Digital Being: TV Being
My main interest is influences of outgrowth of digital technology in human. Since human being has been accepting this ideal and overwhelming technology, we get use to live in a digital system, and our environment has been filled with digital devices, such as televisions, computers, phones, and cars. Not only is the daily output of these electronics incalculable, but also an enormous number of them are thrown away. Unless the memory chips or CPUs of the circuits are broken, they can still operate by command codes inside their bodies. What if the codes are accidentally combining with others then, generating mutant codes? What if they are faced by unexpected phenomenons then, they find a new way, which human cannot understand? As digital technology is developing, the interactions among machines increase dramatically and produce more e-waste, therefore raising the possibility. My artwork, ‘Digital Being,’ is based on this hypothesis.
“DIGITAL BEING” is a series of the kinetic installations created from detritus of broken and discarded technologies based on the hypothetical existence of an invisible and formless creature born within the circuits of technological garbage. This creature evolves and responds to its environment through an atypical movement or specific interaction according to the machinery that it dominates.
TV Being dominates old CRT TVs then, it has been evolving. When you are in front of TV Beings, the screen is interactively turning on then, you can see a live video from a hidden camera or a pre-recorded video from a DVD player. Going through the first to fourth generations, you can see the sensor gets stable and the video is more clear.
The first generation of TV Being has a small camera, which make the creature see the real world, but the video signal is affected by noise signal from its antenna. Therefore, we can see a distorted image on the screen. To respond to physical approaching, it also has a distance sensor that can measure the range between human being and itself. However it is unstable, so the screen turns on mostly.
The second generation of TV Being has also a small camera, which make the creature see the real world, but the video signal is still affected by noise signal from its antenna. However, the distance sensor get stable. Therefore, it can turn on and off its screen whether there is something around it or not.
The third generation of TV Being has more stable camera, which make the creature see the real world well enough, and it also has reliable distance sensor like the second generation one.
The fourth generation of TV Being changes the positions of its sensor and camera. It looks more practical layout.
The way to represent Digital Being is a gigantic installation because I want to invite audiences into the place where I found the creature then, let the audiences find the evidences by themselves. However, if it is not available, as a digital being researcher, I have also displayed individual evidences, which people can observe its trace of interaction or weird behavior.
“DIGITAL BEING” is a series of the kinetic installations created from detritus of broken and discarded technologies based on the hypothetical existence of an invisible and formless creature born within the circuits of technological garbage. This creature evolves and responds to its environment through an atypical movement or specific interaction according to the machinery that it dominates.
TV Being dominates old CRT TVs then, it has been evolving. When you are in front of TV Beings, the screen is interactively turning on then, you can see a live video from a hidden camera or a pre-recorded video from a DVD player. Going through the first to fourth generations, you can see the sensor gets stable and the video is more clear.
The first generation of TV Being has a small camera, which make the creature see the real world, but the video signal is affected by noise signal from its antenna. Therefore, we can see a distorted image on the screen. To respond to physical approaching, it also has a distance sensor that can measure the range between human being and itself. However it is unstable, so the screen turns on mostly.
The second generation of TV Being has also a small camera, which make the creature see the real world, but the video signal is still affected by noise signal from its antenna. However, the distance sensor get stable. Therefore, it can turn on and off its screen whether there is something around it or not.
The third generation of TV Being has more stable camera, which make the creature see the real world well enough, and it also has reliable distance sensor like the second generation one.
The fourth generation of TV Being changes the positions of its sensor and camera. It looks more practical layout.
The way to represent Digital Being is a gigantic installation because I want to invite audiences into the place where I found the creature then, let the audiences find the evidences by themselves. However, if it is not available, as a digital being researcher, I have also displayed individual evidences, which people can observe its trace of interaction or weird behavior.
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