AWAOGTNSOCSCSCHECPCCOSPSEPBDNDCGUGAIV144TSMPSIFJTDF00HT22HMA12X12PPCTDSWADCVPATGAENAMIAANAPEONMAALMT

Jeanyoon Choi

Subtitle: AWebArtOnGenerativeTopologicalNavigationStudyOfCoordinateSystemsCubicSphericalCylindricalHelicalEllipticCylindricalParabolicCylindricalConicalOblateSpheroidalProlateSpheroidalEllipsoidalParaboloidalBisphericalDefiningNewDatabaseCinemaGrammarUsingGenerativeAIVia144TokyoShibuyaMiyashitaParkSkyImagesFromJanToDecFrom00hTo22hMappingA12x12ParametricPlaneConceptualisingTemporalDimensionsSpottingWeatherAndDaylightChangesViaParametricApproachToGenerativeAiEstablishingNewAestheticsMovingImageApproachesAndNavigationAsProvocativeExpressionOfNewMediaArtAsLevManovichTheorised. The title of this work, AWAOGTNSOCSCSCHECPCCOSPSEPBDNDCGUGAIV144TSMPSIFJTDF00HT22HMA12X12PPCTDSWADCVPATGAENAMIAANAPEONMAALMT, functions as a cryptic initialism of its own descriptive subtitle, serving as a technical metadata fingerprint for a research project that explores the shifting aesthetics of the generative era. This web-based creative coding experiment is built upon a foundation of 144 AI-generated images of the sky over Tokyo’s Miyashita Park, where the AI was tasked with imagining the temporal plane across two distinct axes: a 12-month seasonal progression and a 12-step daily cycle ranging from 00:00 to 22:00. By aggregating these generative images into a 12x12 parametric grid, the work visualizes how artificial intelligence interprets weather patterns and daylight changes as a continuous, navigable data layer. Rather than treating these images as static frames or a simple linear sequence, the project re-situates them within a 3D environment built on Three.js to experiment with mathematical topology as a new methodology for the moving image. The artwork maps this 144-tile grid onto twelve distinct coordinate systems—Cubic, Spherical, Cylindrical, Helical, Elliptic Cylindrical, Parabolic Cylindrical, Conical, Oblate Spheroidal, Prolate Spheroidal, Ellipsoidal, Paraboloidal, and Bispherical—allowing the AI-generated textures to morph and animate between complex spatial layouts. This topological shift captures a smooth gradient of perceived reality, where the realistic textures of the park's sky are displaced and reconfigured according to mathematical logic, reflecting the latent space exploration or high-dimensional navigation inherent to AI research. This approach intentionally moves beyond traditional cinematography, establishing a new grammar for Database Cinema"in the age of generative AI. Following Lev Manovich’s theory that interactive art is fundamentally defined by how audiences navigate through a database, this work presents the act of navigation itself as a provocative expression of new media. The audience is invited to explore this parametric temporal space, altering and navigating the digital sky of Miyashita Park in their own manner. This project serves as a foundational experiment for a new era where the boundary between artist and engineer is blurred to push digital aesthetics beyond the single sequence of linear images. The work is designed to be experienced as a public art installation at Miyashita Park in Tokyo or explored as an interactive web artwork at http://ai-db-navigation.vercel.app/shibuya. This artwork is developed through Creative Coding on top of Next.js and Three.js, assisted with the Antigravity LLM IDE.