CV

Education

New York University - Master of Professional Study, Interactive Telecommunication Program, 2010, USA (Thesis Paper(PDF file))

Chung-Ang University - Master of Image Engineering, Future Media Art Lab, 2008, Seoul, Korea (Thesis Paper(PDF file))

Korean Academy of Film ART’s - Directing Animation, 2003~2004, Seoul, Korea

Seoul National University - Bachelor of Fine Art, Visual Communication Design, 1998, Seoul, Korea

Scholarships

Chung-Ang University Scholarship 2007

Tisch School of the Arts Scholarship 2009-2010

Experiences

Directed and Created Linear and Interactive Animations (2004~2010)

Clay animation, Paint-on-glass animation, Sand animation, Paper animation, 2D&3D Computer animations, Interactive animations, Animation for Installation

Researcher in the Future Media Art Lab at Chung-Ang University(2004~2007)

Research on NPR(Non-Photo realistic Rendering) technology

Freelance Designer & Animator (1998~2004)

Web design, Design & Illustration for CD Jacket, 2D computer animations for Kid’s educational contents, Visual contents for a church(CD Jacket & Promotional Movie)

Skills

Softwares for visualization, animation, web design, video editing, sound/music and interactive media (Photoshop, Illustrator, After Effect, Processing, openFrameworks, Flash, Dreamweaver, Final Cut Pro, Premiere, Pure Data, Max/MSP/Jitter, Sound Forge, Ableton Live)

Strong skills in visual storytelling, data visualization and motion graphics

Teamwork with various backgrounds professionals

Digital sound and music making

Achievements

“Dancing, Moment” (Abstract Animation displaying on Wall Screen at IAC building)

Big Screens Show 2009

“Painterly Rendering With Designed Imperfection”(Movie File(139MB))

Guerilla Studio SIGGRAPH 2006

“Flower Dance”(3D Abstract Animation)

Seoul Film Festival

Indie-Anifest 2006

CICDAF(China International Animation and Digital Arts Festival)

Publication

'The Study for Non Photorealistic Rendering by Aesthetic Approach'

(Association of Image & Film Studies, Vol. 11, p.183~211)

Researches on NPR(Non Photo-realistic Rendering)

Developed algorithm for 'Painterly expression', ITP, NYU, 2009

Participated as an art director in the project of developing NPR(Non-Photo Realistic Rendering) technology, FMA Lab of Chung-Ang University, Seoul, Korea, 2006

Projects - Linear and Interactive animations

‘Missing Mysticeti’(2010, Color, 0:03:00, 2D Computer, Installation)

‘Dancing, Moment’(2009, Color, 0:04:00, 2D Computer)

‘Drawing Music In Time’(2009, Color, 0:04:30, 2D Computer)

‘((H))Art’(2009, Interactive and real-time)

‘Mr. Tech’(2009, Interactive and real-time)

‘Flower Dance’(2006, DV 6mm, Color, 0:02:43, 3D Computer)

‘Circle, triangle, square’(2001, film, 0:03:30, Pen drawing)

‘When I met them’(2000, film, 0:04:00, Oil pastel)

‘1 Minute’(1998, digital, 0:01:15, Sand animation)

EXPANDED CINEMA

by Gene Youngblood

PART TWO:

SYNAESTHETIC CINEMA: THE END OF DRAMA

“The final poem will be the poem of fact in the language of fact. But it will be the poem of fact not realized before.” (WALLACE STEVENS)

Slavko Vorkapich: “Most of the films made so far are examples not of creative use of motion-picture devices and techniques, but of their use as recording instruments only.

It has taken more than seventy years for global man to come to terms with the cinematic medium, to liberate it from theatre and literature. We had to wait until our consciousness caught up with our technology.

The new cinema has emerged as the only aesthetic language to match the environment in which we live.

Emerging with it is a major paradigm: a conception of the nature of cinema so encompassing and persuasive that it promises to dominate all image-making in much the same way as the theory of general relativity dominates all physics today. I call it synaesthetic cinema.

Herbert Read:

We’re beginning to understand that “what is significant in human experience” for contemporary man is the awareness of consciousness, the recognition of the process of perception.

Through synaesthetic cinema man attempts to express a total phenomenon—his own consciousness.

Synaesthetic cinema is the only aesthetic language suited to the post-industrial, post-literate, man-made environment with its multi- dimensional simulsensory network of information sources. It’s the only aesthetic tool that even approaches the reality continuum of conscious existence in the nonuniform, nonlinear, nonconnected electronic atmosphere of the Paleocybernetic Age.

Synaesthetic Synthesis: Simultaneous Perception of Harmonic Opposites

Synaesthetic cinema is a space-time continuum. It is neither subjective, objective, nor nonobjective, but rather all of these combined: that is to say, extra-objective.

Syncretism and Metamorphosis: Montage as Collage

The harmonic opposites of synaesthetic cinema are apprehended through syncretistic vision, …

Syncretism is the combination of many different forms into one whole form.

Synaesthetic cinema provides access to syncretistic content through the inarticulate conscious.

We begin to realize that Brakhage is attempting to express the totality of consciousness, the reality continuum of the living present.

Evocation and Exposition: Toward Oceanic Consciousness

Thus, by creating a new kind of vision, synaesthetic cinema creates a new kind of consciousness: oceanic consciousness.

Synaesthetics and Kinaesthetics: The Way of All Experience

Kinaesthetic, therefore, is the manner of experiencing a thing through the forces and energies associated with its motion.

One cannot photograph metaphysical forces. One cannot even “represent” them. One can, however, actually evoke them in the inarticulate conscious of the viewer.

Synaesthetic Cinema and Extra-Objective Reality

Michael Snow: Wavelength

Like all truly modern art, Wavelength is pure drama of confrontation. It has no “meaning” in the conventional sense. Its meaning is the relationship between film and viewer. We are interested more in what it does than what it is as an icon. The confrontation of art and spectator, and the spectator’s resultant self-perception, is an experience rather than a meaning.

The very essence of cinema is the fact that what we see there is not there: time and motion.

FUTURE CINEMA

The Cinematic Imaginary After Film

Edited by Jeffrey Shaw and Peter Weibel

Narrative Experiments

At the same time, multiple screens broke up the linearity of traditional narration. Multiform plots, a non-linear narrative matrix, became possible. Narrative elements could be repeated, recombined, or replaced by other elements. ~~~

A new form of narration was achieved on a single screen. The narrative matrix was based on a theorem of set theory(Zorn’s Lemma). The narration became a multiform matrix, a multi-story machine. (p117)

Narration is not only broken apart spatially through projection onto multiple screens but in chronological terms as well. Shifts and distortions of conventional parameters of space and time play a significant role in the new narration. (p123)

Navigable Rhizomatic Narration

The narrative universe becomes reversible in the field of digitally expanded cinema and no longer reflects the psychology of cause and effect. Repetitions, the suspension of linear time, temporal and spatial asynchrony blast apart classical chronology. Multiple screens function as fields in which scenes are depicted from a multiple perspective, their narrative thread broken.

Linearity and chronology, as classical parameters of narration, fall victim to a multiple perspective projected onto multiple screens. Asynchronous, non-linear, non-chronological, seemingly illogical, parallel, multiple narrative approaches from multiple perspectives projected onto multiple screens are the goal. These narrative procedures comprising a “multiform plot” have been developed with reference to and oriented toward such rhizomatic communication structures as hypertext........

These narrative systems and scripts have a certain algorithmic character. Narration becomes a machine, a plot-machine, an engine. (p124)