• Archives of design research
• /
• v.18 no.2 s.60
• /
• pp.101-110
• /
• 2005

Simulacre is one of the major topics in the Western philosophy since Plato. Since the 20th century, the Western philosophy is based on rationalism toward 'absolute truth' founded on Platonic Ideas. The concept of Simulacre is ignored and rejected until the modern days. However, Simulacre is gaining its attention at this time of image. and the time of Simulacre. The concept of postmodern Simulacre started from Walter Benjamin is developed by Gnther Anders, Jacques Derrida, Gilles Deleuze, and Jean Baudrillard. This study, based on the Jean Baudrillard's concept of Simulacre, examines today's Simulacre phenomena and analyzes the cinematic works of Oshii Mamoru who displays the concept of Simulacre in his films. Analyzing and evaluating his recent visual works based on Simulacre theory with such superficial methods as advanced special visual effects is a mistake that demeans Simulation? (Matrix). Today, Simulacre phenomena are scattered all over our life. The search of its substance and the analysis of his artworks will be a foundation that makes a new alternative suggestion.

• The Journal of the Convergence on Culture Technology
• /
• v.5 no.2
• /
• pp.111-116
• /
• 2019

This paper considers the historical background of the emergence of 'thinking-machine,' that has changed the ontological statue of human and machine. In particular, British mathematician Charles Babbage's Calculating Engines is examined as a material iteration of thinking-machine, focusing on the discursive process by which thought is not the faculty of human, but the function of machine. In Chapter II, I review the dualism of René Descartes who denied the possibility of machine intelligence by separating the substance of body and mind. In Chapter III, Babbage's philosophical assertions which emphasized the function of human associated with thought by rejecting the fundamental opposition between human and machine. Therefore, this paper verifies that the conception of 'thinking-machine' essentially causes the reorganization and reformulation of concepts involved with human identity, and provides the sophisticated sources to prepare new perspective on the artificial technology nowadays.

• The Journal of Korean Philosophical History
• /
• no.50
• /
• pp.139-169
• /
• 2016

Nakron School of the ruling Noron Party in late Joseon Dynasty was at the helm of state with Neo-Confucian ideology and it came out of being obsessed with conventional 'spiritual' aspects and changed both political and academic atmosphere with interests in 'matters.' The power leading such a change was scholars in Seoksil Seowon (石室書院) which centered around Kim Won-Haeng (金元行). However, except for few progressive scholars-Bukhak scholars (北學論者), most of Nakron scholars secretly acknowledged the actuality of Qing Dynasty but they failed to get out of old Neo-Confucian traditions. It was difficult for them to accept Bukhak theory which jeopardized the existence of administration. They sought plans both to keep Neo-Confucian traditions and Sinocentrism in Joseon and to reach the cultural level of Qing Dynasty and in that process, they recognized restoration of the statecraft study (經世學) summarized on Seongridaejeon as an alternative. Hwang Yun-Seok is a representative Neo-Confucian scholar in such response of Nakron. He rediscovered value of the science of xiangshu in the Neo-Confucian category and highlighted importance of Seongridaejeon yet again.

• The Journal of Korean Philosophical History
• /
• no.52
• /
• pp.69-106
• /
• 2017

Shim Dae-Yoon's ChunChuSaJeonSokJeon presented a new direction of the study about ChunChu in Chosun dynasty. It broke the rigid frame for the study about ChunChu in Chosun dynasty and was an experimental challenge trying to interpret ChunChu based on the view of Post-Neo-Confucian. This study is to identify the nature of the Shim Dae-Yoon's interpretation about ChunChu based on the view of Post-Neo-Confucian and to analyze his analytical methodology. Shim Dae-Yoon's interpretation about ChunChu, first of all, newly identified its nature beyond existing Confucian approach. Second, it attempted to approach to the true nature of ChunChu criticizing existing Confucian interpretation as well as differentiating its interpretation methodology. In this approach, Shim Dae-Yoon highlighted the realistic value of ChunChu focusing on the objectivity as a record instead of the absoluteness as a classical text. His study about ChunChu can be evaluated as a significant role in the intellectual history setting up a Post-Neo-Confucian foundation for the study about ChunChu though it failed to structure a complete theoretical frame.

• Archives of design research
• /
• v.11
• /
• pp.110-119
• /
• 1995

우리의 문화적 특성은 어떤 것인가 관심과 노력 그리고 연구는 오늘날까지 문화인류학, 사회학, 예술 등 다양한 분야에서 지속되고 있다. 디자인 분야에서도 마찬가지인데 특히 광고계에서 국적있는 광고, 한국적 과고라는 명제로 많은 크리에이터들이 그 실체를 찾으려 고민하고 있으며 각종 광고사보에 단편적인 글들이 게재되고 이다. 어떤 대상의 특질을 살피기 위해서는 시각(視角)의 중요성이 대두되는데 한 나라의 문화유형도 마찬가지임은 말할 것도 없다. 1994년부터 문화인류학적으로 연구된 유수한 저시로 오늘날까지 일본론의 고전이라할 루드베네딕드의 <국화와 칼>은 서양인의 눈에서 일본을 보고 서양과 비교하여 일본인을 서정적이며 자연을 사랑하는 우수한 민족으로 그리고 있다. 일본인이 쓴 일본에 대해<日本人\ulcorner表現心理>에서 \ulcorner\ulcorner\ulcorner는 "일본만큼 자연을 사랑하는 민족은 없다. 부자연 싫어한다. 자연관, 자주관은 담백, 표백, 무상"이라 쓰고 있다. 우리는 한국의 그림이나 도자기 등의 조형성을 이야기할 때 여백의 미라는 말을 종종한다. 그런데 차후 본 연구에서 다루어지겠으나 다나까이꼬의 그름에 대하여 가메꾸라유사구는 그것을 여백의 미라 하면서 일본적임을 강조하고 있다. 한국과 일본은 문화형성 배경에 있어 유사한 문화적 특질을 공유하고 있는 것은 사실이나 학문적 중립성에서 두 조형성을 비교해볼 때 일본인이 말하는 여백과 한국의 여백, 그리고 일본의 자연적인 것과 우리의 그것은 전연 상이한 것이다. 이렇게 일본과 지정학적으로 가까이 위치하고 있으며 고대사에서는 한 문화를 이루었고 근대사에서는 30여 년간 구체적인 문화를 경험한 한국인의 시각에서 바라본다는 것은 훨씬 근접한 이해에 도움을 줄 수 있을것이라 생각된다. 한국인의 시각에서 일본을 보면 베네딕드나 방하 수의 인식이 얼마나 편견인가 하는 것을 실감하게 된다. 본 연구는 일본의 문화속성 가운데 내재되어 있는 구체적인 조형성을 발굴함으로써 한구그이 조형성으로 필자가 유추하고 있는 '부드러움'이라는 개념을 상대적으로 명확히하고자 하는 데 그 의의가 있다.

• Annual Conference on Human and Language Technology
• /
• 2008.10a
• /
• pp.42-47
• /
• 2008

1980년대 중반부터 지난 20여 년간 구축해 온 영어 워드넷(PWN)은 인간의 심상어휘집을 재현하려는 목적으로 개발되기 시작하였으나, 그 활용 가능성에 주목한 것은 자연언어처리와 지식공학 분야다. 컴퓨터 매개 의사소통(CMC), 인간-컴퓨터 상호작용(HCI)에서 인간 언어를 자연스럽게 사용하여 필요한 정보를 획득하기 위해서는 의미와 지식의 처리가 필수적인데, 그 해결의 실마리를 어휘라는 실체를 가진 언어단위에서 찾을 수 있기 때문이다. 이후 전 세계적으로 약 50개 언어의 어휘의미망이 PWN을 참조모델로 구축되어 다국어처리의 기반을 제공할 뿐 아니라, 시맨틱 웹 이후 더욱 주목 받고 다양한 방식으로 활용되고 있다. 본고는 PWN을 참조 모델로 2004년부터 2007년까지 구축한 한국어 어휘의미망 KorLex 1.5를 소개하는 데 있다. 현재 KorLex은 명사, 동사, 형용사, 부사 및 분류사로 구성되며, 약 13만 개의 신셋과 약 15만 개의 어의를 포함하고 있다.

• Journal of Creative Information Culture
• /
• v.5 no.2
• /
• pp.145-156
• /
• 2019

In this study, we have developed and evaluated an information extracting module based on the named entity recognition technique. For the given purpose in this paper, the module was designed to apply to the problem dealing with extraction of postal address information from arbitrary documents without any prior knowledge on the document layout. From the perspective of information technique practice, our approach can be said as a probabilistic n-gram (bi- or tri-gram) method which is a generalized technique compared with a uni-gram based keyword matching. It is the main difference between our approach and the conventional methods adopted in natural language processing that applying sentence detection, tokenization, and POS tagging recursively rather than applying the models sequentially. The test results with approximately two thousands documents are presented at this paper.

• (The) Research of the performance art and culture
• /
• no.22
• /
• pp.123-155
• /
• 2011

This study aims to closely read Kim Jong-il's "About Stage Drama Arts" and disclose the new reality as evaluated by him. The study took the method by which to compare Kim Jong-il's theory on drama and North Korea's drama theory in the 1950s, and the findings of this study revealed that it was irrational to grant the adjective "new" to Kim Jong-il's drama theory. This is because tradition inheritance and newness cross each other. First, his tradition inheritance aspect was found in his playwriting method. In playwriting method, Kim Jong-il's argument about characters and language is an extension of the 1950s drama theory, and his theory on JongZa(seeds) is the transformation of the concept proposed in the 1950s. Also, the expression means of dramas and drama arts is dialogue, and his guideline to focus on the art of conversation rather than on acting is interpreted to be a reduced concept of drama arts, compared with the 1950s drama theory. On the other hand, his newness aspect can be clearly discovered in the materialization of stage. The fixed stage background, without dark change, shifts to another situation as it is, and this stage setting is clearly distinguished from the previous stage setting. The attempt is worth highly evaluating to allow the stage to reflect actors' emotional flows and let them act. Also, the attempt is distinctively distinguished from previous drama theories to allow the chorus' positive involvement in dramas so as to directly deliver characters' emotions to the audience and to trigger the audience' response as intended by creators. From the perspectives of drama evaluation, Kim Jong-il's theory and practice regarding stage and music is understood to maximize the audio-visual effects. Therefore, Kim Jeong-il's drama theory, as he argues, is not a completely new theory, but a transformational inheritance of existing drama theories, and a creation theory with focus on expansion of spectacles.

• Archives of design research
• /
• v.19 no.4 s.66
• /
• pp.121-132
• /
• 2006

In the Western Philosophy that was centered on reason, sense has been belittled as a low level of conception under reason. However, the 21st century modern visual environment pushes away the epistemology centered on reason and puts 'sensuality' and 'sense' on its place. Especially, public films are one of the fields that rapidly reflect such changes and lead the changes. However, unfortunately, it is difficult to find such efforts that reflect the artistic and aesthetic significance of sense from the public films. It is because that sense is considered superficial and somewhat not real, while recognizing sense as the low level of conception under reason over the long history. Given the fact, this study reviews the by Gilles Deleuze, a modern philosopher who gives a new value on sense, and it would be meaningful to analyze the works of Chris Cunningham who makes films with the concept of Gilles Deleuze. After we analyzed three music videos of Aphex Twin directed by Chris Cunningham, we can ascertain that the films are based on body without Oranges, hysteric, and diagram that are suggested from by Gilles Deleuze. Analyzing recently released films centered on 'sense' in a superficial manner that includes production method or picture composition, including the films of Chris Cunningham, falls into the error of overlooking the director's aesthetics. Understanding the modern logic of sense that is newly developing, studying its substance, and analyzing the films will make a sacrifice of suggesting a new alternative.

• Journal of Korean Philosophical Society
• /
• v.129
• /
• pp.267-290
• /
• 2014

The slippery slope argument means that if we accept a type of action A, we are committed to accepting B, C and eventually N. Then, N is situation which we must not accept morally. It works causal mechnism that B because A is raised, C because B is raised. But in the logic textbooks and treatises, the slippery slope argument is classified as fallacy. The reason is that the argument is not a causal argument. Actually, it is a probable. Also it is argued that the argument is wrong because it fears about the future extremely. But We can not say all slippery slope argument is fallacy even though a slippery slope argument is sometimes fallacy. I think it is persuasive argument in a significant place. Therefore I argue that the argument is not simple logic as a form of thinking, but practical reasoning applied the context of dialogue. So in order to find it to be practical reasoning we demand the new understanding to fallacy theory. In traditionally, fallacy is defined to wrong reasoning logically, but according to Walton, fallacy means a verbal tactic or deceptive trick that can be used to cause someone to fall down in argument. That is to say, whether or not the argument is successful depends on how it uses as argument tactic in a given context of dialogue. Therefore I argue that whether or not the argument is successful, because of it is practical problem used in a context of dialogue, is to be approached to pragma and dialectical method, not semantic.