• Journal of Popular Narrative
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• v.26 no.4
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• pp.215-237
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• 2020

This paper is written to introduce and review Shinji Matsunaga's The Aesthetics of Video Games which published in Japan in 2018. Shinji Matsunaga has studied video games from a philosophical and aesthetic perspective. In The Aesthetics of Video Games, he took video games as a hybrid form of traditional games. Shinji Matsunaga particularly notes that video games can design human behaviors and experiences. From this point of view, he tries to construct a theoretical framework that will be able to describe the ways of signification in games and fiction respectively. In previous studies, video games have been mainly discussed in the context of cultural studies and entertainment culture in Japan. The Aesthetics of Video Games is distinguished from the previous studies in the following points. First, The Aesthetics of Video Games pioneered the method of studying video games in art theory. Second, it established various types of relationships with video games and traditional aesthetic concepts. Third, this book connects new concepts that emerged in the age of artificial intelligence to video games as an aesthetic action. Through this work, not only video games were discussed academically, but also the fields of aesthetics and art were expanded. The Aesthetics of Video Game is like a collection of philosophical concepts for video games. Through this book, it can be said that the path for artificial intelligence to approach human secrets is closer than before.

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.43-52
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• 2020

This paper is a study of Gustav Deutsch's film (2013). The film transformed the painting of Edward Hopper into an homage film. So it gives the impression that the picture is moving. In this regard, it raises the issue of 'remediation' between film and pictures. In this study, We ask how (2013) dealt with the movement in turning Hopper's paintings into movies. To that end, To this end, we look at two aspects of movement: the actor's movement and the screen's movement. The concepts of "tableau vivant," Agamben's gesture and mediation were used in the process. The actor's movement in the film is not an act of making and developing events. It is a gesture that moves a person's body and expression itself. It is not a story-oriented acting, but a gesture that Giorgio Agamben said. Editing and camera movements are used while maintaining frontality. This suggests that the movement of the screen is the eye of the audience. At first glance, it embodies the voyeuristic gaze of the original work. However, But the audience isn't looking at the image unilaterally, as in mainstream fiction films, but they are also being seen by that image. Also, the camera's movement to take a closer look at the details of the screen shows the movement itself rather than the means to reveal the details. The 'vision of reality' in a film is made through movement. The film questions the vision of reality between painting and film, between words and images. The move is a means of mediating reality, but the film is regaining the "lost gesture" that Giorgio Agamben once said by revealing its mediated nature. This tells us that the vision of reality appears when it obscures its mediated nature.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.1-9
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• 2019

In this paper, it is predicted that the tendency of planning and genre films to produce high - quality films will continue, but it is necessary to have high value and meaningful films and solid storytelling. From the blockbuster warships to arts and low-budget films, the movie genre is centered around fiction and storytelling. However, in the case of Princess Deokhye, it is difficult to recognize any categories of entertainment or artistic due to the fact that it is highly visually and has a high historical status and low awareness. And the distortions of the facts have caused a lot of controversy. However, it seems that Dongju and Park are usually composed of individual - oriented narratives and can be freed from the artistic approach and historical facts in the material. In addition, historical facts should not be distorted or exaggerated. Through this study,

• Journal of Korean Philosophical Society
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• v.124
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• pp.295-320
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• 2012

Greek myth is a play of imagination. It represents world with magic eye. The Greek myth of Homer and Hesiod is the story of gods. But it is the world of imagination which was produced to understand the origins and the causes of natural phenomena with the symbolic factors. It is the frame with which we understand the destiny of human beings. As a world of imagination, Myth is not a total fiction but a symbolically revived world with magic eye. Myth is a play which represents the world with imagination. And it is a play which projects new world yet not exists. Myth is the world of free play with reproduction and imagination. Heraclitus elucidated the structure and change of world with the metaphor of play. He tried to define the meaning of being with play. The play is the clue of elucidating the meaning of being. On play the whole world is reflected. He expressed the world has no ultimate end and is changing endlessly. Philosophical speculation understands the world with the metaphor of play. Metaphor is correlated with the philosophical eye which view the world totally. The human beings are happy when they concentrate upon play. The rule of real world doesn't go in the world of play. They have their own rule which goes in the world of play. Ancient mythologists and pre-socratic philosophers dreamed the life free from the restriction of the nature.

• SUVANNABHUMI
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• v.10 no.2
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• pp.181-213
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• 2018

How to study Southeast Asia (SEA)? The need to explore and identify methodologies for studying SEA are inherent in its multifaceted subject matter. At a minimum, the region's rich cultural diversity inhibits both the articulation of decisive defining characteristics and the training of scholars who can write with confidence beyond their specialisms. Consequently, the challenges of understanding the region remain and a consensus regarding the most effective approaches to studying its history, identity and future seem quite unlikely. Furthermore, "Area Studies" more generally, has proved to be a less attractive frame of reference for burgeoning scholarly trends. This paper will propose a new tool to help address these challenges. Even though the science of artificial intelligence (AI) is in its infancy, it has already yielded new approaches to many commercial, scientific and humanistic questions. At this point, AI has been used to produce news, generate better smart phones, deliver more entertainment choices, analyze earthquakes and write fiction. The time has come to explore the possibility that AI can be put at the service of the study of SEA. The paper intends to lay out what would be required to develop SEABOT. This instrument might exist as a robot on the web which might be called upon to make the study of SEA both broader and more comprehensive. The discussion will explore the financial resources, ownership and timeline needed to make SEABOT go from an idea to a reality. SEABOT would draw upon artificial neural networks (ANNs) to mine the region's "Big Data", while synthesizing the information to form new and useful perspectives on SEA. Overcoming significant language issues, applying multidisciplinary methods and drawing upon new yields of information should produce new questions and ways to conceptualize SEA. SEABOT could lead to findings which might not otherwise be achieved. SEABOT's work might well produce outcomes which could open up solutions to immediate regional problems, provide ASEAN planners with new resources and make it possible to eventually define and capitalize on SEA's "soft power". That is, new findings should provide the basis for ASEAN diplomats and policy-makers to develop new modalities of cultural diplomacy and improved governance. Last, SEABOT might also open up avenues to tell the SEA story in new distinctive ways. SEABOT is seen as a heuristic device to explore the results which this instrument might yield. More important the discussion will also raise the possibility that an AI-driven perspective on SEA may prove to be even more problematic than it is beneficial.

• Journal of English Language & Literature
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• v.57 no.3
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• pp.367-389
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• 2011

The aesthetic attitude, in general or in particular, represented in matters of taste through aesthetic ideas and value judgments postulates a certain literary logic. And this literary logic reveals itself a sense of morality, philosophy, or moral aesthetic consciousness through the moments of act and thought demonstrated in the characters invented in literary works. Henry James, among many others, offers a very special cultural paradigm for transnational argument because of his diverse ways of shaping transatlantic relations in terms of aesthetic consciousness. And this international paradigm produced varied expressions referring to Henry James as "an American expatriate," "an Anglicized American artist," "a Europeanized aesthete," "a cosmopolitan intelligence," "a bohemian cosmopolitan" to designate his literary career and its characteristics shaped in Europe. Such expressions resonate with Transatlantic Sketches, James's first collection on travel and cultures in 1875 which heralded his long "expatriation" in terms of self-distantiation. James's temperament of mind, far from being always identified with shared values within an ideological framework, never avoided friction with fixed ideas but rather absorbed it fully for another friction which intervenes in his house of fiction. My question arises here regarding his cultural belonging or dislocation: where is the place of his mind or what could be his ultimate destination? In this essay, I'd like to define a place or rather the place of James's literary mind by proving a certain "sympathetic justice" for his literary logic. For this purpose, I'll try to examine: how James used transatlantic perspective, a spatio-temporal assessment to formulate his moral aesthetic consciousness; and how the aesthetic framework functions in assessing his literary logic of aesthetic consciousness. To start with the first argument, I'll analyze some essential aspects of aesthetic attitude of his characters to postulate a persona capable of theorizing James's aestheticism conditioned by the transatlantic context. And for the second argument, I'll examine how the persona functions in formulating a proper cultural stance of James's aesthetic consciousness in transatlantic perspective to illuminate the way of how Jamesian individuality reflects the American mind. This process of theorizing a place of James's own will lead, I hope, to our discovering James's ultimate destination on the assumption that it'll prove or create a certain "sympathetic justice" for his humanist aestheticism, a Jamesian absolute morality.

• The Korean Journal of Archival Studies
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• no.80
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• pp.197-232
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• 2024

This study aims to understand archival art, which is spreading in the art world, and to look at records in a new way. Archival art refers to the act of creating and exhibiting art using records as a medium of expression. Archival art is attracting attention as a method of exhibition and creation of works, forming a trend in contemporary art. Archival art was born amid changes in art creation methods resulting from the rise of conceptual art, the development of media including photography and advancements in digital technology, and the influence of Foucault and Derrida's discourse on archives. The encounter between archives and art, which originated from photographic aesthetics in the 1920s, led to archival turn in contemporary art in the 1990s, thanks to the spread of conceptual art, digital technology, and postmodernism. Archival art not only subverts traditional art creation methods, but also includes criticism and deconstruction of social systems, including modern archives. Archival art rearranges and reorganizes records according to the artist's intention, and even accepts fiction rather than fact. The essence of records in archival art is not the reproduction of the past, but the expression of present needs. The way records are utilized in archival art shakes up the concept of records in archival science, calling for a new look at records as objects with not only legal and administrative value but also aesthetic value.

• Cartoon and Animation Studies
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• s.24
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• pp.173-197
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• 2011

Through a story, the audience moves between fiction and reality. A story is an emotional experience that appeals to human feeling. The rational function of a story is to convey knowledge and information, and its emotional function is to touch the audience. Moreover, these aspects of a story are linked to its language, text, and imagery. This paper focuses on the emotional function of a story. In a experiential story, the audience's emotional response is a result of maximum dramatic communication between them and the characters. Through psychological and mental communion with the characters, the audience becomes immersed in the story when they emotionally identify with the characters, and dramatic communication is achieved. However, dramatic communication is mostly achieved instantaneously. The elements of a film need to be realized to sustain dramatic communication such that the audience continues to be immersed in the story. The audience can identify with the characters who are placed in real-life situations by considering the characters' external and internal aspects. External search pertains to the tangible aspects of the character such as its background, life, and conversation. Through the audience's external search, the characters communicate with the audience. Internal search deals with aspects of the characters' personality such as their self-concept, desires, and internal conflicts. Through internal search, the audience understands the inner side of the characters. In this process, a film director should ensure that the acting depicts the inner side of the characters. In other words, the director should perfectly depict the internal and external elements of a human on screen. Appropriate visualization can lead to dramatic communication with the characters and thereby create the audience's emotional response. Considering these techniques, this paper focuses on the scenes of the film "Poetry" in which dramatic communication with the characters creates the audience's emotional response. Accordingly, the audience plays a role in sustaining dramatic communication for the physical screen time of a film.

• Journal of the Korean Geographical Society
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• v.42 no.4
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• pp.526-539
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• 2007

The purpose of this study is to investigate the influence of the Korean Wave on Chinese tourism to South Korea through a behavioral analysis of Chinese tourists in the general group package tours. China suppressed the needs of the Chinese people's geographical movement and imposed restrictions on information about the outside world with the use of a policy of "closure" for a long time. But since reforms and open-door policies were introduced in China, especially in the context of relaxation of control policies over Chinese outbound tourism after the mid-1990's, more and more Chinese make trips abroad including visits to South Korea. In this situation, the recent Korean Wave(especially, drama/film) describes the Korean national image by forming a bridge between fiction and reality and plays a pivotal role in broadening or reconstructing the geographical imagination of the Chinese people who have been historically isolated from the outside world. Although Chinese have imagined the Korean nationscape on the basis of geopolitical or economic factors in the past, they have currently broadened or reconstructed their geographical imagination to include socio-cultural factors related closely to the Korean way of life due to the recent Korean Wave. This newly constructed geographical imagination led by the Korean Wave functions as an important pulling factor in Chinese destination choices, affecting Chinese tourists' motivation formation and the recommendation of main attractions. The more influential the Korean Wave is on their destination choice, the more the respondents select the cultural factors in both their motivation for tourism to South Korea and their recommendations of tourism attractions to other people. Through the analysis results of both satisfaction and intention to revisit, the more influential the Korean Wave is on their destination choice, the higher is the degree of both satisfaction and intention to revisit. In other words, although Chinese tourism to South Korea is chiefly in the general group package tours, Chinese tourists who are influenced by Korean Wave on their destination choice have more attachment to(or affection for) Korea as a tourism destination. This result suggests that the Korean Wave affects qualitative change - that is, change of attitude - as well as quantitative change in Chinese demand for tourism to South Korea.

• Korean Journal of Plant Tissue Culture
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• v.27 no.6
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• pp.423-428
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• 2000

In 1997 when cloned sheep Dolly and soon after Polly were born, it had become head-line news because in the former the nucleus that gave rise to the lamb came from cells of six-year-old adult sheep and in the latter case a foreign gene was inserted into the donor nucleus to make the cloned sheep produce human protein, factor IX, in e milk. In the last few years, once the realm of science fiction, cloned mammals especially in livestock have become almost commonplace. What the press accounts often fail to convey, however, is that behind every success lie hundreds of failures. Many of the nuclear-transferred egg cells fail to undergo normal cell divisions. Even when an embryo does successfully implant in the womb, pregnancy often ends in miscarriage. A significant fraction of the animals that are born die shortly after birth and some of those that survived have serious developmental abnormalities. Efficiency remains at less than one % out of some hundred attempts to clone an animal. These facts show that something is fundamentally wrong and enormous hurdles must be overcome before cloning becomes practical. Cloning researchers now tent to put aside their effort to create live animals in order to probe the fundamental questions on cell biology including stem cells, the questions of whether the hereditary material in the nucleus of each cell remains intact throughout development, and how transferred nucleus is reprogrammed exactly like the zygotic nucleus. Stem cells are defined as those cells which can divide to produce a daughter cell like themselves (self-renewal) as well as a daughter cell that will give rise to specific differentiated cells (cell-differentiation). Multicellular organisms are formed from a single totipotent stem cell commonly called fertilized egg or zygote. As this cell and its progeny undergo cell divisions the potency of the stem cells in each tissue and organ become gradually restricted in the order of totipotent, pluripotent, and multipotent. The differentiation potential of multipotent stem cells in each tissue has been thought to be limited to cell lineages present in the organ from which they were derived. Recent studies, however, revealed that multipotent stem cells derived from adult tissues have much wider differentiation potential than was previously thought. These cells can differentiate into developmentally unrelated cell types, such as nerve stem cell into blood cells or muscle stem cell into brain cells. Neural stem cells isolated from the adult forebrain were recently shown to be capable of repopulating the hematopoietic system and produce blood cells in irradiated condition. In plants although the term$\boxDr$ stem cell$\boxUl$is not used, some cells in the second layer of tunica at the apical meristem of shoot, some nucellar cells surrounding the embryo sac, and initial cells of adventive buds are considered to be equivalent to the totipotent stem cells of mammals. The telomere ends of linear eukaryotic chromosomes cannot be replicated because the RNA primer at the end of a completed lagging strand cannot be replaced with DNA, causing 5' end gap. A chromosome would be shortened by the length of RNA primer with every cycle of DNA replication and cell division. Essential genes located near the ends of chromosomes would inevitably be deleted by end-shortening, thereby killing the descendants of the original cells. Telomeric DNA has an unusual sequence consisting of up to 1,000 or more tandem repeat of a simple sequence. For example, chromosome of mammal including human has the repeating telomeric sequence of TTAGGG and that of higher plant is TTTAGGG. This non-genic tandem repeat prevents the death of cell despite the continued shortening of chromosome length. In contrast with the somatic cells germ line cells have the mechanism to fill-up the 5' end gap of telomere, thus maintaining the original length of chromosome. Cem line cells exhibit active enzyme telomerase which functions to maintain the stable length of telomere. Some of the cloned animals are reported prematurely getting old. It has to be ascertained whether the multipotent stem cells in the tissues of adult mammals have the original telomeres or shortened telomeres.