https://www.almichu.com alm chung Fri, 24 Apr 2026 15:50:05 +0000 https://www.almichu.com en https://www.almichu.com/index Sun, 21 Nov 2021 02:46:23 +0000 alm chung https://www.almichu.com/index view by collection: &nbsp; { Pedagogy 페다고지 }, &nbsp; { p5js Friendly Errors 친절한 오류 },&nbsp; { Generative Abstract Comics 생성형 추상 만화 }, &nbsp; { Generative AI Models 생성형 AI 모델 }, &nbsp; { Content-Aware Fill 컨텐트-인식 채우기 }, &nbsp; { Games 게임 } https://www.almichu.com/Directions-of-Abstraction-Group-Crit Fri, 30 Jan 2026 17:02:12 +0000 alm chung https://www.almichu.com/Directions-of-Abstraction-Group-Crit 추상의 방향들: 비평회 Directions of Abstraction: Group Crit 연구 프로젝트, 2026<img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/782db25035d365617b46363b964a1015494a87c75180c54d3acd90cb2e6fd5a8/byoi-horizontal.jpg" data-mid="249171338" border="0" src="https://freight.cargo.site/w/1000/i/782db25035d365617b46363b964a1015494a87c75180c54d3acd90cb2e6fd5a8/byoi-horizontal.jpg" /> ︎연구 참여 신청서&nbsp;︎ ︎ I N V I T A T I O N “추상(abstraction)”을 신중하게, 삐딱하게, 엉성하게, 호기심 혹은 애증을 담아 해석해보며 기술 비평 언어를 확장하는 연구 활동을 함께하실 분들을 찾고 있습니다.&nbsp; 코딩 및 컴퓨터공학 지식 유무, 작업 미디엄, 경력 상관없이 기술 비평에 진지하게 임하고 계시는 분들 모두 환영합니다. ︎B A C K G R O U D 연구 계획: 미디어 아트 맥락에서는, 여느 문화적 산물을 비평하듯, 소프트웨어 또한 비평적으로 논해집니다. 그렇다면 이런 기술+문화적 산물을 비평할 때, 우리는 어떤 렌즈와 언어들을 사용하고 있을까요? 꼭 기술이 정해둔 맥락에서 출발하지 않더라도, 혹은 주류 기술 문화가 정해둔 층위(level of abstraction) 방향에서 어긋나더라도, 기술을 “파고들어가는” 비평법을 고안해볼 수 있을까요? 이 연구는 이런 질문들에서 출발해 (I) 소프트웨어 비평 방식을 한국에 기반을 두신 작가분들과 함께 고민하고, (II) 연구자가 “추상”에 촛점을 두고 만든 소프트웨어 비평 프레임에 대해 피드백을 받아보려 합니다. 연구자 소개:정앎(@nekofutura)은 서울과 샌디에고를 오가며 실리콘밸리의 생산 논리를 해부하고 굴절하는 전략들을 탐구해오고 있습니다. 이전에는 크리에이티브 코딩 오픈소스 라이브러리 p5.js의 친절한 오류 메시지 시스템(Friendly Errors)에 기여했었고, 만화 덕질을 하며 이런저런 진(zine)을 만들기도 했습니다. 현재는 캘리포니아 대학(UCSD)에서 비평적 소프트웨어 디자인 방식을 연구하고 있습니다. ︎F O R M A T &lt;추상의 방향들&gt; 연구는 3개 세션으로 나누어 진행됩니다: I. BYOI 게더링: 비평회 사전 모임: 6/20 토요일 3 〰️ 6pm.7-8월에 온라인으로 진행할 인터페이스 그룹 비평/연구회 &lt;추상화의 방향들&gt; 참여 희망하시는 분들을 위한 사전 모임입니다. 각자 준비해온 사물과 문장을 소개하며 인사나누고, 7-8월 세션에 대한 소개 및 Q&amp;A를 진행할 예정입니다. (7/10 연구 계획 변경: 파트 II와 III의 순서를 바꿔 7월에 개별 인터뷰를, 8월에 그룹 비평회를 진행합니다.) II. 소프트웨어 그룹 비평회 (group crit): 8월 중 그룹별로 날짜/시간 상의하여 진행. (90분 소요 예상)3인 그룹으로 모입니다. 제시된 몇몇 소프트웨어를 함께 분석하며, 이들의 인터페이스와 인터렉션 디자인을 비교 · 비평합니다. 과정 중 비평 도구 시연이 있으며, 그외 자유로히 의견나누는 분위기로 진행합니다. III. 개별 인터뷰: 7월 중 참가자 별로 날짜/시간 상의하여 진행. (30분 소요 예상) ︎ P O T E N T I A L &nbsp; O U T C O M E연구 데이터 수집 및 사용 안내:︎ 세션 II 비평회와 III 인터뷰 zoom 화상 미팅은 연구 데이터로 기록, 수집됩니다. 기록된 데이터의 보관, 처리, 파기 방식은 캘리포니아 대학 연구윤리위원회의 방침을 따릅니다 (참여자 허락 없이 원본 데이터 및 인적정보 사용 불가). ︎ 연구 내용 출판이나 전시가 결정될 경우, 공개 전 해석 및 분석 결과는 모든 참여자분들께 공유되며, 인용 정확성 및 익명화 희망 여부를 참여자 개인별로 체크합니다. 사전모임, 비평회, 그리고 개별 인터뷰에서 수집된 작업물과 대화 내용은 연구 팀(정앎, PI: Philip Guo)이 인간-컴퓨터 상호 작용 (Human-Computer Interaction) 연구나 사회과학 실증 연구에서 표준적으로 쓰는 질적 자료분석법(thematic analysis, abductive analysis)을 따라 분석할 계획입니다. 분석 결과는 국제 인간-컴퓨터 상호 작용 (Human-Computer Interaction) 및 디자인 학회에 논문 형태로 2026년 하반기부터 2027년 상반기 사이 첫 투고할 예정입니다.지난 논문 예시: Perpetual Teaching Across Temporary Places: Conditions, Motivations, and Practices of Media Artists Teaching Computing Workshops. 인터뷰를 통해 미디어 아트 작가들의 교육 활동과 의도를 분석 · 소개한 이 연구는 2024년도 국제 컴퓨팅 교육 연구 학회(ICER, ACM Conference on International Computing Education Research)에 출판 · 발표되었습니다. 여기까지 읽어주셔서 감사합니다. 기술 비평에서 비슷한 고민을 해오신 분들, 이번 기회에 호기심을 가지신 분들 모두 환영합니다. 연구 참여에 관심있으신 분들은 연구 사전 모임인 BYOI 게더링에 신청해주시길 바랍니다: ︎&nbsp;연구 참여 신청서&nbsp;︎ https://www.almichu.com/Low-Tech-Schooling-High-Tech Fri, 31 Mar 2023 06:09:59 +0000 alm chung https://www.almichu.com/Low-Tech-Schooling-High-Tech 스쿨링: 사사로이 배우는 기술 Low Tech Schooling High Tech 도서, 2025 &lt;스쿨링: 사사로이 배우는 기술&gt;은 전유진 작가와 김승범 작가와 공저한 책으로 기술 교육에 대한 에세이와 인터뷰 및 행사 기록들을 담아 2025년에 출간했다. 아트북페어 언리미티드 에디션 17에 &lt;펨텍톡&gt; 부스로 참여했고, 또한 &lt;우리들의 나머지 공부&gt; 토크 및 참여형 워크숍을 통해 다양한 서울의 독자들을 만났다. sample pages ︎ <img width="2160" height="2700" width_o="2160" height_o="2700" data-src="https://freight.cargo.site/t/original/i/39d2a226dfb00b5bcae0c940008c7b3f6b15c7c4eb0d8ef0bd47dce19b4ed838/insta-post-0.jpg" data-mid="244403778" border="0" src="https://freight.cargo.site/w/1000/i/39d2a226dfb00b5bcae0c940008c7b3f6b15c7c4eb0d8ef0bd47dce19b4ed838/insta-post-0.jpg" /> <img width="2220" height="2700" width_o="2220" height_o="2700" data-src="https://freight.cargo.site/t/original/i/993f34ec0b8f635f0a0af76960af054f35f6d71a4ae4c3948f9a5a4451514259/insta-post-2.jpg" data-mid="244403785" border="0" src="https://freight.cargo.site/w/1000/i/993f34ec0b8f635f0a0af76960af054f35f6d71a4ae4c3948f9a5a4451514259/insta-post-2.jpg" />3개 에세이와 인터뷰 샘플입니다. <img width="2220" height="2700" width_o="2220" height_o="2700" data-src="https://freight.cargo.site/t/original/i/96a4b929b32570a1b587ec0ebc75799a142f781b4fc12b4a652e71bd5ef43192/insta-post-3.jpg" data-mid="244403780" border="0" src="https://freight.cargo.site/w/1000/i/96a4b929b32570a1b587ec0ebc75799a142f781b4fc12b4a652e71bd5ef43192/insta-post-3.jpg" /> <img width="2220" height="2700" width_o="2220" height_o="2700" data-src="https://freight.cargo.site/t/original/i/fd70a4cb1a2141a3306a5fba84823b231c6c25f651d32368f4cdef6c64a33049/insta-post-4.jpg" data-mid="244403781" border="0" src="https://freight.cargo.site/w/1000/i/fd70a4cb1a2141a3306a5fba84823b231c6c25f651d32368f4cdef6c64a33049/insta-post-4.jpg" /> <img width="2220" height="2700" width_o="2220" height_o="2700" data-src="https://freight.cargo.site/t/original/i/0ceb1da1ab7c681a41577a8b128972acf30b847a1402f8a410120f1bf859ed66/insta-post-5.jpg" data-mid="244403782" border="0" src="https://freight.cargo.site/w/1000/i/0ceb1da1ab7c681a41577a8b128972acf30b847a1402f8a410120f1bf859ed66/insta-post-5.jpg" /> <img width="2220" height="2700" width_o="2220" height_o="2700" data-src="https://freight.cargo.site/t/original/i/694313f69b92066c0f099134f26f3cb147773e4d91013b2f543f41858f5ea215/insta-post-6.jpg" data-mid="244403784" border="0" src="https://freight.cargo.site/w/1000/i/694313f69b92066c0f099134f26f3cb147773e4d91013b2f543f41858f5ea215/insta-post-6.jpg" /> <img width="2220" height="2700" width_o="2220" height_o="2700" data-src="https://freight.cargo.site/t/original/i/8ab1e9113b6f320212694144d614618a9917d088e1cd2b8f8327cc1e6739b2e1/insta-post-7.jpg" data-mid="244403779" border="0" src="https://freight.cargo.site/w/1000/i/8ab1e9113b6f320212694144d614618a9917d088e1cd2b8f8327cc1e6739b2e1/insta-post-7.jpg" /> <img width="2220" height="2700" width_o="2220" height_o="2700" data-src="https://freight.cargo.site/t/original/i/3ed0d813f94a6a84f0beaaa09ce17cf6f0c4f3f720bcb799cbc0f463a710c84c/insta-post-8.jpg" data-mid="244403783" border="0" src="https://freight.cargo.site/w/1000/i/3ed0d813f94a6a84f0beaaa09ce17cf6f0c4f3f720bcb799cbc0f463a710c84c/insta-post-8.jpg" /> https://www.almichu.com/Post-AI-Teaching-Survey Fri, 24 Apr 2026 15:50:05 +0000 alm chung https://www.almichu.com/Post-AI-Teaching-Survey <img width="2332" height="1080" width_o="2332" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e01170b0963ee5db758ed929deebdd9ef205a011bccb2fbe1047ada14d8481ae/post-ai-teaching-banner-50.png" data-mid="247895366" border="0" src="https://freight.cargo.site/w/1000/i/e01170b0963ee5db758ed929deebdd9ef205a011bccb2fbe1047ada14d8481ae/post-ai-teaching-banner-50.png" />Post(!?)-AI Teaching Community Survey: behind the scene 2026 Community Survey Link:&nbsp;bit.ly/pedagogy-after-AI Hi, I’m Alm Chung, leading this survey project in collaboration with Gray Area. You may be wondering the context behind this project, so I’d like to share a bit of the trajectory it has taken. This survey was conceived as a continuation of my ongoing project on archiving the teaching practices of new media artists. Since the project began, new AI tools have become widely available and significantly shifted both practice and discourse in education. We are hoping to capture current thoughts and feelings about AI's impact on teaching within our community, while continuing to deepen the work we've been developing: <img width="1326" height="1130" width_o="1326" height_o="1130" data-src="https://freight.cargo.site/t/original/i/7220c4ccc632e85e34b1e0339e0d00bb250e02d37cdaf71d9a1e9bf48df2b983/Screenshot-2026-04-24-at-9.53.28AM.png" data-mid="247568047" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/7220c4ccc632e85e34b1e0339e0d00bb250e02d37cdaf71d9a1e9bf48df2b983/Screenshot-2026-04-24-at-9.53.28AM.png" /> In the first part of the series, I interviewed 18 new media artists about their experience teaching courses and workshops related to computing. I wanted to not only archive these accounts but to bring these voices into conversation with a more “traditional” computer science audience, questioning how CS education has narrowed the conditions, motivations, and practices of learning and teaching computing. This work was presented as Perpetual Teaching Across Temporary Places&gt; at ICER 2024. <img width="2160" height="2700" width_o="2160" height_o="2700" data-src="https://freight.cargo.site/t/original/i/39d2a226dfb00b5bcae0c940008c7b3f6b15c7c4eb0d8ef0bd47dce19b4ed838/insta-post-0.jpg" data-mid="247567079" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/39d2a226dfb00b5bcae0c940008c7b3f6b15c7c4eb0d8ef0bd47dce19b4ed838/insta-post-0.jpg" /><img width="2220" height="2700" width_o="2220" height_o="2700" data-src="https://freight.cargo.site/t/original/i/993f34ec0b8f635f0a0af76960af054f35f6d71a4ae4c3948f9a5a4451514259/insta-post-2.jpg" data-mid="247567086" border="0" data-scale="46" src="https://freight.cargo.site/w/1000/i/993f34ec0b8f635f0a0af76960af054f35f6d71a4ae4c3948f9a5a4451514259/insta-post-2.jpg" /><img width="2220" height="2700" width_o="2220" height_o="2700" data-src="https://freight.cargo.site/t/original/i/9d2b0d812e93638677f9be4bbed11517fa0acf72ada86ad45ecd8f49a5912921/insta-post-2-eng.jpg" data-mid="247750720" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/9d2b0d812e93638677f9be4bbed11517fa0acf72ada86ad45ecd8f49a5912921/insta-post-2-eng.jpg" /> The second part was a book, &lt;스쿨링: 사사로이 배우는 기술 Low Tech Schooling High Tech&gt;, focused on experience in self-organized learning spaces based in Korea. These cases emerged from a specific context, a highly utilitarian society shaped by government-driven cycles of rapid socioeconomic development. Along the way education became a tool for global-facing human-resource production, charged with an entanglement of triumph and trauma that is both visceral and collectively felt. Within this landscape, self-organized learning spaces have offered Korean artists a practical means of sustaining their art practice, unlearning past education, and searching for their own voice in a technological field still dominated by the US tech industry. (Publisher: FemTechTalk, Seoul)This survey continues that line of inquiry, marking the third part of the series. This time, we hope to hear from you directly about “post-AI” teaching experiences. AI has entered our classrooms, studios, and conversations quickly, bringing new possibilities alongside disorientation. We would like to hear how you are feeling about this moment and what you are trying in your teaching right now. From the responses gathered, we plan to publish a community report at the end of the year. Thank you for reading, and we hope you will consider taking part in this short survey. https://www.almichu.com/CODE-MEAL-KIT Fri, 31 Mar 2023 05:49:26 +0000 alm chung https://www.almichu.com/CODE-MEAL-KIT 기술 문화의 섭취법: 코드 밀 키트 Code Meal Kit Workshop series, 2022.제12회 서울미디어시티비엔날레 사전프로그램 《정거장》&nbsp;연계 워크숍 시리즈 (2022). ︎︎︎ 코드 밀 키트 웹사이트 Code Meal Kit website 〈코드 밀 키트〉는 컴퓨터 프로그래밍 언어인 ‘코드’로 상징되는 현대 기술 문화에 대해 질문을 던지고, 이를 함께 이야기하며 사회적 해석을 모색하는 모임이다. 7월 23일부터 10월 2일까지 매주 토요일 오전에 진행된 이 10주간의 워크숍은 ‘언어로서의 코드’, ‘프로그래밍 패러다임’, ‘IT 신화’, ‘문화 자본’, ‘오픈소스’ 등 다양한 소주제로 구성되었다. 각 회차는 코드와 관련된 편향된 인식, 기능 중심적 사고, 미래에 대한 기술 신화 등을 문화와 언어의 관점에서 확장해 관찰하고, 음미하고, 의심하는 방식을 제시했다. 워크숍에는 사전 공유된 읽기 자료를 바탕으로 각자의 질문을 품은 10명의 참여자가 회차별로 다르게 선정되었고, 매주 다른 ‘가상의 도시락’을 나누듯 친밀한 분위기 속에서 대화가 이어졌다. 참여자 각자의 생각과 고민은 카드 형태로 정리되어, 또 다른 배움의 방식으로 기능하는 교구로 완성되었다. <img width="750" height="1000" width_o="750" height_o="1000" data-src="https://freight.cargo.site/t/original/i/6cd6c7219f657854e1fca1ab002e161ba76d23f90575904f40de21acb3a9ca4c/8-smpb12-program-06-code-meal-kit-lee-euirock-08-comp-1000x.jpg" data-mid="244682775" border="0" data-scale="92" src="https://freight.cargo.site/w/750/i/6cd6c7219f657854e1fca1ab002e161ba76d23f90575904f40de21acb3a9ca4c/8-smpb12-program-06-code-meal-kit-lee-euirock-08-comp-1000x.jpg" /> <img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/f0ea0b1e8eaff435d2aec413f0adf504c4176af3385dc5a6f9dd955bb29af69b/2-smpb12-program-06-code-meal-kit-lee-euirock-02-comp-1000x.jpg" data-mid="244682774" border="0" src="https://freight.cargo.site/w/1000/i/f0ea0b1e8eaff435d2aec413f0adf504c4176af3385dc5a6f9dd955bb29af69b/2-smpb12-program-06-code-meal-kit-lee-euirock-02-comp-1000x.jpg" /><img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/bacf67f5a9419af51958cf244993e2d0637610969adb60a34479c3feefcf00e8/7-smpb12-program-06-code-meal-kit-lee-euirock-07-comp-1000x.jpg" data-mid="244682773" border="0" src="https://freight.cargo.site/w/1000/i/bacf67f5a9419af51958cf244993e2d0637610969adb60a34479c3feefcf00e8/7-smpb12-program-06-code-meal-kit-lee-euirock-07-comp-1000x.jpg" /> <img width="700" height="362" width_o="700" height_o="362" data-src="https://freight.cargo.site/t/original/i/c03627a8eb4d8d057404ace9d2cebca98d4dff33fec4496092953bb5033880c6/f_cards_2.jpg" data-mid="244682900" border="0" src="https://freight.cargo.site/w/700/i/c03627a8eb4d8d057404ace9d2cebca98d4dff33fec4496092953bb5033880c6/f_cards_2.jpg" /><img width="700" height="362" width_o="700" height_o="362" data-src="https://freight.cargo.site/t/original/i/946d07365320d7c16b9f892564bed34b5f3ae22ae0b833698df697fbb1a4d6cf/f_cards_1.jpg" data-mid="244682899" border="0" src="https://freight.cargo.site/w/700/i/946d07365320d7c16b9f892564bed34b5f3ae22ae0b833698df697fbb1a4d6cf/f_cards_1.jpg" /> <img width="3125" height="2083" width_o="3125" height_o="2083" data-src="https://freight.cargo.site/t/original/i/6b229008fcf745204b0be191f314f7aa5d558d4a67eacda08973f25e55d4bc91/meal-plate-web-a.png" data-mid="244682917" border="0" src="https://freight.cargo.site/w/1000/i/6b229008fcf745204b0be191f314f7aa5d558d4a67eacda08973f25e55d4bc91/meal-plate-web-a.png" /><img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/fc6a2579a1458c7f68d97014473b6a1387a5680aff8d701b1351b8c42abbfff8/3-smpb12-program-06-code-meal-kit-lee-euirock-03-comp-1000x.jpg" data-mid="244682777" border="0" src="https://freight.cargo.site/w/1000/i/fc6a2579a1458c7f68d97014473b6a1387a5680aff8d701b1351b8c42abbfff8/3-smpb12-program-06-code-meal-kit-lee-euirock-03-comp-1000x.jpg" /><img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/0e48daf3fc63d9ffce03d19e760afb6ca5839881b8acb11de36289754bbe131d/1-smpb12-program-06-code-meal-kit-lee-euirock-01-comp-1000x.jpg" data-mid="244682772" border="0" src="https://freight.cargo.site/w/1000/i/0e48daf3fc63d9ffce03d19e760afb6ca5839881b8acb11de36289754bbe131d/1-smpb12-program-06-code-meal-kit-lee-euirock-01-comp-1000x.jpg" /><img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/c1646dc2ffdc6d30f1885f56e7f11930b15c380808ff905bd2f661c6d4f7bf32/6-smpb12-program-06-code-meal-kit-lee-euirock-06-comp-1000x.jpg" data-mid="244682776" border="0" src="https://freight.cargo.site/w/1000/i/c1646dc2ffdc6d30f1885f56e7f11930b15c380808ff905bd2f661c6d4f7bf32/6-smpb12-program-06-code-meal-kit-lee-euirock-06-comp-1000x.jpg" /><img width="970" height="500" width_o="970" height_o="500" data-src="https://freight.cargo.site/t/original/i/10de3869623c10323c8b5cfbed08db4abee417161bcd06c16135432411fcc84b/f_cards.jpg" data-mid="244682901" border="0" src="https://freight.cargo.site/w/970/i/10de3869623c10323c8b5cfbed08db4abee417161bcd06c16135432411fcc84b/f_cards.jpg" /> https://www.almichu.com/p5-js-Friendly-Error-System Mon, 29 Jul 2019 14:02:48 +0000 alm chung https://www.almichu.com/p5-js-Friendly-Error-System p5.js: Friendly Error System Open source contribution to p5.js (javascript library for creative coding). 2017. 2021-2022. p5.js Friendly Error System ​(FES) provides supplementary error messages to make debugging process more accessible. ︎︎︎&nbsp;FES project write up ︎︎︎&nbsp;Current FES project page ︎︎︎&nbsp;p5.js github repo <img width="1440" height="820" width_o="1440" height_o="820" data-src="https://freight.cargo.site/t/original/i/db1bdd7b6991a663d0e68ceabb4cbcc4b94a7f2e68f5872c505670806d7f7aab/cover-3.jpg" data-mid="47981891" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/db1bdd7b6991a663d0e68ceabb4cbcc4b94a7f2e68f5872c505670806d7f7aab/cover-3.jpg" /> Starting from examining language-specific common error cases, I developed FES which creates console messages that can hint at the debugging solution rather than throw an error and exit. FES live exampleFES live example (with Korean intro) <img width="569" height="274" width_o="569" height_o="274" data-src="https://freight.cargo.site/t/original/i/ac44bf073b565b961a9c2d1d9a280df71a4c79ed8aaf71d7d0d807e242e743ed/Screen-Shot-2018-10-25-at-1.15.10-PM_569.png" data-mid="48008059" border="0" src="https://freight.cargo.site/w/569/i/ac44bf073b565b961a9c2d1d9a280df71a4c79ed8aaf71d7d0d807e242e743ed/Screen-Shot-2018-10-25-at-1.15.10-PM_569.png" /> JavaScript often allows “silent failures”, meaning the code will fail to execute the expected behavior without a warning (i.e. error messages) from the debugger. For example, JavaScript doesn’t support type checking by default, making errors in parameter entry harder to detect for new JavaScript developers. <img width="1200" height="1200" width_o="1200" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f252818e99708b02682a3bf560d7fb5ec7dfec13ce22ecfb76df860132eb32d5/FE06mSNVgAA42ih.jpeg" data-mid="126129567" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/f252818e99708b02682a3bf560d7fb5ec7dfec13ce22ecfb76df860132eb32d5/FE06mSNVgAA42ih.jpeg" /> From the 2017 FES project write-up:Consider how much time we spend on debugging. It’s easy to imagine how an effective debugger can cut down development time. What we often overlook is the mood we are in during the programming experience. After all, at the core, the experience of programming resembles an endless back-and-forth communication between the programmer and the debugger. The voice of a debugger will have an impact on new developers’ first impression and following coding experience. This is why designing a friendly debugger and error system is essential for projects with an outreach mission such as Processing and p5.js. Having a well-designed debugger written in the right tone can lower the barrier for inexperienced users. p5.js’s new feature, the Friendly Error System ​(FES), was developed with this idea in mind. Started from examining language-specific common error cases, we developed FES which creates console messages that can hint at the debugging solution rather than throw an error and exit. JavaScript often allows “silent failures”, meaning the code will fail to execute the expected behavior without a warning (i.e. error messages) from the debugger. For example, JavaScript doesn’t support type checking by default, making errors in parameter entry harder to detect for new JavaScript developers. So far, FES is able to detect and print messages for two kinds of errors: (1) validateParameters() checks a function’s input parameters to confirm it matches the inline documentation and (2) friendlyFileLoadError() catches file loading errors. We have integrated these two kinds of error checking to a selected set of p5 functions, but developers can add them to more p5 functions, or their own libraries, by calling the above FES functions. FES provides a generalized error message generation system, so more error types can be implemented in the future.To help beginners without requiring additional setup, FES is enabled by default in p5.js. In p5.min.js, it is completely disabled for efficiency. We understand that having an assistant system like FES can be counter-productive and it is possible to easily disable FES by setting `p5.disableFriendlyErrors = true;. I’ll be using p5.js with the default setting in all the following examples. Without further delay, let’s see FES in action in the ︎︎︎&nbsp;p5.js Web Editor (FES live example). https://www.almichu.com/p5-js-Friendly-Errors-i18n-Book Thu, 25 Nov 2021 18:03:27 +0000 alm chung https://www.almichu.com/p5-js-Friendly-Errors-i18n-Book p5.js: Friendly Errors i18n BookOpen source contribution to p5.js (javascript library for creative coding). 2021-2022. I wrote the internationalization (i18n) guidelines for making friendly errors with co-authors. Friendly errors are supplimentary error messages for p5.js library written in accessible language. It is a collection of essays that discuss issues arising from the i18n process from the perspective of the destination culture (as opposed to the source culture where technology disperse out). ︎︎︎ Friendly Errors i18n Book ︎︎︎ Project write up (Part I) ︎︎︎ p5.js github repo <img width="1394" height="958" width_o="1394" height_o="958" data-src="https://freight.cargo.site/t/original/i/28ef9636b0db8e666487ba4aa5574672d30bad7b7b49b783123d21bdc64fcea1/Screen-Shot-2021-08-24-at-9.08.17-AM.png" data-mid="125652757" border="0" data-scale="86" src="https://freight.cargo.site/w/1000/i/28ef9636b0db8e666487ba4aa5574672d30bad7b7b49b783123d21bdc64fcea1/Screen-Shot-2021-08-24-at-9.08.17-AM.png" /> The co-writing project has grown out of the co-translation of the p5.js friendly error messages, collaborating with artists in Korea. I thank my co-writers 전유진(Youjin Jeon) and&nbsp;염인화(Inhwa Yeom), as well as our editor&nbsp;이지현(Jihyun Lee) for their time and valuable conversations. <img width="1156" height="960" width_o="1156" height_o="960" data-src="https://freight.cargo.site/t/original/i/ddcc2b7ffb9f6e9e35ca174dd773ef4d26a1ce71303f50c1ad1cba574dbc5022/Screen-Shot-2021-08-24-at-8.57.19-AM.png" data-mid="125652548" border="0" data-scale="90" src="https://freight.cargo.site/w/1000/i/ddcc2b7ffb9f6e9e35ca174dd773ef4d26a1ce71303f50c1ad1cba574dbc5022/Screen-Shot-2021-08-24-at-8.57.19-AM.png" /> Public release announcement flyer: <img width="3600" height="3600" width_o="3600" height_o="3600" data-src="https://freight.cargo.site/t/original/i/17f6c8cc6810c7bd1503fb6e50ad669ca4e7cd94be4e277a96b5bd091f3fccf6/i18n-panel-1.jpg" data-mid="173763288" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/17f6c8cc6810c7bd1503fb6e50ad669ca4e7cd94be4e277a96b5bd091f3fccf6/i18n-panel-1.jpg" /> <img width="3600" height="3600" width_o="3600" height_o="3600" data-src="https://freight.cargo.site/t/original/i/b2877af2f5422fc645256e8f51ae7564db2246b6eb486e950d2e03e2619c4053/i18n-panel-2.jpg" data-mid="173763290" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/b2877af2f5422fc645256e8f51ae7564db2246b6eb486e950d2e03e2619c4053/i18n-panel-2.jpg" /><img width="3600" height="3600" width_o="3600" height_o="3600" data-src="https://freight.cargo.site/t/original/i/636879ca3e75fe7c7eabd06e69a960227961d15fe60b34d25378e74dbe203360/i18n-panel-3.jpg" data-mid="173763364" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/636879ca3e75fe7c7eabd06e69a960227961d15fe60b34d25378e74dbe203360/i18n-panel-3.jpg" /><img width="3600" height="3600" width_o="3600" height_o="3600" data-src="https://freight.cargo.site/t/original/i/b71df9dfc581e67d4eec18aba2fdeee35976a87ba69e28c5ce2af8ee8fb6a2bc/i18n-panel-4.jpg" data-mid="173763367" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/b71df9dfc581e67d4eec18aba2fdeee35976a87ba69e28c5ce2af8ee8fb6a2bc/i18n-panel-4.jpg" /> Rationale For an open-source project aspiring to reach international learners, it makes sense to try to reach people who are unable to navigate the English-dominant open-source platforms. For non-English speaking communities, choosing the instruction language for technology can decide the community’s competitive edge in the global market, which conflicts with a critical issue of technocultural sovereignty. On top of that, selecting a language for technology can further create additional barriers and divisions within the community. Through this co-writing project, I wanted to hear from a non-English speaking community (in this case, artists based in Seoul). We had fruitful conversations on the internationalization of the FES and related technocultural issues during the process, which I want to share with the p5js community. Goals To generate the first version of the p5.js FES translation in Korean.To develop the first version of internationalization and writing guidelines for friendly errors.To collect feedback on the p5.js FES (and its documentation) from Korean communities.To archive current issues on technology and language in Korean communities.To set a precedent on translating the p5js FES collaborating with a local community. Participants Co-writers:염인화 (Inhwa Yeom): artist/XR researcher based in South Korea. (Take a look at her works on p5 for 50+ (Processing Foundation Fellows 2020) and p5js website Korean translation)전유진 (Youjin Jeon): artist/organizer based in Seoul, South Korea. 여성을 위한 열린 기술랩(Woman Open Tech Lab.kr) and Seoul Express정앎 (Alm Chung, organizer): Korean-American artist/researcher based in Seattle, WA. Editor:이지현 (Jihyun Lee): Korean publishing editor based in South Korea <img width="1382" height="910" width_o="1382" height_o="910" data-src="https://freight.cargo.site/t/original/i/f98184df8cda1faec368f4a56708b52f1e2e7b7d992860267e382a54627c9d65/Screen-Shot-2021-11-21-at-10.33.51-AM.png" data-mid="125652717" border="0" src="https://freight.cargo.site/w/1000/i/f98184df8cda1faec368f4a56708b52f1e2e7b7d992860267e382a54627c9d65/Screen-Shot-2021-11-21-at-10.33.51-AM.png" />Examples of different translations by writers and machine translation tools are shown above. For the FES welcome message, six different translations were generated, and a discussion on what is ‘friendly’ in the context of Korean culture ensued. Our team first translated the existing English error messages of FES. In addition to our drafts, we added machine translations from popular translation tools used in Korea: Google Translate and Naver Papago for reference. We then generated comments on some selected translations, followed by an asynchronous critique session on the translations. We collected all notes and scripts generated from the critique session to identify 5–6 core issue topics for creating the internationalization and writing guideline. Below is the list of these topics: How to create a voice for FES?— Who is our audience? How should we think of skill and ability if we design for accessibility?— What is ‘friendly’ for Korean people? Scale and scope of friendliness within the context of Korean culture— How to create a conversational agent persona based on the community Code of Conduct? (FES as a member of the p5.js community)What are the challenges for translating from English to Korean?— Challenges of translating domain-specific, technical terms— Resources for Korean translation (writing effectively and clearly in Korean)Who/what are we connecting through translation?— Machine translation for technical translation and other platforms for translation https://www.almichu.com/p5-js-FES-Survey-Comic Fri, 31 Mar 2023 05:53:03 +0000 alm chung https://www.almichu.com/p5-js-FES-Survey-Comic <img width="1460" height="1460" width_o="1460" height_o="1460" data-src="https://freight.cargo.site/t/original/i/9250015979c134f659ff86ca6b9a6cbf7b16b4c31741e3eae8a10a9290d5f8c1/panel-00-title.png" data-mid="173763722" border="0" src="https://freight.cargo.site/w/1000/i/9250015979c134f659ff86ca6b9a6cbf7b16b4c31741e3eae8a10a9290d5f8c1/panel-00-title.png" />p5.js: FES Survey Comic Community survey for p5.js Friendly Error System ​(FES). 2021-2022. ︎︎︎&nbsp;FES Survey Comic ︎︎︎ Survey Full Report Excerpts: <img width="2400" height="2400" width_o="2400" height_o="2400" data-src="https://freight.cargo.site/t/original/i/cc62acb446abac36258ba3be5c484e6883402d902bb59b8a995c5fd6795b2ac4/panel-01.png" data-mid="173763861" border="0" data-scale="67" src="https://freight.cargo.site/w/1000/i/cc62acb446abac36258ba3be5c484e6883402d902bb59b8a995c5fd6795b2ac4/panel-01.png" /><img width="2400" height="2400" width_o="2400" height_o="2400" data-src="https://freight.cargo.site/t/original/i/ccc5b8ca5b43e95731f5381c86db6f567dee731b3bbfa5736416a319b447abdb/panel-02.png" data-mid="173763862" border="0" data-scale="67" src="https://freight.cargo.site/w/1000/i/ccc5b8ca5b43e95731f5381c86db6f567dee731b3bbfa5736416a319b447abdb/panel-02.png" /> See the full comic here:&nbsp;FES Survey Comic https://www.almichu.com/Vacances-Loop Thu, 25 Nov 2021 17:54:31 +0000 alm chung https://www.almichu.com/Vacances-Loop Vacances Loop Generative model. 2021.A deep learning model synthesizes an endless beach scene learned from tourism images posted on online map platforms. Photographs of resorts, parks, and other tourist attractions have been collected via crawling online maps, following along the path of the Deep Blue Current of the Pacific Ocean (also known as the Kuroshio Current). These locations encompass the territories of the Philippines, Taiwan, China, Korea, and Japan. <img width="8192" height="1280" width_o="8192" height_o="1280" data-src="https://freight.cargo.site/t/original/i/b5d5270f3517ac079a61103413ec0cdc632f8dab1b66b1fb3e71afe8b209785b/_canvas_0001_2_filtered.png" data-mid="125652116" border="0" src="https://freight.cargo.site/w/1000/i/b5d5270f3517ac079a61103413ec0cdc632f8dab1b66b1fb3e71afe8b209785b/_canvas_0001_2_filtered.png" /> <img width="4336" height="1613" width_o="4336" height_o="1613" data-src="https://freight.cargo.site/t/original/i/cca91f842a997efdfe9d2035036a8fb064151dccbefd06d49cff34c5aa4a7c35/label-sidebyside.png" data-mid="125652043" border="0" src="https://freight.cargo.site/w/1000/i/cca91f842a997efdfe9d2035036a8fb064151dccbefd06d49cff34c5aa4a7c35/label-sidebyside.png" /> The collected images are annotated and fed to a machine learning model, which attempts to learn how to synthesize an image by imitating the style of the original photographs. After days of training, the model takes a randomly generated scene (top) and translates it into a pseudo-photorealistic scene (bottom). These scenes are compiled into an infinite scroll of pixels, which at a glance, resembles footage of an anonymous beach. <img width="3072" height="484" width_o="3072" height_o="484" data-src="https://freight.cargo.site/t/original/i/1d84331a68b98082c7f6ce1dcb4646f8c95ae6f99ec66e96497a93f860d80bf9/input_sample.png" data-mid="125666399" border="0" src="https://freight.cargo.site/w/1000/i/1d84331a68b98082c7f6ce1dcb4646f8c95ae6f99ec66e96497a93f860d80bf9/input_sample.png" /><img width="8192" height="1280" width_o="8192" height_o="1280" data-src="https://freight.cargo.site/t/original/i/b5d5270f3517ac079a61103413ec0cdc632f8dab1b66b1fb3e71afe8b209785b/_canvas_0001_2_filtered.png" data-mid="125652116" border="0" src="https://freight.cargo.site/w/1000/i/b5d5270f3517ac079a61103413ec0cdc632f8dab1b66b1fb3e71afe8b209785b/_canvas_0001_2_filtered.png" /> https://www.almichu.com/Idle-Shrine Mon, 20 Jul 2020 05:14:54 +0000 alm chung https://www.almichu.com/Idle-Shrine Idle Shrine (Clean Room: Dust to dust to dust)Video game and installation.2019. Idle Shrine is a video game about catching airborne particles. <img width="1440" height="806" width_o="1440" height_o="806" data-src="https://freight.cargo.site/t/original/i/a9bf56f4a9e66fa3c634190f6a64b3d1272b6874cccad8e9597fe1a2dd5e9ef3/idleshrine_4.png" data-mid="77803914" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/a9bf56f4a9e66fa3c634190f6a64b3d1272b6874cccad8e9597fe1a2dd5e9ef3/idleshrine_4.png" /> Trailer Players are invited into a “forest shrine” made out of synthesized fabric and artificial hair. Then they are asked to protect an alter inside the shrine from airborne particles with their bare hands. <img width="1197" height="670" width_o="1197" height_o="670" data-src="https://freight.cargo.site/t/original/i/27a4b3f4bfb75c211d5289e2771a570f0ee13333287c47ff72233b6238967de8/idleshrine_1_alter.jpg" data-mid="77885015" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/27a4b3f4bfb75c211d5289e2771a570f0ee13333287c47ff72233b6238967de8/idleshrine_1_alter.jpg" /> <img width="1440" height="806" width_o="1440" height_o="806" data-src="https://freight.cargo.site/t/original/i/c58408d72af49b91b2cdf9276a854a22f8a025d71d1b5645868420448fce3777/idleshrine_2.png" data-mid="77884652" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/c58408d72af49b91b2cdf9276a854a22f8a025d71d1b5645868420448fce3777/idleshrine_2.png" /> <img width="1440" height="806" width_o="1440" height_o="806" data-src="https://freight.cargo.site/t/original/i/ea0015d7080eae846a29eae87cad3391520fc5a29383b84323d2368d7c276b73/idleshrine_1.png" data-mid="77803950" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/ea0015d7080eae846a29eae87cad3391520fc5a29383b84323d2368d7c276b73/idleshrine_1.png" /> “Behind the Scene” The on-screen game elements in Idle Shrine are rather simple, which may fool the players to believe that precise control is required to clear the game objectives. However, as the players attempt to control the flow of particles in the air, they will quickly feel the game’s objective becomes impossible. Consequently, the game encourages the players to shift their attention to their physical presence and surroundings. <img width="1440" height="806" width_o="1440" height_o="806" data-src="https://freight.cargo.site/t/original/i/1086caef8087313231c3d8cce1d29b62d51343f4e329a7673307d2100058132c/idleshrine_3.png" data-mid="77884682" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/1086caef8087313231c3d8cce1d29b62d51343f4e329a7673307d2100058132c/idleshrine_3.png" /> <img width="1440" height="806" width_o="1440" height_o="806" data-src="https://freight.cargo.site/t/original/i/9606859258c6bd3de6f5c2ed4427639eb5c78a6f558e848b5e143f1e9a2b1005/idleshrine_0title.png" data-mid="77803890" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/9606859258c6bd3de6f5c2ed4427639eb5c78a6f558e848b5e143f1e9a2b1005/idleshrine_0title.png" />