• The Journal of the Convergence on Culture Technology
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• v.10 no.4
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• pp.383-388
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• 2024

This study conducted voluntary focus group user observations to empirically validate the efficacy of the self-developed psychological support mobile application, "Mindful Now". The app is structured as an interactive game format, enabling individuals to activate self-awareness of mindfulness states anytime, anywhere. It consists of a 3-step process of sensory/emotional/consciousness awareness, facilitating the expression of non-judgmental awareness. To demonstrate the effectiveness of this mindful activation in enhancing psychological well-being such as happiness and stress reduction, voluntary mindfulness mobile app usage was tracked among 49 university students. The results revealed significant improvements, with a 14.4% increase in SWLS happiness index and a 17.1% decrease in PSS-10 stress levels among 12 users who used the app continuously for over 60 days to practice mindfulness awareness. Particularly, higher app engagement was observed among students who initially reported relatively lower indices before using the app. The utilization of mobile apps that promote mindful activation aligns with various therapeutic paradigms based on mindfulness and meditation, contributing to advancements in digital therapeutic interventions for psychological support.

• Journal of Korean Philosophical Society
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• no.99
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• pp.69-100
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• 2012

Die Gegenwart steht den Tatsachen der Gewalt gegenüber. Wesentlich destruktive Techniken können den kollektiven Tod des Menschen als Gattung produzieren. Die Destruktivität dieser Techniken ist durch Skeptizismus geistesgeschichtlich gerechtfertigt. Ebelings Fundamentalpragmatik ist Reflexionstheorie der widerstandsfähigen Vernunft, welche einer Sozialisierung derjenigen Gewalt widersteht, die in einer gegenwärtigen Aussicht auf universale Selbstdestruktion des Menschen Tod produziert. Selbstbewußtsein (Apperzeption) ist bei Kant Selbstbewußtsein in Gegenstandsbewußtsein. Mit kritischer Auslegung von Kant zeigt Heidegger endlich, daß der Tod der Selbstbeziehung des konkreten Daseins als des In-der-Welt-seins gehört. Aber seine existenziale Analytik berücksichtigt nur individuelles Dasein zum Tode und vernachlässigt die Allgemeinheit des menschlichen Todes bzw. die dem allgemeinen Untergang widerstehende Vernunft. Apel kritisiert ein solipsistisches Erbe von Kants Bewußtseinsphilosophie und präsentiert ein Argument der Letztbegründung zur Überwindung des Skeptizismus. Aber seine Transzendentalpragmatik vernachlässigt die Endlichkeit des menschen und zeigt ein Defizit der fundamentalpragmatischen Vereinigung der Vernunft und des Todes. Aufgrund des gegenwärtigen Todesbewußtseins, das Heideggers Todesdeutung transformiert, rekonstruiert Ebelings Existentialpragmatik Heideggers Dasein zu Existenzsubjekt. Seine Fundamentalpragmatik vollzieht diejenige Erstbegründung, die zwischen der existentialpragmatischen Endbegründung des Todes und der transzendentalpragmatischen Letztbegründung vermittelt, und damit bestimmt sie Vernunft als Widerstandsbewußtsein (das bewußte Sein) gegen den Tod. Also ist sie neue transzendentalphilosophische Bewußtseinsphilosophie, die mit der neuen Selbstbestimmung der Vernunft entwickelt wird.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.139-155
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• 2019

The Plays of Kang Yang Won and the Theatre Troupe Dong don't aim to use the body as a system of sign in order to express the mind. They want to show the physical presence of an actor which induces sensuous perception of audience, so the possibility of the aesthetics of performativity can be open. Therefore, the properties of body sound and space have important meaning. At the same moment the body of audience has to be open to the perception. It means that the audience has to be ready to perceive the energy breathing density and tension etc. which the body of actor causes. As a result, the audience experiences a simultaneous opening of consciousness and perception: simultaneous opening of consciousness and perception gives the chance of receiving the emergent meaning.

• Journal of Korean Philosophical Society
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• v.146
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• pp.163-192
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• 2018

In the philosophy of Louis Labelle, the subject of "good and evil", which is rarely discussed in modern philosophy, emerges as a very important concept. In his reasoning, the notion of evil starts from a passive stipulation of the Scholastic philosophy of "the lack of being", but he defined the evil, which actually exists in the world with more positive sense as a willing force destroying "life and values". In his reasoning that defines "the presence of evil" as "le scandale du monde", all humans have the possibility of evil as an attitude of will, and the presence of evil in the world and in human society is inevitable. On the other hand, because the outcome of evil appears as physical and mental "pain", the human's attitude toward pain, which attempts to deny suffering, induces a moral will to overcome this evil. The moral anguish, which is the "internal suffering" that we have in front of the presence of evil, makes us conscious of becoming a "moral being", and people become self-satisfied here. Although painful, self-satisfaction and happiness about becoming a moral being is the only occasion and motive for man to overcome this by opposing the presence of evil. In other words, Lavelle's thoughts for good and evil are based on "moral psychologism", and the "coherence of psychological horizons and ethical horizons" between rejection of suffering and moral agony enables "ethical optimism" that man constantly overcomes evil and produces good. This is clearly an advanced modern application of scholasticism on the concept of evil.

• The Journal of the Korea Contents Association
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• v.15 no.11
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• pp.27-40
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• 2015

Live cinema theatre is the latest installment of multimedia show where the filming of the performance of dramatic texts becomes the live stage event. Here, the actors perform before the camera and all the audio-visual effects are produced and constructed live. Mediated through the camera and projection screen, the stage image becomes a real-time production situation where all the scenes are put together right in front of a live audience. The very concept of live cinema as dramatic theatre has been developed by English stage director Katie Mitchell who attempts to present the stage as a cohesive representation system; this is more than a provisional experimentation where the ever-changing notion of in-betweenness is constantly tested. It is rather a predetermined operational system where the relationship between cinema and theatre is governed by the logic of synchrony, therefore maintain their own individual institutional reality. Here, the presence of camera has an effect not only on the organization of stage but also an affect on how human body exists within the situation.

• Journal of Korean Philosophical Society
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• no.120
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• pp.217-250
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• 2018

Subjekt oder $Selbstbewu{\ss}tsein$ ist ein grundlegendes Prinzip neuzeitlicher Philosophie. Das $Selbstbewu{\ss}tsein$ ist bei Kant $Selbstbewu{\ss}tsein$(analytische Einheit der Apperzeption als klare Selbstbeziehung) in Objekts $bewu{\ss}tsein$(synthetischer Einheit der Apperzeptuion). Dabei zeigt er ein Reflexionsmodell des $Selbstbewu{\ss}tseins$. Aber er $erkl{\ddot{a}}rt$ nicht systematisch ein $Verh{\ddot{a}}ltnis$ zwischen synthetischer Einheit und analytischer Einheit der Apperzeption, und auch $l{\ddot{o}}st$ er nicht theorienimmanente und formale Schwierigkeiten von Zirkelargument bzw. unendlicher Iteration in der Reflxionsstruktur des $Selbstbewu{\ss}tseins$. Aufgrund der Voraussetzungen seiner eigenen Fundamentalontologie kritisiert der $fr{\ddot{u}}he$ Heidegger, $da{\ss}$ Kants $traditionsabh{\ddot{a}}ngige$ $Subjektivit{\ddot{a}}tstheorie$ Symptome der Seins vergessenheit zeigt, transformiert Kants $Selbstbewu{\ss}tseinstheorie$, interpretiert Kants transformierte Theorie als $subjektivit{\ddot{a}}tstheoretische$ $Begr{\ddot{u}}ndung$ der traditionellen Ontologie von Vorhandenheit, und versteht sie als ersten Schritt und erstes phlosophisches Modell seiner Fundamentalontologie. Durch kritische Interpretation von Kants Lehre von Selbstaffektion und $Selbstbewu{\ss}tsein$ deutet er ein Modell des $Selbstbewu{\ss}tseins$ als des $ph{\ddot{a}}nomenologischen$ $Horizontsbewu{\ss}tseins$ an. In diesem Modell der vorreflexiven und unmittelbaren Selbstbeziehung entstehen Schwierigkeiten von Zirkelargument bzw. unendlicher Iteration nicht. Apel kritisiert Kants $selbstbewu{\ss}te$ Apperzeptionstheorie in dem Sinne, $da{\ss}$ sie solipsistisch sei, und in seiner Transzendentalpragmatik $vervollst{\ddot{a}}ndigt$ er Kants transzendentalphilosophische $G{\ddot{u}}ltigkeit$ in der Dimension von $Intersubjektivit{\ddot{a}}t$ diskurierender Menschen. Hierbei ersetzt die Kommunikationsgemeinschaft Kants Apperzeption oder $Bewu{\ss}tsein$ ${\ddot{u}}berhaupt$. In der transzendentalpragmatischen Sicht, die auf den sprachlichen Bezug des Denkens und Erkennens und die Kommunikationsgemeinschaft geht, beruht das $Selbstbewu{\ss}tsein$ oder die Reflexion des Subjekts wesentlich auf seinem sprachlich vermittelten sozialen Bezug. Also geht es nicht um Zirkelargument und unendliche Iteration in denkender Selbstbeziehung des Subjekts. Ebeling hebt Heideggers Daseinsanalytik auf das Niveau von Apels Transzendentalpragmatik an und entwickelt Fundamatalpragmatik ${\ddot{u}}ber$ $Widerstandsbewu{\ss}tsein$ gegen allgemeinen Tod. Dieser $Widerstandsbewu{\ss}tsein$ ist fundamentalpragmatische Transformation von Kants $Selbstbewu{\ss}tsein$. Der $Widerstandsbewu{\ss}tsein$ der Vernunft bleibt in der solipsistischen Dimension nicht und ist ein $Bewu{\ss}tsein$, das in der Widerstandsgemeinschaft durch Argumentation universalisiert werden kann. Hierbei geht es nicht um Zirkelargument und unendliche Iteration.

• Journal of Korean Library and Information Science Society
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• v.44 no.3
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• pp.429-446
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• 2013

As a pioneer study to figure out the compilation of Uepji(town chronicles) of Chunnam region in the Chosun Dynasty, it is analyzed the Uepji of Jangheung. It could help systemize the study of the compilation of Uepji about other town in Chunnam region. Through the examination of exisisting Uepji of Jangheung and actual reviewing of books, characteristics of them were explored systematically. As the result, there were 10 kinds of Uepji which were compiled from the period of King Youngjo to 1910. The system of Uepji was based upon "the new version of Dongkukyeochiseungram" and was added up new items. Characteristics of Uepji of Jangheung are : 1) There were 3 titles of Uepji which were described by focusing on each county(坊), specially 'Inmul(personage)' shows their strong community spirit and enlightening by neo-Confucianism. 2) There were 2 titles of Uepji which were described by focusing on the military, we can understand the importance of military and circumstantial intelligence. 3) There were 4 titles of Uepji which were compiled by government, they reflect the spirit of age. Also the result of comparison with other town chronicles like "Hamju-Chi", "Kimhae-Uepji", it shows Jangheung was the one of major military town.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.307-322
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• 2020

The acting of physical action of the director Kang Yang Won's plays is mostly simple and repetitive. This acting induces the audience to sensuous perception and certain corporal emotions. In addition to semiotic meaning of dialogue a stimulus is given directly to sense of the audience. Therefore, the audience participate in creating a performative space with assistance of atmosphere. So, the feedback-loop of autopoiesis is made and the emergence of meaning is experienced due to felt perception. This emergent meaning springs unexpectedly by imagination, remembrance, and association etc. and is not produced on purpose. In addition, the audience participates in the performance together by the intersection of the perception for representation and perception for presence, and is especially affected by the presence of acting of physical action. In this paper, the study of four major performances of the theatre troupe Dong performed since the 2010s confirmed not only the individuality of each performance, but also the commonality that encompasses the entire performances. This led to discovering the discrimination power of the aesthetics of theater of the director Kang Yang Won and the theatre troupe Dong.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.295-306
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• 2020

In 21st century, theater evolves into a complex aspects. Advanced visual media, such as photography and movies has brought crisis to theater's position, and that crisis led contemporary theater seek for distinctive strategy by repeatedly pondering over the format in which it can be more competitive than other arts. And postdramatic theatre is one of distinctive characteristics of this trend in contemporary theater. Among these flows, The aim of thesis is to study the phenomenon of postdramatic theatre and its practical application in the recently performed (2019) by Theater Group "Mul-Kyul". (2019) puts the body at the front, one of the features of the postdramatic theatre. When creating stage, or developing narratives, the process of characterization, or even highlighting dramatic themes, non-verbal focused theatrical expressions hold a dominant position over verbal expressions. Also, by combining various non-verbal elements like object, with body language, it builds a complex Scenography and creates a metaphorical expression. In this regards, I would like to classify the postdramatic theatre phenomenon shown in the (2019) into 'Disorganization of text through Scenography' and 'Collage of Body Language and Object' and consider its characteristics and meanings.

• (The) Research of the performance art and culture
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• no.40
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• pp.5-35
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• 2020

Affect is intensity and quality that are generated as the physical body senses the outside world. Of experienced affect, notions that are granted meaning and interpretation are emotions. Affect theory distinguishes emotion and affect and by focusing on affect, it provides methods with which to analyze physical body responses and changes and it presents new possibilities to performing arts research that uses the physical body as a medium. Nong-ak is art that concentrates mainly on the occurrence of affect rather than 'representation'. Nong-ak is a performance type in which sound, color, texture, and physical movement overlap and exist in a synesthetic way. Here, physical things such as instruments, props, costumes, and stage devices are gathered together with non-physical things such as rhythm, mood, and atmosphere around human bodies. The physical body is stimulated by these things, displays tendencies that suit performances, and becomes 'the body without an image' as it immerses itself into the performance, acting while displaying 'quasi-corporeality'. The body, which moves automatically as if without consciousness, appears more easily within groups. To transition individuals of everyday life to 'the body without an image', Nong-ak executes the group physical exercise of 'Jinpuri'. Such physical exercise builds up affect by increasing nonverbal communion and communication and brings out the creativity of individuals within mutual trust and a sense of belonging. Affect and emotion stirred up by Nong-ak act as confirmation and affirmation of the existence, vitality, and ability of one's self and groups. Such affirmation recalls Nong-ak as a meaningful and important value from group dimensions and perceives it as a performance form that should be preserved and passed on.