• Korean journal of communication and information
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• v.58
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• pp.31-54
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• 2012

This study explored possibilities and conditions of the SNS dromological paradigm and creative resistance in SNS era. For solve this theoretical questions, I analyzed authority of speed and material conditions. In order to attain this achieve, reviewed Virilio's theories which is criticizing speed, power and sense of artificial. And also studied Kittler's theories about material conditions, 'Information Machine'. Following those theoretical base, this study find social issues and advanced research's propensity for connecting SNS dromological paradigm. Furthermore, I designed depth interview to find SNS users think and experience. This study's significance of result is expanding cultural study filed in SNS approach and provided that exploratory sight.

• Korean Institute of Interior Design Journal
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• v.23 no.5
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• pp.58-66
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• 2014

A desire to lightness of architecture has continued from the past to today. As Paul Virilio mentioned "The aesthetics of disappearance starts from a desire", the desire of architecture to lightness assumes the connection to hidden dimension of everything over the freedom of materials when it is related to the aesthetics of disappearance. This study assumes that the lightness of an architecture today can be interpreted by means of the aesthetics of disappearance. The lightness of an architecture is a concept for the potential possibility of an architecture. Therefore, it is to analyze the relationship by connecting the features of the lightness which is obtained from the examples of the Cartier foundation of Jean Nouvel and Seattle central library of Rem Koolhaas to the aesthetics of disappearance, that is, the disappearance of the materials, disappearance of the subjects, disappearance of the meaning and disappearance of physical. Based on these, it is also to prove the influence of the aesthetic of disappearance on the architecture as a social phenomenon of technology today.

• Journal of the Korean Geographical Society
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• v.41 no.2 s.113
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• pp.227-243
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• 2006

This paper reviews how electronic media technologies involve and produce time-space dimensions in geometrical spaces, focusing on four theoretical perspectives: van Dijk's dual structure of networks as scale extension and reduction; Latour's actor-networks as fluid and hybrid networks; Virilio's dromospherical time as global media vectors; and Castells' timeless time as non-sequential flows. In these four theoretical perspectives, we can see that electronic media technologies involve different and multiple time-space dimensions in geometrical media spaces: from the two-dimensional spaces (surfaces) of concentric circles, through the one-dimensional spaces (lines) of actor-networks to the zero-dimensional spaces (points) of dromospherical time and finally to the multi-dimensional spaces (hypertexts) of timeless time. The paper concludes by suggesting that we need to explain electronic media spaces not only in terms of geometrical media spaces but also in terms of geographical media spaces in order to understand the ways in which electronic media spaces are dis/embedded in geographical spaces.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.461-470
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• 2023

This paper analyzes the spatial representations constructed by reality, filming, and narrative in the works of Hong Kong film director Wong Kar-wai, and how these spaces influence Hong Kong's urban culture, perception, and interpersonal relationships. To analyze Wong Kar-wai's films, Charles Sanders Peirce's semiotics concepts and Paul Virilio's spatial concepts were applied. Through this, we examined how the meaning embedded in the spatial representations of Wong Kar-wai's films could become a crucial factor in their success. Wong Kar-wai focused on the values of human relationships formed by society in his subject expression, directly representing the human inner world and prompting audiences to think about it. In this paper, we categorized the spaces depicted in Wong Kar-wai's films as public, private, and connective spaces, and analyzed them as a means to show the living environment and emotions of Hong Kong's youth. Through this, we determined that the spatial representations in Wong Kar-wai's films effectively demonstrate the cultural interpretation function of Hong Kong's citizen consciousness at the junction of Eastern and Western cultures and social connections. In conclusion, Wong Kar-wai's works provide a rich understanding of contemporary people's lives, emotions, and urban spaces, offering valuable insights into Hong Kong's film industry and cultural values.