This article explores the process by which biomorphic art influenced by Henri Bergson's philosophy encounters protein structures and becomes biomorphic protein art. The biomorphic presentation of proteins is a kind of art practice that applies biomorphs to protein structures by practically utilizing Bergson's “aesthetic intuition.” It not only has aesthetic peculiarity in itself but also is used to reveal the structure-function relationship and structure-identity relationship of proteins. As a result, biomorphic protein art, which presents information about the structure, function and identity of proteins through aesthetic intuition, helps us to analyze proteins in a novel way and restores our potential creativity.

This article explores an ensemble of technical objects and biological objects in bio-art and proposes aesthetic values that the ensemble reveals. French philosopher Gilbert Simondon considered technical objects carefully in the 1950s. In his study, he was alert to an assimilation of technical objects to biological objects. In our time, the development of molecular biology and genetic engineering offers evidence that technical objects are closely linked to biological objects. The process of concretizing technical objects and biological objects is latent in works of bio-art, which therefore can realize aesthetic potentials that technical objects and biological objects imply.

This paper proposes the post-virtual as the second phase of media art. The post-virtual is an entity in reality from the virtual, in which the output of media artworks follow the physical condition based on physical computing. Digital Mandala captures the viewer's face, processes the image, draws it in rough pixels made of black colored sand, and brushes it out soon. As an ephemeral repatriation of the virtual, the post-virtual is pronounced in the paper as a new reality in our technological scene

The characteristics of masses have been researched widely in many fields, from the social sciences to economics. With the authors' early work, they focused their themes on the characteristics of “the mass” and its organic characteristics and tried to visualize its spectacular aspect.

This paper proposes a model of information aesthetic performance in the context of hypermediacy. It addresses the need to consider the features of performance in recently emerging information visualization artwork. By analyzing an artwork, the real-time stock market data-based Contingent Rule , the authors discuss aesthetic effects of performance as well as information visualization. The proposed model could contribute to a better understanding of information visualization in terms of Jay David Bolter and Richard Grusin's ‘hypermediacy.’ This research provides a new guideline for reviewing information visualization.

This paper looks at electronic art as a new form, suggesting the term ‘faciality’. It is not simply for re-staging the invisible using the visible, but for provoking a fresh view on the discussion of electronic art in terms of reconsidering ideas and concepts of art and technology.

Performative art comes from two major ideas. One concerns the performativity as what happens in the collaborative action of human and computer; the other, the doubleness of technology as one insight overcoming the human-subject centered dichotomy. As the linking point where two ideas meet, performative art critiques the politics of contemporary technology-based art in the humanist context.

This paper highlights the intrinsic communication in interactive art. The authors propose knowledge discovery or data mining as a technique to measure the communication between the spectator and the intelligent interactive artwork. Due to the nature of interactive art, this aspect of technology is an essential part to integrate the artist's representation with the spectator. An example of interactive SwarmArt using knowledge discovery for personalized interactive experience is explained in this paper.