AliceOnPaperVol4 by yoona sun

2009 JUNE / VOL.4

WHAT YOU NEED FOR YOUR NEW MEDIA ART WORKS INTERVIEW Hyun-jin Lee

EXHIBITION INFO. in Seoul

COVERSTORY

tag.3

WHAT YOU NEED FOR YOUR NEW MEDIA ART WORKS

Media Art Database & Online Archive AliceOn

AliceOnPaper VOL.4

Who are New Media Artists? To answer

photo.

of this ‘language’ we are discussing. But that doesn’t mean that we must under-

that question in a more simplified way by asking whether they are technicians

AliceOn’s third Cover Story is an introduc-

stand these tags—JAVA, C++, Action

or artists, the answer would be the lat-

tion, which briefly covers general idea

Script, LINGO, Phython, Design by Num-

ter. But without the understanding of

of the environment and the process, for

bers, Small Talk—completely in order to

the ‘technique’ or the ‘knowledge of the

those who want to understand New Media

work with them. There are other numer-

technique’, it is difficult to be a true media

Art. Certainly it would be impossible to

ous software systems with the addition

artist. As the art of photography began

touch all parts of New Media Art in such a

of graphic interface that is meant for the

with the invention of camera, New Media

small project, but we hope we can offer an

wider range of users. There are so many

Art established its genre through the

easy way into the topic, which not many of

different types of software that it is dif-

birth of diverse media technology. New

the public is familiar with.

ficult to name all of them. These software systems are developed as a merchan-

Media Art has now passed the stage that received attention for simply being differ-

In order to discuss the tools for New

dise or distributed to the public for free.

ent. After achieving its reputation as ‘new

Media Art, we must first decide the

Sometimes the creator opens and shares

wave’, it has now exceeded its boundaries

boundaries of the genre and define the

his or her program and offers the masses

within its genre, and is trying to achieve

range of the ‘tools’. For photography, a

collaborative editing or creating of the

‘hidden technology’ instead of simply

photo needs more than just camera; light,

manufacturing or upgrading of their soft-

satisfying its New Media-ness on the

artificial light, exposure meter, reflec-

ware. For these reasons, the understand-

surface through the use of its materials.

tors, darkroom, photographic paper, and

ing of the open source and open platform

At the same time, the growth in the use

the developer exists and influences the

becomes crucial. In addition, hardware for

and the development of new mediums,

finished work. Not too different from such

production and software to control such

editing applications, and users who are

kind of set-up, New Media Art’s produc-

hardware exist. The tools we are about to

familiar with the concept of ‘Open Source’

tion environment and its tools exist

introduce must be understood within the

and capable of using such tools have

diversely with ‘computer’ in the center of

big boundaries of the production envi-

increased the involvement and the sharing

its process. If one desires to work with

ronment, and although not specifically

of New Media Art. Through these changes,

New Media Art, he or she needs to be

created for New Media Art or interaction

many students, artists and producers

able to communicate with, or control the

itself, if it is widely used by artists for New

who are working on New Media Art or are

media called the ‘computer’; one needs to

Media Art it could be understood as one of

trying to incorporate it in their projects are

learn how to change one’s language into

those tools or environments we have been

constantly increasing. The people who are

a language a computer can understand.

discussing about.

trying to understand the process of the

Thus, language is a crucial element for the

making of New Media Art are like those

production, and such language is called

As we are about to discuss the environ-

who are trying to understand the camera

the language of programming. C, C++, and

ment and the tools for the creation of New

and photography in order to take a good

JAVA script are the well known examples

Media Art, we are faced with another prob

AliceOn Coverstory TAG.3

lem; there are too many languages and software out there. So the ones that will be introduced are—judged from the editor’s subjective point of view—the ones that are popular or worth paying attention to. The works that are used as examples are the ones that clearly show the influence of the production environment, and the ones that focus on using a specific tool or show the creative use of it.

Before we start, we must keep in mind that the improvement of the content or the value of New Media Art is as important as the of use the tools or the techniques we are about to discuss; these technologies support the development and offers new direction for New Media Art itself. We are fated to master both abilities in order to successfully understand New Media Art, which is deeply related to emerging technology.

Introducing New Media Art Production Tools & Environment

Media Art Database & Online Archive AliceOn

AliceOnPaper VOL.4

Processing

Max/ MSP/ Jitter

Processing is an open source developed

Whereas Processing has its basis on typ-

by MIT Media Labâ&#x20AC;&#x2122;s Ben Fry and Casey

ing, Max/MSP/Jitter has its foundation in

Reas. It is produced with JAVA, and is thus

a more straightforward visual interface

run through JAVA applet. Compared to

programming. Similar to drawing a flow

JAVA, Processing has a simplified pro-

chart, it can be programmed by connect-

gramming. By using the tutorials, library

ing all the nods with the lines. It is widely

and forums in the website even a beginner

used because it can easily be handled

can gain basic knowledge of programming

without understanding the complicated

and learn how to make an easy computer

principles of programming. MAX is the

drawing to a more complicated interactive

basic programming; MSP is the music

sources using web cams. Processing is an

related programming; Jitter is the graphic

important tool that is used in various New

related programming. They are popu-

Media Art productions such as Code Art,

larly used for live MIDI control, algorism

Hardware and physical computing using

composition (which is the basis for MIDI),

serial communication. It may be a bit

synthesizer programming, real time player

ineffective to control loaded video files, but is highly successful in working with real-time image processing. The works introduced below are the ones that mainly used Processing. They are categorized according to their characteristics and are selected for being well known in its active use in that field. Follow the links for more information.

and controller, and performances using developing by users. Artists who have used Processing previously are paying a lot of attention to this tool these days.

Tag: Mobile Processing Mobile Processing is an open source program made by people who want to design software for mobile phones or creating prototypes. Mobile Processing has its

Tag: Openframeworks Openframeworks was once introduced

foundation in Processing, and shares a similar form.

Sensor. As for Max/MSP/Jitter, it is popular for national New Media artists dealing with sounds.

Tag: VVVV VVVV is a tool used for handling live images, physical interface, live motion graphic design, audio, and interactive video works. Like Max/MSP, VVVV is a programming tool using a visual programming interface. Currently it is only used

though AliceOnâ&#x20AC;&#x2122;s Web Review. When

in Windows. Compared to Max/MSP, 3D

Processing is a tool formed with JAVA

graphics function excellently in VVVV.

graphics library, Openframeworks is a C++ graphic library tool. Forte of Openframeworks is its high speed. As this is also an open source project, it is constantly

AliceOn Coverstory TAG.3

FLASH / Action Script

Python

Flash started off as basic software for

Python is an object oriented programming

web animation, and with the addition of

language used for the development of di-

action script advanced into a professional

verse types of software. Compared to C or

software. Action script was made from the

C++ Phython is easier to learn. Its pro is its

basis of JAVA script like Processing and

interpreter way, which enables its users to

thus shares a lot in common. But they dif-

check the results of its coding immediately

fer in the fact that actionscript has vector

Arduino

drawing as its basis and it can produce

(Tag: Wiring, Gainer)

verse libraries, even if it is a small amount

3D space but is not fundamentally for

Arduino is an IDE created in order to make

of coding one can quickly produce things

3D space construction. Actionscript is a

the use of AVR* easier for artists and the

such as GUI program. Compared to other

part of object-oriented programming and

general public. Originally AVR program

language, Phyton is easy to use C/C++ to

is used widely as a web programming

needs to go through Compile which uses

create python module and since its docu-

language. Since serial port is fundamen-

coding and WinAvr program, then upload-

mentation is well developed, it increases

tally impossible to use for Flash, it is more

ed by connecting ISP equipment on the

the efficiency of the works.

widely used by mobile program design-

board, and other complicated processes

ers or developers instead of New Media

such as debugging. But Arduino equipped

Artists. However, there are some artists

with AVR (usually ATmega 168) charges by

as like Joshua Davis and Erik Natzke who

being connected with the computer with

attract attention for using actionscripts

USB and works with coding and uploads in

creatively and artistically.

a lot faster and more convenient way. All of its code sources and circuit diagrams are open, and just by connecting on the Arduino expanded board pin, one can expand its usage to wireless, MIDI, Bluetooth, and multiple sensor module. But it is dangerous to assume that one can do everything with just Arduino. As it is easier to approach, it definitely has its limits. * AVR: Micro controller chip including the series of ATMEGA128, ATMEGA8, ATMEGAxxx

one line at a time. And as it supports di-

Media Art Database & Online Archive AliceOn

Animata Animata is an open source real time animation software created by Kitchen Budapestâ&#x20AC;&#x2122;s Peter Nemeth, Gabor Papp, and Bence Samu. With only a page of an image one can make an active animation, and it also contains an interactive projection ability that can be used in performances. Through watching the tutorial video, one can easily learn how to use the tool, and it is a graphic tool that does not need any mathematical calculations or coding.

Scratch Scratch was mentioned several times on AliceOn through interviews and national workshop news. Its form takes a visual interface programming methods and since it was meant for teaching students it is comparatively easy to use. One can use blocks to make games or animations, and this program is actively opened and shared through web.

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KOREAN ARTIST INTERVIEW

HYUN _JIN LEE

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Artist Hyunjin Lee studied drawing in univeristy and in graduate school, and flew to America to study media art and expanded her scope of art to media art work. Sheâ&#x20AC;&#x2122;s interested in creating a new space that everybody can share and relate to, showing the reality and imagination through the screen. She dreams of building a way of communication through the screen using fresh and various ideas for interaction in a new space, instead of simple 1-on-1 interaction.

AliceOn Coverstory TAG.1

tory art festival, and I made a waterfall.

Your portfolio says that you majored in

It was at a ruined factory and there were

painting and media art. What made you

plenty of paper boxes. I folded the boxes

expand your area of art from painting to

and made them into a stairway-shaped

media art?

waterfall. And I projected the image of an waterfall onto the boxes so that it would look like the water is falling down when the viewer stands in front of it. This is one of the things that had been on my mind - I exhibited once in some gallery the artwork of projecting the image of fire onto a pyramid, as all artists are, I was curious as to how the viewers would react to my work. I was watching as if I were one of the visitors, and then some visitors A.

stretched their hands toward the work and

I studied western painting in college and

said “It feels warm,” which gave me a very

in graduate school. Back then, I was hav-

interesting inspiration. What they saw a

ing a hard time deciding what kind of work

virtual fire but yet, people were forming a

I should do so, I tried a lot of different

relationship with it and that’s how I was

things from painting, engraving, to instal-

led to choose this type of work. The water-

lation art. Now that I look back, I think

fall, made to make the audience experi-

I was just pasting objects on paintings

ence the feeling of actually walking under

or I kept trying to express some move-

a willow tree. I began with painting but as

ments. I was taking a video work class,

I made more of this kind of works, I finally

and I thought that the video art suited

started doing video installation art, which

what I had been seeking as I could project

I had wanted to try from early on.

images that are time-oriented and you Waterfall 2_video installation_1999

could make stereoscopic screens, rather than just flat screens, depending on how you structuralize the screen itself. So the works that I made back then include projecting some images of the ocean onto cubic boxes, and making a pyramid-like screen and projecting fire on it, and I can call this type of works Three-dimensional Screens. The biggest motivation for this was back in 1999, when there was a fac-

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and played some cicada sounds. I used

and then I had a chance to encounter

In your early works like <The Willow> and

ribbons to illustrate the wind and to give

different types of interaction media like

<The Waterfall>, you made projections

the images in the video a deeper feeling.

sensors, and electronics during my time in

onto ribbon tapes, paper boxes or news-

one big fantasy, and my biggest interest

Georgia Tech, but I wasn’t at a level where

papers. Is there a reason that you use

now is how I can express those fantasies.

I could make masterpieces. I was thinking

those kinds of objects?

about the possibility that imagination and Q.

reality could meet in one space through

Please tell us about one of your works that

the screen, and then I started thinking

I think I came up with pyramid boxes

you made in America, <Corresponding>.

about movable screens. Among my initial

or cube boxes as a way to best express

works, <Corresponding> had a big impact

moving images with minimum material in

on me. To tell you a little about this work,

three-dimensional screens works. I think

My early works from the start throughout

it’s 6 minutes and 50 seconds long, you

I was being very abstract in the work <The

the IPT were a stereoscopic-screen works,

can see a human head is turning right

Sea>. I came up with the idea of using cubic boxes while I was thinking about how to make an image of the sea. And a lot of foreigners were interested to know why I used cubic boxes. It was the most common question that I got during the interviews. And in <Waterfall 1>, the boxes were a replacement of rocks, and the boxes were used so that the water would fall when people come near to the waterfall. When you take a photo of the waterfall, it’s flat. But if you put boxes where you see the rocks, you can make it look like the water falls down over the rocks. And then, you put more boxes so that it beetles out, and you can each box feel like a rock. At first I tried using the boxes, but then the boxes felt too smooth on the surface, so I ended up using piles of newspapers to make it feel more like actual rocks. You can see some more layers if you use piles of newspapers. That made it look more like rocks. In the work <The Willow Tree>, I hung ribbon tapes on the ceiling, made them sway by using a fan corresponding_single channel video,sound, 6min 55sec_2008

AliceOn Coverstory TAG.1

to left and left to right following a sound

screen.” Please tell us more about this

our everyday experiences into something

and it starts slow but moves faster later

phrase.

that people can experience in the gal-

on. Usually, I rarely use narratives in my

lery. At that way, people can experience

works, but for this one, I made it with the

something unexpected. In case of <The

idea of a climax in mind, so the head turns

I think my recent works are becoming

Willow Tree>, I don’t think everybody

faster and faster. If you look at the screen,

connected to what I did for the work, <The

could imagine that they would be able to

there’s an axis at the center. It moves

Willow Tree>. There’s this work, <Moons

see a willow tree inside a gallery. But by

around this axis, and at first, from the im-

Over you>, and when a viewer enter the

looking at the swaying branches of the

age, it looks like the head is shaking, but

open space, everyone gets to have a moon

willow tree, people can start their imagi-

later when you realize the screen at the

of their own. So, the moon keeps follow-

nation, and feel like they are in the forest,

back is moving. At first, it looks like a head

ing you inside the space. And depending

remembering their own memories in the

but later on when you realize, it’s not a

on how much time has passed since you

past. In the work <The Valley> as well,

head and it’s an image of a head. The rec-

entered the space, the moon changes its

everyone can reminisce about their experi-

ognition changes. People tend to look at

form from a crescent moon to a full moon.

ences at a valley through the work in front

these things a very flat, two-dimensional

When other people come in, your moon

of them. What I do is to tranport people

way. The image was first projected into a

will be a full moon and their moons will

into their memories through these works.

three-dimensionional form and then again

be crescent. Through this work, I realized

Since I’m working with video now, the

taken a picture of, so it’s an elaborate mix-

that artworks can make people experi-

messages that I want to deliver are deliv-

ture of three dimensions and two dimen-

ence what they can’t experience in reality,

ered through the screens, but depending

sions. The process that make this work

because in reality, you can’t have your

on how these screens will evolve through

possible was that, what you see at the last

own moon. So there is no limit to what

artistic imagination, I think the audience

part is a flat image, but then you can add

can made throught the screens and what

can get a variety of experiences.

one more screen inside the flat image and

can be projected there. It’s all up to the

I made the screen keep moving. I came

imagination of the artist. My personal life

up with this idea by accident and then

was reflected on <The Willow Tree>, too.

thought maybe this kind of movement of

When I was a student at Seoul National

the screen could be some sort of a link.

University, there was a hill called “a Wuthering Heights” and there were two

or three willow trees at the foot of the hill.

In your recent personal exhibition at

The trees were standing at the very spot

Sunggok Art Gallery, I saw this phrase.

that people walked by, so during the sum-

“If experiences through art works could

mer, the branches just would grow and

reflect who we are now and become an

and touch the faces of those who pass by,

experience that transfers us into another

and I really liked those trees. So, I thought

time and space, I, as an artist who works

it would be nice if people could walk past

with media, want to create works through

willow trees just like that, so I made <The

which I can dream of transition into this

Willow Tree>, and the same goes for the

kind of imaginary world through the

<The Valley>, in which I tried to transform the willow three_video installation_2000

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had taken the footage of the kids talking

the visitors to Sunggok Art Gallery was

In the work <Bridge>, was it in order

to themselves and to their parents, and

the valley that I saw, the visitors to the

to give it a feeling of looking at a valley

also some passers-by talking to me, and

gallery will remember the valley that they

that’s far away? You installed a bridge,

the water reflections of all these things

themselves have visited before. They will

and the camera was standing in front of

that happened, in one video.

also remember some other places that are

it and the images of scenes in a valley

The picture frame of the video could only

stored in their memories, and I had them

were projected. It looked like the place

show the kids playing, but the audio could

express their memories by having them

in the video was not a place in Korea but

deliver all the sound from the surround-

scribble on the bridge. I wanted to express

somewhere overseas. Did you want to

ings. So I thought, I wanted to share what

how different times and spaces could be

show some connection between here and

I saw and experienced there, with the au-

mixed.

a foreign place, or did you want to show

dience here, and that the images were not

the place in the video itself?

enough. So I installed a bridge, and I let the audience look at the situation again

and I filled the space with sound. But I

You also exhibit photos taken in a vari-

The place itself wasn’t important in this

wanted to distinguish the traces of the

ety of places. Did you want to present

work. I didn’t go to the valley in order to

kids on the water more delicately. So I was

them along the same line with the work

film it personally. I went there to film the

thinking, and as you can see in the video,

<Bridge>, which you have just ex-

calm lake, but maybe because it was a

the kids don’t leave the place at once

plained to us?

holiday, there were a lot of tourists there.

when they have to go. They keep coming

When I went to the place where I was

back a few times. So they leave the place

originally planning to shoot, there were

as if they were leaving a theatrical stage.

Yes, I did. I wanted to show how I made

some children plaing over the stepping

I was thinking, these kids might remem-

this work, and how the bridge actually

stones. I wanted to film the calm lake but

ber having played in this valley after they

existed and how it was scribbled on. By

then the kids wouldn’t leave, and they

grow up, and this valley might remember

showing both spaces in the same time to

stayed there talking and playing. So I was

these kids too. A lot of people remember

the audience, I wanted help them draw

waiting there, with my camera stationed

this valley, but no one thinks that the val-

their own maps.

there, but then it hit me that the scene of

ley would remember us. I think the traces

the kids playing looked really pretty. I felt

of the kids toward the end of the video

as if the kids were actors and actresses

express this message. So I’ve installed the

Through your three exhibitions so far,

in a play and I was in the audience. This

bridge in the gallery for that effect, and

you’ve been using interactive factors in

itself was very interesting. There were

as you can see there are lots of scribbles

a variety of works to connect with the

some stepping stones near where the

written on the surface of the bridge.

audience. How are you planning to use

kids were playing, and I saw some very

The bridge remembers the people who

interactive factors from now on?

clear reflections of the kids on the water

have been here, through those traces of

around the stepping stones, and I thought

scribbles. I thought that the valley would

it would be interesting to film the kids and

still remember us, so I had the bridge

Most likely, I will perform in the similar

their reflections on the water. So I started

scribbled on, to show this to the view-

way as in the work <Duck and Drake>.

shooting. And when I finished shooting, I

ers. So, even though what I’ve shown to

Like I said earlier, I thought pushing a

AliceOn Coverstory TAG.1

button and seeing a reaction was too simplistic. In reality, you can catch what I’m saying not only by what I say, but also through looking into my eyes and at my facial expressions. Everything connects with everything else and leads to the next step of conversation. I think the interaction of reality should be integrated in to the interactive art. Many artists devaluate interactive art and think it is not good enough or too simple. But I want to try different approaches and make interaction art something more diverse, from which you can expect more unpredictable results like our reality. Q. Do you have any plans for exhibitions or works this year? A. I’m preparing a work about <Encounter>, and I have some ideas. I want to develope these ideas further. It is not decided for sure yet, but I think I’ll be having exhibitions at about two places. Thank you for your time.

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ripplecast_interactive installaton_2008

EXHIBITION INFO. IN SEOUL

Political Mirror_ Noh Sun Tag Trunk Gallery 2009.05.14~06.16 www.trunkgallery.com

Re:Membering-Next of Japan Alternative Space Loop & Doosan Gallery 2009.05.14 ~ 06.25 www.galleryloop.com www.doosangallery.com

The Sublime_ Kang Ai Ran The space of Heterotopia 2009.05.15~06.15 www.gallerysimon.com

End of the Rainbow_ Jinnie Seo Mongin Art Center 2009.05.21~07.19 www.mongin.org

and GREEN_analoge + digital + greenstart Community Center 2009.06.03~06.08

100 Years of Korean Cartoon National Museum of Contemporary Art, Korea 2009.06.03~08.23 www.moca.go.kr

The Cinematic-Montage Seoul Museum of Art (Nam Seoul Annex Building) 2009.06.06~08.23 www.seoulmoa.org

EXPosition of mythology-ELectronic technology NJP Art Center 2009.06.12 ~ 10.04 www.njpartcenter.kr

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