This paper will examine how new technology can be used in art as a means of slowing down in contrast to the traditional association that technology speeds up the world it exists in. Joo Youn Paek; a Korean Artist uses technology and design to create art objects which question the viewers notion of traditional technology. Her objects invite human interaction and allow for reflection on human behavior and social change. Questions emerge about what is new and what is ancient, is technology encompassing Buddhist/ eastern philosophies, and is technology the new religion in the west, or is it just teaching us about an old one?
The initial attraction to Joo Youn Paek was in viewing her piece entitled “Fold Loud”. “Fold Loud” is a piece of origami paper with electronic circuits that make a human vocal sound when folded, this sound combines with another, different human vocal sound with each successive fold. The piece continues to hum as the paper is folded into the final shape, resulting in a chorus of harmonious voices. The way in which Paek used modern circuits in this piece to reflect ancient spiritual philosophies of meditation and ritual is seductive. The folding of the origami paper embodies ritualistic Taoist principles that give users a sense of slow soothing relaxation. The folding of the paper enables the viewer to be present and one with the piece. Having hands on interaction that is kinesthetic and engages both touch, sound and sight allowing for multiple entry points, unlike a still drawing or painting which is flat and hangs on the wall. This puts Paek’s work in the realm of Diagram. According to Bender and Marrian what is captivating about a diagram, and what is also captivating about Paek’s work is the space to see it from hundreds of angles, the perspective is not fixed.
Joo Youn Paek’s work falls under Deleuze and Guattari’s idea of the Rhizome, a rhizome defined as a horizontal and non-hierarchical conception where anything may be linked to anything else. Deleuze and Guattari make the example of things, unrelated such as desire and machine coming together to make a surprising desiring machine. The idea of two seemingly unrelated things coming together is not new in art, as is seen in the history of collage. What is problematic is the use of the word unrelated as a descriptor. Paek being a Korean using the principles of Tao in her work shows that everything is relative, as does the rhizomatic. The difference is in the linguistics. For Westerners what is described as unrelated in the East is easily understood as united.
Eastern religions have been practicing “rhizome”, as defined by Deleuze and Guarttari as a non- hierarchical, horizontal platform is the same as the ancient Enlightenment as called in Zen Buddhism, not defined in words, but through practice. The practice is one of treating everything as one and equal on the quest to eliminate the ego or self. Yet, it seems the light bulb has just gone off in Western heads, and is being realized for the first time. It is odd to me and fascinating that the ancient concepts of Eastern religions have emerged as the new “rhizome”, and are showing themselves through modern technology.
Paek’s body of work called “Spoetry”, as well as the work I mentioned earlier “Fold Loud”, are similar to paradigm shifts as written about by Kuhn . Her shifts are not optical illusions but optical metaphors that equally shift meaning for a viewer as paradigm shifts do. While boxing gloves are associated with fighting she shifts her view and reinvents the meaning of boxing from fight to love. The shoe she made shows how feet that are used separately in soccer are now bound together. Thus, re-evaluating the notion of the sport itself. Through one piece of altered equipment the whole game changes.
Joo Youn Paek “Mighty Power Shoe” (2004), and “Love Gloves” (2004)
In conclusion it is not a leap to connect the ancient practices of ritualistic Tao with new technology because everything is connected. Nothing is unrelated,
This is both excitingand uncomfortable. Technology is able to show metaphors and poetry and serve as a means of contemplation rather than distraction which is exciting yet simultaneously uncomfortable as I am unsure what this means for my own art. Finding out you don’t believe in something that you once believed important is hard. I don’t feel I’m alone. Many artists are holding onto a thread that cannot really hold them asking, how can I get out of the frame, how can I start thinking out of the straight line and start making rhizomatically after so many years of canvas, paper, pens, and give control to the viewer.
