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μνκ³ μΈ μΈκ³΅μ§λ₯κ³Ό μ΄μΈλμ λ°λλκ²°μ κ·Έ λμ μΈκ³΅μ§λ₯ λΆμΌμμμ λμ μ€μ°¨νλ₯ κ³Ό λμ λ€μ΄ ν΄κ²°λμμμ λ³΄μ¬μ£Όλ©° μμΌλ‘ μΆμ λ§μ μμμμ κ³ΌνκΈ°μ , 4μ°¨ μ°μ
μ λλλ‘ μΈν λ³νμ λ°μ μ΄ κΈ°λλκ³ μμ΅λλ€. μ΄μ μ μλ λ‘κ·Έ, μν, λμ§νΈ μ¬μ§μμ λ€λ£¨μ΄μ§ λμ§νΈ νμμ λμ΄μ μκ³ λ¦¬μ¦, κ³μ°, λ°μ΄ν° λ±μ μ»΄ν¨ν
μ (computational) νμμ μ¬νλΏλ§ μλλΌ μμ , μΈκ°μ μ¬κ³ κΉμ§ μν₯μ λ―ΈμΉ κ²μ΄λΌ μκ°λ©λλ€. λν λ³νμ κΈ°λλ§νΌ λ§μ λ΄λ‘ λ€κ³Ό ν¨κ» μ°λ €κ° λκ³ μμ΅λλ€.
λ°μ΄ν° μ°½κ³ ((D+T)*A storage) μ μλ λ°μ΄ν°λ₯Ό μ€μ¬μΌλ‘ ν¬κ² λ κ°μ§ λ΄μ©μ λ΄κ³ μμ΅λλ€. κ·Έ μ€ νλλ μΈλ₯μΈλΌλ μ¬νμ , μ§μ§νμ κ΄μ μμ λ°μ΄ν°μ λͺ¨νΈμ±, λ°μ΄ν°μ ννκ³Ό μ΄ν΄ λ°©μ, λ°μ΄ν°λ‘ νμμ μ΄ν΄νλλ° μ€λ κ΄΄λ¦¬, λ°μ΄ν° μ‘°μ, λ±μ λν μκ°μ κ³ λ―Όκ³Ό ν¨κ» κ³ΌνκΈ°μ μ λν μ΄ν΄μ νλμ μμ΄μ μ¬κ³ μ λ΄μ©μ λλ€. λ€λ₯Έ νλλ λ°μ΄ν°μ μκ³ λ¦¬μ¦μ λ°νμΌλ‘ ν μ»΄ν¨ν μ΄μ μ μμ± κ³Όμ μ μ΄ν΄λ³΄λ©΄μ κ·Έ κ°λ₯μ±κ³Ό μλ‘μ΄ ννλ°©μμ λν λͺ¨μμ λλ€. μ΄λ 2000λ λ μ΄ νλΆμμ μ ν΅νν μ κ³΅μΌλ‘ κΈμλλ‘ μ±μ₯ν νκ΅μ λ¬Ένμ μ²΄μ± νλ³΅μ΄λΌλ μκ°μ μ€λλ κ³ λ―Όμμ μΆλ° λ μμ μ λλ€. μμ κ°μ μ¬μ€μ νννκ±°λ μ¬λ¬Όμ νμ νκΈ° μν΄ κ΄λ μ μΌλ‘ λλ‘λ μ¬μμΌλ‘ μ μνλ μμ μ μ ν΅ννμλ λ¬λ¦¬ λ°μ΄ν°μ μκ³ λ¦¬μ¦μΌλ‘ κ°μ²΄λ₯Ό μμ±νλ μ»΄ν¨ν μ΄μ μ (computational) λ°©λ²μ ν΅ν μ μνμμ μ ν΅κ³Ό νλ, κ³ΌνκΈ°μ κ³Ό μμ μ¬μ΄μμμ λ§€μ²΄μ μ₯λ₯΄λ₯Ό λμ΄ μ¬κ³ μ νμ₯μ κ³ λ―Ό ν λ΄μ©μ λλ€.
The 2015 Lee Sedol versus AlphaGo Go game challenge match showed that the high probability of error and other problems in artificial intelligence have been resolved, and many areas of our life are expected to change and advance due to science and technology and the advent of the Fourth Industrial Revolution. Computational forms such as algorithms, calculations, and data, beyond the digital forms used in movies and digital photography as well as analogue forms, will affect art and cognition as well as society. Such changes are generating both anticipations and concerns along with many discourses.
The content of (D+T)*A storage, the exhibition, is largely divided into two aspects based on data. One concerns the rethinking of the understanding and attitude toward science and technology as the artist grapples with issues such as the ambiguity of data, the way to represent and understand data, misalignment experienced when understanding phenomena with data, and data manipulation from the social and geological standpoint of Anthropocene. The other is the exploration of the potential and new representation methods of the computational generation process based on data and algorithm. This reflects the artistβs long-standing concern since her undergraduate years of studying traditional painting in the early 2000s about the restoration of cultural identity of Korea which has grown rapidly. The creative approach using the computational method to generate entities with data and algorithm unlike traditional painting is the product of the artistβs struggle to broaden the thinking beyond existing media and genres across the boundaries of the tradition and the contemporary and between art and science and technology.