In the process of creation

I've had a few days off, so I've been fleshing out the idea sketches I've had in mind. I often still ponder what is important in the process of 'creation,' and the conclusion is always, "the essence of 'labor' cannot be overlooked."

For creation requires the stubborn repetition of an action that seems destined to fail,

and only through that devotion does the work finally emerge.

Tolstoy (Lev Nikolayevich Tolstoy) also wrote in his book <What is Art?> that "art, which consumes enormous amounts of human labour and of human lives." Historian Toynbee and Ashton, who contributed to the invention of the Internet of Things, also offer similar explanations for 'creative activity.'

Inspiration is like a seed that withers and dies if sown on a road, rocky ground, or thorny patch. We know it should be sown on good soil, but unfortunately, even knowing it might not work, we must continue to sow for results to appear.

If optimization were possible, it would mean a database already exists, and if a conclusion could be probabilistically derived through multi-dimensional analysis based on that database, it wouldn't be 'creative activity' in the first place.

1. If it could be optimized, it would be 'manufacture,' not 'creation' (If creativity could be systematized—if it could be optimized into a database of known outcomes—it would cease to be creation at all. When the process becomes efficient, it is no longer #creation but #manufacture). Bureaucratic societies (bureaucratic organizations) seem to fall into this trap every time. Regarding logical thinking, Gödel offered an explanation about 100 years ago. 2. 'Logic' itself solves nothing in reality.

There was a moment when I realized that I had increasingly relied on equipment functions for my work. When moments where the equipment, not I, seems to be the subject of control lengthen, I sometimes wonder if the machine is using me as a programming terminator, rather than me using the machine to work.

The theory-ladenness of observation

This phrase explains that observation has a preceding theoretical foundation. In 2018, I photographed Professor Hasok Chang(장하석), the Hans Rausing Professor at the Department of History and Philosophy of Science at the University of Cambridge, for a media interview.

Dong-A Ilbo: https://www.donga.com/news/People/article/all/20180716/91067246/1?fbclid=IwY2xjawNQWSFleHRuA2FlbQIxMABicmlkETFLaDJ2YXZ6anJWNjdKZjRSAR50xEwQy_8D_F8J0ge71lhyyOzOKLD1m5DtBys5laJik7VBwc4AsqIgukrSYA_aem_JF6kdl4StBOoBL_nZP4ntA

The work at that time was part of a project run by Ewha Womans University and the Henry Luce Foundation, conducting a program for about 20 domestic and international women scientists for about a month. In 2019, I held an exhibition called <Exploring Polyhedron> as an invited exhibition for this international seminar.

Professor Hasok Chang's discussions on the philosophy of science have been globally recognized for their authority. Afterward, I read his books and referred to them extensively in my work conceptions, and the core of it was "the theory-ladenness of observation."

• These are the three main works I exhibited at my solo exhibition, <Contemplative Contemplation>, in 2021. As I often say, a rectangle is placed in a slightly different position within a purple background. The colors of the two rectangles are exactly the same. However, the visible reality is very different from the fact. To understand this strange phenomenon, one must understand how the brain processes visual information.

• When 'the horizon in a distant view' was incorporated into the <Contemplative Contemplation> in 2023, I focused on 'curvature' as the central theme. If at first, I intended to discuss something like 'existential limits,' now I am trying to illuminate the various elements that create those limits.

• Since before <Exploring Polyhedron> in 2019 until now, the triangle has been a very important object, concept, and theme in my work. The story of the 'triangle,' which began with Plato's polyhedra, has now shifted its focus to modern discussions of spherical geometry and manifolds. A manifold approach to the horizon will once again confirm how different sensation or intuition is from reality.

The observer's gaze is a tangent line towards the horizon. The actual ground (arc) curves away downwards, further below the tangent line. Therefore, the center of the horizon sags downwards. The reason why intuition constantly leads to the opposite conclusion is due to the blind faith created by rote learning that the Earth is round.

What looks convex from afar is concave up close. What looks like a curve from afar is a straight line up close. These are the basic properties of a manifold.