# 관객의 손끝에서 도시를 콜라주 Canonical URL: https://jeanyoon.ch/oi/texts/banpo-xism-artist-notes-2025-08-12 Type: essay / research note Author: Jeanyoon Choi (최정윤) Date: 2025-08-12 ## Full text Short text, version 1 This work is a web-based installation made of multiple devices. On a "City-Field" of Yeongdeungpo built as a 3D digital twin, the audience produces "happiness" by touch, and that act transforms the city's topological structure in real time. This "happiness" multiplies into "hope" and "future" according to simple arithmetic rules, and covers Yeongdeungpo's organic landscape, where finance, art and labour were mixed together, with the uniform desire called "Banpo-Xism". But the true face of the work lies in opening a possibility of subversion rather than conformity. The audience goes beyond simple participation to become the subject of a Dionysian play, twisting the system's rules directly or cooperating with others to make unpredictable chaos emerge. This play of signs, over-participation and caricature exposes the system's values as empty signs (simulacra), while pushing its rules to the extreme to induce system overload. At the moment the artificial symbolic order finally cracks and the city's latent face, the real, returns through the gap, the work fundamentally asks again what the future city we hope for looks like. Short text, version 2 This work is an interactive web work made of multiple devices (interactive stations, a system panel, controllers) and completed by the audience's participation. On a Yeongdeungpo built as a 3D digital twin, the audience touches their phones as if playing a game, producing countless units of "happiness", and these touches deform the topological structure of the virtual urban environment on the surrounding screens, distorting the city-field. The happiness produced here generates "hope" and "future" in a chain, according to reductive system rules that satirise the achievement society (happiness + happiness = hope). In this process, Yeongdeungpo's organic city-field, where finance, art and labour mix, is covered by an artificial structure of uniform desire symbolised by "Banpo-Xism". But the more endlessly happiness is produced, the more the system exposes, by itself, that its value is nothing but an empty sign (simulacrum). By over-participating in the system, the audience joins a "system overload" that paradoxically exposes the ideological emptiness inside it. Through the return of the real, we come to reflect on the true meaning of the happiness, hope and future city we dream of. Notes A language game. 3! = 6 hope-future-happiness hope-happiness-future happiness-future-hope happiness-hope-future future-hope-happiness future-happiness-hope Overturning the rules of calculation and exchange: look at Tom Sachs. It is like a currency rate. Experiments in generating and dissolving rhythm must go along with it... Cycle: cyclicality, the cyclicality of the city. A pop feeling? A parametric interface? Take colour. How does this relate to Banpo-Xism? A feeling like The Grand Budapest Hotel + The Florida Project. Intense colour, happiness stacked. It has to be kind: that is the job of the output dashboard. The problem of staging the opening? Minimalism? Kanye? Runaway? Option 1: prepare an inter-screen rhythm? Option 2: just... like Blob Opera. Free, yet scalable. Blob Opera's interaction: the archetypal example of instrumental interaction. Free, while the parameters stay hidden. The whole 2D mobile phone is a complete canvas! And whatever you choose... there is not much to lose. Diagram: diagram, infrastructure, the virtual. And this transformed infrastructure correspondingly changes the superstructure. Collaging the city: at the audience's fingertips, the city gets collaged and made into a mosaic. How do you play with this happiness, hope and future? The city (a living organism) is moved and designed not by what is visible but by its infrastructure, topological structure, relations and forces. At present that is Banpo-Xism, the logic of reductive happiness... The goal is to overturn it. The narrative structure I want to try: 2001: A Space Odyssey. Beginning: exploration → the moment of "Nein": against HAL → discovery: Ubermensch. Idle → first interaction... the moment of overturning! → topological playing. The city is an instrument. The city is a vast symphony! The interaction experience I want to give: collaging, reconstructing, mosaicking the city at the audience's fingertips. An experience of conducting and generating. "The degree of internal diversity", "the arrangement of heterogeneity". Force, generation, transition, collision, movement. Rearrangement, force, regeneration, transition: the projection of the will to power. Contrasting programmes: the copy-paste APT city versus the organic city. Many geometric "programmes" and "stagings" are possible. The Chronology. The contrast between a tidy city and an organic city. A Venn-diagram programme: a topological programme. A 50-degree rotation, segmentation. The same city fragments: stretching, then leaving them still, then stretching again. A massage. How will I play, animate, stage them? A study of scale: a study of surreal contrasts of scale. Topology of cities! A one-stroke drawing, the happiness circuit: a made by joining happy points. Visualisation of urban fabric, emergence and networks: forces stretching. Distortion caused by the city-field. Surrealism: a surreally reconstructed urban landscape. Reconstructing urban fabric through interaction. A Dada-influenced montage and collage of the city. Re-sensing the 3D digital twin through participation rather than spectation. Repetition compulsion: system overload. The shape of the system (the infrastructure): a diagram. Change this structure, overturn it, change positions, swap positions. --- 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.