• Journal of the Korean Society of Earth Science Education
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• v.15 no.2
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• pp.158-170
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• 2022

The purpose of this study is to understand the characteristics of Aristotle's view of nature that is, the static view of the universe, and find implications for education. Plato sought to interpret the natural world using a rational approach rather than an incomplete observation, in terms of from the perspective of geometry and mathematical regularity, as the best way to understand the world. On the other hand, Aristotle believed that we could understand the world by observing what we see. This world is a static worldview full of the purpose of the individual with a sense of purposive legitimacy. In addition, the natural motion of earthly objects and celestial bodies, which are natural movements towards the world of order, are the original actions. Aristotle thought that, given the opportunity, all natural things would carry out some movement, that is, their natural movement. Above all, the world that Plato and Aristotle built is a static universe. It is possible to fully grasp the world by approaching the objective nature that exists independently of human being with human reason and observation. After all, for Aristotle, like Plato, their belief that the natural world was subject to regular and orderly laws of nature, despite the complexity of what seemed to be an embarrassingly continual change, became the basis of Western thought. Since the universe, the metaphysical perspective of ancient Greece and modern philosophy, relies on the development of a dichotomy of understanding (cutting branches) into what has already been completed or planned, ideal and inevitable, so it is the basis of traditional teaching-learning that does not value learner's opinions.

• The Journal of Korean Philosophical History
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• no.29
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• pp.125-152
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• 2010

The main purpose of this dissertation is a introductive proposal to reconstruct confucian moral principles. The most classical question in moral principles is : what is the good. In order to reconstruct confucian moral principles, this dissertation begin with question of what is the good in confucian moral principles. Confucianism believe in reality of the human good mind and good nature. Confucian the human good mind and good nature is comprised of benevolence, righteousness, propriety and wisdom. Benevolence, righteousness, propriety and wisdom(四德) is the origin of morality. Confucian's moral principles of human relationship is none other than conscientiousness and altruism. Conscientiousness is a principle of self-cultivation and self-revelation. As to altruism, confucious said, "the man of perfect virtue, wishing to be established himself", or "do not impose on others what you do not desire others to impose upon you." Altruism is rectified as a principle of reciprocity methodology of the making of whole kingdom peaceful in The Great Learning. Confucian golden rule(conscientiousness and altruism is equal to Kantian categorical imperative in The Fundamental principles of Metaphysics of Ethics. : Act only on that maxim through which you can at the same time will that it should become a universal law ... etc. Kant's three principles of moral philosophy(Categorical Imperatives) imply that the idea of universality, freedom, and the kingdom of ends. We contrast confucian moral principles with Kant's three principles of Categorical Imperatives. In conclusion, confucian moral principles implicate Kant's principle of universalizability and impartiality.

• Journal of The Korean Association For Science Education
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• v.27 no.7
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• pp.592-608
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• 2007

This study explored the types of conceptual change of 'force' within middle school students' conceptual ecologies. This qualitative study was implemented with the use of classroom observations and two interviews with the participants. 11 middle school students (7 females and 4 males) joined in this study. The interviews with the participants were conducted individually before and after the 'force' unit. The collected data were all transcribed and analyzed interpretively. The results of this study consisted of two parts. First, the participants' conceptual ecologies of 'force' were categorized into 4: epistemological commitments (fixed or interactional explanatory consistency), analogy (attribute, working), metaphysical beliefs (people-oriented ontology, animism, causationism, mixed), and past experiences. Second, two representative cases including 'stable' and 'transitional' states were explained based on the interactions within their own conceptual ecologies. We can see students' conceptions with the integrated perspective in the sense that this results tried to get contextual and interactional understandings of the status of the conception and the possibilities of conceptual change. In addition, it implied that conceptual change research should have the perspective of conceptual ecology evolution in the future.

• Cartoon and Animation Studies
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• s.50
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• pp.75-99
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• 2018

Makoto Shinkai, an animated film maker in Japan, has been featured as a one-person production system and as a 'writer of light', but his 2016 release of "Your Name" was a departure from the elements that characterize his existing works. At the same time, by the combination of the traditional musubi(むすび) story, ending these, it was a big hit due to its rich narratives and attraction of open interpretation possibility. As it can be guessed from the title of this work, this work shows the encounter between the Japanese ancient language and the modern language in relation to the 'name', and presents the image that the role of the name(language) is repeatedly emphasized with various variations in events for the perfect 'encounter'. In this work, the interpretations of $Signifi\acute{e}$ for characters and objects are extended and reserved as a metaphorical role of the similarity, depending on the meaning of the subject which they touch. The relationship between words and objects analyzed through the structure of Signifiant and $Signifi\acute{e}$ is an epoch-making ideological discovery of modern times revealed through F. Saussure. Focusing on "the difference" between being this and that from the notion of Saussure, Derrida dismissed logocentrism, rationalism that fully obeyed the order of Logos. Likewise, dismissing the center, or dismissing the owner had emerged after the exclusive and closed principle of metaphysics in the west was dismissed. Derrida's definition of 'deconstruction' is a philosophical strategy that starts with the insight on the nature of language. 'Dissemination,' a metaphor that he used as a methodological concept to read texts acts as interpretation and practice (or play), but does not pursue an ultimate interpretation. His 'undecidability' does not start with infinity, but ends with infinity. The researcher testifies himself and identifies that we can't be an interpreter of the world because we, as a human are not the subject of language but a user. Derrida also interpreted the world of things composed of Signifiant and $Signifi\acute{e}$ as open texts. In this respect, this study aimed to read Makoto's works telling about the meeting of a thing and a thing with name as a guide, based on Derrida's frame of 'deconstruction' and 'dissemination.' This study intends to re-consider which relationship the Signifiant and $Signifi\acute{e}$ have with human beings who live in modern times, examine the relationship between words and objects presented in this work through Jacques Derrida's destruction and dissemination concepts, and recognize that we are merely a part of Signifiant and $Signifi\acute{e}$. Just as Taki and Mitsuha confirm the existence by asking each other, we are in the world of things, expecting musubi that a world of names calls me.

• Journal of architectural history
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• v.10 no.4 s.28
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• pp.77-92
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• 2001

현대의 건축시기는 다원성의 시기 또는 복합성의 시기라고 불리운다. 모더니즘과 포스트모더니즘의 시기를 거치며 다양한 형태적 실험의 과정을 겪었고 수많은 이데올로기와 이론들로 무장된 논쟁의 역사도 갖게 되었다. 이러한 현대건축의 다양성은 건축디자인이라는 전문직의 사회에 기여하는 역할을 반추(反芻)함과 동시에 다변하는 인간사고의 역동성을 반영하고 있다. 건축관련 책자나 저널 등에서 흔히 발견할 수 있는 Neo-Classicism, Deconstructivism, Minimalism, High-Tech, New Moderns 등등의 건축양식들은 스타일을 지칭하는 언어라기보다는 건축적 사고를 지칭하는 언어라고 할 수 있다. 결국 건축디자인이라는 작업은 인간을 둘러 싼 건조환경의 생성에서 출발하는 것이므로 건축적 사고방식은 그 시기의 사회현상과 밀접한 관계를 맺게 된다. 20세기 말부터 불어닥친 디지털 문화의 사회변혁은 전 세계를 하나의 채널로 엮게 되었고, 이러한 영향들은 지역과 민족, 그리고 종교적인 요소들까지도 혼합하여 국경을 초월한 미래의 새로운 이상들을 꿈꾸게 되었다. 19세기 산업혁명과 함께 급속히 벨라진 인류문명의 진보는 필수적으로 세계화를 동반하는 것이고, 세계화와 지역성사이의 괴리를 통해 나타나는 문화적 비판과 충돌은 아직도 진행상태인 것이다. 세계화라는 통염은 문명의 보편성을 기반으로 하며 전통문화의 파괴가 뒤따를 수밖에 없는데, 현재와 같이 IT혁명을 통해 급속도로 빨라진 세계문화의 교류는 한 국가가 뿌리를 내리고 있는 문화적 유산이라는 토양을 포기하여야 할 단계에 와 있다고 논평할 정도이다. 여기서 건축은 문화적 상징으로 작용하게 되는데, 그것이 심미적이든 관습적이든 또는, 경제적이든 건축가는 해답의 제시라는 임무에 직면하게 된다. 20세기에 진행된 모더니즘의 건축은 구조와 공간에 대한 고전건축의 숙원을 고덕건축이 이룬 것처럼 15세기 르네상스 시대로부터 진행된 형태와 공간, 기능, 그리고 아름다움과 기술(technology) 또는 경제성 등에 대한 건축적 의문과 탐구를 일단락지었다고 할 수 있다. 이러한 모더니즘의 한복판에 Mies van der Rohe라는 거장이 깊은 발자국을 남기며 한 시대를 이루었고 그가 남긴 시대정신의 이념과 가치를 Miesianism이라고 부른다. 실용성과 도덕성을 근본으로 하는 Miesianism은 대중에 호소하는 미적 표현주의를 부정하고 지역정서를 중시하는 문맥적 접근방식을 경시함으로써 보편화라는 현상을 불러일으킨 국제주의 양식의 한 부류로 비판을 받아왔다. 즉, Miesianism의 단순하고 강렬한 외형적 요소는 그것이 내포하는 기술적 합리성이나 공간적 완결성을 무시한 채 전 세계에 영향을 미쳤고 동시에 지역적 저항을 받게 되었다. 시카고 및 전 세계의 Miesian들, 즉 Mies van der Rohe의 제자들이나 그로부터 영향을 받은 수많은 건축가들은 이러한 저항과 비판에 직면하게 되며 새로운 사고의 시대적 요구 앞에 고뇌하게 된다. 한국에서는 1978년 Mies van der Rohe의 제자인 김종성이 미국에서 서울로 돌아와 '서울건축컨설탄트'를 설립하며 본격적으로 Miesianism의 규범적 건축론을 설파하기 시작하였다. 이른바 시카고 국제주의학파의 건축전수라고 할 수 있는데 '서울건축컨설탄트'를 통하여 배출된 김종성의 제자들은 명쾌하고도 간결한 건축해법의 경험을 토대름대로의 정체성을 갖고자 노력하였으나 결국 다원적 가치를 요구하는 시대적 흐름 속에 혼란을 겪고 있는 것 또한 사실이다. 본 연구는 Miesianism의 기원을 밝히고 그것의 실수와 오류를 밝힘과 동시에 현대의 여러 가지 건축유형들과 비교하여 봄으로써 Post-Miesianism의 실체와 그 미래에 대하여 고찰하여 보고자 한다. 미스의 유산이라고 할 수 있는 Miesianism의 요체는 첫째, Schinkel로부터 이어받은 시대정신의 사명감, 둘째, Berlage가 전해준 전문가로서의 도덕성을 바탕으로 하여 이루어진 기술적 합리성의 실현, 그리고 마지막으로 그 당시의 추상예술에 대한 이해로써 받아들인 nee-Suprematism의 아방 가르데적인 자세라고 할 수 있다. 그러나 이것들을 전파하고 수용하는 과정에서 미스적인 단순하고 명쾌한 외관이 더욱 강한 인상을 남기게 되었고 또한 미스가 현대성의 본질이라고 믿는 기술의 전수는 모든 외관을 동일하게 만드는 International Style로서의 보편적 획일성을 초래하였다. Mies van der Rohe의 강력하고 규범적인 dogma는 그의 제자들에게는 강렬한 카리스마로 각인되었고, Mies가 원한 것이 아닐지라도 그들을 하나의 틀 속에 가두는 영향력을 행사하였다. 2세대이든 3세대이든 기술적 합리성과 추상적 단순미라는 믿음을 맹목적으로 추종할 때 그들은 Miesian으로 남아있게 되며, 거기서 벗어났을 때 non-Miesian, 또는 배신자로 취급하기까지 하였다. 이것은 미스의 제자들에게 강한 족쇄가 되어 형태적 또는 개념적 변화의 시도를 어렵게 하였고 시대적 요구에 부응하지 못한다는 평가에 이르게 되었다. 문화의 다양성과 역동성을 인정함과 동시에 Miesianism에 대한 새롭고 시대에 적합한 해석을 기대하게 되는데, 이러한 기대 속에서 우리는 Post-Miesianism이라는 새로운 유형을 엿볼 수 있게 된다. Post-Miesianism의 징후를 현대의 다양한 건축유형에서 발견할 수 있는데, High-Tech의 구축적이고 정밀한 건축 기술적 해법과 Minimalism의 반복성을 통한 추상미의 표현 등에서 뿐만이 아니라 Post-Modernism의 인간성의 추구나 문맥적 고려, 또는 해체주의의 형이상학적이고 아방가르데적인 실험주의 정신까지조차 Post-Miesianism이 공유할 수 있는 부분이 있다고 보여진다. 또한, 미스의 영향이 2세대, 3세대의 건축가들에게 미치면서 여러 방향으로 변질되어 가는 것을 우리는 발견할 수 있으며 그러한 시대성에 적응하는 시도들이야말로 새로운 미래를 향한 Post-Miesianism의 실체인 것이다. Mies가 말하였듯이 한 시대의 끝은 그 시대가 완전히 이해되었을 때이며, 모더니즘의 숙제는 아직 해결되지 않았으므로 Miesianism의 탐구는 Post-Miesianism이라는 새로운 주제로 계속될 것이다. 이를 통하여 21세기 디지털 문명의 시대 속에서 현대건축이 안을 수밖에 없는 보편성과 지역성의 충돌이라는 문제의 해결에 한 발걸음 다가갈 수 있기를 기대하여 본다.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.4-23
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• 2020

This study examines the universal meaning of the roof-end tile, our cultural property, and especially focuses on an ontological interpretation of the "Smile of Silla" roof-end tile. In addition, the problem of good and evil read here is considered in connection with the universal problem of philosophy. The issue of good and evil is a theme in philosophy, theology, religion, and culture that will endure throughout human history in both the East and the West. Augustine and Schelling inquired deeply into the source of evil and obtained an answer to this question based on their methods, but their answer is not universal or absolute, or an answer that applies to everyone. This is because the issue of good and evil possesses both a direct relationship with every human being and a characteristic that will remain unresolved. That is to say, the metaphysical question regarding the source of evil will always be one that is open. Nietzsche, however, repudiated the morals handed down through Socrates and Christianity, and urged that we reside "beyond good and evil." This brief review argues that good and evil exists in the form of a being in itself, whether it is within our grasp or not, and reveals that good and evil is more "this-worldly" than it is "other-worldly". The roof-end tiles with facial markings passed on to us also presuppose that evil is in full force in this world and exerts its influence. This review taps into several folk methods for coping with the existence of an invincible evil that surpasses human capability and contemplates the extraordinary and creative ideas of the Silla people through their "Smile of Silla" roof-end tiles with facial markings that were used to counter evil.

• (The)Study of the Eastern Classic
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• no.35
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• pp.415-445
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• 2009

A well-known historian, Ahn Jeong-Bok(Sun-Am, 1712~1791) was an expert on the country village community. He was a scholar of the "Nam-In" group, who was excluded from the corridors of power in those days. He kept on the move in various parts of country villages from his childhood. After settling down in Deok-Gok, Kwang-Ju, he stayed in the place devoting himself to the self-culture and the literary works. By his surrounding of environment, he had an academic interest in a concrete science rather than metaphysics and country villages rather than the central city. He considered the country villages as the link holding between a family and a country and had the conception of a confucianist community based on country villages, emphasizing the practice of confucianist virtues in everyday life. First of all, his confucianist community was the community based on country villages. He thought that the enlightenment was a matter of great importance for solving problems in country villages. As a solution to those problems, he suggested Hyang-Yak, the self-governed regulations of country villages. In his own village he made the self-governed rules Dong-Yak. When he was a provincial governer of Mok-Cheon, he put Hyang-Yak, the self-governed regulations of country villages in operation. It aimed for a kind of gentry-centric country village community. But Hyang-Yak was the regulations based on the agreement with each other, stressed the regard on the popular mind and the setting the pace of the gentry, and aimed for the harmony and order in a community through the practice of moral virtues in daily life. On the other hand, he had a conception of a country village's academic community. He thought of the development of educational intuitions as a pressing need of the enlightenment of country village. With young people he read confucianist books with comments in a village school, Seo-Jae. In his seventies, he made and put the self-regulations for academic community, Hak-Yak, in operations. It is considered that Hak-Yak was an example of his idea of academic community and his point of view on learning, which emphasized on the coincidence with reading and practice.

• Journal of Korean Philosophical Society
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• v.129
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• pp.23-51
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• 2014

Christine M. Korsgaard believes that constructivism can respond to moral skepticism without depending upon moral realism. The purpose of this paper is to examine Korsgaard's kantian constructivism and her positions on moral realism. According to Korsgaard moral realism cannot answer normative questions in that it sees the function of moral concepts as describing the reality and so accepts the model of applied knowledge for action. In contrast Korsgaard insists that constructivism is better at justifying normativity since it regards moral concepts as representing the solutions to practical problems and so shows that moral principles are necessarily involved in the practical problems of agency. Korsgaard's constructivism has antirealistic elements such as pure proceduralism, the constitutive model to exclude ontological, metaphysical meanings, and the account of human beings as the sources of values. In spite of those antirealistic elements it is difficult to jump to a conclusion that Korsgaard's constructivism is antirealism. Korsgaard, in the early book, The Sources of Normativity, says that kantian constructivism has something to do with a form of realism, or procedural moral realism. And in the following books she argues that constructivism is compatible with realism although she pays attention to the practical implications of constructivism and then sets aside its ontological relevance. That is, Korsgaard does not want that her constructivism results in antirealism. Korsgaard's realism, however, is too weak to be called as realism. There is, also, a question why one would rather take a constructivist approach if one holds on to realism.

• 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) Research of the performance art and culture
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• no.20
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• pp.251-307
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• 2010

Manbojeonseo, a kind of an encyclopedia published several times in Ming Ch'ing dynasty, includes useful information for scholars and common people on daily lives. In 1720, Manbojeonseo was first introduced to Joseon(朝鮮) dynasty by the diplomatic corps visiting Ch'ing dynasty, and widely circulated in the society as an useful information magazine or an individual collection of reference book. Since Manbojeonseo includes the systematically-organized contents of Geumdoron(琴道論, a theory of a heptachord), it could provide a useful reference when the Geumdoron was inserted as the contents of old scores. For an instance, Obultan(五不彈), Tangeumsuji(彈琴須知), and Taeeumgibeop(太音紀法) recorded in Hangeumsinbo(韓琴新譜, 1724) clearly acknowledge Manbojeonseo as their common source. In this paper, the order and the contents of Geumdorons from four different Manbojeonseo are compared. At first, the comparative analysis of Manbojeonseo (1610) edited by Seo Giryong(徐企龍) and Manbojeonseo(1612) edited by Yu Jamyeong(劉子明) are carried out focusing on the contents of the Geumdoron, where both Manbojeonseos contain considerable amount of Geumdoron sections. The tables of the contents in both Manbojeonseos are composed of upper and lower levels classified into 4 large divisions for each. While the contents of the upper level is presumably older and focused more on the theory of the cardinal virtues, the contents of the lower one is relatively new and centered more on the skills for the real play of a heptachord(琴), the lyrics and the musical scores composed of Gamjabo(減字譜). Therefore, it could be said that the upper level is metaphysical while the lower level is physical. One of the differences between those two Manbojeonseos lies in the order and the terminology found in the large divisions. In the case of Manbojeonseo(1612), some terms in the large division represent and theoretically group the detailed descriptions in the small divisions such as 5 demands or 7 taboos in the play of the heptachord. In addition, a few lower divisions were newly added or revised in order to enhance the completeness of Geumhangmun(琴學門, study of a heptachord), and the detailed classification was revised and polished to improve the reasonableness. In Manbojeonseo(1614) composed by the same editor as Manbojeonseo(1610), the contents of the Geumdoron become much briefer than those of Manbojeonseo(1610) and Manbojeonseo(1612). In the case of Manbojeonseo(1739), a new type of the Geumdoron is included called Oeumjeongjobo(五音正操譜) while carrying a similarly brief section of the Geumdoron. Finally, the Geumdorons in Manbojeonseo and several old scores are comparatively analyzed. While the Geumbo(琴譜) owned by Gugagwon(國樂院) and Hangeumsinbo contains relatively old Geumdoron, Yuyeji(遊藝志) and Bangsanhanssigeumbo(芳山韓氏琴譜) adopt practical and relatively new Geumdorons different from the former old scores and similar to Manbojeonseo(1739) considering the order and the contents. In particular, the contents of the Geumdoron in Geumheonakbo(琴軒樂譜) is notably unique containing much of the upper and the lower levels of Manbojeonseo(1612), therefore thought to have actively adopted the contents of new Geumdorons.