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Platform Art

8/16/2024, 5:34:54 PM | Jeanyoon Choi

Original Notes (Pre-LLM)

Miyajima Tatsuo Naoshima House Project → Tatsuo’s trademark aesthetic, numbers from 1-9 and void moving all at different speeds with the same rule applied, positioned spanning across the water outlet. This creates a unique poetic aesthetic that is distinguishable from a single number device. Single number device vs. Multiple devices synchronised vs. Multiple devices desynchronised → The platform art is about the very third category.

The Primitive of Platform Art: Identical Rule/Algorithm-based Unit, repeated and aggregated independently to create a chaotic/wholistic aesthetic.

Identical Rule/Algorithm-based Unit: A module. Single Module. Represented as M(t)

Where t is a variable. This module is an algorithm-based unit, sort of functional, dependent on the parameter t (which usually represents speed – time).

Module combined and multiplied: All combined in a different/distinguishable state. What is interesting is that the whole operating principle/basic aesthetic is the same algorithmically/modularly (The capital letter M), but a Least-Marginal-Difference (Baudrillard) - the alternation in the given parametric input - and variation of these inputs across different modules, induce a unique aesthetic difference → Sort of acting like a natural ecosystem of aggregated modules (World-displaying)

Referencing the aesthetic of Small Multiples on Data visualisation – But small multiples are usually static, but Platform Art shows the dynamics. Small multiples have limitations in showing only the cross-section of the world/information we’re living in, but platform art has an ability to communicate the wholistic dynamics which surround/are embedded in the world/information we’re living in.

Source of inspiration: Literally train platform, London Victoria Station, Train Departure Board → What creates a livingly feeling and atmosphere here is the tension between similarity - and dynamic difference across channels. Different information, same layout, presented distinguishably.

Another source of inspiration: OPIC Test center - Ava. Look at 30 computers placed in a grid, all displaying the same avatar, ‘Ava’ speaking the test problem, but within a slightly different speed/context/text. How cringy is this? How distancing is this? How utopian/dystopian/efficient/inefficient is this?

Representative example: Miyajima Tatsuo – The modular system is singular: A system of moving the number from 1 to 9 and void, and back again. But the speed an the starting point are all different, and this serves as the key to the unique aesthetic in contaminates.

Similar but contrary example: Rafael Lozano-Hemmer

In the case of Rafael, he uses multiple output channels which are based in same algorithmic foundation, and thus can be considered as modules, but in his case these output channels are somehow synchronised/dependent on a single grand rule - For instance, user’s breathing will control the light intensity over different channels continuously and thoroughly, rather than each channel reacting dependently. This is beautiful, but just a multi-channel interaction. In order to be considered as platform art, each module needs to have some degree of autonomy and thus react asynchronously, although its foundation algorithm/layout should be identical to each other.

My artworks: Noneqaulity, Das Gerede, (Sort of Factory 4.0)

Das Gerede → Literal representation of the inspiration I got from London Victoria Station, re-constructed with ChatGPT-based conversations criticising the ‘das gerede’ within our daily meaningless conversations

English Version (LLM-Generated)

Japanese artist Miyajima Tatsuo is renowned for his Naoshima House project leveraging a signature aesthetic consisting of numbers 1 to 9 and void, arranged over a water outlet. This unique application of art and technology creates a poetic aesthetic that does not resemble a singular numerical device. Instead, it belongs to a third category in platform art, which uses multiple devices, both synchronised and desynchronised.

The primary element of platform art is the identical rule or algorithm-based unit, often referred to as a module. This unit is functional and involving a specified parameter t, representing speed or time.

When multiple modules are combined, an intriguing aesthetic difference emerges, even though the operating principle remains the same across the units. This phenomenon evolves due to the slight difference in the parametric input across different modules and is likened to a natural ecosystem of aggregated modules.

This concept draws parallelism with the aesthetics of small multiples in data visualisation. Unlike small multiples, which are static and present only a cross-section of the world/information, platform art dynamically communicates the comprehensive dimensions embedded in our world/information.

Miyajima found inspiration on a train platform at London Victoria Station, where the dynamic interplay of similarities and differences across channels creates an ambient atmosphere. Similarly, the OPIC Test center's 'Ava' provides a unique perspective. Here, 30 computers arranged in a grid, each featuring the avatar 'Ava' in a varying speed/context/text, paradoxically emphasise efficiency and inefficiency, utopia and dystopia.

Miyajima's artistic expression through his Naoshima House project symbolises a unique system. Using numbers from one to nine and void, each with different speed and starting point creates a unmatched aesthetic appeal.

In contrast, the works of Rafael Lozano-Hemmer is a multi-channel interaction where channels synchronise with a single rule – in this case, the user's breathing controlling the light intensity.

Platform art, as embodied by the works of artists like Miyajima, represents a striking blend of art and technology. It pushes the boundaries of traditional aesthetics and redefines how art can be conceived and appreciated in the technological age. Through his pieces, such as Noneqaulity and Das Gerede, Miyajima offers a clear interpretation of the inspiration he got from the train station, reconstructed through automated conversations critiquing our mundane dialogues.

Korean Version (LLM-Generated)

미야지마 타츠오의 나오시마 하우스 프로젝트 → 타츠오의 상표적인 미학적 특징인 1부터 9까지의 숫자와 공백이 모두 같은 규칙을 적용하여 각각 다른 속도로 움직인다. 이로써 특유의 시적인 미학을 형성한다.

플랫폼 아트의 원초적 특징: 같은 규칙/알고리즘에 기반한 단위들이 반복되며 독립적으로 증식하여 혼돈적/통합적인 미학을 창출한다.

같은 규칙/알고리즘에 기반한 단위: 모듈화된 단위. 단일 모듈. M(t)로 표현됨. t는 변수의 값. 즉, 속도나 시간을 표현하는 매개변수 t에 따라서 기능이 변하는 알고리즘에 기반한 단위라고 볼 수 있다.

모듈화된 단위는 조합되어 곱해짐: 같은 규칙에 따라 조합되어지지만 상태는 달라진다. 그러나 알고리즘적/모듈적으로는 같은 기본 원칙/미학을 가지고 있다. 실제로는 이것이 동일한 알고리즘에 기반한 단위들의 세심한 조합이 있으면서 각 모듈화된 단위들 간에 변화된 입력 값들이 다양할 경우, 이는 독특한 미학적 차이를 산출한다.

테스트 센터에서 영감을 받음: OPIC 테스트 센터의 아바타 'Ava'가 30대의 컴퓨터 그리드에 표시되어 있으며, 같은 대화문을 하지만, 조금씩 속도나 문맥, 텍스트 등이 다른 것을 보고 영감을 받았다. 얼마나 이상하게 느껴지는가? 얼마나 멀어지는 느낌인가? 아름다움과 비효율성 사이에서 고민하게 된다.

대표적인 예시: 미야지마 타츠오 - 모듈화된 시스템은 단일하다: 1부터 9까지의 숫자와 공백이 움직이며 반복되는 시스템이지만, 각각의 속도와 시작점은 다르며, 이것이 독특한 미학을 창출하는 핵심 요소가 된다.

비록 비슷하지만 반대의 예시: 라파엘 로자노-헤머

라파엘의 경우에서는 같은 알고리즘에 기초한 여러 출력 채널을 사용하며, 이를 모듈화된 단위로 볼수 있는데, 이 단위들이 어떠한 중요한 원칙에 통제되기 때문에 모두 동기적으로 작동한다. 이러한 특징은 아름다움을 가져다주지만, 단지 '다중 채널 상호 작용'에 불과하다. 미학적인 차이를 만들기 위해서는 각 모듈이 어느 정도의 독립성을 가지고 있어야 하며 입력 값들은 동기적이지 않아야 한다.

내 작품: Noneqaulity, Das Gerede, (Sort of Factory 4.0)

Das Gerede → 런던 빅토리아 역에서 받은 영감을 그대로 표현하였다. 일상적인 의미없는 대화에서 'das gerede'를 비판하는 ChatGPT 기반 대화로 재구성하였다.