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"This used to be my playground" for player with newfound skills with leather guitar

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[T]he people who are endlessly boasting of their freedom – we’re the best because we’re free! – loathe the very suggestion of such a possibility for anyone other than themselves. They are forever stitching flags, making and threatening and dropping bombs, creating instruments of torture and torture chambers and overseers and deputies and detention centers. Their notion of freedom is so strenuously calisthenic, not to say defensive, that freedom becomes a matter of keeping everybody else out of your backyard.

James Baldwin, “A Letter to Prisoners” (1982)

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바보선언 Declaration of Idiot (이장호 Lee Jang-ho, 1983)

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You can follow the lights to Firefly. 

Exclusive art by Tumblr Creatr Traceloops 

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That's the new times

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Good for this snowy day.

D∆VID

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This is "Silver & Goldogr" aka "Silver & Goldger" aka "Silver & Goldodger" aka "Silver & Gold" aka "Silbu & Golby" by wunderkind Johnny Marks.

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Text by Sung Hwan Kim 김성환 from the performance WATERMELON SONS directed by Sung Hwan Kim in musical collaboration with dogr aka David Michael DiGregorio a quotation from a conversation between dogr and Sung Hwan Kim in the book SUNG HWAN KIM: TALK OR SING: "On 'serial gestures' SHK: I was reading GHOSTS by César Aira. He only writes short novels. He doesn’t make compilations because he thinks of short novels as an independent format. I got to know him through reading Roberto Bolaño, who regarded Aira as one of his favorite writers. In GHOSTS, Aira talks about architecture. He envisions the city (Buenos Aires) filled with different types of architecture: architecture that was there, architecture that could have been there, architecture in a changed format co-existing with the other. The story is about a Chilean immigrant family living in Argentina. The father works as the superintendent of a condominium under construction in which he lives with his family. The other creatures in the building are ghosts. The family sees these ghosts, and there is no question about whether or not these ghosts should be feared. They just co-exist. In this song, the line 'when she goes up, she walks through concrete' is Aira’s line from the story, and I make up other images I see when I read between the lines." when she goes up she walks through concrete walking around letting in air like ideas some are useful send them to the bureaus where heart births another heart it is all mine these limbs and nods they will work the day to feed the others and my guilt for not being better as told ahead in Myths.

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Text by Sung Hwan Kim 김성환 from the performance WATERMELON SONS directed by Sung Hwan Kim in musical collaboration with dogr aka David Michael DiGregorio with Byungjun Kwon 권병준 on guitar and the voices of the watermelon sons Your lips are sweet but I wouldn't know This is the premonition of nights in the day Two hands read a Braille Between two shoulders is a torso Between two words a flat surface Between two eyes a nose Unison of boys Unison of men Men men men men men Between them is many a year Of groving, counting the knocks of a woodpecker, numerous calls, when deciphered, forms a message like: Your lips are sweet but I wouldn't know.

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solo exhibition by Sung Hwan Kim featuring music by dogr

Aug. 30 to Nov. 30 2014

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performance directed by Sung Hwan Kim, with new music performed by dogr, with Byungjun Kwon

Sep. 1

Sep. 2

9 pm

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Sung Hwan Kim just posted the full SUMMER DAYS IN KEIJO—WRITTEN IN 1937 with much music by dogr

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My website is completely updated.  Everybody visit

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Stadtkino Basel: 19 June 2014, Art Basel: Screening of Sung Hwan Kim's washing brain and corn (2010) with music by dogr.

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just slush

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“Greensleeves” is a folk song from England circa the late 16th Century. The lady wears green, so the gentleman clothes all his men in green in chivalrous tribute. He only wants her love, and yet, despite all his favors and his granting of all the lady would crave, she would not love him. He resorts to prayer.

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Based on the Korean gut ritual performed by 김금화 as recorded by 김성환 in 2000. Song contains a short excerpt of this ritual. From radio work commissioned by Bayerischer Rundfunk 2 (BR2). The full work, HOWL BOWEL OWL, is available at the Bayerischer Rundfunk website. This song is a setting of a lyrical translation of the ritual by Sung Hwan Kim. Let us out for the breeze outdoor Let us go out for out there they call On black earth stand brighter people We will loom over and aid them Were there a foe in mind you kept Let them loose and your love will fall together Let us go out for out there they call Let us out for the breeze outdoor Come follow me To open the closed gate to the road y’ll come follow that is raw and long along The road you will tread with the big spirit back You will go and find no end Have you gone — then you’ll go again Just come follow me On this road you walk stones and rocks are in rooted There are thorns in bushes Climb the mountain Tread the water Water deep Water shallow Water cold Water warm All is there If this road wearies you birth strength; lend courage Hammer away all hardship Win and carry on See far Own strength Resolve your heart Imprint in that heart the path that you tread You must needs walk see high You must needs walk think deep If your eyes are on the front leave them to see your path If your eyes are on the side leave those lids closed You must need knead your mind for your path is high yet so low so low that ‘tis deep For you will wither after this path For you will fall after you wither but if you wither then spring up For you will fall more after you spring but if you fall more then spring more Then you will again fall more. Then spring up more again and once more Fall again after your last fall Rise again after your last fall Between these falls appear a place for you to stand Come this way Come away near This much here Catch this well You must needs catch this well