• Journal of Korea Game Society
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• v.21 no.1
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• pp.125-138
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• 2021

This paper analyzed the body images of the posthuman characters in digital games and the nomadic subjects formed through gameplay. Nomadic Subject is the subject with a complex and non-single identity that appears as a posthuman identity. The player experiences posthuman subject directly in the process of controlling characters. Body images of posthuman characters are categorized into three types that imitate idealized bodies, deform the bodies through articulation, and extend the bodies through equipment. The player builds ethical identity by making choices under the constraints of the game.

• Journal of Convergence for Information Technology
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• v.10 no.11
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• pp.185-194
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• 2020

The emergence of post-human beings in the 4th Industrial Revolution era led to an epistemological shift in the need for reflection on new relationships with non-human beings, away from human-centered modern humanism. For this reflection, post-human sensibility to empathize and understand the surrounding world is required. In order to cultivate this sensibility, we analyzed the case of art works that can think about and experience the post-human era based on the criteria of 'animal-becoming', 'earth-becoming', and 'machine-being' presented by post-humanist researcher Bridotti. Since the work of art reflects the spirit of the era, we confirmed the positive aspect of the text that can reflect and experience the post-human era. This study is meaningful as a basic study by presenting art works that can be used in art education to improve post-human sensitivity.

• Journal of Korea Game Society
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• v.19 no.2
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• pp.83-94
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• 2019

This paper analyzed the posthuman features of the open-world adventure game. These games represent the player character as Posthuman Subject through the restrictions of information and body. The player explores all of the spaces to perform the quests due to nonlinearity of open-world. The interactions are restricted conflicts and it reveals through gameplay. The experiences as Posthuman Subject allow the player to embody the Hybrid Subjectivity and think about coexistence of human and inhuman.

• Journal of Digital Contents Society
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• v.19 no.8
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• pp.1481-1488
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• 2018

Recently, the terms of the fourth industrial revolution, deep running, artificial intelligence, post-human, and trans-human are frequently heard. These terms suggest that the rapid development of science and technology will make the future different from the present. However, rather than giving priority to striking a different future phenomenon, I think it is first of all to understand what kind of future technology or phenomenon is in the present stage. Therefore, in this study, in particular, the actual cases of linking or combining science and technology to the human body are increasing. So if you want to call this human being what kind of characteristics you have. To do this, I first looked at the meaning of trance, transformative, and trans humanism. Next, I looked at the relationship between science and technology and transhumanism. Next, we analyzed four transformative characteristics in the film Elysium and examined how it affects the understanding of transhumanism. This process will be the starting point for understanding post-human and post-humanism in the future.

• Journal of Korean Philosophical Society
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• v.145
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• pp.45-69
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• 2018

This is an attempt to reflect on humanity in the post-human era. Here, I think that the question of future human beings should be critically raised in the following two meanings. First, can post-humans recover the body, emotions, nature and women's voices suppressed by modern enlightened subjects? Second, can post-humans preserve humanity by fighting inhumanity without presupposing human essence or immutable foundations? In answer to these questions, I will have a dialogue with M. Heidegger(1889-1976), W. Benjamin(1892-1940), Th. W Adorno(1903-1969). The three philosophers looked at the inhuman world situation brought about by modern subjects and technology, and found the possibility of new human beings. The three philosophers' new human image are the three possible models of post-humanism, 'a human being as ek-sistence' (Heidegger, Chapter 2), 'the man who restored the similarity with the other through innervation' (Benjamin, Chapter 3), 'A human being who negates the inhuman society' (Adorno, Chapter 4), and examines the current status of each. In conclusion, as long as the fourth industrial revolution is developed as a system of digital capitalism that controls the world as a whole from human senses, impulses, and unconsciousness, the necessity of the post-human era is aesthetic authenticity.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2018.11a
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• pp.1-2
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• 2018

최근 포스트휴머니즘은 오늘날 북아메리카와 서유럽을 비롯하여 동아시아 학문 공동체에서 가장 뜨거운 화두가 되고 있다. 포스트휴머니즘은 4차 산업혁명의 핵심인 NBIC기술의 융합으로 사유와 논의가 가능해진 개념이다. 포스트휴머니즘는 기존의 휴머니즘 그리고 트랜스 휴머니즘과 밀접한 관계를 맺는다. 서구 휴머니즘 전통의 핵심은 17세기 합리주의 정신에 이르러 하나의 절정을 이룬다. 논자는 오늘날 뜨거운 화두인 포스트휴먼 논의의 발단은 서구 모더니티로부터 비롯된다고 본다. 기술의 융합적 발전이 인간, 인간의 본질, 인간의 정의를 변화시키고 있다는 점에 주목한다. NBIC으로 대표되는 과학기술융합은 인간을 변화시키고 있음은 분명하다. 우리는 그것을 트랜스휴머니즘으로 정의한 바 있다. 이제 인류문명은 트랜스휴머니즘을 넘어서 각종 보철술이 인간의 몸을 대신하는 포스트휴먼으로 진화 가능한 단계로 접어들었다. 기술의 급진적인 발전으로 기존의 근대적 재현과 표상, 상징체계가 바뀌는 것이다. 미셀 푸코는 '이를 두고 '근대적 인간의 소멸'을 예견한 바 있다. (1) 우리는 이 시점에서 이러한 급진적이고도 근본적인 변화를 촉발하는 '기술혁명' 시대에 '인간은 무엇인가', 인간적인 적인 것은 무엇인가'에 관한 이른바 인간학적 지평에 대환 논의가 긴급하다고 판단한다.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.95-124
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• 2021

As the symbolic images of girls besides its definition have varied according to the age and society, a posthuman girl character recently appears in the digital cinema. This study aims to analyze its cinematic representations and the social contexts in which they are created. For this purpose, the study focuses on what extent the society allows its imagined figurations as a future female body and the meanings revolving around the image of 'technologically body-enhanced female fighter'. Current digital visualization technology has developed to the extent any imaged future humans can be represented, but posthuman girls' representations have its limitation that only a human-like figuration can be allowed in accord with the traditionally idolized image of girls. It is because of the representation logic in which digital cinema is visualized based on perceptual realism that values audiences' experiences. Despite such less critical figuration which does not dare to cross the boundary between the image of human and inhuman, the posthuman girl characters create a new category of the 'dangerous girls' who are both void of sexual femininity and independent of motherhood and heterosexual romance narrative. Of course, they support the modern human-centered belief that humans can take entire control of technology with their moral behaviors and dispel the fear about the negative impact the nature of technology may have on society at large by showing their child-like figuration protecting ethical values. However, the new character of 'unruly girl' exerts her subversive act that seeks to fight against the human-centered liberal humanistic values and melancholic feeling and vulnerability that the neoliberalism and technocracy enforce. When posthuman girl characters are considered to be a marker through which we can see how different social forces are intervening and competing each other in the upcoming posthuman age, the limited figuration of the posthuman girl characters in South Korean movies illustrates the opinionated thoughts toward the instrumentalism in technology but their bloodshed struggles reveal how the corporate or state-governed techno-biopower has oppressively treated and appropriated the human body as the technology-object and also provide a meaningful opportunity to rethink its unethical violence.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.9-32
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• 2019

This paper tried to analyze the post-human phenomenon of our age with a focus on the 'emotional machine' motif. The post-humans of our time are closely linked to the creatures in very old storie. The post-human concept is based on the universal and intellectual imagination of humanity that is shared beyond humanities and technical civilizations, cultural and historical boundaries between East and West. This paper is about the creatures from mythical stories that have fascinated human beings, the mechanical humans who brought fear through the sophisticated mechanism of technology civilization era, the post humans. Through my process of looking at the post humans, I sought to clarify the conditions of the sensitivity and humanity of the age. In the process, we come to understand the vagueness of the boundaries between human beings, nature, and machines, and study the coexistence of humans, nature, and machines in the post-human era of the 21^st century, beyond the limitations of human-centered humanity.

• Journal of Broadcast Engineering
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• v.24 no.5
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• pp.836-848
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• 2019

This paper aims at providing a critical view over the cybernetics theory especially of first generation on which the artificial intelligence heavily depends nowadays. There has been a commonly accepted thought that the conception of artificial intelligence could not has been possible without being influenced by N. Wiener's cybernetic feedback based information system. Despite the founder of contemporary cybernetics' ethical concerns in order to avoid an increasing entropy phenomena(social violence, economic misery, wars) produced through a negative dynamics of the western modernity regarded as the most advanced form of humanism. In this civilizationally changing atmosphere, the newly born cybernetic technology was thus firmly believed as an antidote to these vices deeply rooted in humanism itself. But cybernetics has been turned out to be a self-organizing, self-controlling mechanical system that entails the possibility of telegraphing human brain (which are transformed into patterns) through the uploading of human brain neurons digitalized by the artificial intelligence embedded into computing technology. On this background emerges posthuman (or posthumanism) movement of which concepts have been theorized mainly by its ardent apostles like N. K. Hayles, Neil Bedington, Laurent Alexandre, Donna J. Haraway. The converging of NBIC Technologies leading to the opening of a much more digitalizing society has served as a catalyst to promote the posthuman representations and different narratives especially in the contemporary visual arts as well as in the study of humanities including philosophy and fictional literature. Once Bruno Latour wrote "Modernity is often defined in terms of humanism, either as a way of saluting the birth of 'man' or as a way of announcing his death. But this habit is itself modern, because it remains asymmetrical. It overlooks the simultaneous birth of 'nonhumaniy' - things, or objects, or beasts, - and the equally strange beginning of a crossed-out God, relegated to the sidelines."4) These highly suggestive ideas enable us to better understand what kind of human beings would emerge following the dazzlingly accelerating advancement of artificial intelligence technology. We wonder whether or not this newly born humankind would become essentially Homo Artificialis as a neuronal man stripping off his biological apparatus. However due to this unprecedented situation humans should deal with enormous challenges involving ethical, metaphysical, existential implications on their life.

• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.592-600
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• 2018

As the field of robots is evolving to intelligent robots that can replace even humans' mental or emotional labor, 'robot ethics' needed in relationship between humans and robots is becoming a crucial issue these days. The purpose of this study is to consider the ethics of robots and humans that is essential in this post-human age. It will deal with the followings as the main contents. First, with the cases of developing ethics software intended to make robots practice ethics, the authors begin this research being conscious about the matter of whether robots can really judge what is right or wrong only with the ethics codes entered forcibly. Second, regarding robot ethics, we should consider unethicality that might arise from learning data internalizing human biasness and also reflect ethical differences between countries or between cultures, that is, ethical relativism. Third, robot ethics should not be just about ethics codes intended for robots but reflect the new concept of 'human ethics' that allows humans and robots to coevolve.