2020, Vol., No.47

Journal of History of Modern Art 2023 KCI Impact Factor : 0.77

pISSN : 1598-7728 / eISSN : 2733-9793
https://journal.kci.go.kr/kahoma

“Artificial Nature” is an art installation series and research project by Haru Ji and Graham Wakefield. It is a kind of artificial ecosystem, created by computers through the principles of complex systems, inspired by nature’s creativity and biological mechanisms. Artworks of the “Artificial Nature” series are embodied in immersive mixed-reality as an interactive environment in which viewers are included. In this essay, I trace the history, meaning, and the technological methods of Artificial Life (AL), and summarize the characteristics of the emergence and self-organization of AL art, and then described the development of AL art from the 1990s to the present. Focusing on the “Artificial Nature” series, I examine the significance and implication of the technological method of artificial ecosystems using genetic algorithms, as well as of the mixed-reality installation method that maximizes the ontological role of the all perceivable elements within the interactions with viewers. The “Artificial Nature” series conveys the aesthetics of the emergence and generative creativity of computer-based art, which incorporates the concepts and techniques of artificial life into art, and reflects the philosophical quest for aesthetic meaning of artificial ecosystem, in the age of ‘changing concept of life’ of the 21st century.

This study originated from catching the characteristics of contemporary art since the 2000s and demonstrating 'the Concept of Hétérochronie' in them. Contemporary art, which was influenced by globalization due to technological advancement, began to use technological media in its works. From media art to installations, various genres began to appear in a complex way, images were reused and edited, and works that deviated from the existing continuous and sequential times appeared. Such images began to show the phenomenon of being uniquely divided through the medium, among which it was possible to find the concept of Hétérochronie. In this paper, I use the theories of Gilbert Simondon and Bernard Stiegler to understand and demonstrate the alienation of human beings as reflected in; the intrinsically pure consciousness of technical media. In the work of Apichatpong Weerasethakul, the whole is connected to allegories, memories are edited and summoned, and it can be seen that the Hétérochronie is well represented in the process. Therefore, in this article, I would like to discover and analyze the clues that can lead to an integrated reason for contemporary art through his work.

The aim of this study is to compare and study autobiographies published in the 20th century by two female artists-, Louise Jopling and Anna Klumpke who worked in the European Academy of Arts in the late 19th century, and to analyze the characteristics of their self-narrative strategy. The main subjects of this study are Jopling’s autobiography Twenty Years of My Life: 1867-1887 (1925), Klumpke’s autobiography Memoirs of An Artist (1940), and Klumpke’s biography of the artist Rosa Bonheur, Rosa Bonheur: sa vie, son oeuvre (1908), all of which feature quoted diaries and letters, a means of private self-narration. The autobiographies reflect their authors’ attempts at ‘writing from within.’ It can be said that Jopling and Klumpke recorded their voices as subjects and the others. These are feminine narratives that conform to the concept of ‘l'autre biographie’ by Hélène Cixous, argued that the reason for the non-chronological listing of events and themes, another similarity between Jopling’s and Klumpke's autobiographies, was the result of some artistic crisis after the rise of Modernism.