playground in island 2010
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manual book of "playground in island 2010"TRANSCRIPT
2010. 11. 28 –2010. 12. 5
Artist talk Hojun SONG, Suntag NOH
Educational presentation Junghwan SUNG, Jongsoo KWON
Youno PARK, Sungdae HONG
Workshop Seungjoon CHOI + Kyungjin LEE
James POWDERLY
2010 GLOBAL
DIGITAL PLAYGROUND in ISLAND
Digital New Media Center
PPS College Yayasan Sabah
2010 GLOBAL DIGITAL PLAYGROUNDin ISLAND
2010 GLOBAL DIGITAL PLAYGROUNDin ISLAND
2010 + DIGITAL
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2010 GLOBAL DIGITAL PLAYGROUNDin ISLAND
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HELLO~ KOTA KINABALU
Kolej Yayasan Sabah
Initiated in 2005 in Korea, Digital Playground continues its
experiments on media art from various perspectives with different
themes. Nathalie Boseul SHIN is the curator behind this
international digital art festival from the beginning. At first,
this media art exhibition was planned to promote the city
by Eujongbu City. Since 2007, she has developed this project as
a regular media art project at the TOTAL MUSEUM of Contemporary
Art. The last two project <Digital Playground 2008 – Hack the
city!> and <Digital Playground 2009- Open your Source> earned
quite an attention from the general public and art people,
resulting a group of media art fans in Korea. What make this
project unique among many other media art exhibitions is that it
always develops some sort of workshops that anyone interested
can participate, making media art more accessible. In 2010,
this project will be executed in Kota Kinabalu in Malaysia,
a perfect city to introduce media art where people have a great
interest in digital technologies media art.
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HELLO~ KOTA KINABALU
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Kolej Yayasan Sabah
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HELLO~ KOTA KINABALU
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TABLE OF CONTENTS
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General information
Exhibition 1 Opening party 2 Showcase installation 3 Screening video
Presentation 1 Artist talk Hojun SONG Suntag NOH
2 Educational presentation Junghwan SUNG, Euisang OH, MinJu LEE Jongsoo KWON Youno PARK, Jaewoong KIM Sungdae HONG
Workshop 1 Being creative workshop - Seungjoon CHOI + Kyungjin LEE 2 Making game with Kinect - James POWDERLY
Picnic to the Manutak Island
CODA Play, Interact, Organize - Soochul KIM
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GENERAL INFORMATION
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General Information
TitleDateVenueHostCo-organizer
Sponsors
Programs
Exhibition
Presentation
Workshop
2010 Global Digital Playground in Island
11. 28. - 12. 5. 2010
Animation Center @ Kolej Yayasan Sabah
Digital New Media Center, Kolej Yayasan Sabah
Soongsil University, Lab. preparat, Total Museum
of Contemporary Art, Kolej Yayasan Sabah
Art Council Korea, middle corea
Showcase installation of Korean Media Art
Interactive media art (22 works)
Screening Digital Animation & Experimental Film
Digital Animation (8 Works)
Experimental Film (8 Works)
Screening Video - collaboration with
<Coffee with Sugar> project
Bulgaria (4 works)
Denmark (15 works)
Turkey (6 works)
Screening - collaboration with Netfilmmakers
Belgium (2 works)
Denmark (7 works)
Germany (3 works)
Iceland (4 works)
Slovenia (3 works)
South Africa (1 work)
Sweden (4 works)
Ukraine (1 work)
U. S. A. (1 work)
Screening Prix Ars Electronica 2010 <CyberArts
2010> - collaboration with ARS ELECTRONICA
Computer Animation / film / VFX (11 works)
Computer Musics & Sound Art (15 works)
Interactive Art (3 works)
Hybrid Art (3 works)
u19-freestyle computing (8 works)
Artist Talk
Educational Presentation
Being Creative Workshop
Making Game with Kinect
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EXHIBITION
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Opening partyShowcase installation Screening video
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EXHIBITIONOpening partyShowcase installation Screening video
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Opening party
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Showcase installation
Showcase installation of Korean Media Art Interactive media art (22 works)
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Feather
You are my light!
Laps of the capsule
Breath Brush
Trace #2
Sound City
Warped Message
Soap Opera in Walking
Shamefaced #15
BouncingBall_xGuitar Duet
Real-Time Photo Mosaic
Two_Heart: To_Heart
Slow Scan
Color xylophones
Dice
Scary Painting
Fine III
Music ! Music !
Floating Memory
Aesthetic Movement of
Seoul Metro
Distorted Soul #2
Resonance #1
Jongsoo KWON
Unzi KIM
Dongjo KIM
Youngmi KIM
Seung Seok NOH, Jiyoung CHOI
Geunho PARK, Chunji JIN, Won JUN, Kyujung KIM
Wonbae PARK, Doowon PAIK
Junghwan SUNG, Jaeyoung KIM, Minju LEE
Junghwan SUNG, Hyohoun NO, Euisang OH
Junghwan SUNG, Byongsue KANG, Minju LEE
Kyuchul WON, Myounghoon PARK, Jinwan PARK
Miohk RYU, Kyungju PARK
Jaejung LEE, Hana MOON
Joohun LEE
Jaesun YUN, Wansuk KIM, Chan LIM
Yangmi LIM
Jeehyun YANG, Chenghua ZHANG, Kyujung KIM
Sangjun RYO
Haehyun JUNG, Intak JOO
Kyunga JIN, Hosung KIM
Sungdae HONG
Sungdae HONG
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Showcase installation
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Showcase installation
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Showcase installation
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Screening Digital Animation & Experimental Film
Digital Animation (8 Works)
1. <Geu mul> by Jinman KIM, (2009, 2D &
3D, Color, 9’40”)
2. <the way> by Minyoung JUNG, (2003, Stop
motion(Puppet), Color, 13’)
3. <Rail> by Baeyoung MYUNG, (2009, 3D
Animation, Color, 14’)
4. <Black out> by Jinho RYU, Woong SUNG
(2008, 2D & 3D & Scratch on crayon,
Color, 6’44”)
5. <Can> by Minji JEONG, (2010, 2D &
Digital cut-out, Color, 10’30”,
HD Cam(NTSC))
6. <Chohon> by Junsang YOON, Kinam KIM,
Eunju KIM, Yongju PARK, Youno PARK,
Jungsun CHOI, (2004, 3D Computer
Animation, Color, 13’)
7. <Mom> by Wooksang JANG, (2010, 3D
Animation, Color, 14’)
8. <Animating Earth> by Jaehyung JU, (2010,
2D Animation, Color, 17’)
Experimental Film (8 Works)
1. <TIME - LILLY> by Youngeun KIM, (2010,
NTST DV, Color, 1’43”.)
2. <First aid> by Seungae BANG, (2009,
NTSC DV, Color, 2’26”)
3. <Nebula Rising> by Hangjun LEE, (2009,
35mm film, Color, 8’40”)
4. <Say> by Kang JUNG, (2009, NTSC DV,
Color, 15’40”)
5. <Vision of Compression Part I -
Synfonia> by Junho OH, (2010, NTSC DV,
Color, 13’)
6. <Faint Footsteps on a Trembling Surface>
by Yejin KO, (2009, 2D&3D NTSC DV,
Color, 9’)
7. <phenominon series> by Chan LIM,
Beyungchul MIN, (2010, 16mm b&w film,
3’12”)
8. <the Breath> by Minyong JANG, (2009,
16mm film, color, silent, 10’)
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Screening Video - collaboration with <Coffee with Sugar> project
Bulgaria (4 works)
1. < I See - You See> by Daniela Kostova
(2002, video, color, sound, 30’)
2. <The Real Thing> by Adelina Popnedeleva
& Michel Beck (U.S.A.) (2000, video,
color, sound, 4’)
3. <10 Minutes World Art> by Kamen
Stoyanov (2003, video, color, sound, 10’)
4. <Whatever-Advert Laboratory> by Borjana
Pandova, Todor Karastoyanov (2005,
video, 8 pieces (from 1 to 3 min),
color, sound, total: 16’)
Turkey (6 works)
1. <Turkish Light Arts> by Extra-Struggle
(2002, video, color, sound)
2. <Fast-Iman>by Bengisu Bayrak (2003,
video, color, sound)
3. <The hairdresser> by Basak Kaptan,
Maria Frycz (2004, video, color, sound)
4. <I/O Interface Overbloated> by Erhan
Muratoglu (2005, video, color, sound)
5. <Nigar> by Erhan Muratoglu (2006,
video, color, sound)
6. <Lost Postcard> by Selda Asal, Ceren
Oykut (2004-2005, video, loop, color,
sound)
Denmark (8 works)
1. <060527> by Miska Knapek (2006,
animation, loop, silent, 44”)
2. <glemsel.net> by Mogens Jacobsen (2007,
net art)
3. <(Don't) Leave me Alone> by Kassandra
Wellendorf (2006, interactive two
channel video)
4. <Remember cake> by Steen Moller
Rasmussen (2006, dv/movie, loop, 2’03”)
5. <Secret Service> by Heike Hamann (2005
video, color, sound, loop)
6. <Udefra> by Thomas Seest (2005 video,
color, sound, loop)
7. <Parking Lot Limbo> by Jacob Tækker
(2006, Betacam SP adapted to DVD, 11’)
8. <Postcards-Tivoli> by Nanna Debois Buhl
(2006, 16mm film transferred to DVD(2006)
11 minutes/Stereo sound/Colour, Camera:
Jesper Fabricius/Sound: Pejk Malinovski)
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Screening - collaboration with Netfilmmakers
Denmark (7 works)1. <Muse> by FIELD (2010, video)
2. <You have to keep...> by Stine Marie Jacobsen
(2007, video, sound, 3’)
3. <Stone> by Nanna Lysholt-Hansen (2009, video,
color, sound, 1’56”)
4. <Paper cup> by Sorgen Thilo Funder (2009, video-
HD apple prores/DVD, 57”)
5. <Artroyal> by Lars Vilhelmsen (2007, video,
color, sound, blog art)
6. <Monument> by Jesper Fabricius (2005, flash,
sound, loop, 55”)
7. <Face the wall> by Carl Emil Carlen (2005, dv,
color, sound)
Belgium (2 works)1. <The Whole Month Catalog> by Tim Knapen (2010,
interactive)
2. <Tame> by Isabelle Schiltz (2009, panasonic NV-
GS300 video camera mini-dv)
Slovenia (3 works)1. <Thinking> by Peter Koraca (2010, data
visuallization, generative movie)
2. <Broken rainbow cloudy night> by Juria Yoshikawa
(2008, 3’30”)
3. <Ultimate submission> by Gazira Babeli (2007,
performance archive video)
Germany (3 works)1. <Inner cuts> by Kerstin Ergenzinger (data
visuallization)
2. <Apfelschnappen> by Jana Eske (2008, video,
color, sound)
3. <Breaking point> by Sandra Becker 01 (2007,
gif-animation)
South Africa (1 work)1. <Noisewomb> by Catherine Henegan (2010, video,
color, sound)
U. S. A. (1 work)1. <What remains> by Alan Sounheim (2007, 1’26”)
Iceland (4 works)1. <Busy> by AnnaMaria (2007, DV, after effects,
reason)
2. <Christmas tree> by Finnur Arnar Arnarsson (2007,
video, color, sound)
3. <Search> by Hrafnkell Sigurdsson (2007, photos
dv, multilayerd audiotrack, 1’09”)
4. <Off-course> by Enda O'Donoghue (2006, loop,
color, 2’50”)
Ukraine (1 work)1. <The story for the gentle people> by Sergei
sviatchenko (2008, sony DCR-HC39E, handhold,
2’36”)
Sweden (4 works)1. <Origo> by Lisskulla Moltke-Hoff (2008, final cut,
Mac, video 8, garage band, 2’59”)
2. <Debris> by Andreas Kurtsson (2008, netfilm)
3. <Delicious fastman in 60 sec!> by Jessica Nilson
(2004, dv, clolor, sound)
4. <Print Screen Copy Paste> by Maria Lavman Vetö
(2005, animation, loop)
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Screening Prix Arts Electronica 2010 <CyberArts 2010>- collaboration with ARS ELECTRONICA
Computer Animation / film / VFX (11 works)1. <Nuit Blanche> by Arev Manoukian (CA, 4’39”)
2. <The Man in the Blue Gordini [L’Homme à la
Gordini] (excerpt)> by Jean Christophe Lie
(FR, 1’23”)
3. <The Sandpit> by Sam O’hare (UK/US, OOVFX, 5’35”)
4. <Nokta.> by Onur Senturk (TR, 1’25”)
5. <Ormie (teaser)> by Rob Silvestri (US, 20”)
6. <LOOM (excerpt)> by Jan Bitzer, Ilija Brunck,
Csaba Letay (DE, Polynoid, 50”)
7. <Love & Theft> by Andreas Hykade (DE, Studio Film
Bilder, 6’50”)
8. <Plane Stupid, Polar Bears> by Jake Mengers
(US, MPC, 2’43”)
9. <UP (making off)> by pete Docter (US, Pixar
Animation Studio, 3’19”)
10. <Precise Peter> by Martin Schmidt (DE, 5’21”)
11. <Alma> by Rodrigi Blaas (ES, 5’23”)
Computer Musics & Sound Art (15 works)1. <reho:5 horizons> by Ryoichi Kurokawa (JP, 7’59”)
2. <Cycloïd-E> by Michel Décosterd, André
Décosterd(CH, Cod.Act, 3’52”)
3. <Champs de fouilles (Excavations) (audio only)>
by Martin Bédard (CA, 10’57”)
4. <Harvest> by Olle Cornéer, Martin Lübcke
(SE, 11’45”)
5. <abcdefghigklmnopqrstuvwxyz for iphone> Jörg
Piringer (AT, 2’54”)
6. <216 prepared dc-motors / filler wire 1.0mm, 2009>
by Zimoun (CH, 1’02”)
7. <FLAECHEN [Aus der Reihe RAUMGEFLECHTE]> by
Julius Stahl (DE, 3’02”)
8. <The Prayer Drums> by Louis-Philippe Demers
(CA/SG), Armin Purkrabek (AT/DE), Phillip Schulze
(DE, 3’45”)
9. <TONSPUR für einen öffentlichen raum> by Georg
Weckwerth (DE), Peter Szely (AT, 4’32”)
10. <Desibel> Maja S. K. Ratkje, Geir Hjetland,
Bjørn Kolbrek, Torkil Sandsund, Wenche Wefring
(NO, 3’15”)
11. <Heartchamberorchestra> by Erich Berger (AT/FI),
Peter Votava (AT/DE, Terminalbeach, 5’33”)
12. <Glücklich auf dem Weg nach unten / Happy going
South> by Hanna Hartman (SE, 5’)
13. <Adapting for Distortion> by Hiroaki Umeda
(JP, 1’27”)
14. <INJECT> by Herman Kolgen (CA, 2’53”)
15. <BUG (audio only)> by Mark Bain (US/NL, 5’05”)
Interactive Art (3 works)1. <The EyeWriter> by Zach Lieberman, James Powderly,
Tony Quan, Evan Roth, Chris Sugrue (US), and Theo
Watson (UK, 3’36”)
2. <Chorus> by United Visual Artists (UK, 1’39”)
3. <Taking Doors> by Julijonas Urbonas (LT, 3’58”)
Hybrid Art (3 works)1. <Ear on Arm> by Stelarc (AU, 5’10”)
2. <Men in Grey> by Julian Oliver (NZ/DE), Danja
Vasiliev (RU/DE, 3’11”)
3. <Ocular Revision> by Paul Vanouse (US, 4’11”)
u19-freestyle computing (8 works)1. <Chindogu> by Johannes Masanz (AT, 3’07”)
2. <Der weiβe Hai> by Matthias Riedler (AT, 11”)3. <Vom Himmel gefallen> by Michael Schmidl
(AT, 6’51”)
4. <Over the top: Episode 1> by Tarek Khalifa
(AT, 4’05”)
5. <ASYL> by Thomas Gatt, Manuel Tilgner (AT, BG/BGR
Sillgasse, 1’50”)
6. <Move it> by Julia Molnar, Bianca Biedrawa,
Yuliya Potapova (AT, 2’08”)
7. <More than just a box> by Florian Grünberger (AT, 18”)
8. <trashed> by Florian Grünberger (AT, 41”)
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PRESENTATION
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1 Artist talk Hojun SONG Suntag NOH
2 Educational presentation Junghwan SUNG Jongsoo KWON Youno PARK Sungdae HONG
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ARTIST TALKHojun SONG
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ARTIST TALKSuntag NOH
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Suntag NOHreallyGood, Murder
looks back on his path is bound to
reflect on its course ahead. That
was the decisive mistake that he
should not have committed, the final
trigger. The first thing that is
absolutely forbidden! All those
who attack are forbidden to reflect
on the attack!
Let’s say it was ‘reflection’. In
fact, it wasn’t anything.
Since it wasn’t anything, that’s
what it’s being called, so why did
it become a problem?
Let’s say it was a ‘confession’.
Even so, it wasn’t anything.
Since it wasn’t anything, that’s
the only way it can be called. So
what was all the fuss about anyway?
He wrote a short diary on his blog.
“F15K, you’re a really good machine,
but you look like a murdering
machine to me these days. I’m dis-
turbed. I will be operating this
machine, but I guess I may end up
killing by mistake people who do
not need to die.”
- Reflection on the machine
- Reflection on good machines
- Reflection that they may be
murdering machines
- This disturbing reflection
The biggest problem of all the
problems erupted when the common‐
“The trouble is not that they are
coldblooded enough to 'think the
unthinkable,'but that they do not
think.”1
The beginning of the problem was
his confession.
Should he not have confessed?
He was a baby-faced 22 years old.
A young man who had a dream of
flying in the blue sky, and who
dutifully walked down, step by
step, the path before him. I guess
inside him must have wiggled a
young man’s desire for a little
exciting romance, too. He walked
for 4 years. He sweated for 4
years. He arrived at a point that
one could call “the end”.
The problem seems to have started
when he looked back.
Why did he not remember the
warning of the angels that had
descended to punish ‘Sodom and
Gomorrah’ with brimstone and fire?
Maybe Lot’s wife, who had looked
back against the warning not to,
transcended time and space and
came and whispered irresistibly
tempting words to him. In any case,
he looked back. To see what kind of
path the 4 years had been.
The problem became bigger when he
tried to look into the future.
That was the real reason he
should not have looked back. He who
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He even became, without realizing
it himself, “someone who openly
writes Communist statements on
his blog.” The irresponsible and
excessive language of the press
was enough to change reflection
to delusion. The “something
that isn’t anything” became
“something.” His path of 4 years
was severed then and there.
- A good gun, no matter how good
it is, is born to kill.
- A good gun is a gun that kills
people well.
- A good bomber, no matter how
good it is, is born for mass
murder.
- A good bomber is a bomber that
kills people well.
- Even without Hannah Arendt’s
assertion, the gene of violence
is the ‘means’.
- The means speaks on behalf of
violence.
The means of violence, in parti-
cular those that are controlled by
the state, are the spokespersons
for this century’s state-of-the-
art precision sciences. From the
elementary sciences of mathematics,
physics, chemistry, and biology to
the many applied sciences such as
precision machinery engineering,
optics, electromagnetics, and
so on, the modern engine behind
these sciences has been none other
sense anguish of the 4th year
Air Force Academy cadet was made
into a question in an exam by
‘some students who were crazy
about solving problems’. They were
fundamentalist philosophers who
believed that the existence of
“something that isn’t anything”
always originated from “something”,
and were extractionists who had
uncovered that all reflections were
conceived from leftist delusions
and incestuous breeding. The
almighty ability of these students
lied in their capacity to fit any
problem into their prefabricated
answers.
The carpet bombing of the conser-
vative press started. Before he
could get on a bomber and push
any button, he became battered by
the surprise, lightening carpet
bombing. The bombing in his
reflections had become reality,
only reversed, under different
circumstances. JoongAng Bombing
Daily led the way, supported by
Chosun Bombing Ilbo. According
to their editorials, the Air
Force Academy cadet was someone
with “anti-military, pro-
Communist thoughts who could not
be trusted with a 100 billion won
per unit F-15K, and who has been
contaminated with the leftist
education of the Teachers and
Educational Workers Union.”
Suntag NOHreallyGood, Murder
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ARTIST TALKARTIST TALK
infiltration shows, military
uniforms shows, army biscuit shows,
all sorts of shows…
The climax of the spectacle is the
fantastic super operation using
A-10 Thunderbolt fighter-bombers and
the AH-64D Apache Longbow heli-
copters to rescue our troops who
have been taken hostage by the
enemy. The firm determination that
anyone messing with our side will
not be forgiven, and the warm
humanism of valorizing each and
every soldier on our side down to
the last guy form the essence of
this operation. Let’s not mention
the ‘gratuitous sacrifices’ that the
operation may inadvertently entail.
Ridley Scott’s film Black Hawk Down
illustrates the development of the
tight sense of camaraderie and
poignant humanism all too well.
Every time a bomb explodes, every
time a shouting order is echoed,
applause and cheers follow.
“Hurrah, bravo!”
Yes, hurrah, bravo…
Maybe it was ‘hurrah, bravo’.
The cadet in question upon mounting
the good F15K machine and pushing
down the red button should have
shouted “Hurrah, bravo”, nothing
more, nothing less.
It was an ‘anguish’ that is not
than war. It’s necessary to think
about the tight relationship that
the weapons economy has with
international politics. The fact
that in modern history advances
in weaponry equaled advances in
science, the irrefutable fact that
such advances were the object of
a nation’s praise and patronage…
Nevertheless, the forbidden
‘reflection on facts’… And the
painting of those who do as
communists…
The global trend of weapons shows
disguised as festivals has also
arrived in Korea.
The state, corporations, arms
dealers, and regional communities
hold these extravagant shows hand
in hand, for national security,
for the reinforced Korean-American
alliance, for corporations who
have dedicated themselves to the
development of state-of-the-
art sciences, for strengthening
international competitiveness,
for fostering regional tourism,
for educating children, and for
everything else you can think of.
It’s show time.
Air shows, helicopter rappel shows,
tank shows, machine gun shows,
missile shows, be‐a‐pilot shows,
mine shows, chemical, biological
and radiological weapons shows,
anti‐terrorism shows, nighttime
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0.1 second: A fire pillar of
approximately 300,000 degrees
Celsius measuring 15 meters
in diameter is formed. At the
same time, neutrons and gamma
rays reach the earth, and cause
direct radiation damage to
living organisms.
0.15 second: The fire pillar
grows bigger, and the radio-
active waves spread even
faster. The air is heated to a
bright red.
0.2-0.3 second: An incalculable
amount of infrared rays are
emitted, inflicting burns on
people.
1.0 second: The fire pillar
reaches its biggest size,
becoming 200-300 meters in
diameter. The waves that esca-
lated the fire continue to spread
at the speed of sound.
With this bombing attack, 100,000
people died on the spot. And
another 100,000 died, slowly,
one by one, due to the radiation
exposure.3
These disturbing memories, these
disturbing thoughts, these
disturbing scenes, these strange
loyalties, these good and murderous
machines...
allowed in those who attack.
And what is not allowed for viewers
of imaginary bombing attacks is
‘feeling disturbed’.
Warning: Perception Requires
Involvement.2
Those who are mired in forbidden
anguishes, forbidden perceptions,
forbidden memories, forbidden
thoughts dream of escape. But
escaping is not allowed; only
forced ejections await them.
Let us, at this point, recall a
forbidden memory.
On the morning of August 6, 1945
at 8:16 and 2 seconds, the dream
of the superweapon became a real-
ity. The first atomic bomb with
strength equaling 12,500 tons of
dynamite dropped out of the skies
of Hiroshima without any warning.
A new kind of war had started. The
first second of the new war went
like this.
0.0 second: The bomb goes off
at the peak of the morning rush
hour, at approximately 600
meters above the Shima Hospital
located in the center of
Hiroshima. The temperature of
the city center reaches the
millions in degrees Celsius in
one 1 millionth of a second.
ARTIST TALK
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Suntag NOHreallyGood, Murder
1) Hannah Arendt, 1969, On Violence,
trans. Jung Han Kim, Seoul: E-who
Publishing Co., 2000, p28.
2) This phrase comes from the artwork
that Antonio Muntadas translated and
exhibited in different languages. It
could mean that perception inevitably
requires to involvement, or also that
the prerequisite of involvement is
perception. To this, a “warning” is
added, which I understand as “You may
get hurt if you know this”, which,
reversed, could also be understood as
“It’s better not to know this.”
3) Sven Lindqvist, 2001, A History of
Bombing, translated in Korean by Nam
Soeb Kim, Hankyoreh Publishing
Co.,2003, p240.
4) Hannah Arendt, 1969, On Violence,
translated in Korean by Jung Han Kim,
E-who Publishing Co., 2000.
5) NOH Suntag copying Mr. Muntadas The
term of ‘Sago’ has two meanings in
Korean, ‘thinking’ and ‘disaster’.
Once again, I borrow Hannah
Arendt’s words.
“Where all are guilty, no one is;
confessions of collective guilt
are the best possible safeguard
against the discovery of culprits,
and the very magnitude of the
crime the best excuse for doing
nothing.”4
What the heck does that mean?
Warning: Sago Requires Sago.5
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1 Being creative workshop - Seungjoon CHOI + Kyungjin LEE 2 Making game with Kinect - James POWDERLVY
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WORKSHOP 1 Being creative workshop - Seungjoon CHOI + Kyungjin LEE
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learning mechanism which makes
it possible to continue to make
the use of the knowledge that
participants have learned from this
workshop.
2. Workshop Process
2.1. Day 1
2.1.1. Introduction of a work
called ‘self-organizing
elements’ http://goo.gl/1GLc7
Within the framework of self-
organizing elements, the importance
of participants share learning and
increase, as a team, energy like an
organism was informed in the form
of generative art.
generative art: HYPERLINK "http://en.wikipedia.org/wiki/Generative_art" http://en.wikipedia.org/wiki/Generative_art
Seungjoon CHOI + Kyungjin LEE
Day 1
1. Workshop Outline
This is a teacher’s workshop
learning how to help kids to use
open source creative tools like
MyPaint, GIMP, Inkscape, Blender,
Audacity, and Scratch. The
participants will not only learn
basic creative tools but also will
be asked to develop inspiring
educational programs using those
tools. This process is more than
experiencing simple tutorial tools
with regards to learning new media
as participants experience active
collaboration and exploration which
requires leadership. It is a 2-day
(each day over 4 hrs) workshop.
The teams organized on the first
day will carry out the mission
of creating educational program
using creative tools that they
would learn in the form of team
assignment. On the second day, each
team will test and improve each
other’s workshop. It is a workshop
not for learning creative tools but
for relationship between people.
Though it takes a context of new
media, it is a workshop about
raising awareness as to applying
timeless possibilities and energy
of human.
With the objective of using
open source and making educational
program for kids, this workshop
aims to provide a chance to
experience full transfer of
force repulsive force
gravi-tation
distance
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2.1.4. Marshmallow Challenge
Marshmallow Challenge, a 14-minute
short workshop that Tom Wujec has
introduced at TED was exercised.
Marshmallow Challenge is a
workshop realizing the meaning of
coorporation and the importance
of prototyping by competing which
team of four builds the tallest
structure in 14 minutes using 20
sticks of spaghetti, one meter of
tape, and one marshmallow.
2.1.2. Basic tool setup
Following basic online tools based
on Web 2.0 were to be prepared.
- GMail account
- Google Docs
- Google Spreadsheet:
http://goo.gl/vOynw
- Dropbox account
- Dropbox shared folder
First, HYPERLINK "http://goo.
gl/vOynw" http://goo.gl/vOynw
was secured where contents are
documented as we progress under
a specific link.
2.1.3. Introduction of Creative
Tools (Open source/ Freeware)
Following basic online tools based
on Web 2.0 were to be downloaded on
each laptop.
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Seungjoon CHOI + Kyungjin LEE
2.1.7. Exploring Creative
Tool Workshop
A pair chose one of the creative
tools that they have learned and as
did in pair drawing exercise, they
worked the selected tools in turn
and gave each other some feedbacks.
Each took about 10 minutes and
repeated the process for 40 minutes.
When the participants explore
creative tools, the structure is as
follows.
The type of this approaching tool
is called ‘pair programming’ which
is actually employed in the field of
IT industry.
2.1.5. Demonstration of
how to use creative tools
Starting with Scratch(http://scratch.
mit.edu), Open source/ Freeware
creative tools were introduced
briefly.
It was a short demonstration but
not a lecture oriented approach
that one teaches the full practice
of tools.
2.1.6. Pair Drawing
For the next workshop that partici-
pants had to explore creative tools
on their own, each pair experienced
working in collaboration for five
minutes by drawing in turn without
words.
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Based on the experience of
exploring creative tools, each
student developed possibilities for
children’s workshop as they made
comments on each other’s ideas like
an organism. The end results were
posted on the wall.
2.1.10. Homework
The first day of the workshop was
wrapped up with the following two
sets of homework were handed out
for the second day.
Explore creative tools
introduced today.
Think about possible playground
to introduce healthy digital
culture when you are in the situ-
ation where you must introduce
digital culture to children.
2.1.8. Sharing what they have
found in the process of
exploring Creative tool workshop
Each pair shared explored contents
with four members in the team, and
then each team shared with other
teams.
2.1.9. Brainstorming using
Brain writing technique:
Idea development for children’s
workshop
Before anything else, the partici-
pants did Brain writing which is
writing down whatever comes to mind
first, passing it around for every-
one to read and adding various
comments.
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*The Artist’s Way: Written by Julia Cameron,
Translated by Lim Ji Ho
2.2.3. Simulation Workshop
Now the participants were given
a situation where they have just
established a venture company.
Consisted of four members, each
team represented a venture company.
Simulation workshop is a tool that
puts participants in a situation
where they have no choice but to
work in cooperate with creativity
and learn creative cooperation as
they interact with other team and
how to deal with conflicts occurring
under different circumstances.
- They have just set up a venture
company that develops various
workshops for children using
digital creative tools
introduced on the first day.
- They have certain amount of
funds received from an investor.
Pistachios are used as virtual
money in this workshop.
2.2.1. Check Homework
Introduced the homework from the
first day and checked students’
homework. It seemed they are not
that ready yet.
2.2.2. Check-In
Presented the ‘Morning Page’ tool
and prepared the participants for
the next workshop procedures. The
‘Morning Page’ is introduced in
the book called The Artist’s Way.
Following is how we have executed
the ‘Morning Page’.
- Prepare a pen and a sheet
of paper.
- Secure safe and private space.
- Write down whatever comes
to mind for five minutes without
a break.
- Try to fill out the whole page.
- Must not stop writing. If there
is nothing to put down, just
go ahead and write down any
words even though they are
meaningless.
- Do not share the contents with
anyone else as it may contain
very personal things. Tear it
after five minutes. But if there
is anything important to
remember, write it down
somewhere else.
- The implication of this activity
is like a flowing river. Let
thoughts flow.
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whether to pay differently based
on employees’ performances or
evenly.
- After the payment, the
personnel realignment is forced.
(Each company fires one person
and recruits another from a
different team.)
- The second session begins under
the situation that a talented
person is kicked out or hired.
- The final results are presented
in front of an investor.
- Symbolically award the one who
are paid the most (pistachios)
and finish the workshop looking
back the significance of this
Simulation workshop.
- Each company selects a CEO.
- A CEO has a right to appoint the
role of each team member and
has a responsibility to pay the
employees including him/herself.
- There are 30 to 40 minutes
sessions of two that company can
develop a workshop. After the
first session, each company will
test the draft that other rival
companies are developing. This
will be an opportunity to
evaluate each other and exchange
ideas.
- Following the test, each CEO
pays from the reserved
investment fund. (CEO decides
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*The team Millionaire had a problem with saving the
project so they had to present with posters instead.
2.2.5. Writer’s workshop
Introduced Writer’s workshop as a
tool that teaches how to criticize
a creation peacefully and heighten
its potential, and it is executed
with the team Millionaire. The
way to do Writer’s workshop is as
follows.
- Welcome a writer.
- Present a summary of a work that
the writer wishes to do.
(It was a team presentation in
this case.)
- A writer becomes ‘a fly on the
wall’. He/she is there with
other participants but takes a
role of only a careful listener
stepped aside.
- Give ‘positive feedback for
the shared creation to the rest
of the participants except the
writer who became ‘a fly on the
wall’. Talk freely about only
the positive aspects of the
2.2.4. Share presentation
using new media tool
The participants were asked to make
presenting materials using Google
presentation tool and shared in the
next URL. http://goo.gl/vOynw This
process itself is also a workshop
using new media.
In the case of the team mad-horse
corp from the Simulation workshop,
they have produced a prototype of
tutorial for children that can be
used in the Scratch workshop and
even shared it using dropbox.
Some sections from the presentation
by the team Luck CloVer
Seungjoon CHOI + Kyungjin LEE
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- Thank everyone and finish the
Writer’s workshop.
The workshop concept of the team
Millionaire was a ‘camp in island’.
They created a workshop that
children swim, play and colla-
borate to make a storytelling crea-
tion in island with open source
creative tools in their laptops
or computers, and see the results
at night with their parents. And
through the Writer’s workshop, they
exchanged a variety of feedbacks
and had discussion on how to
improve further. Only thing that
mattered was that the workshop was
done not in English but in Malay-
sian for the sake of smooth flow
of the workshop preventing precise
understanding of the procedure.
creation (do not interact with
the writer) and as he/she
listens carefully, the writer
recognizes the positive features
of his/her creation.
- Subsequent to ‘positive
feedback’ session, talk about
things that are missing or
need to be improved in the same
manner. Give comments with an
attitude of how to discover and
develop potential that the
original creation holds.
- Now the writer, ‘a fly on the
wall’, comes back as a person
and does not defend but
questions that he/she could not
understand from the feedback.
The one leading the workshop
should pay special attention
at this point since the debate
could be overheated. He/
she should prevent unnecessary
discussion suggesting it to
continue after the workshop only
with the people of interests.
- The writer has a sole right
to change the creation reflecting
various feedbacks. Take only the
needed components from the given
information.
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3. Conclusion
3.1. The first day feedback
Conducted an informal survey using
Google docs. The application method
of Google form was introduced at
the beginning of the second day
workshop. Most of the participants
displayed interests and showed
positive reactions as to the
possibilities that the open source/
freeware creative tools have.
Also there were some participants
who were interested in tools and
methods of collaboration.
2.2.5. Realtime Documentation
Make a video from the pictures taken
in every section of the workshop
and play it with music before the
end of the workshop, reflecting the
experiences of the day.
The participants can identify
what they have done and look back
what they have practiced on that
day. This is one of the elements
consisting this workshop as well,
implying that digital and new media
tools can be used actively in a
workshop. From a general point of
view, this process also is a chance
to learn a workshop tool that can
be reused through the first hand
experience.
Seungjoon CHOI + Kyungjin LEE
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They showed their interests to re-
create what they have done in the
two-day workshop and gave positive
feedbacks on overall contents
of the workshop. Especially there
was a feedback saying that more
than learning the usefulness of
creative tools like open source/
freeware, this workshop itself was
a motivation. Of course the time
lacking or communication language
issues were shared without a doubt.
3.2. The second day feedback
Following structure called
‘retrospectives’ was used on the
second day.
The participants were asked to
write down positive, missing, to be
improved or impressive features of
the workshop.
They shared and commented within
their team, and had a time to share
it all together presenting a team
summary.
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But I felt a sense of satisfaction
from the fact that first, the
relationship has formed and caused
a stir as I reflect upon the two-
day workshop from the point of
culture sharing view, setting aside
a workshop producer perspectives
of delivering knowledge or
learning. The lingering impression
is that there were participants
who considered the early stage of
the Marshmallow challenge as this
has not happened in the previous
experiments. What is the cultural
context that has caused this kind
of different pattern? If this
project continues in the next year,
I wish to make more opportunities
not to deliver knowledge in one
direction but to learn in both
ways. Maybe this is the reason why
the next is anticipated.
3.3. Conclusion
The point that were emphasized
in the two-day workshop was that
this does not end as a one-time
event but continues as I introduce
useful tools for creation and
collaboration, and goes further
to give energy and motivation
to challenge to do something
with those tools. Judging from
the feedbacks that I got, it
seems that there is some sort of
desired outcome but it is hard
to identify positive changes in
the short period of time. Though
some channels to communicate with
workshop participants using SNS
services were arranged but it is
yet to be known whether this could
be an active interaction enough to
exchange concrete help or mentor.
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WORKSHOP 2 Making game with Kinect - James POWDERLY
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James POWDERLY
1. Presentation Works of James2. How to make game using Kinect
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WORKSHOP 1. About Movement2. Dissccusion & Brainstorming
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1. Drawing2. Making logo & elements
1. About Movement2. Dissccusion & Brainstorming
James POWDERLY
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WORKSHOP Animating with computer
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Coding & TestingAnimating with computer James POWDERLY
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WORKSHOP Playing
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Playing James POWDERLY
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PICNIC TO THE MANUTAK ISLAND
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PICNIC
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TO THE MANUTAK ISLAND
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PICNIC
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TO THE MANUTAK ISLAND
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CODA: Play,Interact, Organize
Soochul KIM
In the Inchon International
airport, baggage is lined up in
front of the check-in desk.
The suitcases are rather light and
simple, compared to everyone’s
heavy luggage full of digital
equipments: Laptop, tablet PC,
smart phone, projector, digital
camera (camcorder), physical
computing sensor, AD board, spea-
kers, kinetic camera, and varied
web 2.0 applications. We bring
these along with our suitcases to
the Digital New Media Center at
Yayasan Sabah College in the Kota
Kinabalu Island.
The preparation for the event
was long and tiresome. Art exhi-
bition in the island? Nothing was
certain at first. We were not even
sure about the size of space
for exhibitions and workshops,
let alone the availability of all
those equipments needed. We have
exchanged numerous emails with our
kind, attentive host and staffs
in the college. Many preparation
meetings have been held. After
numerous meetings, emails, and
phone calls, we finally boarded the
plane to the island.
This is the first time that many of
us have ever been to the island
or Malaysia. Warm weather greeted
us. Warm welcome from our hosts and
students followed. The place was
not spacious but not too small
either. A neat and well-maintained
two-story building has several
rooms. The preparation was almost
perfect. Students were more than
helpful. The host always makes sure
everything is okay. Interactions
with students in the college were
unique, rich, and dynamic.
Through a number of workshops we
watched, listened, created, and
discussed together. Using the open
source tools available on the
web, participants tried to create
something together and learned
what open source and collaboration
mean. While learning about how
to build satellite by ourselves,
participants could see how much
they can do with our digital
devices available. While we were
juggling with laptops, tablet PCs,
digital cameras, kinetic cameras,
projectors, sensors, and even
children’s toys, we discussed
about what has been going on with
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Play,Interact, OrganizeSoochul KIM
playground where digital technology
allows people to play, interact,
and organize in more engaged and
diverse manners. Crossing over the
boundaries of nations, languages,
religions as well as disciplines,
it should tell us about new possi-
ble ways of connecting, gathering,
interacting, and organizing.
The collection of art works here
is to show what happened, while
groups of artists and students were
exchanging and sharing their
ideas and stories. This collection,
I hope, is worth a second glance.
interactive media art and how it
will transform in the future. Going
through a number of workshops,
exhibitions, discussions, meetings,
and a picnic, we were all exhausted.
“This is just a start.” One of
our generous hosts said. Yes. It is
just a start. But we do not know
yet how it will end. We do not know
yet where our unique experiences
and dynamic interactions with stu-
dents in the island will lead us
to. Many theorists have long spec-
ulated about how our digital
technology might inspire different
ways of understanding on our world.
Many researchers and artists attem-
pted to show how the usage of
digital technology affects our
activities and cultures. One thing
is certain. We are only at the
beginning stage of understanding
what kinds of impacts these
technologies may have on the ways
in which we know, communicate,
and interact. There are still
many things worth trying in order
to make sense of what we can do
with these technologies. In this
process, Digital Playground in
Island can function as a civic
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PLAY,INTERACT, ORGANIZE
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CreditHost
Digital New Media Center,
Kolej Yayasan Sabah in Malaysia
Curator
Sungdae HONG,
Nathalie Boseul SHIN
Assistant Curator
Yoonsun SHIN, Sabina Yeowoon LEE
Project Co-ordinator
Soochul KIM, Hyunmi JUNG
Excutive Manager in Malaysia
Sylvester Fung
(Business Development Manager,
Kolej Yayasan Sabah)
Coordinator in Malaysia
Marina Abdul Ghanie
(Animation Program Project Manager,
Digital New Media Center)
Photo and Making Film
Yoona SON(Aliceon)
Collaboration with
Soongsil Univ., Lab.preparat,
Total Museum of Contemporary Art,
Kolej Yayasan Sabah
Sponsors
Art Council Korea, middle corea
Participant Nations
Austria, Belgium, Bulgaria,
Denmark, Germany, Iceland, Korea,
Slovenia, South Africa, Sweden,
Turkey, Ukraine, U. S. A.
Special Thanks to
Yoonsik SHIN, Ranbok LEE
(Korean Restaurant ARIRANG in
Kota Kinabalu)
Aliceon
ARS Electronica
Hyungchul HAN
(Managing Director of Hana Tour)
Dr. Dg. Aminah Ali
(Chief Executive Officer of
Kolej Yayasan Sabah)
Very Very Thanks to
All Students of Kolej Yayasan Sabah
in Malaysia
Book Design
Dokho SHIN(shindokho.kr)
Typeface
Monospace 821 BT