• Title/Summary/Keyword: Because This is My First Life

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Young Generation, Media Representation and Its Implications : A Semiotic and Discourse Analyses on of tvN (미디어에서 재현되는 청년세대의 현실과 위기: -TV드라마 <이번 생은 처음이라>에 대한 기호학·담론 분석-)

  • Song, Ah-Hyun;Baek, Seon Gi
    • The Journal of the Korea Contents Association
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    • v.18 no.11
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    • pp.146-160
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    • 2018
  • The purspose of this study was to investigate on the TV drama of tvN from October to November of 2017, which was regarded as a well description of the current young generation's daily life and reality. In order to figure out how it depicted the young generation in TV drama, the authors tried to analyze it..Through this study, it was found that the rise of neo-liberalism changed their social and financial lives rapidly. It pushed the young generation to give up on dynamic challenges and dreams, and to search for normal and inactive life styles.It was also found that its myths and ideologies implied how much differently Korean young generation confronted big gaps between their cognitive realities and their actual realities. Furthermore, this study suggested that the necessity of full understanding why and how such Korean young generation sought for an unique life styles to overcome various difficulties in such chaotic societal situations.

The Uncertainties in Contemporary Art

  • Pan Bo
    • International Journal of Advanced Culture Technology
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    • v.11 no.2
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    • pp.170-177
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    • 2023
  • In quantum mechanics, uncertainty refers to the uncertainty of a measurement physical quantity, because some mechanical quantity can only be in its eigenstate under certain conditions, and the values shown are discrete.The exact value can only be obtained by measuring it in the eigenstate of this mechanical quantity.Uncertainty is like a double-edged sword, which has both advantages and disadvantages in art itself and in the process of artistic creation. In this study, it is divided into three main parts. First, the existence of uncertainties in contemporary art is sorted out in two broad parts, the definition of the uncertainties in art and the specific expression in contemporary art, respectively, with examples from four aspects of psychological impact, accidental presentation effect, expression form and connection with the viewer. The purpose is to understand how uncertainties are expressed in the process of artistic creation. Second, the role of the uncertainties in artistic creation is analyzed through examples, and then it is proposed that artists should use uncertainties to serve art with a scientific and rational attitude. Thirdly, the application of uncertainties in my creative practice and their influences on my painting creation. In summary, every artistic creator should take art seriously and sincerely. The relationship among the creative subject, society and life is an eternal and continuous interaction, and art is a carrier of reflection. For the problems brought by uncertainties in artistic creation, from choosing new certainty by thinking to the emergence of uncertainties, such a cycle is the process of art sublimating from life and being closely related to life.

Digital painting: Image transfonnation, simulation, heterologie and transfonnation (현대회화에서의 형태와 물질 -Digital Transfiguration에 관한 연구-)

  • Jeong, Suk-Yeong
    • Journal of Science of Art and Design
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    • v.10
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    • pp.161-181
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    • 2006
  • The words which appeared in my theoretical study and work are image transformation to digital painting, simulation, heterologie and transfiguration, etc. Firstly, let's look into 'digital era' or 'new media era'. Nowadays, the image world including painting within the rapid social and cultural change, which is called as digital era, is having the dramatic change. Together with the development of scientific technology, large number of events which was deemed to be impossible is happening as real in image world Moreover, these changes in image world is greatly influencing to our life. The word which compresses this change of image world and shows is 'digital'. Digit, which means fingers in Latin, indicates separately changing signal, and to be more narrow, it indicates the continual signal of '0' and ' 1' in computer. The opposite word is 'analogue'. As analogue is the word meaning 'infer' or 'similarity', it indicates the signal or form which continuously changes along the series of time when it is compared to digital. Instead of analogue, digital is embossed as a major ruler along the whole area of our current culture. In whole culture and art area, and in whole generalscience, digital is appearing as it has the modernism and importance. The prefix, 'digital', e.g. digital media, digital culture, digital design, digital philosophy, etc, is treated as the synonym of modernism and something new. This advent of digital results the innovative change to the image world, creates the new beauty experience which we could not experience before, and forecasts the formation of advanced art and expansion of creative area. Various intellectual activities using computer is developing the whole world with making the infrastructure. Computer in painting work immediately accomplishes the idea of painters, takes part in simulation work, contingency such as abrupt reversal, extraction, twisting, shaking, obscureness, overlapping, etc, and timing to stimulate the creativity of painters, and provides digital formative language which enables new visual experience to the audience. When the change of digital era, the image appeared in my work is shown in 'transfiguration' like drawing. The word, 'transfiguration' does not indicate the completed and fixed real substance but indicate endlessly moving and floating shape. Thus, this concept is opposite to the substantial consideration, so that various concepts which is able to replace this in accordance with the similar cases are also exist such as change, deterioration, mutation, deformity of appearance and morphing which is frequently used in computer as a technical word. These concepts are not clearly classified, and variably and complicatedly related. Transfiguration basically means the denial of "objectivity' and '(continual) stagnation' or deviation from those. This phenomenon is appeared through the all art schools of art ever since the realism is denied in the 19th century. It is called as 'deformation' in case of expressionism, futurism, cubism, etc, in the beginning of the century, which its former indication is mostly preserved within the process of structural deviation and which has the realistic limit which should be preserved. On the contrary, dramatic transfiguration which has been showing in the modern era through surrealism is different in the point that dramatic transfiguration tends to show the deterioration and deviation rather than the preservation of indicated object. From this point, transfiguration coming out from morphing using computer deteriorates and hides the reality and furthermore, it replaces the 'reality'. Moreover, transfiguration is closely approached to the world of fake or 'imaginary' simulation world of Baudrillard. According to Baudrillard, the image hides and deteriorates the reality, and furthermore, expresses 'not existing' to 'imaginary' under the name of transfiguration. Certain reality, that is, image which is absent from the reality is created and overflowed, so that it finally replaces the reality. This is simulation as it is said by Baudrillard. In turn, Georges Bataille discusses about the image which is produced by digital technology in terms of heterologie. Image of heterologie is the visual signal which is established with the media. Image of media is to have the continuous characteristics of produce, extinction, and transformation, and its clear boundary between images becomes meaningless. The meaning of composition, excess, violation, etc of digital image is explained to heterological study or heteologie suggested as important meaning of Georges Bataille who is a heretic philosopher. As the form and image of mutation shows the shape in accordance with mechanical production, heterologie is introduced as very low materialism (or bas materialisme), in this theory. Heterologie as low materialism which is gradually changing is developing as a different concept and analysis because of the change of time in the late 20s century beside high or low meaning. Including my image, all images non-standardizes and transforms the code. However, reappearance and non-standardization of this code does not seem to be simple. The problem of transformation caused by transfiguration which appears in my digital drawing painting, simulation, heterologie, etc, are the continual problems. Moreover, the subject such as existence of human being, distance from the real life, politics and social problems are being extended to actual research and various expressing work. Especially, individual image world is established by digital painting transfiguration technique, and its change and review start to have the durability. The consciousness of observers who look at the image is changing the subject. Together with theoretical research, researchers are to establish the first step to approach to various image change of digital era painting through transfiguration technique using our realistic and historical image.

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Aspects of Emotional Customs by the N-po Generation (N포세대의 감정 풍속도)

  • Seo, Yeon-Ju
    • Journal of Popular Narrative
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    • v.25 no.1
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    • pp.55-85
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    • 2019
  • In this article, we examine the real meaning behind the stories in which the N-po Generation (Millennial Generation) is depicted, through the observation of entertainment programs, TV series, and movies. This could be an opportunity to investigate the aspects of emotional customs of our era, which have been described by television media as portraying the complex and multifaceted reality in the most mundane and popular manner while influencing the public. Problems with youth unemployment, the polarization of life, and instability are not only global issues but situations that specifically occur in South Korea. It is thus vital to pay attention to the inner side of the N-po Generation who enjoy Sohwakhaeng (small but certain happiness) by eating alone as the placebo effect of this tough reality. This is an agenda that should be viewed as a problem in the fundamental design of South Korean society. The consciousness of the problem shown in the TV series has been drawing attention. The TV series Because depicts a love narrative that concentrates on emotions in a relationship that started between housemates due to poverty and housing problems, leading to marriage. Thus, the TV series persuasively dramatized 'confluent love' in the N-po Generation. In the movie , Miso can be regarded as a symbol that represents the emergence of a new generation of cultural sensitivity. There is a suggestion in the sequence of that identifies the pursuit of taste with the discovery of identity. The TV series is a growth narrative that deals heavily with youth unemployment, temporary workers, fragmented families, and dating violence. The housemates in find emotional stability through interaction with each other, and courageously approach their individual problems. In the process, images of women, who are empathetic towards others and are willing to jointly solve their problems, are calmly depicted to reveal a story of growth revolving around a ground emotional community. The current problem that South Korean society should contemplate is how to be fully human beyond mere survival, and how to further seek the conditions of human existence. In that sense, what we should pursue is a notion of 'publicness', which can put several generations together. Because of the reality that confliction between generations must be triggered, in order to make a passage of sympathizing, mass media's sensitivity training becomes more important. This may be the duty of mass media.

A Christian Answer to the Problem of Suicide in Korean Society (한국 사회의 자살 문제에 대한 기독교적 답변)

  • Je, Haejong
    • The Journal of the Korea Contents Association
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    • v.15 no.2
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    • pp.552-566
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    • 2015
  • This paper deals with suicide that has become a serious problem in our society as well as in the world today from a Christian perspective. Historical position regarding suicide is divided into two; some see it as a brave and honorable act and give approval to it, the others view it as act of giving up the life that is given by God and are opposed to it. Though suicides in the Bible are mostly committed to maintain honor, because of Augustin's position it became negative in Christianity, leading to a thought that one who committed suicide goes to hell. Why then people commit suicide? The views of scholars on the cause of suicide are divided into three; biological, psychological, sociological. My position is that though each or all of them contribute to suicide, yet the decisive factor is on how a person reacts to them. Major factor of suicide is how humans as interpretive beings accept the present despair. On the basis of this understanding of suicide and humans, I conclude this paper with three new recognitions as an essential answer to suicide. First, humans are made in God's image and belong to Him, thus their life is precious. Second, Christianity views humans as ones look for the hope in the future as the eternal life. Third, suicide is a violation of the commandment 'do not kill' yet it is not an act of sin but a disease that needs to be cured. To achieve this Christianity must not only spread the idea of respect for life and also run suicide prevention center every city.

A Study on the Acceptance of Hindu Culture in Modern Southeast Asian Buddhism - The Structural Analysis of Hindu Myth and Buddhist Modification on Ramakien (근대 동남아불교의 힌두문화 수용 - 태국 라마끼엔의 힌두신화와 불교적 변용)

  • Kim, Chin-Young
    • The Southeast Asian review
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    • v.21 no.2
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    • pp.43-75
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    • 2011
  • The article focuses on the impact and Acceptance of Hindu culture in Modern Southeast Asian Buddhism. The purpose of this study is to examine critically the influential epic Ramayana on Siam culture, Thai Ramayana version 'Ramakien', reveal instances of Buddhist Modification. The Ramayana by the great sage Valmiki is considered by Indians to be the first great literary work to be produced in India. The influence of this work is to be seen not only through centuries but even in other countries, such as Thailand where there are modified modern versions. In this paper, I have three objectives : (1) I may discuss the epic Ramayana of India gave birth to the Ramakien of Thailand. In modern times Valmiki's epic was made to fit the spiritual trends current in the new Chakri dynasty, which were themselves based on Brahmanic tradition and Theravada buddhism. With regarding to the structure of the Traibhumi cosmography, and the relationship between merit and power implied by this cosmography ranks all beings from demons to deities in a hierarchy of merit which accrues according to karma the actions of past lives. (2) I analyze how to have attempted to dissect the Hindi and Thai version of the Ramayana. The Hindu concept of kingship is also depicted in the life of Rama. The Hindus see in Rama the norm of a true Hindu life characterized by the Caste and Dharma. In Thai transformed version, it does not preach Hindu values of personal or social life. The Ramakien emphasized that the Buddhism were higher than all other laws, and that the King is regarded as the incarnation of Phra Ram, and thus is also the narration of the righteous buddhist ruler. (3) I discuss how cultural or social contexts can influence the structure of the royal Wat. The whole epic was painted by the order of Rama I in the galleries of the Wat Phra Keo. In other words, it is the very centre of the dynastic cult enshrining the Emerald Buddha, the most iconic expression of the Ramakien tradition were officially amalgamated. Rama I was continued the process of elaborating and stabilizing the complex religious pattern, with Buddhism at the pinnacle. My finding will support the idea that the Ramakien is particularly appealing to the Thai people because it presents the image of an ideal king, Rama, who symbolizes the force of virtue or dharma while Thotsakan represents the force of evil. Eventually the force of good prevails. Being Buddhists, the Thai poets bring into the story the Buddhist philosophy(especially, the law of cause and effect, karma). This paper examines the role of the Hindu epic Ramayana in the historical and cultural contact between Hindu India and Buddhist Southeast Asia. It should now be possible to evaluate what elements of Hindu culture were transmitted into Thai through the Rama story.

Sympathy in Unrest: Beyond Jonjae's Philosophy (불온한 공감 - 존재의 사유, 너머 -)

  • Kim, Kyoung-ho
    • The Journal of Korean Philosophical History
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    • no.52
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    • pp.9-35
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    • 2017
  • This article is to study the life and philosophy of Jonjae Gidaeseung, who was at strife with his days and did not negotiate with himself, with focus on two concepts of buron(不穩, unrest) and 'sympathy'. It is the fact that to study the traditional philosopher is likely to be enlightening. In order to prevent the risk, we need to define first the concept of unrest as including anxiety to critical resistance. Also, I would like to propose the concept of sympathy in order to grasp the function of his mind which judges whether his feelings and actions are valid from an emotional horizon of unrest. Methodologically this article is to adopt a transversal and correlative thinking by combining an east Asian Confucian traditional concept unrest with a modern one space. It is because this research is to show a significant meaning when we study highlighted and hidden layers of our life and politics in 'now-here' and the 'between space' even though this transversal and correlative study shows the horizon of his life. This article is to investigate how a case is structured by occurrences and divergences and reinterpret a meaning from an emotional horizon. This process is done centering on two terms Guchatuan(pursuing ease ignobly), and Suwolbingho(moon reflected in the water and ice in a bottle), which is the source of Bingwoldang. The two terms were used by Jonjae himself. The latter shows an opposite meaning from the first and is accordingly a way by which we can look into his life and days. My research of Jonjae's life and politics from the emotional-philosophical level is original in that it reveals emotional traces beyond his philosophical ideas which previous studies did not show. In this article, I showed that Gobong was ambitious and resolute, and definite in his judgment and therefore was not good at controlling his uprightness. Also he was too straightforward to purify a language. His unrest characters made him conflict with old ministers and high ranking officials and therefore they avoided him even thought he was excellent in writing and learning and talented. He was oriented toward living by goodness and right Ways, which is summed up as Gisesa(vague movement, situational advantage, and death).

Post-Medium and Postproduction: Contemporaneity of Contemporary Art (포스트-미디엄과 포스트프로덕션 : 포스트모더니즘 이후 현대미술의 '동시대성(contemporaneity)')

  • Chung, Yeon Shim
    • The Journal of Art Theory & Practice
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    • no.14
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    • pp.187-215
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    • 2012
  • In recent studies of art historical methodology, such as Critical Terms for Art History and The Art of Art History, subjectivity, identity, abjection, and other terms have been placed safely in the genealogy of contemporary art history. This paper questions the contemporaneity in the story of contemporary art in our time in relation to two other critical terms that have been regularly cited by contemporary critics, not only in Euro-American fields but also in Korea. The terms are postmedium and postproduction, respectively, as used by Rosalind Krauss and Nicolas Bourriaud. This paper stems from the critical condition in which art criticism and theory have their power in the rise of neo-liberalism. But this paper does not deal with the contemporary as a chronological term for art history but rather examines the three critical terms-contemporaneity, post-medium, and postproduction-that have garnered scholarly attention. I would like to put aside postmodernism for the moment; I don't disregard the postmodern condition although the death of postmodern critical terms has resulted in the loss of its polemical power in art worlds such as in exhibitions, etc. To look at "the postproduction in the age of post-medium age after postmodernism," I first explore Krauss's notion of post-medium because, unlike media artists like Lev Manovich and Peter Weibel, Krauss's post-medium condition is different and insists on medium specificity. In this sense, Krauss has turned out to be another Greenberg in disguise. For her, photography and video are expanded mediums after Greenberg, because Krauss has spent her life explicating those mediums. Under the Cup, her recent publication, came out in 2011, and discusses her desire to defend medium-specificity against the intermedia of installation art found ubiquitously in international exhibitions and biennales. Her usage of post-medium has been taken up by Weibel as postmedia in a broader sense. But whether the post-medium condition or the postmedia age, we nonetheless enter the new age of the contemporary. Consequently, this paper questions what constitutes contemporaneity in our times. It is said that there is nothing new on earth, yet I find original artistic strategies among the younger generation in the postmedia age. The contemporary justifies its place in art fields and criticism by keeping its distance from postmodernism although we still find the remnants of postmodern artistic practices and theoretical foundations. By looking at materials written by Terry Smith, I would like to examine contemporaneity as a rhetoric where artists, critics, and curators endeavor to set up a new spirit of criticism, distant from the past of modernism and postmodernism. In discussions, modernism and postmodernism act as catalysts interacting with each other while justifying their own place. In conclusion, my paper reaches to delineate where the contemporary finds its place among artists' responses and working methods. It explores the postproduction of the Internet and the World Wide Web generations, where images become data rather than representation (of modernism) and appropriation (of postmodernism). This paper analyzes Bourriaud's text, as well as relevant artists like Pierre Huyghe, Liam Gillick, and others. By examining the aforementioned critical terms, I would like to reconsider our own contemporary art in Korea, especially among young artists influenced by digital media and the World Wide Web in the 1990s.

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Research on the measles experience of A primary school children in the Epidemic area (홍역이환지역 일 초등학교 학생의 홍역경험 조사연구)

  • 김이순;정은순;송미경
    • Korean Journal of Health Education and Promotion
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    • v.19 no.2
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    • pp.115-125
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    • 2002
  • This study is a investigation research to examine total 123 children's thought, perception and coping method about measles, with 62 children who had experienced the measles and 61 good health children in the school, which had spread to a primary school in kyoungsang-bukdo province. The data collection was done from December 6 to December 8. The analysis of data was SPSS(10.0) for descriptive statistics. The data were collected from total 123 children, 62 of them who had diagnosed measles on October, 2000, when the measles had ended, were used a purposive sampling, the others who had a good health were used a convenience sampling. From three to six grade students made out directly the questionaire in the way of self-questionaire, and from one to two grade students, made out answering the question which the researcher had read the items. The researchers call back the students to complement the contents about the items inadequate answers, so they raised the reliability. The results were as follows. 1. The results of observe carefully the measles infection degree by a sex, the boys(27.4%) were sick severely compared with girls(9.7%)were sick weakly compared with the boys(27.4%)(p〈0.01). 2. The 62.9 percents of infected children by measles thought that they were infected at school, regarded the doctors as a first judge, and had caught the measles because of their fault. The results of observe carefully, 33.8 percents children of infected by measles had have a secondary vaccination. To the question whether they go to institute or not while suffering from the measles, 35.5% children didn't go there since they had heard the fact they infected the measles. 3. To a question of asking if close mend caught the measles, what will they do, 65.1% children of caught the measles answer ‘I can't meet my friend'(p〈0.001). It was significant that infected children have more interests than didn't infected children. The 22% children of didn't catch the measles take great interested in health compare with the 12.2% children of infected the measles(p〈0.05). To the question if they listen the preservation of health broadcasting, 63.4% children answer ‘I listen well’. It was significant between the infected group and didn't infect group(p〈0.05). To the question if they delivery to the written information at home, it was significant between the infected group and didn't infect group(p〈0.05). 4. The infected group of 69.1% children think the health is most important in their life school than any other they like study.