• Title/Summary/Keyword: Cyborg

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Crying Sea, The Sound Installation: Artistic Considerations for Coexistence between Human and Technology

  • Park, Jungsun;Wi, Hyeongseok;Park, Sungwoo
    • Journal of Multimedia Information System
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    • v.9 no.1
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    • pp.43-50
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    • 2022
  • As the discourse on Anthropocene grows, this exploratory research investigates the interrelationship and interconnectivity between humanity and technology by analyzing a sound art installation created by the author. Crying Sea is a sound installation that uses plastic wastes collected from the shore to create symbolic narratives and artistic experience connecting humans, objects, and nature through interactive digital technology. In this installation, the audiences are guided to walk over the wastes, and the sounds created by the footsteps are recorded in real-time, which then are distorted and amplified into disturbing sounds through speakers filling up the room. In analyzing this artwork, three theories from technological, philosophical, and ecological backgrounds were used; specifically, Bernard Stiegler's pharmakon theory, Dona Haraway's cyborg manifesto, and Timothy Morton's dark ecology theory. A common factor revealed from all three theories by analyzing the Crying Sea is that humans, technologies, and all other entities within nature are interconnected and resonated. The awareness of this recursive relationship allows us to consider sustainable balancing.

A Study on a Historical Context of the Design Methodology Movement With an Emphasis on Its relations to Cyborg Sciences (디자인 방법론의 역사적 맥락에 대한 연구 - 사이보그 과학과의 관계를 중심으로 -)

  • Park, Hae-Cheon
    • Archives of design research
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    • v.19 no.5 s.67
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    • pp.105-118
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    • 2006
  • From a general perspective of design history, the design methodology movement is interpreted in relations to the rationalistic and universal characteristics of modernism. This essay explores a historical context of the movement, focusing on its discursive and practical relations to cyborg sciences that has been shaped by the research and development of military technology in Cold War America. The formation of such relations could be largely devided into two processes: One is the process in which methods and techniques of system science that included operation research, system analysis, and system engineering, were appropriated by the first generation methodologists who had tried to establish "the science of design", and the other is the one in which Herbert Simon's studies on problem solving and artificial intelligence became profoundly embedded in theoretical frameworks of design methodology after the first generation. Examining such processes critically, this essay argues that a design process became finally redefined by the third generation methodology, as a 'feedback loop' of circulation of production and consumption, that is, an apparatus of information-processing which gives a concrete form to the "invisible hand" of markets.

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A Study of Cyberfeminism in fashion in the digital era -Focused on cybersubculture style (Part I)- (디지털시대 패션에 나타난 사이버페미니즘 연구(제1보) -사이버하위문화 스타일을 중심으로-)

  • 김현수;양숙희
    • Journal of the Korean Society of Clothing and Textiles
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    • v.27 no.11
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    • pp.1229-1240
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    • 2003
  • The purpose of this study was to review such results of the scientific and technological development as women's changed status, sexual identity and their views of physique in the cyber space based on cyber feminists' theories, and thereby, examine the concept of space during the medieval age, and then, the fundamental spiritual concept involving the fetishism of women's body as sexual objects in the materialistic space of the digital age in terms of the consciousness of trend or supra-sensual perceptions, and thereby, review the effect of the cyber terrorism and violence on the fashion in sub-cultural terms. Some researchers distinguish psychedelic styles from cyberdelic ones to assume such psychiatric visions as psychedelic fashion characterized by resistance and delinquency-cyber punk fashion, cyber hippie fashion, cyborg fashion- and then, define them all as cyber resistant culture fashion or as a sub-cultural style of the cyber culture. As a result, it was found that human bodies are being encoded with the networks, various cyber characters or avatars are emerging, while human bodies are being distorted or exaggerated with human beings and machines being imploded.

A Study on Functionality of Fashion Design Combined with Technology (과학기술과 결합된 패션디자인의 기능성에 관한 연구)

  • 권기영
    • Journal of the Korean Society of Clothing and Textiles
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    • v.28 no.1
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    • pp.88-99
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    • 2004
  • The purpose of this study is to observe the significance and symbolic meaning of fashion design which is combined with machines, and to develop excellent designs in aesthetic aspects. The method of this study analyzed the related documents and journal, fashion magazines. The results is as follows. The cyborg discourse and virtual human body in virtual world predict the existence of new human. In present times, up-to-date equipments such as wearable computer have begun to be built-in clothing based on technology, and these dress and ornaments influence on human's life gradually in practicality and ability. These equipments are divided as military affairs, medical treatment equipment, leisure, information access and communication, guard, and business assistance. And according to the kind of item, they are divided by headwear, clothing and accessory. The significance of clothing combined with machine is practical viewpoint, economical viewpoint and aesthetic viewpoint. And the symbolic meaning of these fashion combined machine with technology is dis-identity in digital society, dis-borderness between human and machine and the uncertainty of human being. Like this, the clothing which is combined with high-technology shapes its own unique and individual system. But, this must escape from the limit of medium system itself that is technology to become a future clothing for human, suggest new agenda about human and society, and confirm the human being's existence and identity continually.

A Cyborg Companion: Human Being & Machine Being (사이보그 동료: 인간과 기계)

  • Kim, Ji Yeon
    • Journal of Korea Game Society
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    • v.15 no.3
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    • pp.51-62
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    • 2015
  • Do artifacts function merely as tools? Today tremendous softwares work to assist or guide their users. This paper will apply the theories of Science & Technology Studies(STS) and the agent definition of Floridi & Sanders(2004) to game-bot programmes. Consequently we would see game-bots have had the interactivity, autonomy and adaptability. They are the position of agents even in playing. Further they may be companion relationship in the way that bots and human players compose each other. Then we will be induce to new question, the bots may be political-social. While human actors in computer based rule are the compounds being affected by the artificials, they will be never same to classic human actors.

Conflicts in Human-Cyborg Relationship Described in SF Films (SF 영화에 묘사된 인간-사이보그 관계에서 일어날 수 있는 갈등)

  • Yoo, yang-seok
    • Proceedings of the Korea Contents Association Conference
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    • 2019.05a
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    • pp.85-86
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    • 2019
  • 인공지능의 지속적인 발달로 자아의식을 가진 사이보그가 개발되며 인간과 동등한 지위를 갖게 되는 존재로 진화하게 될 것으로 예상되고 있다. 사이보그와 인간과의 관계는 인간과 인간과의 관계와 큰 차이가 없는 수준으로 발전할 수 있을 것이다. 감정이 있을 수 있으며 그로 인하여 여러 갈등도 존재할 수 있다. '2001 스페이스 오디세이', 'A.I', '그녀'와 같은 영화 내용들을 통해 미래 사회에 펼쳐질 인간과 사이보그의 관계를 유추해 볼 수 있다. SF 영화에 묘사된 인간과 사이보그와의 관계에서 일어나는 갈등의 사례를 탐색해 본다.

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A Study on the Allegory in LadyGaGa's Fashion Style(Part 2) - Focused on Music Video - (LadyGaGa의 패션스타일에 나타난 알레고리 연구(제2보) - 뮤직비디오를 중심으로 -)

  • Kim, Hyang-Ja;Kwon, Mi-Jeong
    • Fashion & Textile Research Journal
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    • v.14 no.5
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    • pp.701-712
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    • 2012
  • This study examines the various expressions and immanent value of fashion and beauty style based on Craig Owens's Allegory theory. I analyzed four application elements of Borrow, Site Specificity, Accumulation of Strategy, and Hybridization in? Ladygaga's Music Videos. The results are as follows. 'Borrow' presents a kitsch style and playful Pop-art style, transformation of gender from Mini Mouse body suit, telephone headpiece, and can hair. 'Site specificity' presents the temporarity of fashion material through rebirth, aging, natural extinction from the chain over the black jump suit, crime scene tape, and skull-face makeup with masculine style. 'Accumulation of strategy' presents a futuristic chic fashion style from a layered style, retrospective fashion, repetition and duplication in Music Videos. It shows the physical beauty of an Asian warrior style in Poker Face. 'Hybridization' present Cyborg feminism and 'Will of Power' from iPOD LCD glasses and Pyro-Bra. The Pyro-Bra represents how the female body can be used as a weapon in the outfits of Lady Gaga. In addition, Immanent value is as follows. Textual interaction with high art is accomplished through a combination of contemporary social and cultural significance to understand the cultural code and to extend the value. Combined with high culture, popular music genre is accomplished through musical appreciation by a woman in fashion styling and sensual pleasures of the body as a tool to express a sublime advantage. Fashion style is accomplished by overcoming a self-transcendent body image representation. The way in which mutual coupling dismantling, destruction, and uncertainty is to re-launch the static, with a pluralistic context of Textuality.

Expressive Methods of Uncanny Image in Contemporary Fashion (현대패션에 나타난 언캐니 이미지의 표현방법)

  • Yu, Arim;Suh, Seunghee
    • Journal of the Korean Society of Costume
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    • v.65 no.6
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    • pp.99-111
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    • 2015
  • The purpose of this study is to identify the expression methods of uncanny images shown in contemporary fashion through the visual expression methods of plastic arts. The study results are as following. First, there is a concept-forming element of 'The return of Repressed', which is a psychological mechanism for generating uncanny sets to the component of 'repression' and 'return'. 'Repression' herein consisted of 'unconsciousness', 'the other', and 'anxiety', while the return was composed of 'trauma' and 'repetition compulsion'. Second, there are visual expression methods of the uncanny in contemporary art. The subject of 'repressed things' was expressed as grotesque and having a terrible look. 'Fragmented body' was analyzed as 'dismantling' by mutilation, 'combination' placing cut body parts in other places, and 'damage' suffering from an illness or accident. 'Fear of death' was shown as 'anatomy' reminiscent of death and 'iconography of death' meaning return of the dead. 'Post-human' was a surrealistic being such as a monster and mechanized human, and was analyzed as 'gene variation' and 'cyborg'. Third, the methods of visual expression of the uncanny reflected on contemporary fashion was analyzed as 'fragmented body', 'fear of death', and 'post-human'. 'Fragmented body' appeared as the object reminiscent of the fragmented body, 'dismantling and combination of the body', and 'damage of the body' through the distortion of the clothing construction principle. 'Fear of death' visualized the characteristic elements of the subject reminiscent of death as 'iconography of death' and 'symbolic object of death' through the motif. 'Post-human' was the description of the subject beyond the body's function and form, and was shown as 'gene variation' and 'cyborg'.

Hybrid Urbanscapes of PC Bangs and Their Socio-Spatial Effects on Human Bodies (피시방의 혼성적 도시경관과 인간 육체에 대한 사회-공간적 영향)

  • Lee, Hee-Sang
    • Journal of the Korean Geographical Society
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    • v.42 no.5
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    • pp.710-727
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    • 2007
  • This paper suggests an inquiry into the characteristics and implications of urbanscapes produced by Internet cafes, widely called PC Bangs in Korea, and their effects on the motions and boundaries of human bodies as cyborgs which exist in between actual and virtual spaces or between human and machine spaces in PC Bangs. The paper, which is organised into two main sections, first investigates the streetscapes of PC Bangs as electronic architectural spaces and suggests the urban electronic space of PC Bangs in terms of hypertext space. Then, it looks at the effects of PC Bangs on human bodies which exist as human-machine hybrids or cyborgs in PC Bangs. The paradoxical socio-spatial characteristics of PC Bangs as third, liminal or hybrid spaces between actual and virtual spaces or between human and machine spaces can be explained as follows. Firstly, there appear both nomadic and sedentary landscapes in that people in PC Bangs move in virtual spaces on the one hand, and are static in actual spaces on the other hand. Secondly, both open and closed spaces are shaped in that although PC Bangs act as open or public electronic spaces, they involve invisible social boundaries, forming the gendered space of masculinism. Thirdly, the boundaries of the human body are extended and are shrunk at the same time in that while the sensory boundaries of the body in PC Bangs are extended through electronic networks, its social boundaries are shrunk through the imaginary space of solipsism. Thus and finally, PC Bangs can be characterised not only as social spaces entailing embodied and gendered landscapes, but also as non-places involving the cyborg landscapes of human-machine connections.

A Study of Make-up Artists and Character's Special Make-up Effects in the Twentieth Century's Films (20세기 영화 특수 분장사와 캐릭터 특수 분장 연구)

  • Chang Mee-Sook;Yang Sook-Hi
    • Journal of the Korean Society of Costume
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    • v.55 no.6 s.96
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    • pp.141-158
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    • 2005
  • This study was motivated not only by the important role of the special make-up effects in films, but also by the prominent contributions created by make-up artists. The first objective was to study of Jack Pierce, Dick Smith, Tom Savini, Rick flake., and Stan Winston's impact in the most challenging and creative field of all make-up artistry. The second objective was to examine both affinities and differences in artistic styles as well as in make-up techniques through a comparative study of special make-up effects of horror and sci-fi movies in the 20th century films produced by Hollywood studios. The sci-fi films were designed to thrill the audience through the potential of futuristic ideas by fantastic special effects of futuristic creatures such as an extra-terrestrial, a mutant, a robot and a cyborg. In contrast, the horror films were designed to frighten the audience with more reliance on horrifying special effects including a vampire, a werewolf, a zombie and a psycho killer. Their features were shown in a common thread (masquerade, otherness and surrealism) as well as a number of different themes between horror and sci-fi films (transformation vs. extension, satanism vs. monstrosity, and primitivism vs. futurism).