BIO
Hyesook Jeon was born in Seoul, Korea. She received her Ph.D. in art history in 1996 from Ewha Womans University. She is currently a Professor of Ewha Institute for the Humanities at Ewha Womans University. Her research interests include Conceptual Art, Postmodern Art, New Media Art, Body-Transformation Art, and Bioart in the posthuman era. She has been the Chief Editor of KAHOMA (Korea Association for History of Modern Art) since 2012. Author of The Art of Posthuman Era: Body Transformation Art and Bioart (2015); Art of Late 20th Century: The Space of Everyday Life and the Reconstruction of Media (2013), and translator of Conceptual Art (Tony Godfrey); Abstract Art (Anna Mozynska); Piet Mondrian's Writings (Piet Mondrian); and The Great Russian Experiment in Art 1863-1922 (Camilla Gray) into Korean.
TITLE
“Realization of AL in Art Installation: The Series of ‘Artificial Nature’ of Haru Ji"
ABSTRACT
The development of artificial life(AL) is one of the factors that change the concept of life in post-human age. The study of AL involves the creation or imitation of some special foundation of life on a computer. This means that the realization of the process of life is possible through computer. Life in AL is not a matter and energy, but a pattern, a process, and a form. As Christopher Langton said, it is about “the life-as-it-could-be.” Korean artist, Haru Ji, a professor at OCAD University in Toronto, Canada, has been making AL through the “Artificial Nature” series since 2007. They are interactive visualizations of biologically inspired complex systems that can evoke nature-like aesthetic experiences within mixed-reality (or augmented virtuality) art installation. With the interaction of the viewers, the creatures in her Artificial Nature, survive, grow, die and evolve, along the food chain in the ecosystem. She has focused on display and interaction methods that emphasize immersion, presence and agency, to support visitors’ feeling of becoming part of the artificial ecosystem. Instead of the direct input of handheld devices, she has been using ambient sensing with microphones and RGB plus depth range cameras capable of a low-latency, natural “transparent UI.” The works of the Haru Ji reveal the meaning of AL itself in the post-human era and its significance as a work of art.
EVENT
NYU Global Posthuman 2020
Hyesook Jeon was born in Seoul, Korea. She received her Ph.D. in art history in 1996 from Ewha Womans University. She is currently a Professor of Ewha Institute for the Humanities at Ewha Womans University. Her research interests include Conceptual Art, Postmodern Art, New Media Art, Body-Transformation Art, and Bioart in the posthuman era. She has been the Chief Editor of KAHOMA (Korea Association for History of Modern Art) since 2012. Author of The Art of Posthuman Era: Body Transformation Art and Bioart (2015); Art of Late 20th Century: The Space of Everyday Life and the Reconstruction of Media (2013), and translator of Conceptual Art (Tony Godfrey); Abstract Art (Anna Mozynska); Piet Mondrian's Writings (Piet Mondrian); and The Great Russian Experiment in Art 1863-1922 (Camilla Gray) into Korean.
TITLE
“Realization of AL in Art Installation: The Series of ‘Artificial Nature’ of Haru Ji"
ABSTRACT
The development of artificial life(AL) is one of the factors that change the concept of life in post-human age. The study of AL involves the creation or imitation of some special foundation of life on a computer. This means that the realization of the process of life is possible through computer. Life in AL is not a matter and energy, but a pattern, a process, and a form. As Christopher Langton said, it is about “the life-as-it-could-be.” Korean artist, Haru Ji, a professor at OCAD University in Toronto, Canada, has been making AL through the “Artificial Nature” series since 2007. They are interactive visualizations of biologically inspired complex systems that can evoke nature-like aesthetic experiences within mixed-reality (or augmented virtuality) art installation. With the interaction of the viewers, the creatures in her Artificial Nature, survive, grow, die and evolve, along the food chain in the ecosystem. She has focused on display and interaction methods that emphasize immersion, presence and agency, to support visitors’ feeling of becoming part of the artificial ecosystem. Instead of the direct input of handheld devices, she has been using ambient sensing with microphones and RGB plus depth range cameras capable of a low-latency, natural “transparent UI.” The works of the Haru Ji reveal the meaning of AL itself in the post-human era and its significance as a work of art.
EVENT
NYU Global Posthuman 2020
