네오물질적 데이터와 데이터 시각화의 물질성 - 뮌, 팀보이드, 레픽 아나돌의 작품을 중심으로 -

Abstract

Background In the process of transition to the era of big data/smart data, data visualization, which collects and analyzes data and presents it visually so that users can easily understand it, has become an vital task. There is a growing need to redefine data, which has been classified as immaterial, as neomaterial, and to recognize that it is on the borderline of a process where physical or material reality is being established and overlapped in earnest. Methods In order to understand the significance of the artistic data visualization works as one of the phenomena of the overlap of virtuality and reality, as well as the artistic significance of contemporary convergence between art and technology, this paper takes the following approaches: Firstly, it will understand the background of the formulation of the term neomateriality proposed by Christiane Paul and the New Aesthetic proposed by British artist James Bridle and the core of their discourse. Secondly, it will analyze works from Korean media artist collective Mioon, TeamVoid, and international artist Refik Anadol who work in the form of data visualization. It will study the way these works approach the data as neomaterial and apply the discourse generated by Christian Paul to their works. Result This research analyzes Korean media artists collective Mioon and TeamVoid and international media artist Refik Anadol that regarded datas in the form of neomaterials as art. It finds points of connection and validation in their work through James Bridle and Christian Paul’s concepts. Through the analysis of Mioon's Art Solaris (2016-2019), TeamVoid's Over the Air (2018) and Log (2020), and Refik Anadol's Seoul Hammong (2020), which took the form of data visualization, we examined and found evidence of the ways in which the artists approach and visualize data. Through this analysis, the research confirms that artistic practices that meet the conditions of neomateriality transform code into the material framework of objects, thus in digital art, thevisual outcomes of artworks are derived from code and mathematical representations. Conclusion By attempting to interpret different layers of data, the artist and artist collectives analyzed in this study demonstrate that data visualization is not only an essential methodology for expressing socially embedded contexts, but also an opportunity to bring about changes in behavior. Thus, it attempts to read thoughts, behaviors, and social phenomena, iterating on the separation and unification of production and consumption based on data. Essentially, by facilitating a more precise understanding of the world, artists' creative practice can be construed as an act that seeks to reach the essence of data and data visualization. In the current 21st century, these insights reveal the potential for artistic production connected to the data that dominates us and our society, connecting and overlapping with the contemporary period.