ฅด(Bruno Latour)๋Š” ๊ทธ์˜ ๊ฐ•์—ฐ โ€˜The Anthropocene and the Destruction of the Image of the Globe-์ธ๋ฅ˜์„ธ์™€ ์ง€๊ตฌ ์ด๋ฏธ์ง€ ํŒŒ๊ดดํ•˜๊ธฐโ€™์—์„œ 19์„ธ๊ธฐ์˜ ์ฝ”ํŽ˜๋ฅด๋‹ˆ์ฟ ์Šค ํ˜๋ช… ๋•Œ ์ƒ๊ธด ๊ณผํ•™์— ๋Œ€ํ•œ ํ™˜์ƒ๊ณผ ๋น„ํ•ฉ๋ฆฌ์  ์‹ ๋ขฐ, ๋ฐ์ดํ„ฐ ์กฐ์ž‘, ๊ทธ๋ฆฌ๊ณ  ์ž๋ณธ์ฃผ์˜์™€ ๊ธฐ์ˆ ์˜ ์œ ์ฐฉํ™” ๋“ฑ์„ ์–ธ๊ธ‰ํ•˜๋ฉด์„œ ์†๋ฐ”๋‹ฅ ํฌ๊ธฐ์˜ ํ”ฝ์…€ ์ด๋ฏธ์ง€ ๋ฐ์ดํ„ฐ๋กœ ๊ฑฐ๋Œ€ ๋ณต์žกํ•œ ์ง€๊ตฌํ˜„์ƒ์„ ์ง„๋‹จํ•˜๋Š” ๊ฒƒ์— ๋Œ€ํ•ด ๋น„ํŒํ•˜์˜€์Šต๋‹ˆ๋‹ค. ์ด์™€ ํ•จ๊ป˜, ๋ฐ์ดํ„ฐ๋ฅผ ํ‘œํ˜„ํ•˜๊ณ  ์ดํ•ดํ•˜๋Š” ๋ฐฉ์‹์— ์žˆ์–ด์„œ ์˜ˆ์ˆ ๊ฐ€์™€ ์ง€์‹์ธ๋“ค์˜ ๋…ธ๋ ฅ์˜ ํ•„์š”์„ฑ์„ ์–ธ๊ธ‰ํ•˜์˜€์Šต๋‹ˆ๋‹ค.
'Data Landscape-๊ฐœ์ธ ๋ฐ์ดํ„ฐ ํ—ˆ๋ธŒ ํ”„๋กœ์ ํŠธโ€™์ „์‹œ๋Š” ๋ฐ์ดํ„ฐ์˜ ์‚ฌ์šฉ๊ณผ ์ดํ•ด์— ์žˆ์–ด์„œ ์ฃผ์ฒด์ ์ธ ํƒœ๋„๋ฅผ ๊ณ ๋ฏผํ•˜๋Š” ๋ฆฌ์„œ์น˜ ๊ธฐ๋ฐ˜์˜ ์ž‘์—…์—์„œ ๋„์ถœ๋œ, Data๋ฅผ ์ค‘์‹ฌ์œผ๋กœ ๋ณด์—ฌ์ง€๋Š” ํ’๊ฒฝ์ž…๋‹ˆ๋‹ค.
์ „์‹œ์—์„œ๋Š” โ€˜๊ฐœ์ธ ๊ธฐ์˜จ ๋ฐ์ดํ„ฐ ํ—ˆ๋ธŒ(2020)โ€™์™€ โ€˜๋ฐ์ดํ„ฐ๋กœ๋ถ€ํ„ฐ์˜ ์ƒ‰(2019)โ€™์˜ ํ”„๋กœ์ ํŠธ์˜ ๊ฒฐ๊ณผ๋ฌผ์ด ๋ณด์—ฌ์ง‘๋‹ˆ๋‹ค. ๊ฐœ์ธ ๊ธฐ์˜จ ๋ฐ์ดํ„ฐ ํ—ˆ๋ธŒ ํ”„๋กœ์ ํŠธ์—์„œ ์ž‘๊ฐ€๋Š” ๊ณผํ•™๊ธฐ์ˆ  ๋ถ„์•ผ์˜ ์ „๋ฌธ๊ฐ€์™€ ํ˜‘์—…ํ•˜์—ฌ ์œ„์น˜๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ํ•œ ์Šต์˜จ๋„ ์ธก์ • ๊ธฐ๊ธฐ๋ฅผ ๊ฐœ๋ฐœํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ์›Œํฌ์ˆ์„ ์šด์˜ํ•˜์—ฌ ์ฐธ์—ฌ์ž๊ฐ€ ์ด ๊ธฐ๊ธฐ๋ฅผ ํ†ตํ•ด ์Šต๋„, ์˜จ๋„ ๋ฐ์ดํ„ฐ๋ฅผ ์ˆ˜์ง‘ํ•˜๊ณ  ์ด๋ฅผ ์ง€๋„ํ˜•์‹์˜ ๋ฐ์ดํ„ฐ๋กœ ๊ณต์œ ํ•  ์ˆ˜ ์žˆ๋„๋ก ํ•ฉ๋‹ˆ๋‹ค. ์ˆ˜์ง‘๋œ ๋ฐ์ดํ„ฐ๋Š” ๊ฐ™์€ ์‹œ๊ฐ„, ๊ฐ™์€ ์ง€์—ญ์˜ ๊ณต๊ณต๊ธฐ๊ด€์—์„œ ์ œ๊ณต๋œ ๋‚ ์”จ ๋ฐ์ดํ„ฐ์™€ ๋น„๊ตํ•˜์—ฌ ๊ณต๊ณต๋ฐ์ดํ„ฐ์˜ ๋ถ€์ •ํ™•ํ•จ์„ ์‚ดํŽด๋ณด๊ณ  ๊ฐœ์ธ์ด ์ƒ์‚ฐํ•˜๋Š” ๋ฐฉ์‹์˜ ๊ฐ€๋Šฅ์„ฑ์„ ์‚ดํŽด๋ด…๋‹ˆ๋‹ค.
์ด ๋ฐ–์— 2019๋…„๋„์˜ ๋ฐ์ดํ„ฐ๋กœ๋ถ€ํ„ฐ์˜ ์ƒ‰์ด๋ผ๋Š” ์‹คํ—˜ํ˜•์‹์˜ ํ”„๋กœ์ ํŠธ๋ฅผ ํ†ตํ•ด ์ž‘๊ฐ€๋Š” ๋ฐ์ดํ„ฐ๋กœ๋ถ€ํ„ฐ ์ƒ์„ฑ๋œ ์•„๋ฆ„๋‹ค์šด ์ƒ‰ ์ด๋ฉด์˜ ์‚ฌํšŒ์ „๋ฐ˜์— ๋งŒ์—ฐํ•œ ์ •๋Ÿ‰ํ™”๋œ ์‚ฌ๊ณ ๋ฅผ ์–ธ๊ธ‰ํ•˜๋ฉฐ ๋ฐ์ดํ„ฐ์˜ ๋ชจํ˜ธํ•จ์˜ ์›์ธ๊ณผ ๋ฐ์ดํ„ฐ ์ดํ•ด ๋ฐฉ๋ฒ•์„ ๋ชจ์ƒ‰ํ•ฉ๋‹ˆ๋‹ค. โ€˜Data Landscapeโ€™์ „์‹œ์˜ ์—ฐ๊ตฌ์™€ ์‹คํ—˜์˜ ๊ณผ์ •์—์„œ ํŽผ์ณ์ง€๋Š” ์ƒ‰๊ณผ ํ˜•์˜ ํ’๊ฒฝ์„ ํ†ตํ•ด ๋ฐ์ดํ„ฐ์˜ ๋ชจํ˜ธํ•จ๊ณผ ๋ถ€์ •ํ™•ํ•จ์˜ ๊ทผ๋ณธ์ ์ธ ์›์ธ์„ ์ƒ๊ฐํ•ด๋ณด๊ณ  ๋ฐ์ดํ„ฐ๋ฅผ ์ดํ•ดํ•˜๋Š”๋ฐ ์žˆ์–ด, ์šฐ๋ฆฌ์˜ ํƒœ๋„๋ฅผ ๊ณ ๋ฏผํ•ด ๋ด…๋‹ˆ๋‹ค. ์•„์šธ๋Ÿฌ ์ž‘๊ฐ€๋Š” ์˜ˆ์ˆ ์  ์‹คํ—˜๊ณผ ์‹ค์ฒœ์„ ํ†ตํ•ด ๊ณต๊ณต๊ณผ ๊ฐœ์ธ, ์ˆ˜์ง๊ณผ ์ˆ˜ํ‰์  ์ฒ˜๋ฆฌ๋ฐฉ์‹๊ณผ ํ•จ๊ป˜, ์ค‘์•™์ •๋ถ€ ๊ธฐ๊ด€, ์ „๋ฌธ๊ฐ€๋“ค๋กœ ๊ตฌ์„ฑ๋œ ๋ช‡๋ช‡ ๊ธฐ๊ด€์—์„œ ์ƒ์‚ฐ, ์ฒ˜๋ฆฌํ•˜๋Š” ๋ฐ์ดํ„ฐ๋ฅผ ์ˆ˜๋™์ ์œผ๋กœ ๋ฐ›์•„๋“ค์ด๋Š” ๊ฒƒ๋ณด๋‹ค๋Š” ๊ฐœ์ธ์ด ์ฃผ์ฒด์„ฑ์„ ๊ฐ€์ง€๊ณ  ์ƒ์‚ฐ, ์ดํ•ดํ•˜๋Š” ๋ฐฉ์‹์„ ์ œ์•ˆํ•ด๋ด…๋‹ˆ๋‹ค.

Data Landscape - Individual Data Hub Project
Son Yeoul

From the occasional incorrect weather forecast, we notice the inaccuracy of data. Inaccuracy in data occurs in not only weather forecasts but also global issues such as early COVID-19 cases in China and carbon emission. How could data have errors or be inaccurate?
During the lecture โ€˜The Anthropocene and the Destruction of the Image of the Globeโ€™, French philosopher Bruno Latour criticized condensing extremely complex natural phenomena into a pixel image data size of a hand while mentioning the fantasy and credulous behavior towards science that arose during Copernicus revolution in 19th century, data manipulation, capitalism and the dependency on technology. Along with the criticism, he called out artists and scientists for their efforts to express and understand data.
โ€˜Data Landscape-Individual Data Hub Projectโ€™ Exhibition is a research-based inquiry into a proactive approach to the usage and understanding of data, showing a landscape in the perspective of data.
The exhibition includes the results of the โ€˜Individual Temperature Data Hub Project (2020)โ€™ and โ€˜Colors from Data (2019).โ€™ For the โ€˜Individual Temperature Data Hub Project,โ€™ the artist collaborated with an expert in science and technology to develop a location-based thermo-hygrometer. Then a workshop was conducted to obtain temperature and humidity data created by the participants and share this data as a map. The data from the participants of the workshop were compared with the official weather data to see the inaccuracy of the public data and the possibility of an individual collecting data.
At the same time, with the experiment-based project โ€˜Colors from Data,โ€™ the artist attempts to discuss the cause of ambiguous data and a new method of understanding data while mentioning preconceived notions behind the visually appealing colors expressing data.
Through the landscape formed in the process of researching and experimenting for the โ€˜Data Landscapeโ€™ Exhibition, we question the fundamental reason for ambiguity and inaccuracy of data and our behavior towards understanding data. Moreover, the artist suggests ways an individual could participate in producing and understanding data rather than passively consuming data from selected government agencies and groups of experts by artistic experiments and implementation, along with the juxtaposition of public data and data produced by individuals, and vertical-horizontal data processing structure.