• Convergence Security Journal
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• v.20 no.4
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• pp.143-151
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• 2020

The cyber battlefield called the fifth battlefield, is not based on geological information unlike the existing traditional battlefiels in the land, sea, air and space, and has a characteristics that all information has tightly coupled correlation to be anlayized. Because the cyber battlefield has created by the network connection of computers located on the physical battlefield, it is not completely seperated from the geolocational information but it has dependency on network topology and software's vulnerabilities. Therefore, the analysis for cyber battlefield should be provided in a form that can recognize information from multiple domains at a glance, rather than a single geographical or logical aspect. In this paper, we describe a study on the development of the cyber operation COP(Common Operational Picture), which is essential for command and control in the cyber warfare. In particular, we propose an architecure for cyber operation COP to intuitively display information based on visualization techniques applying the multi-layering concept from multiple domains that need to be correlated such as cyber assets, threats, and missions. With this proposed cyber operation COP with multi-layered visualization that helps to describe correlated information among cyber factors, we expect the commanders actually perfcrm cyber command and control in the very complex and unclear cyber battlefield.

• 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.