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Hyerim Jeon is studying media art in expanded cinema class of Prof. clemens von eedemeyer at HGB Leipzig, serving both as the project curator and a team member.Â
She explores the idea of uploading her existence online as a way to ultimately transcend this world and leave behind traces of herself in it. This process began with documenting her immediate surroundings and elements of the natural world, evolving from her personal perception of reality and how she observes and senses the world around her.
This episode is part of the project series âMaladaptive Daydreamingâ. The poem from the poets, which reflects on the meaning of existence, consists of three parts: the first written by the artist, the second by tradition, and the third created collaboratively by the artist and artificial intelligence.Â
Mileyh, the protagonist, is a copied version of the artist. For some unknown reason, she finds herself connected to a delusional world where the cat [Stranger] lives. She suspects that the reason she connected in that world is because she has died. Yet, she continues to question why she is here and what this place exactly is. Through the conversations, she gradually begins to search for the meaning of existence and death. Stranger is also a copied version of the artistâs cat. Through an AI-based conversational format, he assists her in her search for the meaning of existence.Â
A.I. generates its outputs by recombining information that humans have extracted from themselves. The artist poses the age-old philosophical question of existence to the A.I., which draws upon the internet â a vast repository of human expression â to construct its knowledge.
Her work involves crafting fictitious realities. She is quite interested in things that pretend to be real and make what does not exist appear real, and what exists appear nonexistent.
She copies her original self into the media as a protagonist, and makes things that happen in her life into a fictional form of episodes. She selects scattered fragmented memories and the imprinted memories of various events, blending them into a fictional space to create a state of confusion, causing a sense of disorientation. In the protagonistâs realm, only fragmented reality is intermingled with fiction, and the yet-to-be-revealed events exist in a folded state, akin to atoms.
These episodes are reconfigured and reproduced in different formsâsometimes installed in various physical spaces, or newly reconstructed in online or two-dimensional spaces. Throughout this process, the episodes are not presented chronologically, which makes the context jumbled, causing a parachronism. This approach grants viewers the freedom to actively engage their imaginations within their own channels of perception, like gutters in comics (blank space between the frames).   Â
That is to say, she expands a fiction into reality, and conversely, shifts a part of reality into fiction, so that the boundary is blurred. Fiction serves as a device that obstructs the verification of events, helping to incorporate them into a virtual world.
With this project she explores linguistic and cultural differences, focusing on traditional songs and meaning of existence. It delves into the complexities of translation, questioning how intricate contexts that cannot be directly translated can be reproduced, preserved, and interpreted. The works will highlight elements that resist full translation, manifesting them visually as glitchesâsimilar to errors in AI processing.
According to Friedrich Kittler, the way we learn letters profoundly influences individual thought and, further, the cultural formation of an era. Learning language through a mother's voice and listening to fairy tales has had a significant impact on our cognitive systems and imagination. However, she believes that much of this is now being replaced by the media. Could this, too, be a paradox of technology? As the "mother's voice" is being replaced by the "voice of media," how will individual cognitive systems continue to evolve?
