Jisoo Jit Seo
Jisoo Jit Seo is an international media artist who loves to change the shape of figures freely through technology. She was born in South Korea and studied MA in Fine Art from Chelsea College of Arts and a BA in Textile Design. Based on her core interest in artificialness and derangement, she has produced artworks for problem awareness and social phenomena by technology.
Jisoo presented her work <The Turn of the Screw> at T1 Pavilion in 2021. The system in the <The turn of the screw> repeats adaptation and detachment within the spatial flow and as a result, the third place, which cannot be replaced for any place is founded. She has attempted to express her thoughts on the current social issue of losing independent reflective competence.
She is an artist-in-residence at the Scope Bln, Berlin in Germany and had two solo shows at Seoungbuk Young Art Space Window Gallery & Gallery Dos in South Korea.
Voice over : James Adams, Emma Eve
Text: Immanuel Kant, Tom McCarthy
Gunther Anders defined the world as ‘Makrogerät’ in itself. It represents the entire enormous device system and became our world of its own. Furthermore, the device or technology that shaped the world reached the state where it consumed humans. There is no longer light. We cannot even find the path to salvation. It is because the relationship between the device and humans was already inverted. Humans were already a part of the devices, and accommodate the phantom created by technology from a passive position. This means that humans gradually face situations where it becomes impossible to discriminate between what is truth and untruth (Hyeryun Shim)
Nowadays, the digital protocol is independent of humans and operates autonomously. It is supposed that the users can be liberated from all volume and properties under the idea of ‘infinity’ and be free, but the users eventually face the domination of the intrinsic product that they personally make. Digital software is the basis for this, and all the products sold in the market actively distribute the phantom. This work departs from the following problem awareness. How should humans, machines, and interfaces be perceived? How can human autonomy be secured under the automaticity of the program? The writer focuses on the function of the ‘tool’ designed in the system.
‘Tools’ are means or methods to achieve certain goals and a concept of tool used while working. Unlike the general concept of tools where humans use physical forms to expand on the senses and induce varied outcomes, digital tools calculate accurate shapes and values under the bit input in the program and compute the space produced by the user. Under automatism where it can be cut, pasted, edited, and even change everything arbitrarily based on the composition, humans don’t know about other possibilities or lose awareness without trying to discern. Likewise, the tool that only computes the standardized uniformity does not leave any space for imagination.
<The turn of the screw> is portrayed as an attempt to overturn this format. The tool that can arbitrarily change the scope based on the automation technology of the program differentiates the organizational structure through the intervention of the operator. The irrational points that are discrepant between the scope recognized by the software and the domain selected by the user are actively reviewed, contrasting the general truth. The system repeats adaptation and detachment within the spatial flow without perceiving the entity. As a result, the third-place that cannot be affiliated to any place is founded while it excludes accurate values, calculation, recognition, criticism, and senses. Likewise, we are losing all the independent reflective competence.
About this bone, Jisoo started becoming curious about the life that the bone once lived. The artist gazed at the yellow and miserable object on a table and thought to myself. Who was he or she? How did he or she smile, cry and what did he or she love? Jisoo became inquisitive about the identity of this figure that no longer exists.
If he or she was born in the ocean, then he would’ve known the way to love salt. He or she would’ve danced with the waves and felt the movements of the water wave. If he or she was born in a plain, he or she would’ve stepped on moist soil and would’ve learned the way to drop the leaves. He or she would’ve danced with the trees and enjoyed the place where the wind came from.
In any place, this person probably sketched a boundless horizon with love. Jisoo imagined the life that the bone once lived, and she suddenly felt very excited about the boundless freedom that suddenly came to her. Her muscles expanded and her speed of coding in recognizing the object gradually pulled ahead. Jisoo could cut out the bone, twist it, or even change the color. Many stories came up in a flat surface, and She could transform it into many forms that could be accommodated. We are in space right now, and became the creative element of the earth. A blazing matter without a sense of volume or smell wanders in the air.
Yet, was it because of the speed that was as fast as the light? The tool of the program failed to select the entity and also failed to recognize the film. The tool keeps breaking away into an unintended path. The tool that swerves from the track shapes the track once again. The tool with the entangled steps finally begins to form an odd something over the bone.It is constellation, meteor, figure, dream, and the space...