Goro Murayama (1983-) is an artist who, based on his education in painting, engages with the question “How does the world emerge? in contemporary life science by expanding it to an artistic practice that involves the body and actions. He began his career with works that apply oil paints on organically woven linen which, along his body of work in a variety of media, including cellular automaton drawings, and cut up and recombined images and video, incorporate life-like processes and patterns, such as evolution, learning, and self-organization, by setting in place recursive rules to produce a work. Murayama has taken computer simulations, which occupy an important place in the epistemology of modern science, as a central motif, and developed it into a method of “poiesis accompanied by materiality. In recent years, he has turned his attention to AI-based (face and gait) biometrics technology and has created works that illuminate the nature of human perception in reverse as it were, through systems that allow machines to detect humans. In recent works, collaborations with scientists have become an important element too. The pandemic of 2020 has laid bare the epistemological state of humanity based on computers and media. Knowledge of molecular biology and computer simulations is essential for understanding viruses and infection mechanisms, while communication of infection prevention measures, particularly under lockdown, is of course supported by information and communication technologies. However, human intuition is impoverished between those highly specialized sciences and technologies. The question is how to bring together the amount of information that can be obtained by one person and the options of possible actions that are available. We need to update the aesthetics that forge a relationship between the two. The science on emergence, which examine the cognition of the world through simulations and networked information generation, should provide a conceptual key in this endeavor.