User:Chae0
hello ✋ I am Chaeyoung Kim
Chaeyoung Kim (she/her) is an interdisciplinary artist encompassing video, installation, performance and an art educator based in Seoul and Rotterdam. Her work draws on the aesthetics of cuteness such as bright colors, wobbly movements, high-pitched sounds to instigate ‘cute affects’ and encourage social interaction. Her extensive work experience as an art educator has made her aware of how curriculum content and workshops can be useful tools for positively impacting the local community.
website
self-portrait
During the self-study week, Nor organized the workshop called 'Collaboration, Conflict, Consent workshop'. During the workshop, we were asked to make a self-portrait about what excites us and what scares us. ʕʘ‿ʘʔ Also, the drawing underneath is an illustration of how I imagine my practice is or do to people.
Padliography (Thank you Kamo)
AFSAR
AFSAR Study: ✶⁺collective investigation on intimacy, translation, publishing, and ...✶⁺
XPUB2 Log
final(?)-presentation
semester 4
Form tag / FLASK / API / Invitation / sharing Sharing what? The purpose of the sharing and inviting others? ETC / list / enumerate: to name things one after another in a list / litless(힘이 없는, 무기력한-> 리스트 없음이 무기력한, 힘이 없는이라는 뜻이라는게 너무 웃기고 재미있어-> 리스트를 만들기 좋아하는 나.. 이것에 대한 코멘터리일 수 있을까?) / web-to-print / read between the lines, between the lines / line - draw the line 선 긋다. / drawing and writing, 네이버 사전에서 단어 글자를 그릴 수 있는 부분이 있는 것. / thin air / 일기장에 적었던 무거운 공기, 적대적 공기, 말할 수 없는 어떤 분위기 - pressure - 바람 / Dear Science and Other Stories, FOOTNOTES(BOOKS AND PAPERS SCATTERED ABOUT THE FLOOR) / affect (1. 영향을 미치다, 2. 사람이나 신체부위에 발생하다, 침범하다, 병이 나게 하다. 3. 강한 정서적 충격을 주다. 깊은 슬픔을 유발하다 4. 감정이나 생각을 가장하다 꾸미다)
semester 5
semester 5 - chae research log
semester 6
Semester 6 - chae research log
Special Issue Log
SI 16 - Vernacular Language Processing
- ETC Portal to Contamination (Final Endpoint)
- etc_Filter / Negative Space / Starting Point (Research Log)
- SI 16 - Vernacular Language Processing (Research log for overall semester)
SI 17 - Productive Play
- SI 17 - Productive Play (Research Log)
- https://issue.xpub.nl/17/index.html (SI 17 Main Webpage)
- Fage Not Pound (Documentation of the launch of SI17)
- Karaoke_reading (Group Contribution, Can Gaming Make A Better World?)
- https://media.xpub.nl/2022/SI17/karaoke-Final.mp4 (SI17, Can Gaming Make A Better World?)
SI 18 - Radio Implicancies
- SI 18 - Radio Implicancies - Chae's research log
- Critical and Intimate Evaluation of Crunchiness - with Erica Grrrrrr
- Writing Weekly - with Kimberley
List of intimate methodolgies
| title | description | To-dos/reference/image | value: closeness(approchable?)-density(noise?)-feeling(affect?) - distribution? | Tags (intimate story / intimate technology etc) |
|---|---|---|---|---|
| magical button✅ | a workshop outcome with Raphael. We all need to come up with a constraint, and mine was only use lines of a drawing of Mamang |
|
- happens in your device/ the size of the image and the awkward position of the image make intimate
- high on noise (lines are also scanned and pixelated) - gives you fuzzy feeling & makes you smile || mamang web drawing intimate technology? | |
| lost stories
✅ |
For the 3rd public moment, I did a performance to read a letter to Mamang, a puppy doll I lost. Then I invited people to share their lost stories. |
|
- reading the letter was crucial to set the mood
-makes you sentimental/sad |
tiny / intimate story and medium |
| smart textile | if you press the soft button, the LED light will be on | Example | Example | |
| whispering - bread / bread-mic
✅ |
Example |
|
the bread was super interesting because it has a really nice acoustic effect. I shared the story of the ugly side of me which was quite nice | food - soft and squishy - intimate story and medium |
| whispering - computer
✅ |
during the Monday morning sesh, for Miri, I whispered to a computer | what was it about? why this moment was special? | - silly and absurd, mixing different tools together (rolled paper tube - computer mic and camera - jitsi)
- acoustically intimate, you are surrounded by ppl yet creating a moment |
whisper / quick / hardware(computer-headphone-rolled paper) / software(jitsi) / rolled paper |
| QR code (quick response code) butterfly
✅ |
나비의 펄럭임을 따라 움직이는 눈 그리고 QR코드를 스캔하기 위해 코드를 따라 움직이는 카메라. | 큐알코드의 원리를 설명해 놓은 웹사이트:
https://freemoa-blog.com/979 결국 큐알코드도 명도-contrast를 이용한 기술 그리고 기존 바코드가 적은 양의 정보만을 담을 수 있었던 것을 보완하기 위해 계발된 것. 원본 데이터의 30% 이내 까지만 변형해야된다고 함. https://en.wikipedia.org/wiki/QR_code 23-01-2023 : tested with regular A4 paper. 사이즈에 따라 무게감이 달라져서 움직임과 쳐지는 정도에 영향을 줌. 5mm 큐알코드도 요즘 카메라는 인식 가능함, 큐알코드를 늘려도 인식가능하지만 일정정도 이상 늘리는 것은 안됨. gif의 느낌을 줄 수 있을듯, 아니면 스톱모션이나 애니메이션 가능할듯, 소리가 상당히 큼, 육안으로 보는 것과 카메라 화면을 통해 보는 것 간의 묘한 차이가 있음. (이것도 어쩌면 whispering-computer 처럼 "나-튜브-컴퓨터-jitsi-미리엄-헤드폰"과 같이 qr을 인식하는 카메라, 나, 움직이는 나비 그리고 큐알이 담고 있는 landing page)
|
silly movement, absurdity=> makes you laugh | 펄럭거림 - flutter |
| cute laser beam | Example |
References: [https://youtu.be/62p9u7XjawQ Glow in the dark Laser pointers Experiment] mini smoke machine and the mini laser |
Example | subverting the aggressiveness |
| tree-like-headphones
✅ |
connect multiple audio splitters and people can bring their headphones, earphones to participate. Or they can also share their one earphone to strangers or their friends. |
|
maybe the volume could be turned up.
같이 둘러앉고, 헤드폰 비어 있는 곳을 꽂고, 나눠 끼우고 그런 순간들이 굉장히 좋았어. 같이 허밍하는 순간도 좋았고(하지만 내가 먼저 시작했어야 됐지. 그러니 다른 cheecky 혹은 아주 작은, shy한 사람들도 할 수 있는, 아주 크지 않은 제스처, 헤드폰 끼고 있는 사람들끼리만 알아볼 수 있는 그런 시그널을 정하는 것도 좋을 것 같아->뭔가가 일어나는구나, 궁금하다 라는 생각이 들수있게끔 + 참여하는 사람들에게 약간의 동질감을 줄 수 있도록 하는), 이 방법론은 여러 사람이 있어야지 더 좋을 것 같긴 해. 여러 사람이 부대끼면서 엉키고, 같이 들으면서 눈짓을 주고 받고 그런 상황말이지. 웃음이 터진 포인트들은 maybe not 이 부분 ㅋㅋ 사실 너무 리니어하게 하나의 출발점이 부각되는 것 같아서(계보학적인 느낌이 드나 싶어서) 걱정했는데, 음 내 목소리에서 시작되는 것이기때문에 자연스럽기도 했고 크게 부각되지 않기도 했어. 생각보다 스크립트의 존재를 굉장히 크게 인식했던 것 같아. 왜냐면 내가 실시간으로 스크롤하기도 했었고, 어떤 친구들의 헤드폰은 너무 소리가 작기도 했었고. 아 또 블루투스가 아닌 유선 헤드폰 유선 이어폰을 찾는게 너무 어려워서 웃겼어 (obsolete devices) |
clumy / clunky / links and wires |
| velcro | For the crunchy project, this material would be PERFECT.
I love that velcro is just so... easy and quick. |
Example | Example | Example |
| svg drawing pad | Example | 23-01-2023: 조셉이 도와줘서 현재 페이지가 3개이고, id를 생성하는 것까지는 되었음. 그리고 svg의 좌표들을 저장하는 것까지 되었고. 다만 이제 html 링크에 있는 생성된 아이디를 그 다음 페이지로 넘긴 뒤에 그 아이디 이름으로 생성된 database 파일에 svg 좌표를 저장하는 단계가 필요함. 그것이 된다면 이제 데이터 베이스에는 [잃어버린 대상, 잃어버린 경황, 드로잉 좌표]이 저장되게 되고, 이후 해당 정보들을 불러와서 바꿀 수 있게 됨. | Example | Example |
| blowing - candle | Example | Example | Example | Example |
| blowing - feather | Example | Example | Example | Example |
| scanned child drawing sticker in telegram | Example | Example | high on noise. 컴퓨터 화면에서 찌직거리는 선의 느낌을 볼 수 있는게 | Example |
| licking - the tip of the envelope | Example | Example | different way of approaching the world (fumble with ) | fragile - can be dangerous |
| licking - the stamp | Example | Example | Example | Example |
| fluffy - socks (수면양말 원단) | Example | example | Example | Example |
| artificial tears | Example | https://en.wikipedia.org/wiki/Artificial_tears | - the liquid being absorbed by and part of your body | fragile - can be dangerous |
| margin - making notes - diary - blog - chatty | 일기장에 적힌 것을 우연히 보게 될 때나, 손편지가 주는 느낌, | Example | personality - high on noise as well? | tiny - personal space/public space - personality - unique - personal thought expressed in readable text |
| pockets | pockets attatched to apparllel | Preschool Pocket Trasures by Melissa Kaseman | Example | tiny, small -personal space - hidden - soft - warmth |
| whisper - string telephone | with a string telephone technique, you can talk with someone far. Also if you put an audio player in the telephone, one can hear it with some |
|
- accessible, you just need two cups and a string
- high on noise - childhood memory -> makes you sentimental || create the personal space | |
| scanned book | my friend Illegally scanned the whole book, Dictee. | Example | high on noise | Example |
| petting - raspberry | Example |
|
smooth and tactile | Example |
| letter (손편지) | Example | Example | Example | Example |
| secret word | (서로 시간을 보내면서 만들어진 둘만의/그룹 내의 언어) | maybe check Amy Suo Wu's Work | - closeness coming from time you spent together | language - code- secret |
| fog - steam - warm tea - humidifier(velvety vapor) | That Distant Future When We Share a Coffee (2020-2021) | Example | Example | Example |
| blowing - bubble | Example | Example | Example | Example |
| small box | 시카고에서부터 작은 상자들을 엄청 좋아했는데, 주머니와 마찬가지로 안에 든 내용물을 볼 수 없어서 그런가? | Example | Example | Example |
| DIY circuit | also closely relates to smart textiles. When Jian demonstrated the ghost file circuit for the zine camp or when she grabbed my hand and our bodies worked as conductors and resisters. | Example | Example | Example |
| bulletin board-like-webpage (ETC Protal to Contamination) | Example | list as a situation, an interesting way of using <form>, because normally when you think of survey or form, inputs are gathered, separated, analyzed and not really visible. | Example | Example |
| Example | Example | Example | Example | Example |
| Example | Example | Example | Example | Example |
Reading List
- Minor Feelings by Cathy Park Hong
- Queer Phenomenology: Orientations, Objects, Others by Sara Ahmed
- The Promise of Happiness by Sara Ahmed
행복은 우리와 가까운 영역, 우리 주변을 형성하고 있는 세계를 친숙한 것들의 세계로 만드는 데 결정적 역할을 한다. 우리에게 쾌락을 주는 대상들은 우리의 신체적 지평 안에 둥지를 튼다. 우리가 좋아하는 것들likes을 갖게 된다는 것은 우리가 무엇과 같은지 like를 확립하는 일이다. 신체적 지평이란 좋아하는 것들의 지평이다. "우리가 좋아하는 것들"을 가진다는 건 어떤 것들이 우리 주변에 모인다는 뜻이다. 물론, 우리는 새로운 것들과 마주치기도 한다. 새로운 것들에 개방적이라는 것은 우리가 그것들을 우리와 근접한 영역으로 흡수하는 데 개방적이란 뜻이다. 흡수할지 말지는 우리가 마주친 그것을 좋아하느냐에 달려 있다. 좋아하지 않는 것들로부터 우리는 거리를 둔다. 거리두기를 통해 우리는 우리 지평의 가장자리를 확립한다. [사라 아메드 행복의 약속: 불행한 자들을 위한 문화비평, 1장]
- The Aesthetics and Affects of Cuteness edited by Edited ByJoshua Paul Dale, Joyce Goggin, Julia Leyda, Anthony McIntyre, Diane Negra
- Dear Science by Katherine McKittrick
Wonder
(...)Dear Science argues that black people have always used interdisciplinary methodologies to explain, explore, and story the world, becuase thinking and writing and imagining across a range of texts, disciplines, histories, and genres unselttles suffocating and dismal and insular racial logics. By employing interdisciplinary methodologies and living interdisciplinary worlds, black people bring together various sources and texts and narratives to challenge racism. Or, black people bring together various sources and texts and narratives not to capture something or someone, but to question the analytical work of capturing, and the desire to capture, something or someone. (...) Within black studies and anticolonial studies, one can observe an ongoing method of gathering multifariously textured tales, narratives, fictions, whispers, songs, grooves. The texture offer one way to challenge the primacy of evidentiary and insular normalcies, because they are allegedly incongruous. In assembling ideas that are seemingly disconnected and uneven (the seabird and the epilogue, the song and the soil, the punch clock and the ecosystem, the streetlight and the kick-on-beat), the logic of knoeing-to-prove is unsustainable because incongruity appears to be offering atypical thinking. Yet curioisity thrives. (...) Also, assembling ideas that are seemingly connected () fuse and break apart how we know, necause we seek out continuities and ruptures. And curiosity thrives. (...) What is meaningful, then, are the ways in which black people are interdisciplinary actors, continually entangling and disentangling varying narratives and tempos and hues that, together, invent and reinvent knowledge.
FOOTNOTES
Black studies engenders, shares, and demands diasporic literacy; black studies theorizes black liberation not through categories (identity) but from the perspective of struggle (struggle is entangled with identities-places-embodiments-infrastructures-narratives-feeling).
THE SMALLEST CELL REMEMBERS A SOUND
If we are committed to anticolonial thought, our starting point must be one of disobedient relationality that always questions, and thus is not beholden to, normative academic logics.(...)The project of making discipline overwhelmingly only gives us two options for the study of black people--to describe racism and resist racism; these options rarely have any noise or curiosity or questions about black life interrupting them. (...) Method-making is the generating and gathering of ideas--across-with0outside-within-against normative disciplines--that seek out liberation within our present system of knowledge. The goal is not to find liberation, but to seek it out.
SOMETHING THAT EXCEEDS ALL EFFORTS TO DEFINITIVELY PIN IT DOWN
(...)The question of stories and storytelling illuminate the method of collaboration. I learned from working with her. I learned from her that sharing stories engenders creative rigorous radical theory. Wait. I learned from her that sharing stories is creative rigorous radical theory. The act of sharing stories is the theory and the methodology. The process is difficult to make sense of in terms of the process and praxis of collaboration as affective possibility. Every time we speak on the telephone, I have my pen in hand, but I do not always use it. We share ideas, and stories, and our histories, and part of this collaboration was her generously sharing ideas that I wrote down because I believed them with all my heart. And lucky for me, she believed me too. (We must believe each other; we must believe the stories we tell one another.) I guess what I am trying to write but cannot pinpoint is that the collaborative aspects of the work allowed us to share ideas in ways that I did not anticipate. The project is, then, not solely text; it is the unpublishable work of conversing over several years and continuing that conversation. I did not expect to be this patient. The conversation is forever and it is forever rewound very fast and then replayed; "The friendship itself, a form of life that cannot be totally capitalized on and is therefore slightly in excess of work as we know it.... Working in friendship could be a way to work outside of productivity demands."
FAILURE(MY HEAD WAS FULL OF <ISTY FUMES OF DOUBT)
(...)To put it simply, solving crimes often involves surveying and marking black and/or impoverished geographies and claiming that this is not profiling because places, rather than people, are being targeted. In other words, social problems are resolved through producing calculations, equations, and problem-solving operations; these problems (black people) are translated into cartographically itemized racial codes. Part of our task, then, is to notice how algorithms have a place and take place and produce place and how blackness--where we know from--understands and reorders these geographies. I also focus on geography to dislodge crude identity politics, to cast the net beyond the individual and to emphasize that where we know from--rather than what we already know about seemingly authentic selves--is a more generous and difficult political project that takes into account interhuman geographies. (...) With this in mind, I suture a black sense of place to these mathematics and problem-solving practices in order to unthink the violence that often accompanies the production of space. (...) The work and process of the coding conceals a long biocentric statistical history that continues to define "traits"--out genetic characteristics--as variables. A variable is a symbol that represents a quantity in a mathematical expression. What unfolds are measurable numbers--often abstracted from human input--calculating resolutions that we care about. /n If we understand algorithms in this vein, we can begin to tease out how numbers and mathematical equations are tied to a biocentric system if knowledge. What becomes increasingly clear, then, is not simply that the results and answers racist (e.g., your traits mathematically result in your incarceration), but that the work of administrating algorithms (e.g., what we do to solve the problems that we care about) requires biocentric methods and methodologies that can only produce dehumanizing mathematical results.(...)What comes into clear view, then, is not simply the racist result but the administrative and methodological steps that require racism before they begin to work through and towards the problem. (...) Geography matters because it functions to illuminate how algorithmic answers to our problems--what we care about--are embedded in place. Interestingly, the more we research these connections between geography and algorithms, the more we notice how the former, geography, is racially codified. Predictive algorithms are not only imitating a racist system, they are refusing an already refused black humanity by marking black geographies predictably criminal. (...) Part of our intellectual task, then, is to work out how different kinds and types of texts, voices, and geographies relate to each other and open up unexpected and surprising ways to talk about liberation, knowledge, and history, race, gender, narrative, and blackness. [이 챕터 특히 딸꾹질 / 그리고 phonetree에 대한 수피와의 아이디어랑 관련되어 있음을 강하게 느껴. 왜 그렇게 느끼는지 정리해서 적어둘것 2022.08.01]
- https://us.macmillan.com/books/9781250796516/grime (Jian's recommendation, dystopian, brilliant book)
- Writing Down The Bones by Natalie Goldberg
- Ngai S. (2007). Ugly feelings. Cambridge, Massachusetts Etc.: Harvard University Press.
- Wendy Chen
- Dictee, Teresa Hakyung Cha
- Eros in the library
- Xpub thesis
- Byron, P. (2022). Digital Media, Friendship and Cultures of Care. Routledge Research in Gender, Sexuality, and Media.
- Ahmed, S. (2004). The Cultural Politics of Emotion. New York: Routledge Taylor & Francis Group.
- Ahmed, S. (2006). Queer phenomenology : orientations, objects, others. Durham: Duke University Press.
- Bhanu Kapil Rider (2001). The Vertical Interrogation of Strangers. Kelsey Street Press.
- Bridle, J. (2022). Ways of being beyond human intelligence. London Allen Lane, An Imprint Of Penguin Books.
- 재난 시대의 정동 - 애동의 가능성과 불가능성, 문강형준
앞에서 얘기한 세월호 참사의 회국인 희생자들에 대한 공적 애도의 부재는 첫번째 한계와 맞닿아 있다. '한국인'이 아니기에 한국인으로부터 애도되지 못하는, 죽어서까지 '비가시적' 존재로 남게 되는 외국인 희생자들은 여전히 세월호 애도 국면의 한계다.희생자의 '낭만화' 역시 반복된다. 죽은 고등학생 하나하나를 '기억'하며 박재동 화백의 그림과 함께 이들의 짧은 생을 기술했던 『한겨레』의 「세월호 잊지 않겠습니다」 기획이 그렇다. 이 기획은 기억하지 않으려는 정부에 대항해 '기억의 투쟁'을 실천했던 애도의 정치였지만, 동시에 학생 아닌 희생자들을 비가시적 존재로 배제시켰다. 나아가, 학생들의 삶을 기술하면서 이들 각각을 '착한 아이들'로 묘사하며 희생자들을 '낭만화'했다. 박재동 화백의 그림 속 아이들은 모두 밝게 웃고 있다. 과연 이 아이들이 모두 그렇게 착한 아이들이었을까? 이들이 모두 그렇게 행복했을까? 오히려 대한민국의 망가진 입시교육 속에서 다른 평범한 아이들처럼 이들 역시 조금은 괴물 같은 아이들로 살았던 것은 아닐까? 분노해야 하는 것은, 이들이 착하고 행복한 아이였는데 불행히도 죽었다는 '신화'를 통해서가 아니라 이들이 대한민국 교육 속에서 불행했음에도 행복할 수 있는 기회도 없이 먼저 갔다는 '사실'을 통해서가 아닐까? 마치 20세기 초 뉴욕 공장의 여성 노동자들이 근면성실하고 조신한 여성들이어야만 애도될 수 있었던 것처럼, 이들 모두가 착하고 행복하고 꿈이 있는 아이들이어야만 애도될 수 있는 것일까?
=>문득 이 논문을 읽으면서 compassion과 empathy의 차이점?이랄까 그 둘의 관계랄까 그것이 궁금해졌다.
What is the difference between empathy and compassion?
Compassion and empathy both refer to a caring response to someone else’s distress. While empathy refers to an active sharing in the emotional experience of the other person, compassion adds to that emotional experience a desire to alleviate the person’s distress. (...) Compassion is a much older word; it’s been part of the language since the 14th century, and comes ultimately from Latin com- and pati, meaning “to bear, suffer.” Empathy is a 20th century coinage modeled on sympathy as a translation of the German Einfühlung (“feeling-in” or “feeling into”). It was first applied in contexts of philosophy, aesthetics, and psychology and continues to have technical use in those fields. [1]
- Zora Neale Hurston's books
- Sylvia Wynter's books
&others
Drawing and Doodle
Dear Science의 Footnote에서 본 것과 같이 나도 드로잉 묶음집에 어울리는 보여주기의 방식을 생각해 볼 것. Loop로 돌리는 것이 나을지. 아니면 격자 형태로 나오게 할 것인지, 아니면 랜덤하게 화면 위에 배치된다든지. 등등... 방학동안 드로잉들 모으고, 스캔하고, 키워드별로 분류하기(일단 모으는게 더 중요할듯).