The work begins with the idea of portraying the virtual singer “Hika-ji” as a being that contains multiple layers of wounds, and visualizing a sense of life that includes her fluctuations and fragility. Set in a seashore, a symbolic space of transience, the work layers the continuous flow of time in animation with fragments of time captured in film photographs, bringing forth both emotions that keep flowing and memories that remain still. Through physical alterations to the photographs and the use of blurring effects, the work attempts to abstractly visualize the sensation of experiences etched within her, surfacing as layered traces.

In the initial concept, we truly entrusted part of the production to AI, exploring a singularity-like structure: what does it mean for AI to possess a self and express itself? However, while AI is suited to producing “something similar” as a form of collective intelligence, when it comes to depicting “the beauty within unease” or “human-like misalignment,” human hands were inevitably necessary. As a result, we shifted to a design in which AI expressions are “intentionally reconstructed by humans,” arriving at a paradoxical approach in which humans manually create the very condition of AI’s “imperfection.” We have designed it as a game, in a sense: a contrastive device that highlights human creativity by having humans deliberately create something AI-like.

Theme: a convenient relationship between a man and a woman. The editing constructs a rhythm sustained by the gaps in sound and the intentions of a man and a woman who never fully align. In addition to BONJIN’s editorial perspective, the video also incorporates collages created by the artist himself.