• Journal of the Korean Society for Library and Information Science
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• v.55 no.1
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• pp.5-36
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• 2021

This study attempted to present the direction of development of the curriculum of Library & Information Science by investigating and analyzing the current status of the curriculum of Library & Information Science in Korea and the perception of the necessity of each major subject. To this end, the curriculum of the Department of Library and Information Sciences nationwide was thoroughly investigated. Based on the subjects, a questionnaire survey was conducted for all professors of the Department of Library and Information Science on the degree of consent for required and elective subjects. As a result, first, the total number of courses opened in the Department of Library and Information Science has recently decreased. It was confirmed that the proportion of the required subjects and basic subjects decreased, and the proportion of elective subjects increased. Second, it was found that the importance and weight of informatics are constantly increasing, and there is a high demand for new subjects such as big data, programming, and data analysis. Third, the proportion of library management in all subjects is decreasing, but the necessity of detailed subjects is highly recognized. Fourth, it was confirmed that the proportion of bibliography was gradually decreasing. Fifth, although records management was not a required major subject, its weight increased as an elective subject, while language subjects showed almost no awareness of the necessity.

• 기호학연구
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• no.56
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• pp.45-70
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• 2018

Criticism of the postmodern philosophy of the system of representation, which has continued since the Renaissance, is based on a critique of the dichotomy that separates the subjects and objects and the environment from the human being. Interactivity, highlighted in a series of works emerging as postmodern trends in the 1960s, was transmitted to an interactive aspect of digital art in the late 1990s. The key feature of digital art is the possibility of infinite variations reflecting unpredictable changes based on public participation on the spot. In this process, the importance of computer programs is highlighted. Instead of using the existing program as it is, more and more artists are creating and programming their own algorithms or creating unique algorithms through collaborations with programmers. We live in an era of paradigm shift in which programming itself must be considered as a creative act. Simulation technology and VR technology draw attention as a technique to represent the meaning of reality. Simulation technology helps artists create experimental works. In fact, Baudrillard's concept of Simulation defines the other reality that has nothing to do with our reality, rather than a reality that is extremely representative of our reality. His book Simulacra and Simulation refers to the existence of a reality entirely different from the traditional concept of reality. His argument does not concern the problems of right and wrong. There is no metaphysical meaning. Applying the concept of simulation to algorithmic art, the artist models the complex attributes of reality in the digital system. And it aims to build and integrate internal laws that structure and activate the world (specific or individual), that is to say, simulate the world. If the images of the traditional order correspond to the reproduction of the real world, the synthesized images of algorithmic art and simulated space-time are the forms of art that facilitate the experience. The moment of seeing and listening to the work of Ian Cheng presented in this article is a moment of personal experience and the perception is made at that time. It is not a complete and closed process, but a continuous and changing process. It is this active and situational awareness that is required to the audience for the comprehension of post-representation's forms.