• Archives of design research
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• v.17 no.1
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• pp.231-240
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• 2004

Space design in the 21st century has been developed in connection with media more various than ever. In the age of image represented by popular culture, space design connected with media is based on post-reason thoughts constituting the post-modern society, and reflects polysemously and pluralistically changes in the society through the identification of art with life. The movie, which is an image perceived particularly sensibly and the most impractical simulated image among various illusionary media images composing the contemporary society, is growing rapidly in interrelation with various fields of art based on its peculiar nature, and its influence is getting more extensive. The movie manipulates mass society to create what does not exist and restore lost images into new realities through the reproduction of extremely realistic senses, and uses them in establishing virtual realities and creating illusionary images representing the age of simularc. The illusionary expression of the movie produces new meanings through disintegrating existing meanings and recombining them, and expresses popular culture from a position closest to our everyday life. Such an analytical attitude toward the illusionary movie reflecting our society can be a new approach to space design. The present study attempts to suggest the possibility of applying such an illusionary characteristic of the movie as a methodology of space design by utilizing the characteristic as a conceptual language of space design.

• The Journal of Art Theory & Practice
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• no.5
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• pp.7-24
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• 2007

The subject is connected with a structure named "The Symbolic" to Lacan, but he denied that the subject is explained simply as a fruit of language and "Other". From his point of view, passing through Subject, De-formation and Crack over it is designated as foundation of generation and creation rather than our destined defect. It should not be understood that subject of "The Real" is a concept of the subject free itself from restraint of "The Symbolic". However, this does not mean he asserts "Subject" is something incapable of being controlled by the unknown power. The problem is that this autonomous existence meets inside of it with something "more than one's own self" by "circulating around itself" like a permanent star. This is the indication of a "stranger in the middle of my privacy", or "extimit$\'{e}$", a coined-word by Lacan. Perhaps "Subject" is nothing more than the name of distance of object which is "too hot" to come close, and of this circulating movement. It's because of this object that the real subject stands against generalization and the subject can't be restored to any place in symbolic order-even though it is empty. The part which is told from Lacan's structural theory, that is to say, an importance to Lacan is that his Subject theory is not suggested or denied as a manual structure. On the contrary, it is a study of the relationship between the settled symbol that included in "real subject which is a unconscious one" and the symbolic subject hold- that is a metaphysical subject in general meaning. In Lacan's enlarged concept of subject beyond symbolic reality, it is noticeable that it gives justifiability to the union of a medium of different nature in artistic expression. We can recognize that the unconscious world is a living space which enables it to be a "condition of human being", not something dark under the surface of water through Magritte's(Rene Magritte, 1898~1967) surrealistic works. In other words, Magritte's art secures a core dimension of human nature through a mysterious gap of conscious and settled space. Magritte's drawings often evokes strange and unsettling feelings in people who view his paintings. This is because routine objects are found in "unsuitable" places from which we usually find them in our everyday lives. "Reality" in Magritte's paintings makes it aware that it is a strained field of concealment and disclosure basically between truths, and we can learn that his behavior to overturn to paint in-visible things is finally an effort to restore the "real subject" to the viewer's reality. In other words, such reversion arouses a nostalgic desire for the objects existing in their original appearance as they are - natural condition that our gaze had not been distorted yet by anamorphic stains. - and the state when we are conscious of them normally. Such desire offers an opportunity for us to get out of mental depression rather than operates to us as an abnormal crack. It's a successive process of effort to search for lost subject and Paradise Lost facing up to reality of subject human that is to be a subject of world and life are ousted from their place by structure and authority of culture.

• Korean Journal of Family Social Work
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• no.53
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• pp.79-115
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• 2016

The purpose of this study is to understand the women's experiences of negative perception, discrimination and 'ethnicized stigma' in South Korea. For this purpose, data were collected through in-depth interviews from 8 women escaped from North Korea and 4 professionals. The findings of this study are as follows: Almost of them experienced negative perception and discrimination caused by language, pronunciation intonation, and differences of ways to express their emotions. And they experienced the disapproval as the native perception and confusion of ethnic identity. Several participants in this study try to build or organize their communities to give emotional and instrumental support for them. However, in these processes, they experience emotional conflicts and crises feelings of disorganization of their communities because of they didn't have experience to involve communities, and didn't have ideas of membership and their roles. And they were learned to criticize with each other in North Korea. They worry about their families' safety in North Korea. For this reason, they can't have trustful personal relationships among Koreans including people escaped from North Korea in South Korea. They want to participate in Korean's community activities, and learn to adjust to everyday lives in South Korea. In conclusion, based upon the outcomes of this study, it is expected that any practical implications or solutions for North Korean defector's welfare would be suggested.

• Journal of the Korea Society of Computer and Information
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• v.26 no.12
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• pp.53-59
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• 2021

In this paper, we propose a BERGPT-chatbot, a domestic AI chatbot that can alleviate negative emotions based on text input such as 'Replika'. We made BERGPT-chatbot into a chatbot capable of mitigating negative emotions by pipelined two models, KR-BERT and KoGPT2-chatbot. We applied a creative method of giving emotions to unrefined everyday datasets through KR-BERT, and learning additional datasets through KoGPT2-chatbot. The development background of BERGPT-chatbot is as follows. Currently, the number of people with depression is increasing all over the world. This phenomenon is emerging as a more serious problem due to COVID-19, which causes people to increase long-term indoor living or limit interpersonal relationships. Overseas artificial intelligence chatbots aimed at relieving negative emotions or taking care of mental health care, have increased in use due to the pandemic. In Korea, Psychological diagnosis chatbots similar to those of overseas cases are being operated. However, as the domestic chatbot is a system that outputs a button-based answer rather than a text input-based answer, when compared to overseas chatbots, domestic chatbots remain at a low level of diagnosing human psychology. Therefore, we proposed a chatbot that helps mitigating negative emotions through BERGPT-chatbot. Finally, we compared BERGPT-chatbot and KoGPT2-chatbot through 'Perplexity', an internal evaluation metric for evaluating language models, and showed the superity of BERGPT-chatbot.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.289-332
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• 2012

In this paper, based on the theory of performance studies and community-based theatre, I venture to explicate the socio-political significance of director Yim Jin-Taek's community-based performance called 'madanggut', which is heavily based on elements of indigenous culture. Yim's madanggut utilizes elements of indigenous cultures and searches for 'the Korean ethnic (arche)type' as 'the ideal Korean type' or 'genuine Korean-ness' for the reconstruction of 'the Korean ethnic community.' This paper interrogates the major task of Yim Jin-Taek's madanggut, which ideologically promulgates the idea of ethnocentric patriarchy supported by the traditional (mainly Confucianist) notion of 'community' - inquiring if this type of theatre can provide useful and practical prospects for imagining a more democratic and plural civilian society in Korea today, when the interaction of globalization, nationalism, regionalism, and localism simultaneously impact our everyday life and cultural identification. Regarding the recent global phenomenon of the resurgence of nationalism, I looked at madanggut's use of symbolic resources from the past for imaginative communal bonding as a nation. But, the claimed homogeneity of the national past by means of 'nation conflation' of different social groups is an illusionary conceptualization, and the national historiography silences memories of the marginalized groups and denies their histories. It is certain that in Korea nationalism has historically performed an important function during the colonization and democratization period. Nevertheless, as Yim's Nokdukkot realized, it cannot be overlooked that as a representative of 'the Korean ethnic community,' 'the protecting man/the sacrificial woman' is contradictory to the plural and lateral thinking of participatory democracy in community-building. It is time to think about a new political language that relates individuals to the community and nation. 'The ethnic type' cannot represent the whole nation and the members of the nation should be the examples of the community they belong to for a more democratic society. I have selected Yim's several community-based works mainly from the 1970s to the 1980s since the works provide grounding images, symbols, metaphors, and allegories pertinent to discussing how 'the Korean ethnic community' has been narrativized through the performances of madanggut during the turbulent epoch of globalization. I hope that this paper presents Yim's grounded aesthetics of community-based theatre with fully contoured critical views and ideas.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.359-370
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• 2023

The purpose of this study is to analyze the meaning of picture book reading experience for 2-year-old children using sensory reading media and to suggest a plan to support language ability through meaningful reading. For this study, 35-month-old boys were selected, and data collection was conducted based on participant observation and field record notes at home and analyzed qualitatively. In this study, for about two months from March 20th to April 30th, 2021, all the time of exploring picture books and playing were recorded and the data were collected. The recording time was about 20 hours, and the collected data and field records were transcribed on 108 pages of A4 paper. The results of the study showed that 2-year-old infants were immersed in exploring new media through the experience of reading picture books using sensory reading media, comparing with similar media, and reading picture books using media. In addition, it was found that the emergence of leading reading that selects and reads books by Hans himself, exploration using reading media, and play linked to picture books in everyday life.This can be seen as a result of suggesting that the picture book reading experience of 2-year-olds using sensory reading media is meaningful to the reading experience of infants.

• Journal of the Korea Society of Computer and Information
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• v.29 no.3
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• pp.21-41
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• 2024

This study explores the relationship between users' attachment styles and their interactions with ChatGPT (Chat Generative Pre-trained Transformer), an advanced language model developed by OpenAI. As artificial intelligence (AI) becomes increasingly integrated into everyday life, it is essential to understand how individuals with different attachment styles engage with AI chatbots in order to build a better user experience that meets specific user needs and interacts with users in the most ideal way. Grounded in attachment theory from psychology, we are exploring the influence of attachment style on users' interaction with ChatGPT, bridging a significant gap in understanding human-AI interaction. Contrary to expectations, attachment styles did not have a significant impact on ChatGPT usage or reasons for engagement. Regardless of their attachment styles, hesitated to fully trust ChatGPT with critical information, emphasizing the need to address trust issues in AI systems. Additionally, this study uncovers complex patterns of attachment styles, demonstrating their influence on interaction patterns between users and ChatGPT. By focusing on the distinctive dynamics between users and ChatGPT, our aim is to uncover how attachment styles influence these interactions, guiding the development of AI chatbots for personalized user experiences. The introduction of the Perceived Partner Responsiveness Scale serves as a valuable tool to evaluate users' perceptions of ChatGPT's role, shedding light on the anthropomorphism of AI. This study contributes to the wider discussion on human-AI relationships, emphasizing the significance of incorporating emotional intelligence into AI systems for a user-centered future.

• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• The Journal of Art Theory & Practice
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• no.8
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• pp.59-87
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• 2009

This thesis started from the attempt to make it clear that 80's American artist Keith Haring(1958-1990) had conducted social intervention of criticism, resistance, and participation through his works, and so pursued public value. Haring of graffiti fame left popular and familiar cartoon style pictures on the street wall, the billboards, the posters and so on. Popular and playful works was explained as his unique characteristics, but Haring's creative way at the field has more value than just being grasped as artist's personal characteristics. Haring's work pieces became everyday art by joining with people's life, and are working as a social speaking place. So I think that these Haring's art works possess characteristics of 'the public sphere'. 'The Public Sphere' means that is independent and free from the government or partisan economic forces, so that is not connected with the interested relations, and that is the sphere of rational argumentation without 'disguise' or 'fabrication', and that is the sphere where general public can participate in and is inspected by them. The public sphere between the sphere of public authority such a nation and a market and the private sphere of free individual, it is mutually connected with them and works as the space forming public opinion. Private individuals communicate with this public sphere and perform a role of direct and indirect check, balance, and social criticism way off from power. Openness that should include the voice of not only leading power but also the socially weak such as citizens, women, homosexuals, minority races, and so on, and alienated class, is an index of the public characteristics. The public sphere is not working just with speech and mass media. Many artists as well as Haring open their mouth and act through an art at the center of society, and create another public sphere by an art. I understood that the real participatory and practical characteristics on the Haring's work is a phenomenon and current of a part of the art world including Haring. Such current started from 1960s is the in-depth effort to be connected with the life more closely, to communicate with people, and to improve problems of life. And it has pursued public value on the different way from the nation or public power. Artists have intervened in the society with strategic and positive ways in order to raise pushed-out value and sinked rights as the public agenda, and labored to accept the value of variety and difference at the society. The aspect of such social intervention is the notable features, findable on the Haring's works and process. Haring's works include art historical meanings and are expressed with familiar and plastic language, so they were able to communicate with various classes. And he secured various customers at the field and the street. This communicative and public approach factor raised the possibility much for his works to work as the public sphere. Haring presented critical and resistant speech toward society with his works based on this factor. He asserted his position and justice of gender identity as a sexual minority. And his such work continued to movement for alienated class and social week over his own rights. His speech and message on the wall painting, poster, T-shirts, billboard of the subway, and so on worked as a spectacle and pressed concern with social issues and consciousness shift. And he's been trying to protect and care people who is injured by HIV and drug and to realize social justice through social week protection. Haring's works planned to meet many people as much as possible performed its role of intervening in society through criticism, resistance, speech, and participation, and controlling and checking social issues. These things considered, Haring's works show his consciousness about public attributes of art, and obviously include public value seeking. And also we can find the meaning of such his work as that an art is working as the public sphere and shows the possibility to discuss and practice public issues.

• Journal of Science Education
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• v.45 no.3
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• pp.292-303
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• 2021

This study identifies the terms frequently used together with energy in online science news articles and topics of the news reports to find out how the term energy is used in everyday life and to draw implications for science curriculum and instruction about energy. A total of 2,171 online news articles in science category published by 11 major newspaper companies in Korea for one year from March 1, 2018 were selected by using energy as a search term. As a result of natural language processing, a total of 51,224 sentences consisting of 507,901 words were compiled for analysis. Using the R program, term frequency analysis, semantic network analysis, and structural topic modeling were performed. The results show that the terms with exceptionally high frequencies were technology, research, and development, which reflected the characteristics of news articles that report new findings. On the other hand, terms used more than once per two articles were industry-related terms (industry, product, system, production, market) and terms that were sufficiently expected as energy-related terms such as 'electricity' and 'environment.' Meanwhile, 'sun', 'heat', 'temperature', and 'power generation', which are frequently used in energy-related science classes, also appeared as terms belonging to the highest frequency. From a network analysis, two clusters were found including terms related to industry and technology and terms related to basic science and research. From the analysis of terms paired with energy, it was also found that terms related to the use of energy such as 'energy efficiency,' 'energy saving,' and 'energy consumption' were the most frequently used. Out of 16 topics found, four contexts of energy were drawn including 'high-tech industry,' 'industry,' 'basic science,' and 'environment and health.' The results suggest that the introduction of the concept of energy degradation as a starting point for energy classes can be effective. It also shows the need to introduce high-tech industries or the context of environment and health into energy learning.