Summersnowglobalism presented by Dawoon Park


Summersnowglobalism is the manifestation and political rhetoric of a snowing biosphere emerging through encounters and cooperation between biotic and abiotic beings, including poplar fluff, snow globes, incubators with self-regulating climate systems, humans, and more.

The artistic research of Summersnowglobalism has evolved into experimental documentary films, installations with living systems, lecture performances, keynote presentations, practice-based essay, research papers, and web archives based on the practice of writing and making.

써머스노글로벌리즘은 포플러 나무의 보풀, 스노우 글로브, 자체 기후 조절 시스템을 갖춘 인큐베이터, 인간 등을 포함한 생물 및 비생물적 존재 간의 조우와 협력을 통해 출현하는 눈 내리는 생물권의 현시이자 정치적 수사입니다.

써머스노글로벌리즘의 예술적 연구는 글쓰기와 만들기의 실천을 기반으로 한 실험 다큐멘터리 영화, 생명적 시스템을 포함한 설치, 수행적 강의, 키노트 프레젠테이션, 실습 기반 에세이, 논문, 웹 카이브로 발전해 왔습니다.







Logline of Summersnowglobalism
써머스노글로벌리즘의 줄거리


In practice-based research of Summersnowglobalism, the stories of snowfall tell about bodily frictions between different forms of beings:
Sailing downy seeds in the air shed by poplar trees, a.k.a. summer snow—the snowpocalypse of fuzz over reforested areas with Salicaceae species in Beijing— causes anaphylaxis to the long-standing human-poplar alliance against desertification. In such a conundrum to identify which is the realm of nature and which is that of culture among humans, poplars, and deserts, the summer snow manifests friction between material bodies in an aperture of the nature-culture dialectic;
The first snow globe with a scene of the Eiffel Tower in snow displayed embodied human imagination and the fruit of technical progress of the West for its viewers in the Exposition Universelle of 1889. On the other hand, the snow globe has demonstrated a queer zone of intra-action between interrelated bodies—the animation on its surface, which diffracts in all shapes and sizes, does not precede the relationship between spheres, water, powder, human senses, and gestures. Snow globe manifests symbiotic ecology of interconnected beings that cannot be reduced to subject-object dualism.

Zooming in on the porous body of poplar fluffs and the mutation process of snow globes, we can see the human-centered interpretation of spaces in a new light. From micro to macro social perspectives, every being, biotic and abiotic, serves as a recipient and carrier in the conceivable virosphere. There are more than hundreds of bacterial species on our hands. Bacteria inhabit plants from the soil around the roots to the canopy. Cooperation through viral influences is unlimited inside and outside tools and machines, even between tangled circuits. Do the hollow structured bodies of poplar fluff contain microbes that can cultivate helpful fungi for yeast production? Can a snow globe be a container to receive and carry them and things helpful in maintaining collective lives?

The material sign of the mutant living system, fermentation, provides a spatial clue to the well-being of society at a microscopic level. Microorganisms from human hands and poplar lignocellulosic fibers move into and reproduce their descendant bacterial generations in rice doughs in collaboration with indigenous bacteria, and various tools, including an IoT incubator with a self-regulating climate system.

Through the window of a fermented liquor jar resembling a snow globe, we can observe the slow but changing climate of the biosphere created by companion species. Although microbial generations have digested most carbohydrates in rice, some grains still left float around, illustrating a snowfall. The rice wine, dongdongju, then circulates back through human bodies, breaking down the corporeal and ontological membrane between all beings.

써머스노글로벌리즘의 실습 기반 연구에서 강설 이야기는 다양한 형태의 존재들 간의 신체적 마찰에 관해 이야기합니다:
포플러 나무가 흘리는 솜털 씨앗, 일명 여름 눈—베이징의 버드나뭇과 종으로 재조림된 지역에 내리는 보풀의 눈보라—은 사막화의 위협에 대항한 오랜 인간-포플러 동맹 내부에 과민증을 일으킵니다. 인간, 포플러, 사막 중 어디가 자연의 영역이고 어디가 문화의 영역인지 파악할 수 없는 교착 상태에서, 여름 눈은 자연-문화 변증법의 틈에서 물질적 신체 사이의 마찰을 현시합니다;
눈 속의 에펠탑 장면이 있는 최초의 스노우 글로브는 1889년 만국박람회의 관람객을 위해 체화된 인간의 상상력과 서구의 기술적 진보를 전시했습니다. 다른 한편, 스노우 글로브는 연결된 신체 간의 인트라액션의 이반적 영역을 주장해왔습니다—뒤죽박죽의 모양과 크기로 회절하는 표면의 애니메이션은 구체, 물, 가루, 인간의 감각 및 몸짓 사이의 관계 맺기 이전에 선행하지 않습니다. 스노우 글로브는 주체-객체의 이원론으로 환원될 수 없는 상호 연결된 존재들의 공생 생태계를 현시합니다.

포플러 솜털의 다공성 몸체와 스노우 글로브의 돌연변이 과정에 집중한다면 공간에 대한 인간 중심적 해석을 새로운 시각으로 조망할 수 있습니다. 미시적 관점에서 거시적 사회적 관점에 이르기까지 생물과 비생물을 포함하는 모든 존재는 상상할 수 있는 생물권에서 수용자와 운반자 역할을 합니다. 우리 손에는 수백 종 이상의 박테리아가 있습니다. 박테리아는 뿌리 주변의 토양에서 캐노피까지 식물에 자생합니다. 바이러스적 영향을 통한 협력은 도구와 기계 내부와 외부, 심지어 얽힌 회로 사이사이 까지로 확장됩니다. 포플러 솜털의 속이 빈 구조체에는 효모 생산에 도움이 되는 균류를 배양할 수 있는 미생물이 포함되어 있습니까? 스노우 글로브는 그들과 집단 생명 유지에 유용한 것들을 수용하고 운반하는 용기가 될 수 있습니까?

돌연변이적 생명 체계의 물질적 기호인 발효는 미시적 수준에서 사회의 안녕에 대한 공간적 단서를 제공합니다. 인간의 손과 포플러 목질계 섬유의 미생물은 토착 박테리아 및 자체 조절 기후 시스템이 있는 IoT 인큐베이터를 포함한 다양한 도구와 협력하여 쌀 반죽에서 후손 박테리아 세대를 번식시킵니다.

스노우 글로브를 닮은 발효주 병의 창을 통해 우리는 반려종들이 만들어내는 생물권의 느리지만 변화하는 기후를 관찰할 수 있습니다. 미생물 세대들이 쌀밥의 탄수화물을 대부분 소화하고도 남은 일부 밥알들이 떠다니며 눈 내리는 풍경을 묘사합니다. 그렇게 동동주는 다시 인간의 몸을 순환하고 만물 사이의 물질적, 존재론적 막은 무너집니다.




Experimental Documentary Film (Trailer)
실험 다큐멘터리 영화 (트레일러)





Installation with living systems
살아있는 시스템이 있는 설치


Summersnowglobalism. Installations with living systems. 2022. Photo: Dongryeong Han
써머스노글로벌리즘. 살아있는 시스템이 있는 설치. 2022. 사진: 한동령




Keynote Presentation
키노트 프레젠테이션




MA Final Presentation and Thesis Defence. Summersnowglobalism. Universität der Künste Berlin. New Media. Visuelle Kommunikation. Institut für Transmediale Gestaltung. 2022.
석사 최종 프레젠테이션 및 논문 방어. 써머스노글로벌리즘. 베를린예술대학교. 뉴미디어. 비쥬얼 커뮤니케이션. 트랜스미디어 디자인 연구소. 2022.


Live stream excerpt. Summersnowglobalism. Keynote Presentation. ARKO Arts Council Korea. Seoul. 2022. 
라이브 스트리밍 발췌. 써머스노글로벌리즘. 키노트 발표. 아르코 한국문화예술위원회. 서울. 2022.



Lecture Performance
수행적 강의



Lecture Performance. Summersnowglobalism. Rundgang 2022. Universität der Künste Berlin. Medienhaus. Live Stream: Fang Tsai. Organisation: Juan Pablo Gaviria Bedoya
수행적 강의. 써머스노글로벌리즘. 2022 베를린 예술 대학 룬드강. 메디엔 하우스. 라이브 스트림: 팡 차이. 조직: 후안 파블로 가비리아 베도야






Practice-based Essay
실습 기반 에세이





Summer snow, snow globe, globe, globalism...... It is not my intention to talk about the spatial aspect of knowledge that each indicates, but rather some vague impression that is derived from the proximity of appearances between items separated by commas on the paper(or any material containers).

Summer snow, snow globe, globe, globalism...... 나의 의도는 각각이 가리키는 지식의 공간적 측면을 이야기하려는 것이 아니라, 종이(또는 모든 재료적 용기) 위에 쉼표로 구분된 항목 간의 근접성에서 파생되는 어떤 모호한 인상에 대해 말하는 것입니다.

The closeness between each item turns into a connection when the commas are removed, summer snow snow globe globe globalism......, and ironic thresholds emerge. A coherent relationship in terms of the symbols' meanings seems impossible to understand in this critical zone.

각 항목 간의 근접은 쉼표가 제거될 때 연결로 바뀌고, summer snow snow globe globe globalism......, 아이러니한 문턱이 나타납니다. 이 임계 영역에서는 기호들이 가리키는 의미의 측면에서 일관된 관계를 이해하는 것이 불가능해 보입니다.




Can we perhaps make a statement about these instabilities of material signs? Do we have any chance of stuttering emerging affections in this realm of disorder? In the meantime, we will have to be content with naming this obscurity Summersnowglobalism.

우리는 물질적 기호의 이러한 불안정성에 대해 진술할 수 있을까요? 이 무질서의 영역에서 출현하는 정동에 대해 더듬거리며 말해볼 수 있습니까? 그동안 우리는 이 모호함을 써머스노글로벌리즘 이라고 명명하는 것으로 만족해야 할 것입니다.




Perhaps, thanks to my experience of being surrounded by products that have metaphors for various types of materials since childhood, I have noticed that human cognitive and practical activities for specific objects are deeply related to material society according to economic, social and political interests.

아마도 나는 어릴 적부터 여러 가지 형태의 물질에 은유를 붙인 상품들에 둘러싸인 경험 덕분에 특정 사물에 대한 인간의 인지적이고 유형적 활동들이 경제적 사회적 정치적 이해관계에 따라 물질 사회와 깊이 연관돼있음을 눈치채왔던 거 같다.

Language is a symbolic apparatus for recognizing and defining reality and can be embodied in any tangible form. Therefore, the addition of rhetoric to certain actions implies the creation of a conceivable reality. Liberation from the cognitive constellations regarded as common sense and the design of linguistic structures that express affections of conative bodies are the central theme of Summersnowglobalism's practice-based research.

언어는 실재를 인식하고 정의하기 위한 상징적 장치이며 언어는 실제로 유형적인 형태로 체화될 수 있습니다. 따라서 어떤 작용에 대한 수사의 추가는 생각할 수 있는 현실의 창조를 의미합니다. 상식으로 간주되는 인지적 배치로부터의 해방과 능동적인 신체들의 정동을 표현하는 언어적 구조의 설계는 써머스노글로벌리즘의 실천 기반 연구의 중심 주제입니다.




Let's focus on the metaphors marked in the articles above. Blizzard by South China Morning Post, spring snow by CGTN, april snow by The Wall Street Journal, and snow by The New York Times all refers to 'odd' climate phenomenon with poplar fluff, which will be covered in detail in the next chapter.

다음의 기사들에서 표시된 은유에 집중하자. 사우스 차이나 모닝 포스트의 기사가 사용하는 눈보라, 중국국제텔레비전의 봄 눈, 월스트리트저널의 4월의 눈, 뉴욕 타임스의 모두 다음 장에서 자세히 다룰 포플러 솜털의 ‘이상’ 기후 현상을 지시한다.



From the left, plastic powder, poplar catkin, separated seeds and fluff. 
왼쪽부터 플라스틱 파우더, 포플러 캣킨, 그로부터 분리된 씨앗과 솜털.




1. Summer Snow
1. 써머 스노우(여름 눈)




According to Foucault, the idea of constructing an aspect disconnected from traditional time as a specific spatial arrangement belongs to modernity. (1984) There is a garden for instance. All plants and structures in the garden, carefully selected, must be perfectly arranged at regular intervals and heights within a limited space. Space has its own history, from confining a specific form and a specific taste in a place. If the historicity of space is achieved by actual human activities that artificially transform space, his argument can be expanded and applied to the extent of reforested areas.


푸코에 따르면 전통적인 시간과 단절된 양상을 특정한 공간 배치로 구성한다는 생각은 근대성에 속합니다. (1984) 예를 들어 정원이 있습니다. 신중하게 선택된 정원의 모든 식물과 구조물은 제한된 공간 내에서 일정한 간격과 높이로 완벽하게 배열되어야 합니다. 공간은 특정한 형태와 특정한 취향을 한 장소에 가두어 놓은 나름의 역사를 가지고 있습니다. 공간의 역사성이 공간을 인위적으로 변형시키는 실제 인간의 활동에 의해 성취된다면 그의 주장은 조림지의 범위까지 확대 적용될 수 있습니다.


Farmers preparing to plant grass to stabilize sand dunes at the edge of the Mu Us Desert in Lingwu, in northwest China’s Ningxia Hui Autonomous Region, in 2007. Reuters/Stringer

A bird's-eye view of the Mu Us Desert in Yulin, Shaanxi province, one of the four major deserts in the country. Tao Ming / Xinhua

China prioritized soil conservation and rehabilitation in the 1950s and 1960s and established green shelterbelts to protect agricultural fields, grazing lands, cities, villages, and houses. Meanwhile, the government and the people initiated the reclamation of desertified land. The initiative resulted in systematic plantings of some species along streets, roads, fields, canals, and railways, as well as in gardens.

Poplar’s colony fixed some mobile dunes, and recovered vegetation in some areas, including Mu Us sandy land, Horqin sandy land, Hulun Buir sandy land, and Tengger desert.

Mao explicitly linked reforestation to the ultimate goal of the socialist garden during the Great Leap Forward, and his insist goes that :

“We must make the mountains and rivers of our motherland entirely verdurous, reaching such a level that every place is landscaped as beautifully as a garden. The wild must be tamed. Trees must be planted well, to certain specifications, and not be planted without follow-up care. The spacing between rows of trees as well as the types of trees must be appropriately matched. Everywhere the landscape should look like a park. To achieve this means meeting the requirements of Communism.” (Lu, 2017)

According to Food and Agriculture Organization, poplars are one of the most abundant species of Salicaceae in China. There are more than 100 Populus species in the world, 53 of which are found in China and 37 in North China. (Yang et al., 1999) White poplars commonly grew on the Loess Plateau in northwest China and were considered ‘authentic Chinese’ and ‘revolutionary trees.’ The left-wing writer Mao Dun promoted this symbolism in his 1941 essay ‘Eulogizing white poplar,’ which glorifies the tree as an emblem of the spirit of peasants behind China’s national liberation. Chinese middle school textbooks included the essay as required reading after the communist victory, resulting in its vast influence. (ibid.)

“White poplars are no ordinary trees. But these common trees in North- west China are as much ignored as our peasants in the north. However, like our peasants in the north, they are bursting with vitality and capable of surviving any hardship or oppression. I pay tribute to them because they symbolize our peasants in the north and, in particular, the spirit of honesty, tenacity, and forging ahead — a spirit central to our struggle for national liberation. (Dun, 1941)”






The dialectic triangle separates nature and culture to reach the ultimate goal of an ideological society. As trapped in a symbolic system, the poplar and the peasant fall into the battle in the desert.



Logically, it is impossible to find a non-historical space in contemporary urban areas. Thus, anthropogenic forests provide clues to human preferences and responses to natural threats in their unique history. Interestingly, it seems that the outlines of these historical arrangements have been swept away for quite some time recently. The terrain of the space that was thought to be fixed has always been in motion.



Summer snow of poplars suffocates the atmosphere, blankets streets, irritates the view and breath of passersby, and impedes the circulation of transportation in regular periods in Beijing. To oppress the summer snow, water canons are deployed to drop seeds from the canopy, operate sex reassignment on female ones, and hybrid species that do not produce fluffs are invented and introduced. Poplars and humans meet friction in the material space, and the order of the dialectic system opens up with cracks. Henceforth, it can not differentiate between culture and nature, master and slave, ruler and subject, and a utopia and a dystopia.





Each spring, poplar trees blanket China’s cities with balls of fluff that can clog car radiators and disrupt traffic. David Gray/Reuters. The New York Times. 2017
Workers are injecting seed hairs inhibitors into the tree in Beijing. VCG Photo. CGTN. 2019




2. Snow Globe
2. 스노우 글로브



The first snow globe was shown at the Exposition Universelle in Paris in 1889. A replica of the Eiffel Tower appears in the form, which confirms the date and details of its creation. The tower was completed and opened to the public the same year of the exhibition. (Hilker, 2014)





Such an international announcement demonstrated to the world that the West had transcended its local boundary, introduced its own cultural order to others beyond the sea, and benefited from the colonized lands and people. According to Maxwell, the exhibition re-created foreign countries and distant lives for the entertainment of the European public. An extensive collection of human specimens were brought to the capital to be shown, some from as far away as Tahiti. The ethnographic displays depicting the lives of colonized people were arranged in a specific manner with great accuracy. Visitors were separated from ‘natives’ by tall fences. ‘Home’ for these people, within their allotted space, they performed religious and other rituals for visitors at fixed times each day or revealed their arts and crafts. By offering displays that invoked imperialism’s scientific, philosophical, and moral discourses and portrayed every facet of the empire as realistically as possible, the organizers sought to make the world seem measurable and knowable. (Maxwell, 1999)


Maxwell’s analysis of display symmetrically applies to the snow globe in terms of shaping knowledge. Miniaturized scenes were put into the interior of the globe container. A thin layer of glass separates the spectator from the ‘things.’ The display of a particular scene in fenced or sealed containers serves as the traction of wonder to exhibition-goers. From colonized culture and people to the Eiffel Tower, showing off the fruits of progress became products for tourists or travelers. In such a subject-object dualism, specific forms of knowledge are expanded worldwide.


However, it is essential to note that snow globes have manifested a generative process, since before dualistic language arranges our cognition. There is more to the snow globe than just a semiotic device.

All things in the techno-organic container blur their determined outlines and involve themselves as part of a holistic body. The experience of the newly oriented world never felt before rendered not only a unique vision on such a jumbling scale but something more. The transitive scales are not pre-treated but synchronized by one’s gazing and movement. While taking par in this unconventional culture, the aptitude of the observed object and the purity of the subject has gone. There is no the ‘out there’ and the ‘in here’ but only symbiotic rela- tions between bodies as part of their com- munity. This cyborg-form of non-scaleability does not know how to identify, categorize and classify the interconnected agents but only to involve, digest, and disgorge. The tactile collaboration of cyborg bodies, too immersive, worships the material world, therefore fetishism. The most secular form of body-culture liberates the linguistic order of object-subject dualism.





3D Simulation in Blender



The non-scaleability of a quirky globe is entirely different from ‘the Globe’ in terms of its relationship to time and space.


“One can of course arrange maps to offer the impression of a zoom effect, but it is exactly that: an effect, an assemblage as artificial as a fake perspective in a stage set. Such montage effects can be verified by a glance at Google Earth. The engine provides the impression of political transition (the pixels become increasingly small), whereas, in practice, each stage in the “resolution” extracts from the new data sets on the server (following the same principle as in cartography, similarly founded on the concept of a range of data whose projection depends entirely on the metric selected)” (Latour, 2014)




Google Earth


Snow globe is a metaphor for hope and actual action to realize a new globe that can be connected to others but does not possess totality of cognition, a globe that reflects secular and worldly bodies instead of a resemblance to a pre-programmed celestial body, and a globe that speaks knowledge without cognitive reduction, what we call ‘objectivity’.






3. Summersnowglobalism
3. 써머스노글로벌리즘



For ‘the Globe’ to become flesh, it is important to recognize that reality is not always arranged in a specific manner. Summersnowglobe manifests the non-humancentric world, the world outside of the world labeled, and ultimately reveal it as a realm that can be seen.

Haraway proposes the notion of “compost” instead of “posthuman,” asserting affirmative biopolitics of “living and dying well together within a community.” Among the phallic cult of “homo” and soil organic matter of “humus” in the etymological sense of humans, the latter must be pursued so that biotic and abiotic actors are equally crucial for our collective living.

“If you’re in compost, the questions of finitude and mortality are prominent, not in some kind of depressive or tragic way, but those who will return our flesh to the Earth are in the making of compost.”(Haraway and Franklin, 2017)



According to Margulis, humans are microbes. Our very existence is nothing more than the recombination of several microbes and other bacteria that were able to metabolize using oxygen two billion years ago. Also, ninety percent of the DNA in our body belongs to microorganisms. (Margulis and Sagan, 1986)

As soil is truly a complex ecosystem that hosts bacteria, fungi, protists, plants, and animals, we as compost have always been “muddling” with every agent. A variety of collaborations are possible to occur between humans, plants, animals, and even mechanical bodies through organisms that encompass the entire range of ecological possibilities. (Jacoby et al., 2017) Also from the soil to the canopy, a wide variety of bacteria and fungi can be found in the roots, stems, leaves, and seeds of poplar trees. (Cregger et al., 2018)

A dense network of collaboration between earthly actors through the compost set us free from human exceptionalism.
Our lives are shaped by microbes that swarm from the very body to a huge global environment. Everything on Earth is neither a whole nor an individual. Haraway’s terraforming is about implosion and involution—recovering— instead of expanding and revolution—progress.








Creating tools to collect poplar fluff inspired by windbags

The fermentation process is similar to composting: it is a place of “involution” where companion species eat, digest, and excrete each other. Le Guin reminds us that humanity’s first technology was not a stick, a spear, or a sword, but a recipient. She introduces a container as a medium to tell a story and as a motif of the story. The tales told do not always have to be heroic sagas.




Groups of poplar fluff collected over a period of time

Could the fibers of poplar seeds become a container for holding or culturing microorganisms? Could the snowglobe be the container to house summer snow, rice dough, and their microbes for yeast production? The participation of “companion species” is inevitably necessary for summersnowglobalism.




In the photo, poplar leaves and fluff were distributed on oat dough as grass stock. In general, Korean traditional yeast production uses pine needles, lotus leaves, and mugwort as carriers of microorganisms.


A self-regulating IoT-based incubator that provide a climate in which microorganisms can migrate and live well. Hardware includes two temperature sensors, two heating mats to maintain a constant temperature, and a blower to circulate the air inside. Ubidots was used as a cloud service and the ESP8266 was used as a microcontroller. Technique: Prasantha Jayakody. IoT Incubator for Growing Bacteria. hackster.io. 2016. https://www.hackster.io/peejster/iot-incubator-for-growing-bacteria-d0ec78








On grain dough cultured in the incubator, white mycelium and yellow fungi were observed.








The cultured nuruk (a yeast starter) should be soaked in water to soften it after being removed from contaminants.


Add godubap (steamed rice) to the yeast solution, mix well, and store with the lid slightly closed at the beginning of fermentation, when the metabolic process of microbes is active. (Otherwise the lid may explode for the gas!) During the fermentation period, the contents were mixed twice a day to prevent deterioration.


The process of manufacturing a summersnowglobe for containing fermented liquor. A window was made so that the remaining rice grains could be observed after generations of microorganisms had digested most of the rice's carbohydrates.



Research Paper
논문


View the master's theory thesis of about 40,000 characters at the following link.
약 40,000자 분량의 석사 논문은 아래 링크에서 확인하세요.
https://dawoonpark.net/27982421





Year of Publishment
2022
Acknowledgements
Prof. Jussi Ängeslevä
Luiz Zanotello
Funding
2022 Art & Tech. ARKO Art Council Korea





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