• Journal of English Language & Literature
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• v.54 no.2
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• pp.217-234
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• 2008

Norman Mailer is one of the American writers who dramatize sensual pleasure in order to show how American idealism ends up being trapped and corrupted. The most remarkable cases are the tragic heroes of Scott Fitzgerald and the tough characters of Ernest Hemingway; while the former describes the victim of sensual pleasure, the latter brings the sensuality out from the darkness into 'the clean and well-lighted place.' In one of his most successful experimental fiction writings called 'New Journalism,' Mailer portrays the battle between the liberal left and the conservative right in the demonstration of 1967. Mailer achieves two things in this new technique. First, he demystifies the traditional epistemology grounded in the neutral and transparent narration and suggests that every narration can not escape mediation by a narrator. Secondly, he demonstrates that there is no clear distinction between good and bad. Rather, Good is nothing but a disguised form of Evil, and God is feasible only through the courageous action borrowed from Evil. In this technological world, devil is more powerful and attractive than God. This paper assumes the materiality of courage and focuses on the phenomenology of war carried out not from soul but from body, not from the consciousness but from the materiality.

• Journal of architectural history
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• v.11 no.1 s.29
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• pp.49-64
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• 2002

The recently published papers and essays regarding 'tectonic' bring us to rumination of its importance on comprehending modern architectural process. Many architectural theorists may seem to seek the substance of architecture through the discussion of 'tectonic' for the purpose of overcoming the dilemma of representation which can be easily found in modern architectural forms. Their emphasizing on its double-faced aspect as the manner of representation, that is semantic and aesthetic, may imply the significance of philosophical approach especially to the recent architectural phenomena. From this point, it ought to be meaningful to manifest etymological connection between the terms with semantic analysis and interpret the substance and ontological meaning of 'tectonic' referring Martin Heidegger's existential philosophy. Besides the works of Carlo Scarpa, that are known as the art of making, are exampled to prove the way how the ontological meaning of practical act is exposed on an artwork. The idea of 'tectonic' connotes not only technological aspect as construction of form and space, but also ontological aspect as joint or detail, that is the result of logos. The 'tectonic' means etymologically 'joint' having double-meaning structure, technology and aesthetics. It means 'detail' as minimum units of architectural form and as sites where making relationship or connection takes place in the way of ontological apprehension. The 'detail' as the place of innovation and invention implies the culture of an area, and expresses craftsmanship, which modem architecture buries in oblivion. This study aims to deviate from the aesthetical commercialization in which the modern architecture tends to fall, and further, propose the possible way to succeed traditional locality in an epistemological point of view.

• The Journal of the Convergence on Culture Technology
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• v.10 no.4
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• pp.627-637
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• 2024

This paper studies the Soundscape, a movement that seeks to break away from the traditional conventions of music culture. To this end, I will examine how social, cultural, and technological developments have influenced the paradigm shift in music culture by paying attention to the Soundscape. I understand the characteristics of the Soundscape as a change pattern and discuss the characteristics of hearing and listening experience that have been overlooked so far from a phenomenological perspective. For the above discussion, Murray Schafer's concept of Soundscape, and for a phenomenological understanding of hearing and listening experience, une spatialité de situation, point d'écoute, horizons au son, champ auditif, le premier plan et l'arrière-plan, temporal focus, space-time, and l'être-au-monde are discussed. I hope that understanding the characteristics of sound, hearing, and listening experience will contribute to presenting new ideas for creative expression in artistic creation.

• Journal of Korean Philosophical Society
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• v.147
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• pp.239-260
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• 2018

Is an artificial intelligence robot, a non-human beings newly emerging in the age of technology, a threat to human beings, or a mutual cooperation or ensemble with human beings? The desire to control nature through the use of the power of science and technology is manifested in the fear that humans can annihilate themselves. This study attempts to identify the problems of Cartesian epistemology underlying these questions and fears and to answer these questions based on Merleau - Ponty 's ontological ontology using the Ontology and Latour' s ontology and technological philosophy. The cogito derived from the Cartesian philosophy became the basis of the structure of dichotomous epistemology of 'subjectivity and objectivity' based on human - reason. In the human-centered world, all non-human beings were tools or controls for humans. The problem of the modern people is not only to get help from the natural scientific methods to control the nature including man, but also to think that scientific method is the only way to understand the world. In criticizing this, Merleau-Ponty shows that the body mediates between human beings and non-human beings, and provides a possible ontological basis for the ontology. Merleau - Ponty 's phenomenological methodology and ontology are newly developed by Simondon under the influence of phenomenological philosopher and phenomenology. The relationship between human beings and nonhuman beings by Simondon appears as an ensemble of human and technical objects or a mutual co - operation of human and technical objects. In particular, Latour goes a step further in Simondon and defines all the bodies living in the world as actor-network theory, denying the core concept of modernity. Merleau - Ponty 's phenomenological view can be a new possible basis for the philosophical discussion of the technological age. We will see that the problem itself can be solved by shifting modern fear to a phenomenological attitude.

• Journal of Korean Philosophical Society
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• no.126
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• pp.85-115
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• 2019

With the dramatic development of science and technology since the twentieth century, attempts to overcome human's natural and physical limitations through technology have actually reached a peak. Transhumanism is a movement that strongly affirms these human technological attempts. However, this optimistic belief of transhumanism in technology meets the strong resistance of opponents contending that transhumanism might destroy human nature and severely undermine human values and rights. The focus of the transhumanism debate lies in what technology means to humans. However, in order to exactly grasp the essence of transhumanism, we should first consider our 'life-world', where technology and humans are closely intertwined. The word 'life-world(Lebenswelt)' which originally comes from Husserl, is an open and universal world as a horizon that is the basis of all human practical activities and at the same time encompasses its products in itself. According to Husserl, the process of incorporating human products into the life-world is a kind of 'familiarization' process through which specific theories and techniques are harmonized with our lives in the life-world. Such harmonization and familiarization of technology could be also considered a humanization of technology. It is a process in which technology is assimilated and corresponds to the finiteness of human and the life-world. In this sense, we could say that the transhumanistic attempts are just a natural expression of human desire to be perfect in the life-world and that they should not be overly concerned or overestimated.