i': ODM - Auto-generating systems

3/18/2025, 3:58:48 AM | Jeanyoon Choi

Original Notes (Pre-LLM)

ODM (Original Design Manufacturing)

OEM (Original Equipment Manufacturing)

Fabless manufacturing/Foundry

국내에 크고 작은 화장품 브랜드 2만8000여 개가 치열하게 경쟁한다. 이렇게 많은 이유는 코스맥스, 한국콜마 같은 세계적인 ODM 업체가 품질 좋은 화장품을 위탁 생산해주는 덕분에 자체 공장 없이도 아이디어만으로 얼마든지 창업할 수 있기 때문이다. 시장도 한국을 넘어 세계를 대상으로 한다. 지난해 화장품 수출은 사상 처음 100억달러를 넘었다. 전년 대비 20.6% 늘었다. 올리브영의 호(好)실적은 선순환의 'K뷰티 생태계'에서 유통을 전담해 동반 성장한 결과라는 점에서 의미 있다.

자체 공장 없이도 아이디어만으로 얼마든지 창업

생산에 있어 비용 절감 → 아이디어 만으로 생산

시스템 속에 귀속된 것이 아니라, 시스템을 넘어서 시스템들을 무수히 생산하기

이것이 시스템 아트와 어떤 연관을 가질 것인가?

시스템 아트의 Significance: 시스템은 시뮬라시옹이다. 시스템이 시뮬라시옹임을 고발한다. 시스템을 넘어선다. 시스템을 계속해서 생성한다. 시스템을 무수히 많이 생성한다. 이제 문제는 시스템 속에서 어떻게 살아남을지가 아니라 시스템을 어떻게 생성할지, 어떤 시스템을 생성할지이다. 니체적인 의미에서 낙타/노예 → 아이. 아이는 시스템을 가지고 논다. 무수히 많이 생성하는것이다. '아이디어' 만으로. 이것이 시스템 아트가 보여줄 수 있는 것.

이전까지의 인류는 시스템의 노예에, 부품에 불과하였다. 이제 인류는 시스템에 복수를 가한다. 무수히 많은 시스템들을 만들어냄으로써.

시스템을 넘어선 시스템의 생산들. Rapid Contextual Change. 시뮬리사옹에 대한 보복.

산업공학이 만들어낸 감옥을 산업디자인이 해방시킨다.

The text proposes that contemporary industrial practices—such as ODM, OEM, and fabless manufacturing—exemplify a system where production is no longer tied to owning physical factories but can be executed merely by an idea. In this context, any innovative concept can be rapidly transformed into a product because the manufacturing process has been abstracted and outsourced to highly efficient, scalable systems. This phenomenon exposes a key insight of system art:

System art reveals that systems themselves are simulacra.

In other words, the industrial system is not a singular, static entity; rather, it is a reproduction—a series of automated, interchangeable, and rapidly generated processes. Just as Warhol mass-produced Campbell's soup cans by merely changing the "flavor" (the superficial signifier) while retaining the same underlying form, modern industries enable the production of countless systems based solely on ideas. This mirrors Baudrillard's notion of simulacra, where signs have detached from any fixed original and become self-referential.

Key points include:

Decoupling of Production from Physicality:

With world-class ODM companies, entrepreneurial ventures need only an idea to launch a product, illustrating how the traditional, factory-bound system has been replaced by a networked, automated production model.

This mirrors system art's notion that the true "system" is hidden. We only see the output—like a facade—but not the underlying dynamics, just as we only perceive a fraction of a hyperobject (the elephant).

Rapid, Contextual System Generation:

The industrial model's ability to mass-produce systems (and products) with minimal investment in physical infrastructure parallels the artistic concept of "rapid contextual change."

System art envisions an environment where users can switch contexts quickly—substituting one sub-system (or "subgraph") for another—thus generating a new system on the fly. This is a form of creative "rebellion" against the static, rigid production models of the past.

From System Slavery to System Creativity:

Historically, people were merely cogs in the industrial machine. Now, empowered by technology, individuals can generate and control entire systems simply through ideas.

In Nietzschean terms, the transformation from the "camel/slave" to the "child" represents the emergence of a playful, creative agency that "plays" with systems, generating new ones—effectively taking revenge on the system that once constrained them.

Industrial Engineering as a Double-Edged Sword:

Industrial engineering created highly efficient, optimized systems that functioned as a kind of "prison" for creativity. However, industrial design and system art now offer a way to break free from that rigidity.

By embracing rapid contextual changes, new generative processes, and modularity, system art not only critiques the mass reproduction and homogenization of industrial systems but also proposes a liberated mode of system creation.

In summary, the approach asserts that contemporary systems—by enabling mass production through ideas rather than physical assets—exemplify simulacra. System art, by adopting a state-based, modular, and interactive design (often expressed through multi-device web artworks), aims to expose this phenomenon. It challenges the status quo by proposing that instead of struggling to survive within a fixed system, humanity can take control by producing countless new systems. This shift, from being mere parts in an industrial mechanism to becoming creators of multiple, ever-changing systems, represents a radical liberation—a kind of "revenge" against the industrial engineering–created confinement.

Analysis from the Second Text's Perspective (Auto-Generative Systems → K-Beauty ODM/OEM Phenomenon)

• The second text proclaims a shift from serving a single monolithic system (the old industrial paradigm) toward multiplying and owning systems, generating new systems at will.

• In that sense, Korea's booming ODM/OEM cosmetics industry exemplifies auto-generative capacity: any individual or small group can rapidly create a new brand (a new "system") without the burden of building factories or supply chains.

• The second text imagines a future where you "no longer serve the system; systems serve you." Likewise, with K-beauty's ODM/OEM structure, the entrepreneurs no longer need to bend to a single, massive cosmetic manufacturer—they simply plug their idea into a generative/production ecosystem that spins up their brand.

• In short, the K-beauty ecosystem concretizes the second text's philosophy: we see the real-world manifestation of "Humans creating factories" rather than "Humans forced to become part of one large factory."

Analysis from the First Text's Perspective (K-Beauty ODM/OEM Phenomenon → Auto-Generative Systems)

• The first text depicts a highly flexible, open-access manufacturing environment, allowing tens of thousands of brands to coexist and flourish. The system is no longer scarce or closed-off—any new idea can be turned into a product via ODM/OEM services.

• Looking at the second text's grand vision of "infinite systems, infinite factories, infinite custom designs," the K-Beauty example reveals how it works in practice:

• A single "factory system" (ODM) can spawn unbounded cosmetic brands ("systems" of their own).

• Traditional constraints of capital, scale, and industrial organization are loosened because the infrastructure is shared and on-demand.

• Thus, from the vantage of the first text's real market phenomenon, we see that the second text's notion of "auto-generative systems" is not mere theory: we already witness a scaled-down, yet very real, version in K-Beauty.

A "Contaminated" Conclusion: Merging Both Texts

• Both the proliferation of K-Beauty brands and the proclamation of "auto-generating auto-generative systems" share the same contextual continuity:

1. Liberation from a singular industrial system: Instead of one or a handful of giant factories dictating the terms, ordinary creators can command the means of production—or at least readily access them.

2. Explosion of multiplicity: Whether it is "creating infinite brand variations" or "generating infinite design factories," the emphasis is on multiplying possibilities rather than being locked into standardized mass-production.

3. Human-First vs. System-First: The second text's reversal of Taylor's dictum ("the system must be first") clearly resonates with the K-beauty phenomenon, where entrepreneurs' ideas—not monolithic corporate factories—take center stage. ODM providers become enabling tools rather than dominating owners.

Ultimately, the K-Beauty ODM/OEM case shows a tangible form of the second text's philosophical vision:

• "Stop living in flats" / "Stop living in grids" is mirrored by the proliferation of thousands of unique cosmetic brands that break from uniform mass-production.

• "Create infinite amounts of alternative designs" is mirrored by the endless niche and mainstream product lines these new brands concoct.

• "From the labour for the system to creating system(s) that labour" becomes you, the brand founder, harnessing manufacturing systems so you don't become someone else's laborer.

In short, the two texts contaminate and amplify each other:

• The K-Beauty example provides the concrete blueprint of how a multi-system, auto-generative future can operate at scale.

• The second text's philosophical stance interprets and elevates the K-Beauty phenomenon as a stepping stone toward an even more expansive "mass generation" of systems—be it cosmetics, factories, or entire business ecosystems.

Conclusion

Together, these texts illustrate a reality and a vision seamlessly woven: the ODM/OEM-driven K-beauty marketplace is a living instance of the second text's ideal of auto-generative systems, where creativity is unchained from industrial constraints, and entrepreneurs author new systems rather than serving them. This "contamination" suggests a broader social and technological shift—from mass-producing identical goods in central factories to mass-producing the very factories, brands, and design logics themselves, all at human scale, on human terms.

English Version (LLM-Generated)

This essay examines how contemporary industrial practices—specifically ODM (Original Design Manufacturing), OEM (Original Equipment Manufacturing), and fabless manufacturing/foundry models—have transformed the production landscape. In regions like Korea, where more than 28,000 cosmetic brands engage in intense competition, entrepreneurs can launch successful brands based solely on their ideas. This remarkable shift is due in large part to globally competitive ODM companies, such as Cosmax and Kolmar, that deliver high-quality products through outsourced production. As a result, the market, which now extends well beyond national borders (with cosmetics exports surpassing US$10 billion last year, an increase of 20.6% compared to the previous year), is no longer limited by factory ownership.

The traditional reliance on owning production facilities has been supplanted by a system where innovation and idea generation are paramount. In this model, high-quality production can be outsourced, enabling rapid and cost-effective brand creation without the need for a proprietary manufacturing plant. This phenomenon not only reinforces the feasibility of launching a new business on the strength of an idea but also serves as a real-world embodiment of the principles underlying system art.

System Art and Industrial Systems

System art critiques and redefines the very nature of production systems by suggesting that these systems are, in effect, simulacra—copies without an original. Just as Andy Warhol reimagined everyday objects through art, modern industrial systems are capable of producing countless variants based solely on an idea. More precisely, these systems reveal an underlying process of constant reproduction and rapid contextual change, where the focus shifts from surviving within a fixed system to generating new systems.

Artists and theorists argue that we are transitioning from being mere components within an industrial machine to becoming creators who play with and reconfigure systems at will. In a Nietzschean reimagining, the transformation from the “slave” or “camel” to the “child” symbolizes the birth of a creative agency that relentlessly generates new systems. Industrial engineering once imposed a regime of optimized efficiency that stifled creativity; now, industrial design and system art propose a liberated mode of production—one that embraces rapid contextual shifts and modular assembly, subverting the static constraints of mass production.

The K-Beauty Paradigm

The Korean cosmetics industry provides a tangible example of this theoretical shift. K-beauty’s ODM/OEM ecosystem demonstrates how the decoupling of production from physical infrastructure has enabled an unprecedented explosion of brand diversity. Entrepreneurs are no longer bound to large, monolithic manufacturing systems; instead, they can immediate access a production network that turns innovative ideas into market-ready products in a matter of days. This model exemplifies the auto-generative capacity described in system art, where production systems are replicated, modified, and multiplied in an almost organic fashion.

This industrial model has several key implications:

1. Decoupling Production from Physical Assets: World-class ODM companies allow new brands to be launched on the strength of an idea, rather than on the basis of owning dedicated production facilities.

2. Rapid Generation of Contextual Systems: The ability to mass produce products with minimal investment in physical infrastructure mirrors the artistic concept of “rapid contextual change” wherein one system is seamlessly replaced by another.

3. Transition from System Slavery to Creative Sovereignty: Historically, individuals were mere cogs in an industrial machine. Today, empowered by technological infrastructure and design innovation, entrepreneurs create and control their own systems, thus subverting the traditional paradigm of labor.

The convergence of these trends signals a broader social and technological shift. Rather than conforming to the dictates of an industrial system that prioritizes mass production, individuals are now generating new systems that serve human creativity and ingenuity. This shift is aptly summarized in the notion that “instead of living within fixed frameworks, we create infinite possibilities.”

Merging Perspectives: The Intersection of Theory and Practice

Both system art and the K-beauty ODM/OEM model emphasize a liberation from the constraints of singular industrial paradigms. They celebrate the capacity for exponential system creation—whether in the form of brands, factories, or design principles that are modular and adaptive.

On one side, the philosophical insights of system art articulate a vision of the future where the creation and manipulation of systems become the primary mode of operation, supplanting outdated hierarchical structures. On the other side, the practical example of the K-beauty industry validates these ideas by showing how shared, on-demand production infrastructure empowers ordinary entrepreneurs. In this context, the role of industrial engineering transforms from an instrument of control to a tool that facilitates creative freedom and innovation.

Conclusion

In summary, the contemporary industrial landscape—exemplified by the ODM/OEM-driven K-beauty market—illustrates a profound shift from factory ownership to the primacy of ideas and rapid system generation. This essay has explored how the decoupling of production from traditional industrial constraints aligns with the core tenets of system art, wherein systems are viewed as infinite, replicable constructs. Rather than serving a monolithic system, modern entrepreneurs now harness generative production ecosystems to create unique, competitive brands. This evolution represents not only a transformation in manufacturing practices but also a broader liberation, wherein creativity dominates over the outdated, rigid paradigms of industrial engineering.

Korean Version (LLM-Generated)

아래는 주어진 내용을 전문적인 문체로 한국어로 재구성한 결과이다.

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현대 산업의 생산 방식은 ODM(Original Design Manufacturing), OEM(Original Equipment Manufacturing) 및 팹리스 제조와 같이 기존의 물리적 공장 소유 개념을 탈피하여, 아이디어 하나만으로도 새로운 제품을 시장에 선보일 수 있는 구조로 발전하고 있다. 예를 들어, 코스맥스와 한국콜마와 같은 세계적인 ODM 업체들이 고품질 화장품을 위탁 생산해 주기 때문에 국내 2만 8천여 개의 다양한 화장품 브랜드들이 경쟁할 수 있게 되었다. 이 같은 구조 덕분에 기업들은 자체 공장을 보유하지 않고도 창의적 아이디어만으로도 창업할 수 있으며, 생산 과정이 추상화되어 외주화된 덕분에 전 세계 시장을 겨냥할 수 있게 되었다. 실제로 지난해 화장품 수출액은 사상 처음 100억 달러를 돌파했고, 전년 대비 20.6% 증가한 성과를 보였다. 또한, 올리브영의 우수한 실적은 ‘K뷰티 생태계’ 내에서 유통 채널과 ODM 업체가 함께 성장한 선순환 구조의 좋은 예라 할 수 있다.

이러한 변화는 단순히 생산 공정의 비용 절감과 효율성을 넘어서, 산업 전반의 시스템에 대한 새로운 이해를 요구한다. 시스템 아트에서는 시스템 자체가 시뮬라시옹임을 드러내며, 본질적으로 시스템은 원본에 고정되지 않고 무수히 반복·생산되는 현상으로 인식된다. 이러한 관점에서 현대의 산업 시스템은 전통적인 공장제 생산이라고 할 수 있는 ‘고정된 메커니즘’의 종속적 역할에서 벗어나, 빠르게 변화하는 다원적 시스템의 생성 과정을 나타낸다고 볼 수 있다.

기존 산업에서는 인간이 단지 하나의 거대 시스템 내에서 부품 역할에 머물렀다면, 이제는 오히려 인간이 아이디어를 바탕으로 독자적인 시스템을 다수 창출함으로써 기존 시스템에 도전하는 시대가 도래했다. 니체가 말한 ‘낙타에서 아이로의 전환’이 상징하듯, 인간은 이제 자신이 직접 시스템을 만들고 활용하는 창조적 주체로 부상하고 있다. 따라서, 산업공학이 구축한 효율적이지만 획일적인 시스템의 틀은, 산업디자인과 시스템 아트를 통해 해방되고 재구성될 가능성을 내포하게 된다.

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두 텍스트의 관점을 종합하면, 현대의 K뷰티 ODM/OEM 생태계는 ‘자동생성 시스템(auto-generative systems)’이라는 철학적 개념을 구체적으로 구현하고 있다. 다음과 같이 정리할 수 있다.

1. 생산과 물리성의 분리

세계적인 ODM 기업들이 존재함으로써 창업자는 단순한 아이디어만으로 제품을 시장에 선보일 수 있게 되었다. 이는 전통적인 공장 중심의 생산 체계가 네트워크화된 자동화 모델로 대체된 사례라 할 수 있다. 즉, 시스템 아트가 지적하는 ‘진정한 시스템’은 그 산출물만이 보이는 표면적인 현상에 불과하며, 그 이면에 숨겨진 시스템적 역학을 드러내지 않는다.

2. 빠르고 맥락에 따른 시스템 생성

현대 산업 모델은 최소한의 물리적 인프라 투자로도 다수의 시스템과 제품을 생산할 수 있는 능력을 갖추고 있다. 시스템 아트가 추구하는 ‘빠른 맥락 전환(Rapid Contextual Change)’은 사용자가 서로 다른 하위 시스템 혹은 모듈을 즉각적으로 교체하며 새로운 시스템을 구성하는 창조적 반란을 의미한다.

3. 시스템의 종속에서 창조로의 전환

과거에는 산업 시스템 속에서 인간이 단순한 부속품에 불과했다면, 지금은 창의적인 아이디어만으로 새로운 시스템을 생성하고 조작할 수 있는 시대가 도래했다. 이는 기존 산업 시스템에 대한 복수적 창출 행위, 즉 “시스템을 만드는 노동”으로 해석될 수 있다.

4. 산업공학과 산업디자인의 이중적 역할

산업공학이 효율성과 최적화를 통해 일정 부분 창의성을 억압했던 관성과 달리, 산업디자인과 시스템 아트는 모듈성과 빠른 맥락 전환, 그리고 새로운 생성 과정을 통해 이러한 제약을 해체하고 새로운 자유를 모색한다.

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결론적으로, 현대의 K뷰티 ODM/OEM 생태계는 단순히 제품 생산을 넘어서, 기존의 중앙집권적 대량 생산 모델에서 벗어나 다양한 창의적 시스템을 자유롭게 생성하는 ‘auto-generative’ 미래를 예고하고 있다. 이는 기존의 거대 산업 시스템에 종속되는 대신, 창업자들이 자신의 아이디어로 독립적인 브랜드와 시스템을 생성할 수 있음을 의미하며, 결과적으로 “시스템에 종속되지 않고 시스템을 창조하는” 새로운 패러다임으로 방향을 전환하는 사회·기술적 변화를 상징한다.

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이와 같이, 두 텍스트는 기존 산업 시스템의 한계를 지적하면서, 생산 기반의 탈물질화와 아이디어 중심의 시스템 창출이라는 공통된 주제를 공유하고 있다. ODM/OEM 기반의 K뷰티 사례는 이러한 철학적 비전을 구체적으로 실현한 모델로 평가할 수 있으며, 이는 다가오는 미래 사회에서 인간이 단순한 노동자가 아니라, 다수의 자유로운 시스템을 설계하고 조작하는 창조적 주체로 자리매김할 것임을 예고하는 바이다.

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Text written by Jeanyoon Choi

Ⓒ Jeanyoon Choi, 2024