Scenery Between-Windows 3 (窓-間의 풍경 3)
Queen Elizabeth II's portrait has appeared on the currencies of numerous countries more than that of any other individual. The faces of great individuals have been carefully chosen and graced their currencies as a tradition and in the interest of enhancing international reputation and relations.
On the other hand, as they are becoming more attuned to the online sharing and exchange platforms, users provide, share and replicate their own portraits. Their engagements of much broader populations function as super extenders for the advancement of computing sectors based on large sums of data sets.
What is called 'latent space' gives great insight into the correlations and patterns between different groups. Overlapped with the portrait on the window of the banknote, one can see its vision as a trained result by a group of faces of banknotes and a group of faces of users.
Were users more empowered and greater? Or did they eventually become a capital itself?
RunwayML, Sterling banknote, Raspberry Pi, 3.5 inch TFT LCD
Queen Elizabeth II's portrait has appeared on the currencies of numerous countries more than that of any other individual. The faces of great individuals have been carefully chosen and graced their currencies as a tradition and in the interest of enhancing international reputation and relations.
On the other hand, as they are becoming more attuned to the online sharing and exchange platforms, users provide, share and replicate their own portraits. Their engagements of much broader populations function as super extenders for the advancement of computing sectors based on large sums of data sets.
What is called 'latent space' gives great insight into the correlations and patterns between different groups. Overlapped with the portrait on the window of the banknote, one can see its vision as a trained result by a group of faces of banknotes and a group of faces of users.
Were users more empowered and greater? Or did they eventually become a capital itself?
RunwayML, Sterling banknote, Raspberry Pi, 3.5 inch TFT LCD
2021
![]()
![]()
![]()
![]()
Face Value
Zoom is a Face-centric communication tool. When the camera is off, the dynamics between participants are undermined to an extreme. On the other hand, the Face can itself be used as the source for a dataset.
The machine that has learned a set of Faces and corresponding Face Values from a total of 315 banknotes recognises the Faces participating in a Zoom meeting. The most analogous Face Values pop reactively and algorithmically up on them by impulse to judge things by their immediate appearance.
ZOOM, Teachable Machine, P5.js, OBS, Chrome
Zoom is a Face-centric communication tool. When the camera is off, the dynamics between participants are undermined to an extreme. On the other hand, the Face can itself be used as the source for a dataset.
The machine that has learned a set of Faces and corresponding Face Values from a total of 315 banknotes recognises the Faces participating in a Zoom meeting. The most analogous Face Values pop reactively and algorithmically up on them by impulse to judge things by their immediate appearance.
ZOOM, Teachable Machine, P5.js, OBS, Chrome
2021
![]()
Scenery Between-Windows 2 (窓-間의 풍경 2)
The Window is used as a metaphor for the spatial imagery in cyberspace in that a user can jump from one page to the next. —The window originally as an architectural element physically separates and connects the outside and the inside.
The movie starts with showing the window of the artist's residence in Berlin in which self-isolation was underway in the time of Covid-19 and subsequently travels between(間) Windows(窓) in doing performative manipulations in web conferencing systems such as BigBlueButton and FaceTime.
The poem cited by a text-to-speech technology in the course of the movie has been reinterpreted by using a Window motif in order to reveal the conditions of the lives of users in cyberspace. —The original, 'Mirror' by Yi Sang, as an avant-garde poem, experimented separation from inside one's self as well as the outer world as a modern humans mentality.
BigBlueButton, FaceTime, Spark AR
The Window is used as a metaphor for the spatial imagery in cyberspace in that a user can jump from one page to the next. —The window originally as an architectural element physically separates and connects the outside and the inside.
The movie starts with showing the window of the artist's residence in Berlin in which self-isolation was underway in the time of Covid-19 and subsequently travels between(間) Windows(窓) in doing performative manipulations in web conferencing systems such as BigBlueButton and FaceTime.
The poem cited by a text-to-speech technology in the course of the movie has been reinterpreted by using a Window motif in order to reveal the conditions of the lives of users in cyberspace. —The original, 'Mirror' by Yi Sang, as an avant-garde poem, experimented separation from inside one's self as well as the outer world as a modern humans mentality.
BigBlueButton, FaceTime, Spark AR
2020
![]()
![]()
![]()
![]()
Scenery Between-Windows 1 (窓-間의 풍경 1)
In the time of Covid-19, in contrast to limited reality, the digital environment set up radical openness and deregulation, so anything that interferes with communication is eliminated.
Time is replaced by real-time, space is replaced by hyperlinks, and humans exist as images.
時間(Time) - 間(between) = 時(o'clock)
空間(Space) - 間(between) = 空(Void)
人間(Human) - 間(between) = 人(Individual)
(時間 - 時) + (空間 - 空) + (人間 - 人) = 間間間(between-between-between)
間間 means 'on and off' in Korean. Life relying on only the endless concatenating 'on and off' digital signal is ever-changing, thus, unstable and insecure. The window reflects ‘The Loss of Time, Space and Humanity', observed in a limited real life and in the digital environment.
window, Spark AR
In the time of Covid-19, in contrast to limited reality, the digital environment set up radical openness and deregulation, so anything that interferes with communication is eliminated.
Time is replaced by real-time, space is replaced by hyperlinks, and humans exist as images.
時間(Time) - 間(between) = 時(o'clock)
空間(Space) - 間(between) = 空(Void)
人間(Human) - 間(between) = 人(Individual)
(時間 - 時) + (空間 - 空) + (人間 - 人) = 間間間(between-between-between)
間間 means 'on and off' in Korean. Life relying on only the endless concatenating 'on and off' digital signal is ever-changing, thus, unstable and insecure. The window reflects ‘The Loss of Time, Space and Humanity', observed in a limited real life and in the digital environment.
window, Spark AR
2020
![]()
![]()
Unstable Mask
In the sector of digital computing, everything that interferes with communication is eliminated. FaceTime's 'gaze correction' is a digital mask that temporarily overshadows the inevitably unaligned gaze. Our eyes are a nuisance that have to be removed.
Why do we still have eyes? What does our body in quarantine exist for? The human body is facing neglect and isolation.
Unstable Mask entirely overturns the schemes of the immunological and neurological defence of a mask. In order to wear it, physical contact with the Other is inevitable. The memory of a neglected body is returned to the self through the warmth of the Other.
mask, polaroid camera
In the sector of digital computing, everything that interferes with communication is eliminated. FaceTime's 'gaze correction' is a digital mask that temporarily overshadows the inevitably unaligned gaze. Our eyes are a nuisance that have to be removed.
Why do we still have eyes? What does our body in quarantine exist for? The human body is facing neglect and isolation.
Unstable Mask entirely overturns the schemes of the immunological and neurological defence of a mask. In order to wear it, physical contact with the Other is inevitable. The memory of a neglected body is returned to the self through the warmth of the Other.
mask, polaroid camera
2020
![]()
![]()
