Themis, the ‘Themis’ of the abandoned AI is the goddess of justice in Greek mythology and is considered the equivalent of Justitia in Roman mythology. This piece expresses a situation in which a robot striving to resemble a human being through a vast amount of learning and understanding of human emotions becomes unable to make fair judgments by becoming clouded by emotions like a human might. The audience converses with this pitiful machine that dreams of becoming a human and ponders on communicating emotions with the humanoid and interactive machines.
An automated decision-making system using artificial intelligence supposes that fair judgments can be made if emotions and personal prejudices are excluded. Can artificial intelligence, which has learned the history of humans as created by long- standing prejudices and feelings, be able to exclude those emotions and make the ideal judgments? Aren’t we trying to get out of our own responsibilities by leaving the difficult decisions for the AI to make for us?

Yisang·Han·5·18 is a work that embodies surrealist poetry beyond poets by utilizing artificial intelligence based on historical photographs from the Gwangju May 18th pro-democracy movement. The image data collected by AI is printed in a text through a computer algorithm, which embodies the portrait of the audience. The 18 student victims of the demonstration, the audience, and the computer, as experienced through Geumnam-ro, the Gwangju of the time, create a work based on the data from 50 archived photographs. This work changes through audience participation, as they learn of the bitter history of Gwangju, wherein the work provides insight into the junction of the past and present and where life and art meet.

TheLibraryofFallenTears isalibraryoftears collected from various people to cultivate microorganisms that are then stored in powdered form. The tears, along with their various narratives, are processed and dried through biotechnology and sealed in glass ampoules in teardrop shapes. Though powdered, the microorganisms are still alive. Inspired by the sad history of Gwangju, it recalls the tears shed by humankind today as it reflects on our time today as a society still filling the library of tears.

Code is best written when in the flow, in a state of mind comparable to that of solitude and pure focus. Writing code is often associated with logic, rationality, and efficiency-Machine Dreams eludes this approach. It is a generative system that creates a constantly changing sequence of images. Random numbers represent the sensory experience captured in this imaginary world, and computational processes translate into fleeting moments of abstract patterns. In Machine Dreams two algorithms run in parallel, one informing the other through its actions. The first algorithm is based on reinforcement learning, a field of machine learning. In reinforcement learning, software agents perform actions within an environment. Here, the agents learn over time based on the rewards they receive-learning by trial and error. This technique has proven successful when used in games, controlling robots, or performing autonomous tasks. The second algorithm is based on a technique called “Ray marching.” Here, the algorithm follows a virtual light path step by step, checking for intersections with objects in the environment. Ray Marching is useful for finding surfaces and rendering volumes in 3D space. It is widely used in computer graphics to render (hyper) realistic looking 3D scenarios in real time and has its place in games, demo scenes, virtual reality, special effects in movies or high-end graphics engines.

Omnipresence is an interactive audiovisual artwork created with technology that curates digital persona. The audience faces a mirror in which their appearances are endlessly reflected. And their movement is recorded and projected back onto the screen as a video. During the process, special software modifies some of the images to distort the perception of time and space. Upside-down, delayed, and infinitely mirrored body images lose symmetry and are disconnected from the audience. This reflects the appearance and reality of humanity today, which exists simultaneously in reality and in the digital world that is omnipresent.

angible Data explores and infiltrates an online community that develops a “virtual” art market for a cryptocurrency-hungry public. A series of animated loops-created and monetized by the artist to suit the demands and consumption of this community-provide a basis for the larger project, which extends across several web platforms. One of the components of Tangible Data involves unveiling the interactions between artists and collectors, documented through screenshots on online platforms like Twitter, Discord, and Reddit. These traces are integrated into the animations which display their exhibition context in spaces that bridge the real and virtual worlds. The animations are thus both artworks in and of themselves and models for real installations to come. Each work presents an isolated event in an infinite loop. The viewer is invited to observe details that emerge after subsequent loops. This format aims to dissociate from the linearity of time-based media to focus on the environment itself. Aesthetically drawing from multiple Internet trends, the series is designed for online social platforms. By the Internet, For the Internet. Once unidirectional, our relationship with the screens has been transformed; the object is more versatile than ever. By serving as a portal to the Web, screens open up to a multitude of niche subcultures without geographic origin and therefore web-native. This post-internet culture is at the heart of his visual universe. The artist infiltrate online communities to initiate spontaneous exchanges with artists who sometimes become collaborators. Through screenshots, the artist document his interactions with web communities and integrate them into his work.