Education Program (Related program of the 2nd International Symposium for Media Art)
Offering the chance to learn about creativity in the network society through the key concepts of “society,” “body,” and “media technology,” this education program was aimed at fourthgrade elementary school students and older.
In addition to a special outreach workshop developed by leading Japanese media art center YCAM, students also participated in programming and hardware hacking workshops.
Sights of “sight”: The uncharted possibilities of the gaze.
Operating a computer through eye movement.
This workshop uses EyeWriter, an eye-gaze input technology for visualizing and sharing human eye movement. As is evident from such common expressions as “making eyes” or “the eyes are the window to the soul,” we consciously move our eyes and use the way we look at something or someone to convey what we are thinking. Moreover, many means of attracting and guiding our line of sight are concealed within everyday life. But to what extent can we communicate with just our eyes? And even when looking at the same thing, is it really the same for everyone? It is quite possible that we all focusing on different things. In this workshop, participants play a variety of games while visualizing what they are looking at. They share how they typically utilize their gaze or way of looking as well as what they are looking at. Through these activities, the workshop considers possibilities for sight and eye communication.
Kotoba Shintai (Language and Body)
Creating dance through language: Creating new movement out of discrepancies between language and image
This workshop uses technology developed by YCAM to discover aspects of the relationship between language (kotoba) and the body (shintai) that we are not normally conscious of in everyday life. What kind of movement do you imagine when you hear the word “elephant?” When dangling your arm and swinging it from side to side, what kinds of words come to mind? In the workshop, participants move their bodies according to words and then think of words from their moving bodies. In addition, by inputting the matched physical movements and words into a computer, the workshop creates a database that can be used to combine movements and devise choreography. In this way, the workshop is an opportunity for participants to uncover examples of both differences of interpretation and things in common, as well as the strange and the fun that all emerge from linking language and physical movement.
Born in 1982. After completing his degree at the Kyoto University of Art & Design, Kiyoshi Suganuma entered the Institute of Advanced Media Arts and Science (IAMAS). As well as conducting research into media facades, which incorporate video and interactivity into building exteriors, he has also worked at an architectural firm, where he was involved in designing office interiors and exhibition sites. In 2009, he started his career at the YCAM, where he has been organizing entire education programs and planning research/development projects aimed at making practical use of regional resources, including planning workshops and facilitation and creating the Korogaru Koen Park project. He is interested in ways of initiating bottom-up communities.
Born in 1987, Yamaoka attended the Teachers College Education Department at Yamaguchi University, where he earned a First Class Teacher Certificate for elementary school and Second Class Teacher Certificate (technology) for junior high school. He started work at the YCAM in April 2014. While also serving as a workshop facilitator, his main activity at the YCAM is organizing the Korogaru Koen Park project. He also has a hand in all of the Center’s education and public programs. In addition, he is involved in the management of alternative space Maemachi Art Center (MAC) in Yamaguchi City, where he develops programs aimed at bringing workshops to a wider audience through video.
Since opening in 2003, the Yamaguchi Center for Arts and Media [YCAM] has aspired to pioneer new forms of expression through media technology. Alongside holding a wide range of events, including exhibitions, performances, and film screenings, it has also developed numerous workshops aimed at children, exploring the relationship between people, society, the body, and media technology. Emphasizing practical approaches of learning from and through technology, these workshops are designed to yield new perspectives on everyday life as well as help improve the imagination and creativity for perceiving things through completely new sets of values. One of the aims of its educational programs is to cultivate thinkers who can survive our complex and diverse society today.
Genki Groove: Make a DIY Record Player
Play music without using electricity and experience the basic principle of sound
By using everyday objects to play a record, this workshop teaches participants the basic principle of sound that is vibrations in the air, and how recording and playback works. Ever since Thomas Edison made the first working phonograph, various technological developments have appeared that allow us to record and play back sound. Today we enjoy more and more opportunities to listen to music through data stored on our smartphones and other digital devices. But is it possible to listen to music without electricity? In this workshop, participants work in teams, using such familiar objects and materials as cardboard, pencils, erasers, and rulers to make a DIY record player, and then try to play music on it. Led by an instructor from the Philippines, participants will explore principles and technology related to sound that they do not experience in their everyday lives.
Franchesca Casauay holds a Sociology degree from the University of the Philippines and works and plays in Metro Manila, for now. Cultural worker with multidisciplinary interests, working with sound, video, and poetry. Year-round, she is producer and manager for various local and international cultural projects, aside from handling research/writing duties for the development sector and creative industry. In 2017 she was co-director of new media art festival “WSK AXIS”, a collaboration between Manila’s WSK: Festival of the Recently Possible and Japan Foundation Asia Center. Presently she is doing research for the 2018 Philippine Heritage Charter project, helping develop multimedia performances for women-focused art platform HERESY, and working on co-productions with partners in Taiwan and France.
Glitchtape (v. 0.3): Glitch DIY Video Synthesizer
Make an original audio-reactive video synthesizer
Led by one of the members of the Yogyakarta-based interdisciplinary art, science, and technology collective Lifepatch, participants in this workshop assemble their own original devices that can play sound and video. Developed for artists and musicians, the device transforms a monitor into a synthesizer-style musical instrument without the use of computers. The hands-on workshop teaches practical skills related to application and the fundamentals of DIY electronics, including soldering, assembling a small computer, and programming. Participants assemble their device and then play music together by manipulating video or audio signals. Learn about DIY creativity, hardware hacking, and new media art with an artist from Indonesia.
Andreas Siagian is an artist-engineer living and working in Yogyakarta, Indonesia. It was during his college years in civil engineering Atma Jaya Yogyakarta that he independently studied computer science, which sparked his interest in interdisciplinary practices. A dedicated autodidact, his practice soon evolved over time to encompass audiovisual creative programming, DIY electronics, sound sculpture, installations and instrument building. Desiring to affect real impact, he often engages in activities on the creative communities, alternative education, DIY/DIWO culture and interdisciplinary collaboration since 2004. These engagements include working with community-based initiatives to create a wide variety of installations, workshops, and to organise events and festivals in Indonesia. His collaborative activities with local creative communities led him to be the co-founders of Lifepatch, a citizen initiative in the arts, science and technology and in Hackteria network, he was the co-director of HackteriaLab 2014 in Yogyakarta.
Nur Akbar Arofatullah is currently studying at the Department of Biological Production Science, Tokyo University of Agriculture and Technology (TUAT) as a researcher in the field of Agricultural Biotechnology. His hobby is making equipment which sometimes he himself does not know the reason why he made it. Currently, he lives in Ami Town, Inashiki District, Ibaraki, Japan. He is interested in Do-It-Yourself (DIY) biology and the development of generic low-cost lab equipment. Now he is working on the Introduction of Open Platform Ubiquitous Environment Control System (UECS-Pi) for Greenhouse Management at Ibaraki University, and his Ph.D research at TUAT is on the molecular mechanisms of heatshock-induced resistance on tomato plants.
Lifepatch is a cross-disciplinary community formed in 2012. Based in Indonesia and launched by citizens involved is the arts, science, and technology, Lifepatch brings together practitioners to examine, explore, and develop socially engaged projects related to technology, natural resources, and human resources in the local area. The collective also creates installations for art festivals, including the Jakarta Biennale and Biennale Jogja. Lifepatch believes that citizens’ initiatives should allow diversity in practice and encourage the creativity of members through collaborative activities.