Jeanyoon Choi — Media Art, Interactive Art & Web Art
Jeanyoon Choi (b. 1999) is a Korean computational artist and researcher. He designs and researches multi-device web artworks that reflect the complexity of contemporary socio-technological systems, including AI, algorithmic culture, and economic structures. By interconnecting mobile devices and screens, these artworks create provocatively interactive environments. To develop their conceptual foundations, he draws on art, philosophy, and his scientific background, then uses software engineering and design to translate these ideas into interactive experiences.
He holds a BS in Industrial Engineering from Seoul National University and an MA in Information Experience Design from the Royal College of Art, and is currently a PhD candidate at KAIST's Experience Design Lab (XD Lab). He has also taught Computational Design Practices in the Interaction Design Department at K-Arts (Korea National University of Arts). His work has been exhibited internationally at Ars Electronica, Istanbul Digital Arts Festival, IKLECTIK London, Centre Culturel Coréen, and KAIST Art Museum. His papers have been published in the proceedings of ACM DIS and in the Leonardo journal (MIT Press), and he has served as an academic reviewer for ACM TEI, NeurIPS Creative AI, and Digital Creativity.
Artworks
- 『Banpo-Xism』 (2026)
『Banpo-Xism』 (반포자이즘) addresses South Korea’s apartment culture as a contemporary myth in which location and brand operate as coordinates of wealth, status, and aspiration. The work translates this into a multi-device web artwork in which audience mobile phones are synchronized with surrounding screens. Audiences first scroll through an SNS-like feed of fictional apartment complexes arranged by location and brand. Each scroll updates the surrounding screens as a step toward higher coordinates, while remaining confined to a flat apartment plane. Later, mobile interactions collectively deform this field into higher-dimensional geometric forms, shifting coordinates, prices, and textual hierarchies across the installation. Thus, 『Banpo-Xism』 makes social myth visible as a coordinate system audiences enter, perform, and destabilize.
- 『Ω』 (2025)
『Ω』 is an interactive, multi-device web artwork that critiques the vectorisation of human identity, specifically the MBTI craze in Korea. Initially, the audience engages with a GPT-based MBTI test via mobile, constructing a cylindrical 3D vector space on surrounding screens. However, the experience shifts as phones are accidentally shaken. Realising that these tremors trigger glitches, users actively shake their devices until the ordered system tilts and collapses. This deconstruction captures shaken, low-fidelity images of the audience, overwriting the polished AI simulacrum. 『Ω』 thus acts as a playful disruption, reclaiming undefinable human subjectivity from the panopticon of algorithmic classification.
- 『SoTA』 (2024)
『SoTA』 is an interactive XAI Multi-Device Web Artwork. Audience’s phone initially navigates a 3d visualisation of 118 neural networks; when they leave, all screens erupt into chaotic monochrome patterns, exposing AI’s drift from human comprehension toward “AI for AI’s sake”.
- 『≠ (Nonequality)』 (2023)
『≠ (Nonequality)』 is an interactive Multi-Device Web Artwork arguing that the world cannot be comprehended solely with equations.
Research and publications
- SoTA: An Interactive Art Exhibition for Public AI Engagement (2026)
Jeanyoon Choi, Intae Hwang, SeJoon Park, Hyungjun Cho, Heejae Bae, Yiyun Kang. Proceedings of the 2026 Designing Interactive Systems Conference.
- Passage of Water: Artistic Exploration of Earth’s Freshwater with Google and NASA (2025)
Yiyun Kang, Jeanyoon Choi. Leonardo.
- Enumerating Multiplex Juggling Patterns (2019)
Steve Butler, Jeongyoon Choi, Kimyung Kim, Kyuhyeok Seo. Journal of Integer Sequences.