Joonsung Yoon

3D Architectural Projection, Light Wall

This paper introduces the 3D architectural projection project Light Wall projected onto the Seoul Museum of Art building (Fig. 1). On the facade of this over-100-year-old building, 3D animated art work is projected calculating and using the complicated contour as a part of the 3D artwork. The decorative facade is not suitable for a normal projection, but the project pronounces loudly the traditional facade using digital-based registration technology. This project does not tone down the physical specificities for the virtual image, but makes reality intermix with the virtual [1].

The interactive artwork as the aesthetic object: aesthetic technology converging technological applications and aesthetic discourses

Today the concept of art is studied in the term of aesthetic object. On the one hand, it is noticed that the aesthetic object has changed its form from material into interpretive and semantic entity. On the other hand, the aesthetic experience is shifting its site to the center of aesthetic object. Contemporary computer-based media art works are composed of physical bodies such as computer CPU, monitor, projector, camera and speaker including technologies of computer vision, computer graphics, virtual reality, artificial intelligence, augmented reality, etc. In particular, interactive art not only embodies characteristics of already changed aesthetic object, but also reveals contexts of returning the problem of aesthetic object into the aesthetic perception for the reconsideration. Therefore interactive art is the triggering and motivating point to discuss new aesthetic object in terms of art and science.

Artificial Life Art : Research on Artificial Life Artworks of VIDA

In this study, we consider the evolved interactivity at the Artificial Life Art beyond `open interactivity` as `closed relationship` between viewer/participant and artwork by immersive and interactive features of digital media art. In order to consider this evolved interactivity, we survey the theory of artificial life of which result of many studies like biology and computational science. And then we analysed characteristics related artistic context of artificial life at the autonomy and emergent behavior of artificial life. Especially, we research the artworks of interaction with ecologies and of living in outside(not in- silico) among the artworks of officially adopting an artificial life arts in `VIDA : Art and Artificial Life International Awards`. And we are going to understand the relationship of emotional subjects between viewer/participant and artwork, and a step further to understand the diverse relationship of symbiosis and co-evolution of the technology and human.

Interactive Art: The Art That Communicates

This paper highlights the intrinsic communication in interactive art. The authors propose knowledge discovery or data mining as a technique to measure the communication between the spectator and the intelligent interactive artwork. Due to the nature of interactive art, this aspect of technology is an essential part to integrate the artists representation with the spectator. An example of interactive SwarmArt using knowledge discovery for personalized interactive experience is explained in this paper.

A transcode scheduling technique to reduce early-stage delay time in playing multimedia in mobile terminals

This paper proposes a new scheduling technique to play multimedia data streams in mobile terminals. The paper explores the characteristics of multimedia data streams , firstly. On basis of these characteristics, selection of specific data stream can be possible as well as transcoding protest. Our approach aims at reducing the early-stage delay time more effectively since it makes possible to select and transcodes some specific streams by employing a selection policy rather than transcoding all streams in the playing process Thus, this paper suggests a stream selection policy for the transcoding based on EPOB (End Point of Over Bandwidth). It aims to lower the required bandwidth of multimedia streams than the network bandwidth level and also to minimize early-stage delay time for multimedia streams, which is to be played in mobile terminals.

Contingent Rule: Information Aesthetic, Performance and Hypermediacy

This paper proposes a model of information aesthetic performance in the context of hypermediacy. It addresses the need to consider the features of performance in recently emerging information visualization artwork. By analyzing an artwork, the real-time stock market data-based Contingent Rule, the authors discuss aesthetic effects of performance as well as information visualization. The proposed model could contribute to a better understanding of information visualization in terms of Jay David Bolter and Richard Grusins hypermediacy. This research provides a new guideline for reviewing information visualization.

Philosophy of Computer Game with BCI as Healthcare Information Design Outcomes: Toward a New Approach of Knowledge Game

This study presents that the computer game using brain information as healthcare design outcomes is being philosophized as an object of thoughts. In order to define the philosophy of computer game with BCI (Brain-Computer Interaction), my paper examines Racing Car Game using EEG (electroencephalography) as healthcare information design outcomes and reconsiders the rule and use of BCI game in the conflict between the game and the narrative. It proposes that the BCI game using brain waves as bio-information originated from healthcare design reframes traditional philosophical discourses in knowledge game and contributes to the ecology of networked knowledge enabling new forms of collaborations between sciences, engineering, arts, and design.

Toward a Decolonizing Approach to Game Studies: Philosophizing Computer Game with BCI

This study presents that the computer game is being philosophized as an object of thoughts that generates a number of philosophical discourses. In order to define the concept of philosophizing computer game, my paper examines Racing Car Game with BCI (Brain-Computer Interaction) and reconsiders the rule of the game in the conflict between the game and the narrative. It proposes that the philosophizing computer game with BCI contributes to the decolonizing knowledge enabling new forms of collaborations between sciences, engineering, arts, and design.

When Technology Collaborates: Politics and the Aesthetic of “We” Human-and-Technology

This essay proposes “We” human-and-technology as the new human identity performed by the collaborative action of human and technology. Its aim is to open a new way for intersections of art, technology and humanities, through the political and aesthetic intimacy of human and technology in the collaborative action based interdependent perspective. “We” human-and-technology emphasizes the process of when the collaborative action of human and technology is performed. It shows that technology as power and knowledge relations intervenes on the knowledge system, in particular, the binary frame reinforcing a mutual degradation between human and technology, thought and action. In the collaboration of “We” human-and-technology, technology’s interventions focuses on two ideas: Enframing and the fetish. The former presents that the binary frame is an inversion. It uses an instrument for ideology subordinating both humans and technology into the instrument. The latter reveals that the binary frame of “Us” versus “Them” governs our senses through the fetish as blinded practices and beliefs. It implies that how the instrumental understanding of technology conducts the fetishism distorting relations between human and technology.

Digital Mandala: The Post-Virtual as Meditation of Impermanence or a New Reality

This paper proposes the post-virtual as the second phase of media art. The post-virtual is an entity in reality from the virtual, in which the output of media artworks follow the physical condition based on physical computing. Digital Mandala captures the viewers face, processes the image, draws it in rough pixels made of black colored sand, and brushes it out soon. As an ephemeral repatriation of the virtual, the post-virtual is pronounced in the paper as a new reality in our technological scene