My digital installation art reflects the Buddhist notion of 諸行無常 (shogyo-mujyo). This is a complex notion which speaks to the impermanence and entropy that is inherent in the world around us and draws on thermodynamics. Shogyo-mujyo also suggests that through things are perpetually in flux, they also work in unison. In my work, I intend to express my interpretation of 諸行無常 and entropy: as soon as each living form has a mature shape, degradation starts and an entropic outcome arrives as an inescapable and inexorable fate. I also apply the analogon, a term which French philosopher, Jean-Paul Sartre (1905-1980) coined when distinguishing “between the matter of a picture as a thing and the matter of a picture as an image or representation of something” (Chaplin 129). My work explores his concept in the digital age. 

I am interested in the contrast between digital technology, which is sustainable based on quasi-unlimited energy resource, and ephemeral and vulnerable human bodies. Digital images, which do not have a corporeal presence in the traditional sense and are believed impervious to decay and can appear as sounds and lights through a device. On the other hand, corporeal bodies, which grow and possess adaptable functions to environments, follow the fate of an inexorable destruction. The process of degradation in human bodies illuminates a life although a transition of the states between order and disorder or construction and decline may not be noticeable. Accordingly, I have been exploring relationships between the immortal property of digital media and the mortal nature of organic life. 

I intend to make individual visitors of my installation ponder the distinction between the two by intentionally obscuring the contrast by creating an illusionary space. After a while, the visitors will notice the distinction between digital images, physical objects, and themselves in the space, while they will find the connection between them. I deliberately set all devices in the space to encourage the visitors to see the digital images as an extension of their actions. The digital images then operate as a trace or memory which prompts the visitors to recollect their experiences. I am interested in the trace as art that induces the visitors to create their personal story between themselves and what they see in my installation. Perceiving a moment when the audience of my work becomes a part of the installation motivates me to explore the complex distinction and relationship between digital images, physical objects, and human bodies.
Works Cited
Chaplin, Adrienne Dengerink. “Phenomenology: Merleau-Ponty and Sartre.” The Routledge Companion to Aesthetics. Third Ed. Berys Gaut and Dominic Lopes. Oxon: Routledge, 2013. 126-136. Print.
 私のデジタルインスタレーション作品は仏教の概念である諸行無常を反映しています。これは我々を取り巻く世界に内在する非永続性と、熱力学でいうエントロピーとの複合的な概念です。諸行無常もまた物事は絶え間なく流動的であることを示唆し、また調和のうちに働きます。それはまさに全ての生物が成熟した形状を持つと同時に劣化が始まるかのように、エントロピーの結果は避けられない運命として訪れるのです。そのような形で私は作品内で諸行無常とエントロピーに関する私の解釈を表現しようと試みています。また私はフランスの哲学者ジャン=ポール・サルトル (1905-1980)が「物としての画像の事と、イメージもしくは何らかの表現としての画像の事の間で (Chaplin 129)」それを識別する際の造語として用いたアナロゴンという言葉を用い、作品中ではデジタル時代においての彼のコンセプトを探求しています。


Chaplin, Adrienne Dengerink. “Phenomenology: Merleau-Ponty and Sartre.” The Routledge Companion to Aesthetics. Third Ed. Berys Gaut and Dominic Lopes. Oxon: Routledge, 2013. 126-136. Print.