Runway Journal
Runway Journal

Issue 46: Ghost

ghost (girl) in the shell

Yoona

Ghost (girl) in the shell is best viewed on desktop.
This work is interactive, with elements that appear and disappear as your cursor moves across them.
Use your cursor to explore the page, and hover where it changes to uncover what is hidden below.
To return to the beginning, simply refresh the page anytime or click ‘the end’ when the final page is reached.
On the final page, right-click, inspect, and command+F to find where “there is a girl”

Yoona

Yoona (b. 2002) is an independent artist who splits her time between Tongva (LA) and Wichita (Dallas) lands. Her academic and artistic practice uses the interrelationship between the Digital—the online world—and the Physical—the offline world—as a framework through which to remediate and recontexualize her lived experiences and the ever-shifting contexts of her identity as a Korean American woman. Yoona’s current research interests lie in the study of memes as epistemology, fashion as cultural phenomena, intersectional cyberfeminism, implications of "techno–oriental" aestheticism, and other autoethnographic areas of contention. She commonly employs digital storytelling and creative coding as a means of creating new media and multimedia art. Yoona is also a DJ, facilitator of the Fashion Humanism book club, casual desktop performer, and more (http://yo0na.com).

About the work

Using webpages as a space for embedded performance and poetry, Yoona explores her body as the embodiment of fear two-fold — her online persona as the digital spectre that haunts her physical self; and her identity as an East Asian woman being synonymous to Western constructions of the cyborg/techno-oriental fears of an increasingly AI-powered future. Engaging users towards a tender act of understanding the fears of her corporeal and online being(s), this project is ultimately an act of reclamation to humanise and dismantle misconceptions of Asiatic femininity — the ‘ghost girl in the shell.’

Issue 46: Ghost
Guest edited by Xanthe Dobbie.

This issue features new commissions from:

Issue 46: Ghost

ghost (girl) in the shell

Yoona

Ghost (girl) in the shell is best viewed on desktop.
This work is interactive, with elements that appear and disappear as your cursor moves across them.
Use your cursor to explore the page, and hover where it changes to uncover what is hidden below.
To return to the beginning, simply refresh the page anytime or click ‘the end’ when the final page is reached.
On the final page, right-click, inspect, and command+F to find where “there is a girl”

Yoona

Yoona (b. 2002) is an independent artist who splits her time between Tongva (LA) and Wichita (Dallas) lands. Her academic and artistic practice uses the interrelationship between the Digital—the online world—and the Physical—the offline world—as a framework through which to remediate and recontexualize her lived experiences and the ever-shifting contexts of her identity as a Korean American woman. Yoona’s current research interests lie in the study of memes as epistemology, fashion as cultural phenomena, intersectional cyberfeminism, implications of "techno–oriental" aestheticism, and other autoethnographic areas of contention. She commonly employs digital storytelling and creative coding as a means of creating new media and multimedia art. Yoona is also a DJ, facilitator of the Fashion Humanism book club, casual desktop performer, and more (http://yo0na.com).

About the work

Using webpages as a space for embedded performance and poetry, Yoona explores her body as the embodiment of fear two-fold — her online persona as the digital spectre that haunts her physical self; and her identity as an East Asian woman being synonymous to Western constructions of the cyborg/techno-oriental fears of an increasingly AI-powered future. Engaging users towards a tender act of understanding the fears of her corporeal and online being(s), this project is ultimately an act of reclamation to humanise and dismantle misconceptions of Asiatic femininity — the ‘ghost girl in the shell.’