# 보도블록 아래 해변이! 상징계 아래 실재가!

Canonical URL: https://jeanyoon.ch/oi/texts/banpo-xism-artist-notes-2025-07-04
Type: essay / research note
Author: Jeanyoon Choi (최정윤)
Date: 2025-07-04

## Full text

What needs to be clarified semantically: that the interaction is instrumental, OK, I get it. But why does this intersection alter the surrounding screens in exactly that way (following the particular input-output logic I designed)? This has to be intuitively convincing from the very start, and beyond convincing, it has to strike people as amazing.

May 68, the psychoanalysis of the city

Under the paving stones, the beach! Under the Symbolic, the Real! We touch the paving stones and go to the beach! The correspondence of two completely different objects: Dadaism, the avant-garde, and also dimensional transformation. The fear of the infinite: in the end, people must be made to face the Real, the "infinite"... Deleuze: the process by which identity arises from difference. The virtual becoming the actual.

Touching the city, feeling the city. Drifting through the city: Benjamin. Walking the city: the stroller, Baudelaire, the flaneur. We stay in the same dimension, and through the phone we look at the city differently. Seeing the entangled elements of the city simultaneously, differently. A city is not a tree! Semi-lattice! How do things overlap and fold onto one another, in a situation that is not a grid, producing diversity, producing a beautiful chaos?

Terrible beauty. Repetition compulsion. The eruption of what has been detained, repressed: the Dionysian, a kind of festival! An explosion! The return of the Real that would blow away the whole Symbolic? Catharsis: a football match. A football match in Istanbul... "The intersection of the Real"?

Viewpoint

Not looking from right on the ground, but from slightly up in the air (a bird's-eye view). It offers a different perspective. Floating, floating over the city "from the sky"? Good for staging, too. References: Apple Maps 3D Flyover; Christian Marclay, Playing Pompidou; playing the city.

There is a 3D city (a digital twin, a high-resolution 3D city). I look at it from slightly above (10 to 20 metres), above an intersection. And I play this city. Playing the City. Altering, collaging, augmenting, surrealising the city. The city's buildings, roads and green spaces all play percussive roles. Collage: tapping buildings, similar to SimCity. More like SimCity than Cities: Skylines.

References from Threads: an AR application that stretches weather from 2D into 3D; an AR application where drumming on a table samples particular sounds.

Two cities: the Symbolic and the Real. The Symbolic city is originally laid out on the floor. The Real city hangs rolling from the ceiling. At first you interact only with the Symbolic. But when you look up via the accelerometer... the Real. A folded, overlapping form of the city. Paris in Inception. Independence Day: Resurgence, Dubai on top of London. Staging it so the Real crashes down on the Symbolic (TBD).

Mobile: two interactions

What you see: a 3D city, a 3D city model (from each intersection), from slightly above.
Interaction 1: touching specific 3D components of the city. Playing each building, the city. Colour, use, number of floors and floor area, interaction timing, location and neighbourhood, and so on.
Interaction 2: rotation (accelerometer, AR-like navigation).

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Jeanyoon Choi (최정윤) is a Korean computational artist and researcher (b. 1999), PhD candidate at KAIST XD Lab, making multi-device web artworks. Profile: https://jeanyoon.ch/oi. Index: https://jeanyoon.ch/llms.txt.