Playground in island 2010

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 + DIGITAL

+ PLAYGROUND

2010 GLOBAL DIGITAL PLAYGROUNDin ISLAND

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.

Kolej Yayasan Sabah

TABLE OF CONTENTS

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

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

EXHIBITION

Opening partyShowcase installation Screening video

EXHIBITIONOpening partyShowcase installation Screening video

Opening party

Showcase installation

Showcase installation of Korean Media Art Interactive media art (22 works)

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

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

Showcase installation

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

7. <Mom> by Wooksang JANG, (2010, 3D

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’)

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,

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)

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,

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)

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”)

PRESENTATION

1 Artist talk Hojun SONG Suntag NOH

2 Educational presentation Junghwan SUNG Jongsoo KWON Youno PARK Sungdae HONG

ARTIST TALKHojun SONG

Hojun SONG

ARTIST TALK

Hojun SONG

ARTIST TALK

Hojun SONG

ARTIST TALK

Hojun SONG

ARTIST TALK

Hojun SONG

ARTIST TALK

Hojun SONG

ARTIST TALK

Hojun SONG

ARTIST TALK

Hojun SONG

ARTIST TALK

Hojun SONG

ARTIST TALKSuntag NOH

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

ARTIST TALK

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.”

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

Suntag NOH

ARTIST TALK

Suntag NOH

ARTIST TALK

Suntag NOH

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

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

ARTIST TALK

Suntag NOH

ARTIST TALK

Suntag NOH

ARTIST TALK

Suntag NOH

EDUCATIONAL PRESENTATION- Junghwan SUNG, Euisang OH, MinJu LEE

Junghwan SUNG, Euisang OH, MinJu LEE

EDUCATIONAL PRESENTATION

EDUCATIONAL PRESENTATION- Jongsoo KWON

Jongsoo KWON

EDUCATIONAL PRESENTATION- Youno PARK, Jaewoong KIM

Youno PARK, Jaewoong KIM

EDUCATIONAL PRESENTATION- Sungdae HONG

Sungdae HONG

ARTIST TALK +

WORKSHOP

1 Being creative workshop - Seungjoon CHOI + Kyungjin LEE 2 Making game with Kinect - James POWDERLVY

WORKSHOP 1 Being creative workshop - Seungjoon CHOI + Kyungjin LEE

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

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

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.

WORKSHOP

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.

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.

WORKSHOP

*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.

Day 2 Seungjoon CHOI + Kyungjin LEE

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

WORKSHOP

*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

- 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.

WORKSHOP

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.

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.

WORKSHOP

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.

WORKSHOP

WORKSHOP 2 Making game with Kinect - James POWDERLY

James POWDERLY

1. Presentation Works of James2. How to make game using Kinect

WORKSHOP 1. About Movement2. Dissccusion & Brainstorming

1. Drawing2. Making logo & elements

1. About Movement2. Dissccusion & Brainstorming

James POWDERLY

WORKSHOP Animating with computer

Coding & TestingAnimating with computer James POWDERLY

WORKSHOP Playing

Playing James POWDERLY

PICNIC TO THE MANUTAK ISLAND

PICNIC

TO THE MANUTAK ISLAND

PICNIC

TO THE MANUTAK ISLAND

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

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

PLAY,INTERACT, ORGANIZE

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

Playground in island 2010

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