[Opening Performance] SUDDEN THEATER, Howmaria
Hyunjoon Chang, Some for Some
Kim Oki / Park Jiha / John Bell / Remi Klemensiewicz, Balgeunmile
‘Cybernetics’, a scientific study established by Norbert Wiener, was widely accepted in the field of scientific technology around the 1940s. The theory which aimed to equally control both living organisms and machines has dominated the trends of technological development, that is, the ‘Humanization of the Machine’ and the ‘Mechanization of the Human.’ The belief that technological development will open a new world to the human race is paralleled with the fear that the very technology will take not only jobs but also the human identity from us. Although we are on the brink of the advent of the strongest Artificial Intelligence, we are living on the earth which is devastated more than ever. So, is there a future for us? Are the two options of sustainability and apocalypse the only frame of our future? Or, is there another option available to us we’re missing?
The exhibition is composed of Robot, Interface, and Posthuman. Each of theme is intended to create various questions. The ‘Robot’ section features Nam June Paik’s Robot/People and Robot K 567, Yang Zhenzhong’s Disguise, Jinah Roh’s An Evolving GAIA, Jongjun Son’s Defensive Measure, and Zach Blas & Jemima Wyman’s im here to learn so :)))))). They not only successfully catch the conflict and oscillation caused by the coexistence between men and machines, but also accuse the man-machine cooperation system of being cracked. The ‘Interface’ section goes deeper into the crack of the man-machine cooperation system to try to make a new seam. PROTOROOM’s Feedback of MetaPixels-Language for Digital Atoms, Unmake Lab’s Rumor in the City and the City, and Joosun Hwang’s Mind!=Mind take down the black box of machines which isolate humans, and relocate the position of humans in the midst of machines. Besides, recent works such as Insook Bae’s The Sum and diana band’s Phone in Hand: Choir Practice are also presented, suggesting the solidarity of humans through machines. The ‘Posthuman’ section shows that the time has come when the boundary between the human and the non-human, having been destroyed by cybernetics, must be re-established in a network of horizontal relationships. Taeyeun Kim’s Island of A-life cultivates the artist’s DNA injected into a plant; Špela Petrič’s Miserable Machine converts mussels’ muscle contraction to the human labor system; Unknown Fields’ Rare Earthenware shows the process of collecting the raw material used for smart technologies, telling us that humans have been the geological power who has power over all creatures on the earth.
In his “Cybernated Art” in Manifestos (1965), Nam June Paik wrote that some specific frustrations caused by cybernated life, require only through accordingly cybernated shock and catharsis. So his argument is that the healing of the suffering in this cybernated life, or smart life of today, is possible only through smart technologies. The truly smart life is not the objectification of each other in which robots replace humans or in which humans control robots, but connecting deeply inside the technological environment and thereby making new interfaces between the human and nonhuman. The participating artists in the exhibition Our Bright Future- Cybernetic Fantasy encourage the birth of a new human by making cracks in the cybernated system and actively inquiring about our technological environment. In this way, the participating artists warn against the end of the geological era which has been led by humans, and requires the birth of the new human, by creating a new relationship between the human and the nonhuman.
▷ Is the human mind different from that of a machine?
Seoul-based artist Kelvin Kyung Kun Park, working in various mediums such as film, video, photography and installation, focuses on the areas where an individual’s narrative overlaps with that of a group’s. 1.6sec begins from the labor dispute caused by a 1.6sec reduction in the robotic assembly line in an automobile factory. The amount of this reduction, though very small, required a lot of effort and pain from workers to keep up with the accelerated speed. The artist discovered that because the human’s time is different from the robot’s, the sensors or motors of robots are much more efficient than man’s labor in a factory. Unlike the common expectation regarding lifeless machines vs. organic humans, those who look the most vibrant in the factory are robots, and the pale inanimate faces are mostly humans’. Is it really true that humans feel more and is more creative than robots? Maybe aren’t we a being who just belongs to a system or society and mechanically behaves in the predicted manner?
The screen is divided by one heart shape, in which various excerpts from Paik’s previous videos are pleased back in succession. Scenes from such works as A Tribute to Jone Cage, Global Groove, Guadalcanal Requiem, and Wrap Around the World, which seem at first glance to have no ties with each other, are unrolled rhythmically inside and outside the heart as if to a rapid heartbeat. The flow of images is intercut with deliberate noise. Sometimes playback is sped up or slowed down, and also different visual effects are applied by a video synthesizer. In this way of editing, the images come to be seen as interconnected by certain links, formal or conceptual. A hat of the farmers’ band and a turntable’s record are overlapped; kids playing in Guadalcanal islands and kids singing on a Japanese TV show; a robot’s clumsy gesture and different human beings’ behaviors. You are led to look for relationality between them. The visual movements, in which one form is transformed freely into another through the mediation of the heart, allow man and machine, East and West, tradition and modernity, high art and commercial art to come together, which are commonly considered to be stuck in dichotomies.
* Excerpted from Seongeun Kim, Nostelgia is an Extended Feedback Nam June Paik Art Center (Yongin: Nam June Paik Art Center, 2012), pp.160-161
It ‘rains’ inside a heart at the center of the monitor. Countless different patterns in white move ceaselessly and repetitively, fast and slow, which imbues the heart with a feel of vitality. Adding ‘snow’ to the title, Paik implies that this work is about white noise, alias dictus, ‘snow,’ meaning white dots and waves in disorder on a television screen when tuned in to channels that broadcasting stations do not use, or when there are no broadcasts. While the white patterns that look like a result of random-number generation by a computer are falling down, the heart itself is getting bigger and smaller, and the colors inside and outside the heart are changing as well. In the middle of the video, the abstract patterns are replaced by figurative images from Paik’s previous videos, which are in distorted and shaken forms as if by signal disturbance, and with certain velocity. That the patterns resembling white snow and the deformed figurations difficult to identify roll inside the heart as a vessel, seems to reflect what cybernetics may call the dialectical relationship between control and indeterminacy. “It rains in my computer, as it rains in my heart.” (Nam June Paik, 1968)
* Excerpted from Seongeun Kim, Nostelgia is an Extended Feedback Nam June Paik Art Center (Yongin: Nam June Paik Art Center, 2012), P.162
Robot K 567 was made from the same context of Robot K 456, which was first exhibited in “the Second Annual New York Avant-Garde Festival” in 1964, Robot K 456 is Paik’s first work that took a shape of robot. Produced in collaboration with Japanese engineers, this work was a 20-channel remote-control robot, and it was named after Mozart’s Piano concerto no.18 in B-flat, whose Köchel Catalog number is 456. It could walk around the street, play a recording of President John F. Kennedy’s speech, and drop peas as if to e