{"seo":[{"tag":"title","attributes":null,"content":{"value":"Li-An Hong - Assemblygrid"}},{"tag":"meta","attributes":{"name":"description","content":{"value":"Assemblygrid, run by Multidisciplinary Designer, Li-An Hong, frames graphic media as acts of creation and question, assembling multiple layers within shifting grids of context, meaning, and practice."}},"content":null},{"tag":"meta","attributes":{"name":"date","content":"2025-07-02"},"content":null},{"tag":"meta","attributes":{"property":"og:title","content":{"value":"Column"}},"content":null},{"tag":"meta","attributes":{"property":"og:description","content":{"value":"Assemblygrid frames graphic media as acts of creation and question, assembling multiple layers within shifting grids of context, meaning, and practice. Run by Li-An Hong."}},"content":null},{"tag":"meta","attributes":{"property":"og:site_name","content":{"value":"Assemblygrid"}},"content":null},{"tag":"meta","attributes":{"property":"og:image","content":"https://cms.assemblygrid.com/media/site/0ea050a8a7-1754051913/og_image_02-1200x630-crop.jpg"},"content":null},{"tag":"meta","attributes":{"property":"og:image:width","content":1200},"content":null},{"tag":"meta","attributes":{"property":"og:image:height","content":630},"content":null},{"tag":"meta","attributes":{"property":"og:type","content":{"value":"website"}},"content":null},{"tag":"meta","attributes":{"name":"robots","content":"all"},"content":null},{"tag":"link","attributes":{"rel":"canonical","href":"https://cms.assemblygrid.com/archive/media/column"},"content":null},{"tag":"meta","attributes":{"property":"og:url","content":"https://cms.assemblygrid.com/archive/media/column"},"content":null},{"tag":"meta","attributes":{"name":"twitter:card","content":{"value":"summary"}},"content":null},{"tag":"meta","attributes":{"name":"twitter:title","content":{"value":"Column"}},"content":null},{"tag":"meta","attributes":{"name":"twitter:description","content":{"value":"Assemblygrid frames graphic media as acts of creation and question, assembling multiple layers within shifting grids of context, meaning, and practice. Run by Li-An Hong."}},"content":null},{"tag":"meta","attributes":{"name":"twitter:image","content":"https://cms.assemblygrid.com/media/site/0ea050a8a7-1754051913/og_image_02-1200x630-crop.jpg"},"content":null}],"title":"Column","slug":"column","archive":[{"title":"So Many Languages, So Many Alphabets","slug":"craft-019","parentSlug":"archive","index":125,"date":"Feb 2026","media":[{"title":"Column","slug":"column"}],"credits":[],"featuredMedia":[],"shortNote":"About Armenian type","shortNoteKo":"","hasSrc":true},{"title":"‘노이즈의 역설’이라는 사이비 역설에 관하여","slug":"etc-005","parentSlug":"archive","index":108,"date":"Mar 2025","media":[{"title":"Column","slug":"column"},{"title":"Webzine","slug":"webzine"}],"credits":[{"name":"전대한","url":"https://www.weiv.co.kr/archives/author/dae421","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"노이즈가 노모스가 되어버렸다는 역설적인 진술은 곧장 하나의 물음을 제기한다. 노이즈가 표준적인 소리가 되었을 때, 노이즈는 더 이상 노이즈이기를 그치게 되는 것이 아닐까? (…)","hasSrc":true},{"title":"‘과잉의 감각을 재현하는’ 음악으로서의 하이퍼팝","slug":"etc-003","parentSlug":"archive","index":107,"date":"Mar 2025","media":[{"title":"Column","slug":"column"},{"title":"Webzine","slug":"webzine"}],"credits":[{"name":"전대한","url":"https://www.weiv.co.kr/archives/author/dae421","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"6. 결론: ‘과잉의 감각을 재현하는’ 음악의 한 양태를 나타내는 분류어(sortal)로서의 하이퍼팝","hasSrc":true},{"title":"기후위기와 미학: 미적 가치의 역할에 대해서","slug":"posthumanism-012","parentSlug":"archive","index":99,"date":"Feb 2025","media":[{"title":"Webzine","slug":"webzine"},{"title":"Column","slug":"column"},{"title":"★","slug":"bookmark"}],"credits":[{"name":"임수영","url":"","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"‘아름다움’, ‘우아함’, ‘세련됨’, ‘풍미가 좋음’","hasSrc":true},{"title":"Anti-Hauntology: Mark Fisher, SOPHIE, and the Music of the Future","slug":"etc-007","parentSlug":"archive","index":88,"date":"Dec 2024","media":[{"title":"Webzine","slug":"webzine"},{"title":"Column","slug":"column"}],"credits":[{"name":"Matt Bluemink","url":"https://bluelabyrinths.com/author/blueminkblog/","id":"0"}],"featuredMedia":[],"shortNote":"Hauntology and the Ghosts of Lost Futures","shortNoteKo":"","hasSrc":true},{"title":"한국 SF 연대기 11","slug":"craft-010","parentSlug":"archive","index":87,"date":"Nov 2024","media":[{"title":"Column","slug":"column"},{"title":"Book","slug":"book"}],"credits":[{"name":"이지용","url":"","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"한국 SF를 문화적으로 정의할 때, SF가 발생하는 장(場, field)은 어디일까?","hasSrc":true},{"title":"Cosmotechnics as Cosmopolitics","slug":"sa-003","parentSlug":"archive","index":82,"date":"Nov 2024","media":[{"title":"Weblink","slug":"weblink"},{"title":"Column","slug":"column"}],"credits":[{"name":"Yuk Hui","url":"","id":"0"}],"featuredMedia":[],"shortNote":"Cosmopolitics as a commercial regime, and cosmopolitics as a politics of nature.","shortNoteKo":"","hasSrc":true},{"title":"사변소설, 팬 액티비즘(fan activism), 시민적 상상력","slug":"posthumanism-003","parentSlug":"archive","index":81,"date":"Nov 2024","media":[{"title":"Column","slug":"column"}],"credits":[{"name":"Henry Guy Jenkins","url":"","id":"0"},{"name":"전혜진","url":"","id":"1"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"'되돌아보기'에서 솔라펑크까지","hasSrc":true},{"title":"어떻게 음악을 ‘기관 없는 신체’로 만드는가? 질 들뢰즈와 실험적 전자음악","slug":"etc-008","parentSlug":"archive","index":71,"date":"Oct 2024","media":[{"title":"Blog post","slug":"blog-post"},{"title":"Column","slug":"column"}],"credits":[{"name":"chillingorilla","url":"https://m.blog.naver.com/PostList.naver?blogId=chillingorilla&tab=1","id":"0"}],"featuredMedia":[],"shortNote":"by Christoph Cox","shortNoteKo":"","hasSrc":true},{"title":"소규모 스튜디오와 그래픽디자인 문법의 메타-미학화 2","slug":"design-028","parentSlug":"archive","index":66,"date":"Aug 2024","media":[{"title":"Weblink","slug":"weblink"},{"title":"Column","slug":"column"},{"title":"★","slug":"bookmark"}],"credits":[{"name":"임근준 Geun-jun Lim","url":"","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"","hasSrc":true},{"title":"소규모 스튜디오와 그래픽디자인 문법의 메타-미학화 1","slug":"design-027","parentSlug":"archive","index":65,"date":"Aug 2024","media":[{"title":"Weblink","slug":"weblink"},{"title":"Column","slug":"column"},{"title":"★","slug":"bookmark"}],"credits":[{"name":"임근준 Geun-jun Lim","url":"","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"","hasSrc":true},{"title":"공예는 동사다","slug":"craft-012","parentSlug":"archive","index":64,"date":"Aug 2024","media":[{"title":"Column","slug":"column"},{"title":"Weblink","slug":"weblink"},{"title":"★","slug":"bookmark"}],"credits":[{"name":"안영주","url":"","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"공예는 명사이자 동사다. 동사로서 공예는 가변적이며 능동적이다.","hasSrc":true},{"title":"펄프: 사라진 미래의 신봉자들","slug":"etc-004","parentSlug":"archive","index":57,"date":"Jul 2024","media":[{"title":"Blog post","slug":"blog-post"},{"title":"Column","slug":"column"}],"credits":[{"name":"이엔씨(유진)","url":"https://blog.naver.com/mjkyj0102","id":"0"}],"featuredMedia":[],"shortNote":"Various Critics, Vol. 1","shortNoteKo":"","hasSrc":true},{"title":"Tradeswomen Was the Magazine for Women in Blue-Collar Work During the ’80s and ’90s","slug":"history-003","parentSlug":"archive","index":50,"date":"Jun 2024","media":[{"title":"Column","slug":"column"},{"title":"Webzine","slug":"webzine"}],"credits":[{"name":"Milly Burroughs","url":"","id":"0"}],"featuredMedia":[],"shortNote":"And it became an integral tool for organizing in a landscape of sexist gatekeeping&nbsp;","shortNoteKo":"","hasSrc":true},{"title":"동시대 미술이 미디어아트를 배치하는 법","slug":"newmedia-015","parentSlug":"archive","index":47,"date":"May 2024","media":[{"title":"Column","slug":"column"},{"title":"Webzine","slug":"webzine"}],"credits":[{"name":"황재민","url":"","id":"0"}],"featuredMedia":[],"shortNote":"Issue 8, ma-te-ri-al","shortNoteKo":"마테리알 8호","hasSrc":true},{"title":"포스트모던 디자인의 폐허 2","slug":"craft-007","parentSlug":"archive","index":42,"date":"Apr 2024","media":[{"title":"Webzine","slug":"webzine"},{"title":"Column","slug":"column"}],"credits":[{"name":"임근준 Geun-jun Lim","url":"","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"‘냉전 시대의 포스트모더니즘은 비평적 의문과 전복의 제스처를 통해 무엇을 성취했는가?’","hasSrc":true},{"title":"포스트모던 디자인의 폐허 1","slug":"craft-006","parentSlug":"archive","index":41,"date":"Apr 2024","media":[{"title":"Webzine","slug":"webzine"},{"title":"Column","slug":"column"}],"credits":[{"name":"임근준 Geun-jun Lim","url":"","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"‘냉전 시대의 포스트모더니즘은 비평적 의문과 전복의 제스처를 통해 무엇을 성취했는가?’","hasSrc":true},{"title":"디스토피아, 절멸의 상상력과 페미니즘","slug":"posthumanism-015","parentSlug":"archive","index":40,"date":"Mar 2024","media":[{"title":"Column","slug":"column"},{"title":"Webzine","slug":"webzine"}],"credits":[{"name":"이정현","url":"","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"랑과 나의 사막, 천선란","hasSrc":true},{"title":"SF와 ‘여성-되기’","slug":"posthumanism-013","parentSlug":"archive","index":38,"date":"Mar 2024","media":[{"title":"Webzine","slug":"webzine"},{"title":"Column","slug":"column"}],"credits":[{"name":"김은주","url":"","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"조안나 러스와 더불어, 메리 셸리 그리고 「블러드 차일드」","hasSrc":true},{"title":"버라드의 행위실재론: 수행성에서 내부작용으로","slug":"posthumanism-010","parentSlug":"archive","index":35,"date":"Feb 2024","media":[{"title":"Webzine","slug":"webzine"},{"title":"Column","slug":"column"}],"credits":[{"name":"홍찬숙","url":"","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"","hasSrc":true},{"title":"화이트헤드라는 우주선과 스티븐 샤비로의 사변적 모험","slug":"sa-012","parentSlug":"archive","index":31,"date":"Nov 2023","media":[{"title":"Weblink","slug":"weblink"},{"title":"Column","slug":"column"}],"credits":[{"name":"권두현","url":"","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"","hasSrc":true},{"title":"하나의 자율적인 객체이자 독자적인 예술 장르로서의 건축을 위하여","slug":"craft-014","parentSlug":"archive","index":23,"date":"Aug 2023","media":[{"title":"Book","slug":"book"},{"title":"Column","slug":"column"},{"title":"Weblink","slug":"weblink"}],"credits":[{"name":"이현건","url":"","id":"0"}],"featuredMedia":[],"shortNote":"","shortNoteKo":"건축과 객체, 그레이엄 하먼","hasSrc":true},{"title":"자, 명품을 드세요","slug":"craft-008","parentSlug":"archive","index":15,"date":"May 2023","media":[{"title":"Column","slug":"column"},{"title":"Weblink","slug":"weblink"},{"title":"★","slug":"bookmark"}],"credits":[{"name":"Joe Scanlan (with Neal Jackson), “Please, Eat the Daisies,” Art Issues (January/February, 2001)","url":"","id":"0"},{"name":"박활성 옮김(워크룸 프레스, 2013)","url":"https://workroompress.kr/","id":"1"}],"featuredMedia":[],"shortNote":"Please, Eat the Daisies","shortNoteKo":"","hasSrc":true}]}