• Korean Journal of Cognitive Science
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• v.23 no.4
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• pp.517-551
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• 2012

We are imitating animals. True imitation can be defined as a learning to do an act from seeing it done by others. We have been building culture by imitating others' skills and knowledge with high fidelity. In this regard, it is important to ask how the faculty of imitation has evolved and how imitation behaviors develop ontogenetically. It is also interesting to see whether nonhuman animals can imitate truly or not and how different imitation learning is among human and non-human animals. In this paper, first I review empirical data from imitation studies with human and nonhuman animals. Comparing different species, I highlight their different levels of copying fidelity and explain the reason why they are showing the difference. Then I review recent studies on neurobiological mechanisms underlying imitation. The initial neurobiological studies on imitation in humans suggested a core imitation circuitry composed of mirror neuron system [inferior parietal lobule(IPL) and inferior frontal gyrus(IFG)] and the posterior part of the superior temporal sulcus(pSTS). More recent studies on the neurobiology of imitation, however, has gone beyond the studies on the core mechanisms. Finally, I try to find out implications of psychology and biology of imitation for cultural evolution. I argue for a memetic approach to cultural evolution, along the lines with a recent study on measuring memes by mirror neurons system.

• Journal of Internet Computing and Services
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• v.15 no.4
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• pp.9-20
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• 2014

Making good predictions about the outcome of one's actions would seem to be essential in the context of social interaction and decision-making. This paper proposes a computational model for learning articulated motion patterns for action recognition, which mimics biological-inspired visual perception processing of human brain. Developed model of cortical architecture for the unsupervised learning of motion sequence, builds upon neurophysiological knowledge about the cortical sites such as IT, MT, STS and specific neuronal representation which contribute to articulated motion perception. Experiments show how the model automatically selects significant motion patterns as well as meaningful static snapshot categories from continuous video input. Such key poses correspond to articulated postures which are utilized in probing the trained network to impose implied motion perception from static views. We also present how sequence selective representations are learned in STS by fusing snapshot and motion input and how learned feedback connections enable making predictions about future input sequence. Network simulations demonstrate the computational capacity of the proposed model for motion recognition.

• Defense and Technology
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• no.1 s.167
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• pp.22-23
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• 1993

국방과학기술은 국방부의 전담 분야이기는 하지만 국민의 공감대 형성이 필요하며, 인적 자원의 효율화를 위해서도 산.학.연의 연계가 이루어지는 연구 개발 체계를 구축해야 할 것입니다. 그러기 위해서 국방연구개발 투자 증액이 절대적으로 필요하며 핵심기술 확보를 위해서는 일정액을 선 투자해야 할 것입니다. 결론적으로, 연구개발은 모방이나 답습을 하기 위한 것이 아니고, 새로운 우리 것을 만들어내어 기술적 기습을 달성할수 있어야 합니다

• Defense and Technology
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• no.6 s.172
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• pp.74-77
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• 1993

정부출연연구소는 당면한 기술수요보다는 중기 내지 장기 기술수요 충족에 중점을 두는 연구에 주력하는 것이 적절하다고 생각합니다 적어도 10년 앞을 내다보는 미래지향적 연구에 주력함으로써 국내 첨단산업기술 발전 및 다른 연구기관의 연구활동을 선도해야 합니다. 이를 위해 미래 지향적 첨단 제품 개발에 핵심이 되는 기초기술개발 및 응용연구와 모방이 아닌 독창성이 높은 원천기술개발에 주력해야 할 것입니다

• Journal of Korean Philosophical Society
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• v.139
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• pp.265-313
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• 2016

This research aims to reconstruct the philosophical content and essence of Schopenhauer's metaphysics of music in his book, Die Welt als Wille und Vorstellung, particularly in paragraph 52, and to pay close attention to its theoretical account of music in the context of traditional musical aesthetics. The question whether Schopenhauer's theory of music is about aesthetics of feeling or about absolute music is dealt with at the end of this paper. It can be answered only within the whole system of his philosophy, because Schopenhauer's theory of music is the result of his philosophical reflections, and plays an important part in his metaphysics of the will. Schopenhauer's music theory, or rather his metaphysics of music, thus cannot be treated separately from Schopenhauer's metaphysics of the will, and is connected organically with it. As the metaphysics of the will lies in suspense between the traditional metaphysical philosophy and the non-metaphysical philosophy after Nietzsche, between the idealism and the philosophy of the body, the music aesthetics of Schopenhauer oscillates between the (romantic) aesthetics of feeling and the modern idea of absolute music.