• Journal of the Korean Society for Library and Information Science
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• v.57 no.1
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• pp.409-434
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• 2023

A small library can be used as a place of cultural communication and educational experience for members of the local community that can fill the gaps of public libraries. In this study, the motives of users of small libraries were investigated. Semi-structured interviews were conducted with 45 users of small libraries, and their perceptions from their experiences were classified into four categories, 'attention', 'relevance', 'confidence', and 'satisfaction', and each factor was investigated. Small libraries showed that effective analysis, management, and design of factors related to the four motive classifications could further improve the opportunities of local community residents to find small libraries.

• Journal of Korean Philosophical Society
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• v.141
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• pp.43-62
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• 2017

The main purpose of this paper is to survey the debates between Searle and Smith over the problem of "freestanding Y terms" in Searle's conception of social reality, and offer a viable solution, drawing on the experientialist conception of symbolic experience. Smith raises the problem of "freestanding Y term" against Searle's formula "X counts as Y in C" that there may be some cases where we cannot identify an X term to which an Y term refers. In case of an abstract concept such as equity, we may not find exactly what it stands for. That is, we cannot identify exactly what(X term) counts as equity. If there is nothing like an X for Y term, we can regard anything as equity, which may disrupt Searle's formula. Understandably, Smith does not say that the problem dismantles Searle's whole conception of social reality. Instead, Smith intends to show that Searle's formula is neither complete nor specific enough. Apparently, Searle admits that there may be freestanding Y terms and tries to articulate it within his formula, which does not seem to work. I suggest that the experientialist account of symbolic experience may serve to dissolve Smith's challenge, without modifying Searle's original formula. According to the experientialist conception of symbolization, we symbolically map some portion of our experience onto a physical object, which serves as a signifier, and we then understand and experience the signifier "in terms of" the mapped portion of experience. Thus, we experience certain buildings and some relevant people, say students, staffs, and professors in terms of "university." The status functions of university have been created by means of symbolic mappings, which change the way we understand and experience the buildings and people. In this picture, there need not be any notions such as "one-to-one correspondence" between X terms and Y terms. In this way, Searle may maintain his original formula, while dissolving, not answering, Smith's challenge. What Searle needs is a more appropriate theory of symbolization, part of which has been articulated by the experientialist account of symbolic experience.

• Journal of Korean Philosophical Society
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• v.152
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• pp.59-79
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• 2019

The main purpose of this paper is to critically examine the intractable problems of Peirce's notion of 'symbol' as a higher and perfect mode of sign, and present a more appropriate account of the higher status of symbol from an experientialist perspective. Peirce distinguished between icon, index, and symbol, and suggested symbol to be a higher mode of sign, in that it additionally requires "interpretation." Within Peirce's picture, the matter of interpretation is to be explained in terms of "interpretant," while icon or index are not. However, Peirce's conception of "interpretant" itself remains fraught with intractable opacities, thereby leaving the nature of symbol in a misty conundrum. Drawing largely on the experientialist account of the nature and structure of symbolic experience, I try to explicate the complexity of symbol in terms of "the symbolic mapping." According to experientialism, our experience consists of two levels, i.e., physical and symbolic. Physical experience can be extended to symbolic level largely by means of "symbolic mapping," and yet is strongly constrained by physical experience. Symbolic mapping is the way in which we map part of certain physical experience onto some other area, thereby understanding the other area in terms of the mapped part of the physical experience. According to this account, all the signs, icon, index, and symbol a la Peirce, are constructed by way of symbolic mapping. While icon and index are constructed by mapping physical level experience onto some signifier(i.e. Peirce's "representamen"), symbol is constructed by mapping abstract level experience onto some signifier. Considering the experientialist account that abstract level of experience is constructed by way of symbolic mapping of physical level of experience, the symbolic mapping of abstract level of experience onto some other area is a secondary one. Thus, symbol, being constructed by way of secondary or more times mapping, becomes a higher level sign. This analysis is based on the idea that explaining the nature of sign is a matter of explaining that symbolic experience, leaving behind Peirce's realist conception of sign as a matter of an event or state of affairs out there. In conclusion, I suggest that this analysis will open up new possibilities for a more appropriate account of the nature of signs, beyond Peirce's complicated riddles.

• Archives of design research
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• v.19 no.1 s.63
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• pp.201-214
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• 2006

Modern society is an age of vagueness and confusion. In addition, vagueness, complexity and variety are seen throughout art including modern philosophy, literature, and environmental design. A phenomenon like this shows that modern society has integrated different components as an organic relationship frequently crossing the boundary of fields. This feature can be regarded as hybrid related with accepting contradictory components and binding them into one under relationship between part and whole. As new design concept, presented are attitude to accept the two instead of attitude to select one of the alternatives, abundance instead of dearness, and ambiguity instead of simplicity. This principle has a crucial influence on creative design providing opposing contradiction and several alternative plans as non-deterministic form not completed one and, above all, useful information in mutual dependence and mutual relationship. When it comes to hybrid, therefore, a strategy is needed to consider layer of several fields getting out of standardizing space into a single space. As an event of this situation and concept, space experience means behaving freely based on experience of users' body. It can be known that this experience brings about users' more dynamic experience in comparison with the experience of seeing environmental design from a viewpoint of visual ism on the existing simplicity. Such a practical experience is subjective, synesthetic, and non-observational one. Therefore, hybrid has brought active users to the stage, which is distinguished from synesthesia felt through body's experience, not through observational attitude and visual space which achieve former balance and harmony with non-determination. That's because hybrid creatures are turning to a product resulted from creative imagination instead of from reappearance which makes text visualized. Such experience performed by user's active participation collapses the boundary between special elite-centered art and daily life and it is the present progressive form showing creation process of future events and new esthetic experience.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.4
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• pp.1-14
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• 2015

In the West, of the body's five senses sight is considered the most important but Ocular-centralistic thinking contains many issues. Privileging the subject and inhibiting interaction with the other senses, Ocular-centrism limits the experience of the world to the visual area. However, experiences can be understood as 'touching' various forms and are related to touch. With the heightened interest in the multi-sensuous side of the body contrary to Ocular-centrism, the intervention of the body in the external space has become an important issue in modern landscape architecture. This study explores the possibility of the haptic perception system that causes the active experience of a subject. Haptic perception plays a catalytic role leading an active experience of the subject and the subject experiences a sense of place through such haptic perception. By revealing what was known through the sense of touch through the concurrency and interaction of the various senses, haptic perception draws active participation The haptic perception system has been studied in various fields but has not been studied in the field of landscape architecture. Thus, this study discusses the aspect of haptic perception limited to landscape architecture shown before modernism. In a discussion on haptic perception, the concept of haptic perception is clarified through previous study reviews and literature and the characteristics of haptic perception are derived. Then, the problems of the Ocular-centrism system and the need for haptic perception are discussed. In the historical development process of haptic perception, the change process of the scopic regime is examined chronologically and the ways in which Ocular-centralistic thinking and anti-Ocular-centralistic thinking have been projected on the architecture and landscape architecture of each age are studied via literature and cases studies. The impact of the scopic regime on the landscape architecture field in the historical change process is examined.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.50-66
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• 2016

This study attempts to understand and explain how "Directed Attention Restorative Environment (DARE)" is managed and fostered in "Gang-Hak (講學)" and "Yu-Sik (遊息)" spaces both inside and outside of Oksan Seowon Confucian Academy, Gyeongju. Directed Attention is a pivotal element in human information processing so that its restoration is crucial for effective thinking and learning. According to Kaplan & Kaplan's Attention Restoration Theory, an environment, in order to be restorative, should have four elements: 'Being Away,' 'Extent,' 'Fascination,' and 'Compatibility.' We could confirm OkSan Seowon Confucian Academy has an inner logic that integrates two basically different spacial concepts of "Jangsu" and "Yusik" and thus fosters the Attention Restorative Environment. Particularly, the Four Mountains and Five Platforms (四山五臺) surrounding the premises provides an excellent learning environment, and is in itself educational in terms of the Neo-Confucian epistemology with "Attaining Knowledge by way of Positioning Things (格物致知)" as its principle precept, and of its aesthetics with "Connectedness with Nature" as its central tenet. This study attempts to recapture the value of Korea's cultural heritage concerning the Human/Nature relationship; and it may provide useful insights and practical guidelines/grounds in designing today's schools and campuses, where the young people's needs for the Directed Attention- and Attention Restorative- Servicescapes seem to be greater than ever.

• Women's Health Nursing
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• v.17 no.3
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• pp.304-315
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• 2011

Purpose: The purpose of this study was to understand the meaning and nature of the lived experience of women with severe dysmenorrhea. Methods: Hermeneutic phenomenology by van Mannen and feminist philosophy informed this study involving 20 women who were 10~40 years old. Data was collected by using focus group interview 2 times from 10 women and in-depth interview from other 10 women from September to December, 2010. Results: The essential themes were message from body, deconstruction of negative stereotyped body, and authorship of my body. Participants described their own painful experiences. They recognized that psychological stress impacted on severe dysmenorrhea, so they made self caring time. They had positive attitude to menstruation, said that dysmenorrhea was not illness, but normal life process. They had internal strength, wisdom, and sistership. Conclusion: This study revealed meaning of pain experience in sociocultural context. This finding have implications for health care provider's empathic and holistic practice.

• Proceedings of the Korea Contents Association Conference
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• 2012.05a
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• pp.383-384
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• 2012

본 연구는 온라인 구성주의 학습 등 다양한 체험학습이 가능하게 하기 위하여 웹캠으로 촬영된 영상 중 사용자의 모습만을 추출, 이를 전송하여 여러 사용자의 영상과 교육과정에 맞는 상황이나 현장을 3D 환경에 혼합하여 제공하는 시스템을 개발하는데 있어 영상, 음성 3D 정보, 학습개체 등을 원활하게 통신할 수 있는 통신 매커니즘을 설계하고 구현한다.

• Journal of Korean Philosophical Society
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• v.142
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• pp.241-263
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• 2017

The purpose of this paper is to investigate Toegye's simhak in relation to spiritualism. In general, we call Chu Hsi's learning "lihak" (the learning of principle) while Wang Yangming's learning is described as "simhak" (the learning of mind). However, we sometimes call Toegye's learning "simhak" in spite of his respect for Chu Hsi's philosophy of li. Toegye's simhak is different from Wang Yangming's. Nonetheless, Toegye too, highlighted the existential meaning of truth. Toegye regarded simgyung (the book of mind) as one of the most important classics for self-cultivation. As is well known, Toegye's main concern was concentration on mind and heart cultivation. Toegye understood li as a spiritual being, which can actualize itself. The goal of simhak is to become a sage. For a sage, there is no contradiction between moral norm and human desire. To become a sage, Toegye developed the theory and practice of mind cultivation. Toegye's simhak has some common characteristics with Louis Lavelle's philosophy of spiritualism. Both Toegye and Louis Lavelle lay great emphasis on self reflection and spiritual life. In particular, Toegye developed the concrete method of mind cultivation. In the 21st century, human beings are confronted with spiritual crisis in many aspects. Toegye's simhak can be advanced as useful wisdom to keep one's mind in a peaceful and harmonious state.

• Journal of Digital Convergence
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• v.17 no.6
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• pp.365-371
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• 2019

In this study, VR contents were produced by using the rose which is the material of the tomb of the surrealistic work wrestler of Rene Magritte, an artistic genre, as a motive. In conclusion, the distortion (spatial modulation) of the image scale is connected to the dynamic-curve and texture-soft areas, and the superposition (combination of contradictory images) is called the big-size, irregular-depth area, Are connected to the positions of big-size and irregular-space regions. The theme of the work was Dream, and the plants and roses patterns were produced in each timeline, and overlap, scale, distortion, overlap, distortion, and scale were used.