• Journal of Korean Philosophical Society
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• no.122
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• pp.85-134
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• 2018

In this article, I will provide a philosophical discourse on digital sexual violence that is a technological version of male violence. First, critical analysis of the mechanism of the spatiality and the temporality of the hidden and illicit camera is developed to focus on the immeasurable damage of this violence. I elaborate a notional division between digital sexual violence and cyber sexual violence. Secondly, the ease of taking images of women's bodies and the rapid transmission of these images through the advancement of digital communication technology and hyperconnectivity, lead to use these images as a new digital monet for men. They consolidate their male solidarity by reaffirming female inferiority and humiliating women. Thirdly, the invention of the structure of the new affect to resist to digital sexual violence is crucial. For that, it would be necessary to pass from the sexual shame to the sexual displeasure and to the socio-political indignation. These would create another opportunity to resist to digital sexual violence.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.333-338
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• 2021

Development of 5th generation mobile telecommunication technology is visualizing ideal hyper-connected social information and communication technology (ICT). In particular, virtual reality (VR) technology is at the starting point for new expansion and leaps. This work defines virtual reality as media in this context and collects and analyzes discourse on its scalability around space and communication theory. We first elaborated the concept, starting with the early discussions of the virtual reality concept in 1990, and discussed the relationship between the physical world and digital information, expression and interaction immersion as a medium, simulation, art creation theory, and finally evolutionary development. In conclusion, beyond the discourse on the technology of virtual reality, academic subjects were required to have theoretical frameworks on cognitive science, neuroscience, social science, and humanities issues (ethics, personality, etc.) for the development and evolution of virtual reality. In other words, it is time for the evolution of virtual reality to be discussed, which can be moved beyond.

• Cross-Cultural Studies
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• v.42
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• pp.23-46
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• 2016

This article focused on heterotopian spaces of modern Korea in the colonial era. This paper attempted to understand the features of heterotopia in the era. Heterotopia was slightly grotesque in modernity, but in the colonial era, people expected to realize the hope of contemporary society. Also, while analyzing discourses on heterotopia, this study identified another point of view on modernity in the era,. Pagoda Park, where March First Independence Movement was conducted and the psychiatric hospital East Ward Eighth, were heterotopian spaces at the times. Those spaces are represented as failure of modernity. Nevertheless, those spaces functioned as utopia, where people could speak freely on 'the independence'. But the governing system considered such speech as deceptive strange stories. Strange stories that inexplicably, revealed imperfection of the governing system and caused anxiety about the foundation of daily life. In conclusion, this article could provide understanding of another side of acceptance of modernity in the colonial era i.e., anxiety. It was revealed through the finding of heterotopia and analyzing discourses on heterotopia in the colonial Korea.

• Journal of Korea Game Society
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• v.11 no.2
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• pp.29-37
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• 2011

As a field in Digital Arts, interactive video introduced the mirror metaphor to the foundation of media, given its characteristic as a medium that extracts an audience image in a particular perspective. The interactive video work introduced in this paper addresses conceptual topics in the extension of Zhuangzi's Butterfly Dream and illustrates the technological approaches that employ an intensity-based computer vision processing in order to obtain the silhouette of audience for multiple graphical butterflies to draw an audience image. Users generate narratives in the interaction with the projected image. Sound is used in order for the system to provide augmented perception in the space and to add more rooms for narratives. The computer vision and the graphics methods introduced in this paper are suggested as tools for interactive video.

• Journal of the Korean Institute of Landscape Architecture
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• v.48 no.1
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• pp.46-56
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• 2020

The 88 Olympic Park is a monumental urban park in Seoul, developed to commemorate South Korea's hosting of the 1988 Seoul Olympic Games. Initially conceived to emphasize the event slogan, 'Cultural Olympics,' which was driven by the Korean government, the park, already designed and constructed by 1986, was reconfigured into a sculpture park following two international outdoor sculpture Olympiads and an invitational sculpture exhibition. This study takes a look at the process of redesigning the park into sculpture park and the socio-political discussions surrounding such a process, in order to reconsider the significance of the 88 Seoul Olympic Park with regards to Korean landscape architectural history. Several discussions within Korean society arose during the redesign process. First, there were critiques on the artwork selection during the early phase of the project. Second, issues regarding the conservation of the national heritage site, Mongchon-tosung, located within the park, gave rise to a larger discourse on heritage preservation in Seoul. Third, discussions regarding the formation of the park identity, or lack thereof, prevalent. Through this study, the 88 Seoul Olympic Park presents itself as an example where large park construction in Seoul caused discussions regarding globalization, nationalism, publicness and art to be brought forth. This paper concludes that the 88 Seoul Olympic Park is a cultural landscape that requires further examination and exploration as it provides rich historical context for understanding the history of cultural and artistic practices in Korean urban landscapes.

• Korean Architects
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• s.594
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• pp.170-181
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• 2018

국립현대미술관은 김중업건축박물관과 공동주최로 건축사 김중업을 조명하는 '김중업 다이얼로그'전을 8월 30일부터 12월 16일까지 국립현대미술관 과천 중앙홀과 2전시실에서 열고 있다. 그가 설계한 30여 년간의 건축물과 관련된 사진과 자료 3000여 점이 전시중이다. 전시는 학예연구사의 안목과 해석작업이 중요하다. 역사와 문화라는 재료를 요리하는 학예연구사의 안목에 따라 그 가치가 빛나거나 그 반대일 수 있는데, 이런 이유로 학예연구사는 전시기획에 대한 권한을 갖고 역사해석, 전시방법 선택 등을 하게 된다. 정다영 학예연구사는 2011년부터 국립현대미술관의 건축부문 학예연구사로 일해 왔다. 올해 베네치아 건축 비엔날레 한국관 공동 큐레이터로 참여해 '스테이트 아방가르드의 유령'전을 기획했으며, 이번 '김중업 다이얼로그'전도 그의 작품이다. 월간 '공간'에서 약 6년간 기자생활을 하고, 학예연구사의 길을 걷고 있는 그녀는 전시라는 매체를 통해 건축의 영역과 담론을 확장 증폭시켜 관계를 맺고 퍼트리는 어쩌면 당대 건축계에 가장 필요한 일을 해주고 있다.

• Journal of Digital Contents Society
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• v.18 no.5
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• pp.923-932
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• 2017

Based on the metadata of BIGkids, a news big data system, this study analyzed the trends of news coverage by the major fields and topics related to Deoksugung Doldam-gil in mass media. In addition, we tried to interpret the space discourse of Deoksugung Doldam-gil which has been formed in contemporary period through the analysis of data related to BIGKinds, the contents of related reports and context. As a result of the analysis, the coverage of Deoksugung Doldam-gil was mostly reported in the field of 'Culture', and the news related to 'Cooking_Travel', 'Exhibition_Performance' and 'Broadcasting Entertainment.' Deoksugung Doldam-gil was categorized as the pedestrian freindly street, the cultural and artistic street, and the historical street, and interpreted the spatial discourse with related news contents.

• Journal of the Korean Geographical Society
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• v.47 no.5
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• pp.775-790
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• 2012

This paper considers chronologically the discourse of space as one of key concepts in geography, and then argues that geography education ought to be the critical pedagogy of space. Recent social science including geography and education has more empathized the sociality and spatiality of space than the physicality of space, and argues that space is constructed socially. Thus, it has been considered that space is no longer empty container to be filled with social relationships, but is concerned with the production and reproduction of social relationships through political struggles with diverse meanings. Now, geography education has to examine the different ways which space has been conceptualized, and develop geography education as critical pedagogy of space that focuses on reading the multiple and contested nature of space.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.6
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• pp.26-39
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• 2016

This research paper explores the process of developing skateboarding spaces in urban parks. Skateboarding is one of the most popular sport activities representative of urban parks. This research paper will analyze the process of introducing skateboarding activities into park spaces and their acceptance by the general public as well as derive meaningful general implications for park space development planning. The research method is a discourse analysis of newspaper articles regarding skateboarding issued between the 1960s and 2010s. These articles are the main resources to show the creation of a skateboarding culture, generation of skate park spaces, and the extinction of these spaces during the research period. The result of this research is as follows. There are reasons that allowed for the creation of skate park spaces in urban parks. First of all, positive associations that people have regarding skateboarding have influenced the park's users and operators' decisions that a park is proper space for skateboarding activities, and the agreement to remodel the park space. Secondly, skate parks became a space for multiple-uses that can be shared with other emerging sports, which resulted in a building boom of skateboarding spaces in urban parks. Thirdly, urban parks and their new culture of active sports became a marketing tool used by local governments to attract new inhabitants to their new towns. On the contrary, there are three main reasons for the deterioration of skate parks. First of all, within parks in which skateboarding activities collided with other park usage, the skate parks disappeared. Secondly, skate parks built specifically for competitive skateboarding events and without consideration of casual skaters disappeared, as these facilities were not sustainable for use in the long term. Thirdly, the golden age of skate park skateboarding did not last long, as skateboarding trends shifted from trick performance to street skating, where skate parks are no longer needed. For this reasons, the exclusive use of park space for skateboarding activities has faded from public interest. The findings of this research suggest how sport activities should be introduced to urban parks. At first, each park's management needs to identify a sport suitable for long-term development, and not only plan for temporal events or follow fleeting trends. Secondly, the park's management systems should reflect a type of sport activity that would not only be popular at the beginning of the spaces development, but also take into consideration how these activities will change over time. Lastly, in cases where there are conflicts between sport activities and other activities in urban parks, attempts should be made to suggest feasible solutions other than the liquidation of sport spaces. This study explains the development process of sport spaces offered in urban parks, by thorough research of the process of acceptance of skateboarding activities in current urban park systems. This conclusion also indicates further areas for research with the purpose of understanding general best practices in urban parks sport space planning.

• Korean journal of communication and information
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• v.77
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• pp.137-163
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• 2016

In the early 1900, photography, magic lantern and cinema were simultaneously introduced and experienced until the mid-1910s as mysterious and magical symbol of modern science and technology. The technology of vision, cinema in particular demonstrated its commercially expandable potentials through serial films in the mid-1910s, silent cinema in the 1920s and talkies in 1930s. I argue that a metaphor 'like a movie' which was would be spoken out by peoples as a cliche ever since the late 1910s whenever they encountered something uncanny, mysterious, and looking wholly new phenomena informs how cinematic technology worked in colonial society at the turning point to the early 20th century. Mass in colonial society accepted cinema and other visual technologies not only as an advanced science of the times but as texts of modernity that is the reason why cinema had so quickly taken cultural hegemony over the colony. Until the mid-1920s, discourse on cinema focused not on cinema itself, rather more on the theatre matters such as hygiene, facilities for public use, disturbance, quarrels and fights, theft, and etc. Since the mid-1920s and especially in wartime 1930s, discourses about negative influences and effects of cinema on behavior, mind and spirit of masses, bodily health, morality and crime were articulated and delivered by Japanese authorities and agencies like as police, newspapers and magazines, and collaborate Korean intellectuals. Theories and research reports stemming from disciplines of psychology, sociology, and mass-psychology that emphasized vulnerability and susceptibility of the crowd and mass consumers who would be exposed to visual images, spectacles and strong toxic stimulus in everyday lives. Those negative discourse on influences and effects of cinema was intimately associated with fear of the crowd and mass as well as new technology which does not allow clear understanding about how it works in future. The fact that cinema as a technology of vision could be used as an apparatus of ideology and propaganda stirred up doubts and pessimistic perspectives on cinema influence. Discourse on visual technology cinema constructed under colonial governance is doomed to be technology of mass control for empire's own sake.