[Thesis] Final Presentation

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My Thesis is about Dream.

For me, Dream has been another world where I can experience another feeling and situation which is different from the reality. So I want to bring the images and feeling from the dreams to the reality. This desire drives me to bring this question. “Can I recreate my dream?”

A dream is made of our everyday life. During we are awakened, we see, hear, and feel a lot of things in reality. Those are too much to remember. So during we are sleeping, our brain arranges this. Sort out memories and put into the long term memory box from the temporary memory box. Our dream is made during this situation. While sorting out the memories our conscious mind loses some pieces of our memory which is not put into a long term memory box. These debris will be shown up in our dream and they change their image and function of themselves with unrealistic way. I want to focus on this part more for my project.

Followed by Gaston Bachelard, there is a terminology, material imagination. This means that there are two kinds of imaginations, formal imagination and material imagination. The material imagination is created from the formal imagination and filtered by weltanschuung, the way of view the world. For example, our imagination of light will be different each other. I think the way of absorbing reality and showing in dream mechanic is same as this. The imagination in dream will be filtered by our weltanschauung and changed, And, while we are telling or expressing the story of dream, the imagination will be filtered by our interpretation and changed their meaning and image again. The object is constantly changed by different filter.

So I want to build a prototype which has same mechanic with this. I created a box, which has 4 different filters. So there is only one object inside of the box, but people can see the different images from the filters.

My final project’s structure will be this. One object. and creating 4 images. There are different kinds of filters which has different meaning. And one of the filter, I want to put one interaction into one filter which can let participant also can be a filtered of themselves. The sensor will be pulse sensor of brain wave sensor, so the imagination will be changed by their status.

Personally, the narrative is the most important thing in this project, so now I am more concentrating on the narrative part. And hopefully, create great story and express on my project.


[Motion3] The Little boy

test_141115 1https://vimeo.com/111957343


The little boy always stand alone at night no matter it is rainy, snowy, windy, and lighting.

He is waiting for something. His friends come to him and wait for something with him.

Finally, he meet the something. It was a full moon which looks perfectly same as him.

[Research] Narrative and Understanding Persons_Daniel D. Hutto

We as a species might be appropriately named Homo narrans rather than Homo sapiens.

R.A. Neimeyer, ‘Community and Coherence: Narrative Contributions to the Psychology of Conflict and Loss’, Narrative and Consciousness: Literature, Psychology and the Brain, G. D. Fireman, T. E. McVay, and O.J. Flanagan (eds.) (Oxford: Oxford University Press, 2003),167.

Reasoning of this sort is predicated upon the strong claim that ‘our interpretation of ourselves is constitutive of what we are’. 

C. Taylor, ‘Self-Interpreting Animals’, Human Agency and Language (Cambridge: Cambridge University Press, 1985), 47.

The fashioning of any self worthy of the name is the outcome of a peculiar kind of hermeneutic activity. Consequently, personhood is not an automatic birthright of all human beings – and it looks like it may be forever denied to other species of animal. Schechtman makes explicit this consequence of the strong reading of the narrative self-constitution view: ‘Some, but not all, individuals weave stories of their lives, and it is their doing so that makes them persons’.

M. Schechtman, The Constitution of Selves (Ithaca: Cornell University Press, 1996), 94. The clear implication is that those unable to tell stories about themselves – those who cannot self-interpret, although immune from self-deception, buy this at the cost of being cut off from the possibility of self-knowledge and ethical development.

[Research] Stickboy

Stickboy -- Animation Montage-HD 1 Stickboy -- Animation Montage-HD 2 Stickboy -- Animation Montage-HD 3 Stickboy -- Animation Montage-HD 4 Stickboy -- Animation Montage-HD 5 Stickboy -- Animation Montage-HD 6 Stickboy -- Animation Montage-HD 7 Stickboy -- Animation Montage-HD 8 Stickboy -- Animation Montage-HD 9 Stickboy -- Animation Montage-HD 10 Stickboy -- Animation Montage-HD 11 Stickboy -- Animation Montage-HD 12 Stickboy -- Animation Montage-HD 13 Stickboy -- Animation Montage-HD 14 Stickboy -- Animation Montage-HD 15 Stickboy -- Animation Montage-HD 16


Stickboy, An Opera in Three Acts
Music composed by Neil Weisensel
Libretto by Shane Koyczan, based on his book, Stickboy

Late last year, Shane Koyczan and Vancouver Opera asked if we’d like to partner on a brand new opera. We had never worked with projections, long-form animation, or live performance (not to mention opera!) before, so of course we said: yes please!

Ten months later, our work is being projected over three massive screens, illustrating over 40 background settings and dark inner-workings of the main character in a 2-hour long stage performance called Stickboy. You can see it live in Vancouver until November 7, 2014 (visit vancouveropera.ca for more info).

Animation Credits:
A collaboration with Shane Koyzcan and Vancouver Opera
Creative Direction: Leah Nelson, Jorge R. Canedo Estrada & Henrique Barone
Producer: Teresa Toews
Art Direction: Jorge R. Canedo Estrada
Concept and Storyboard: Jorge R. Canedo Estrada, Henrique Barone & Leah Nelson with help from Rachel Peake & Shane Koyzcan
Design: Henrique Barone, Lucas Brooking, Jorge R. Canedo Estrada, Gergely Wootsch & Shawn Hight
Animation: Jorge R. Canedo Estrada, Henrique Barone, Shawn Hight, Nicholas Ferreira, Marisabel Fernandez

Animation Montage:
Voiceover: Shane Koyczan
Music: Hand Covers Bruise, Reprise by Trent Reznor and Atticus Ross
Edit: Jorge R. Canedo Estrada

[Research] The Vanishing of Ethan Carter

Screenshot 2014-10-27 17.24.24 Screenshot 2014-10-27 17.24.52 Screenshot 2014-10-27 17.27.17

The Vanishing of Ethan Carter is a first-person mystery game focused on exploration and discovery.

You play the game as Paul Prospero, an occult-minded detective who receives a disturbing letter from Ethan Carter. Realizing the boy is in grave danger, Paul arrives at Ethan’s home of Red Creek Valley, where things turn out to be even worse than he imagined. Ethan has vanished in the wake of a brutal murder, which Paul quickly discerns might not be the only local murder worth looking into.

Inspired by the weird fiction (and other tales of the macabre) from the early twentieth century, The Vanishing of Ethan Carter aims to significantly evolve immersive storytelling in games. While it features a private detective and quite a few mental challenges, The Vanishing of Ethan Carter is not an especially puzzle-ridden game. Our focus is on atmosphere, mood, and the essential humanity of our characters.

Still, the discoveries won’t happen on their own, or without your help. Using both Paul’s supernatural skill of being able to communicate with the dead, and your own powers of observation, you will discover the mystery behind a trail of corpses, the roots of a dark ancient force lurking in Red Creek Valley, and the fate of a missing boy.
Introducing Site
Game Developers

[Research] Narrative and Understanding Persons_Daniel D. Hutto

Our capacity to create, enjoy and benefit from narratives so defined – be they factual or fictive – surely sets us apart from other creatures. Some, impressed by the prominence of this phenomenon in the traffic of human life, have been tempted to deploy that famous Aristotelian formula, holding that we are, inter alia, not just social or rational or political animals but that we are also rightly distinguished as narrative or story-telling animals.

Daniel D. Hutto, “Narrative and Understanding Persons” (Royal Institute of Philosophy Supplement:60) 1.

~distinct claims that narratives are implicated in, if not essential for: (a) enabling us to exercise our imaginations in unique ways; (b) developing our everyday understanding of actions performed for reasons; and (c) external reflection, evaluation and orientation in our understanding of the situations of ourselves and others.

Daniel D. Hutto, “Narrative and Understanding Persons” (Royal Institute of Philosophy Supplement:60) 2.