This “work,” which was thought to be a scientific experiment, quickly became a hot topic of conversation at the time and, interestingly, influenced that Thomas Edison to create the kinetoscope, which is said to have been one of the origins of the current film industry.

Later that, Hollywood was formed, people came to love movies, Marilyn Monroe became an idol, and animated films were created. Isn’t this exactly what “Photography as a Contemporary Art” is all about?

It is no exaggeration to say that “愁篇ノスタルジア Exhibition” was given birth from it, too.

So, after spending well over 200 hours, I finally generated one series of works. Basically, these pieces of photos are just manually arranged, so it cannot be done in a few dozen seconds with a single button press.

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Now, this work may be another typical example of ‘Art’ that is difficult to understand at first glance.

To begin with the overall composition, it is a series of 16 cards, consisting of 4 ‘noise’ cards followed by 12 cards based on “The Horse in Motion” mentioned above. Only the last card is a ‘drawing’, which is made with Stable Diffusion, based on the 12th card of “The Horse…”. The other cards are ‘photographs’ assembled by Kujo himself over a long period of time.

The method is the same as the prototype “人為的アルゴリズムで…”. the same format is used to prepare a set of image data sets, and then gradually generate new images by layering them on top of each other. The difference is that this time, the number of images in the set is 256, and the size of each frame is not reduced for the sake of printing in real life.

By the way, can we not equate this algorithm with our daily experience and learning? We improve and grow every day by doing almost the same thing over and over again, although we don’t grow just by doing exactly the same thing.

Sometimes we are greatly influenced by the concentration of experiences, and sometimes our days are thin and unchanging. When the repetition reaches a certain point, internal changes somehow occur suddenly.

In carefully arranging the 256 image data sets this time, I wondered how to generate a more ‘sophisticated image’ from the ‘noise’. With the added condition of not reducing the size of each frame, it seemed impossible, and in fact, I gave up several times along the way. However, when I reached the 13th image, I finally realized this;

I could generate a more ‘sophisticated image’ by limiting the arrangement of the images to a grid!

Isn’t this so-called “limitation of possibility space,” which starts from the point where the data set is limited to 256 images? This is surely one of the driving forces behind our ‘growth’, a kind of algorithm that is equally available to all beings in the universe, I wonder.