• The Journal of the Korea Contents Association
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• v.12 no.10
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• pp.35-42
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• 2012

This study will research the possibility about the extension from aesthetic artwork of information visualization to performance area. In information visualization fields, the function of transmitting information is important factor. In addition, the relationship with the audience concerning immersion and interactivity is also significant. Therefore, if an artwork in information visualization can extend to a performance, this study proposes that it is necessary to consider what elements are needed to intensify sensorium for the audience in that artwork. In order to solve that question, this study introduces and analyzes the installation artworks by Ben Rubin and Mark hansen in 2001. From this case study, we suggest three elements-the performing self, the performing interface and the dramatic pattern-to amplify sensorium by hypermediacy for the audience. This research would contribute to the understanding aesthetic artworks based on information visualization in terms of performing arts.

• Korean Institute of Interior Design Journal
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• v.14 no.4 s.51
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• pp.19-26
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• 2005

Digital technology continually makes a space evolves. The real-time behavior design communicates the data with the situation of circumference of the space(visitors moving, interior and exterior situations). The space form was changed because it interfaces in real time. The purpose of this study was finding out the characteristics of real-time behavior space design through the analysis of space formative languages, sensorium, S-R and material. This study will be the one of basic references for the digital space design. The boundary of this study set limits to the works of digital space designer who applies the real-time exchanging data to their design among the digital space design works from 1996 to 2004. But it excepted from the real-time behavior space in virtual realty. Therefore, the objects of this study were the works of onl and NOX(paraSITE, Trans-port 2001, Muscle, MotormeCCa, Handdrawspace, Saltwater Pavilion, Son-O-House, H2O Expo). The method was the contents analysis of space formative languages(Greg Lynn's ten space formative languages; bleb, blob, branch, flower, fold, lattice, teeth, shred, skins and strand), sensorium, S-R and material. The results of the study are as follows: 1) The organizational elements; Space formative languages(bleb, blob, fold, shred, skins, strand), stimulation(Human Participation, Human Moving, Weather Conditions), and response(Spatial Moving, Sound Pattern, Lighting Pattern, color Pattern, Activating Particles, Moving Picture, Virtual Friend) 2) The material Use; Sound, lights, and network have been used in the space. Immaterial matter will be used the main material of space design in 21"'century, 3)The spatial types; formal changing of space, projecting immaterial elements, and changing the sound.

• SUVANNABHUMI
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• v.10 no.1
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• pp.63-91
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• 2018

One of the goals of this article is to continue the momentum begun by emerging scholarship on theory and practice of writing about visual culture of and in Southeast Asia. I hope to offer culturally sensitive and embodied ways of looking at images and objects as sites/sights of cultural knowledge as further theoretical intervention. The argument put forward in my essay is three-fold: first, I critique the prevailing logocentric approach in the field of Southeast Asian Studies and I argue that in a postcolonial, global, and transnational period, it is important to be inclusive of other objects as sites/sights of social, political and cultural analysis beyond written and oral texts. Second, I argue that although it has its own political and theoretical problems, the evolving field of Visual Studies as it is practiced in the United States is one of many ways to decolonize the prevailing logocentric approach to Southeast Asian Studies. Third, I argue that if one reads these Euro-American derived theories of vision and visuality through the lens of what Walter Mignolo calls "colonial difference(s)," then Visual Studies as an evolving field has the potential to offer more nuanced local ways of looking at and understanding objects, vision, and visuality. Last, I point out that unlike in the West where there is an understanding of pure, objective and empirical vision, local Southeast Asian perspectives on objects and visions are more embodied and multi-sensorial. I argue that if one is ethically mindful of the local cultural ways of seeing and knowing objects, then the evolving field of Visual Studies offers a much-needed intervention to the privileged, lingering logocentric approach to Southeast Asian Studies. Moreover, these alternative methods might help to decolonize method and theory in academic disciplines that were invented during the colonial period.

• Korean Security Journal
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• no.10
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• pp.293-322
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• 2005

The culpability of a person, as determined by due process of law, for any of his actions that are defined as criminal. Determination of such responsibility is a legal function, not a psychiatric one, although a psychiatrist may be called upon to present evidence to the court in order to aid the judge or jury in reaching a decision as to responsibility. Determination of responsibility varies with the laws of the state in which the accused is being tried, but in general all states base their laws on three famous judicial decisions concerning criminal responsibility. 1. the M'Naghten(McNaughton) rule(a. to establish such a defense the accused, at the time the act was committed, must be shown to have been laboring under such defect of reason as not to know the nature and quality of the act he was doing, b. if he did know it, he did or know that what he was doing was wrong). 2. the irresistible impulse test. 3. the Durham decision. Under the Durham test, however, the psychiatrist may give any relevant testmony concerning the mental illness at issue. The psychological and behavioral appearance of a person, in clinical psychiatry this term is commonly used to refer to the results of the mental examination of a patient. The written report of the mental status usually contains specific references to the following areas: I. Attitude and General Behavior (1)General health and appearance. (2)General habits of dress. (3)Personal habits. (4)General mood. (5)Use of leisure time. (6)Degree of sociability. (7)Speech. II. Attitude and Behavior during interview (1)Co-operativeness. (2)Poise. (3)Facial expression. (4)Motor activity. (5)Mental activity. (6)Emotional reactions. (7)Trend of thought. III. Sensorium, mental grasp, and capacity (1)Orientation. (2)Memory and retention. (3)Estimate of intelligence. (4)Abstraction ability. (5)Tests of absurdity, interpretation of proverbs. (6)Judgment.