• 수완나부미
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• 제14권2호
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• pp.117-148
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• 2022

The full impact of COVID-19 has yet to be felt: while it may not define the new decade, it is clear that its immediate significance was to test many of the basic operating assumptions and procedures of global civilization. Even as vaccines are developed and utilized and even as it is possible to see the beginning of the end of COVID-19 as a discrete historical event, it remains unclear as to its ultimate importance. That said, it is evident that the academic exploration of Southeast Asia will also be affected by both the global and regional experiences of the pandemic. "Breakthroughs of Area Studies and ASEAN in the Era of Homo Untact" promises to help reconceptualize the study of the region by highlighting the importance of redefined spatial relationships and new potentially depersonalized modes of communication. This paper acknowledges these issues by suggesting that the transformations caused by the pandemic should motivate scholars to raise new questions about how to understand humanity-particularly as it is defined by societies, nations and regions. Given that COVID-19 (and the response to it) has altered many of the fundamental rhythms of globalized regions, there is sufficient warrant for re-examining both the ways in which disease, health and their related spaces affect the perceptions of Southeast Asia. To achieve "breakthroughs" into the investigation of the region, it makes sense to have another glance at the ways in which the discourses about diseases and health may have helped to inscribe definitions of Southeast Asia-or, at the very least, the nations, societies and peoples who live within it. In order to at least consider these larger issues, the discussion will concentrate on a formative moment in the conceptualization of Southeast Asia-British engagement with the region in the late 18^th and early 19^th centuries. To that end three themes will be highlighted: (1) the role that British diplomatic and military narratives played in establishing the information priorities required for the construction of colonial knowledge; (2) the importance not only of "colonial knowledge" but information making in its own right; (3) in anticipation of the use of big data, the manner in which manufactured information (related to space and disease) could function in shaping early British perceptions of Southeast Asia-particularly in Batavia and Java. This discussion will suggest that rather than see social distancing or increased communication as the greatest outcome of COVID-19, instead it will be the use of data-that is, big, aggregated biometric data which have not only shaped responses to the pandemic, but remain likely to produce the reconceptualization of both information and knowledge about the region in a way that will be at least as great as that which took place to meet the needs of the "New Imperialism." Furthermore, the definition and articulation of Southeast Asia has often reflected political and security considerations. Yet, the experience of COVID-19 could prove that data and security are now fused into a set of interests critical to policy-makers. Given that the pandemic should accelerate many existing trends, it might be foreseen these developments will herald the triumph of homo indicina: an epistemic condition whereby the human subject has become a kind of index for its harvestable data. If so, the "breakthroughs" for those who study Southeast Asia will follow in due course.

• 방송공학회논문지
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• 제24권3호
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• pp.411-419
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• 2019

오늘날 인공지능은 과학기술 공학 분야에 가장 중요한 기술로 떠오르고 있다. 방송미디어를 포함한 모든 과학기술은 완전히 새로운 기술의 등장으로 급격한 변화의 시대를 맞고 있다. 여럿의 핵심 기술과 그것의 운용이 전례없는 새로운 방식으로 융합하는 현상이 전개되고 있는 것이다. 이를테면 NBIC 기술융합현상을 꼽을 수 있다. 컴퓨터의 데이터 처리 능력과 속도가 기하급수적(exponentially)로 발달함으로서 나노, 바이오생명, 디지털 테크놀러지 그리고 인공지능 기술의 융합이 가능해진 것이다. 이 모든 기술융합의 현상의 중심에 인공지능이 위치한다. 인공지능 기술은 구글, 애플, 페이스북, 에플 등 거대 플랫폼 기업의 핵심역량으로 자리매김하고 있다. 디지털기술과 사이버네틱스를 기반으로 한 인공지능은 현재뿐만 아니라 미래 플랫폼 기업에 결정적인 전략자산이 될 것이 확실하다. 이러한 맥락과 배경에서 트랜스휴머니즘(더나아가 포스트휴머니즘)에 대한 논의와 연구가 북미와 서유럽 국가들을 중심으로 활발하게 일어나고 있으며 전세계적으로 확산하고 있는 추세이다. 일반적으로 트랜스휴머니즘은 인간역능을 개선, 향상(강화)하고 전통적인 휴머니즘에 도전하는 기술기반의 새로운 사상의 흐름을 말한다. 트랜스(포스트)휴머니즘은 과학기술의 발달로 촉발되었지만, 이것은 인간과 인류문명에 대해 근본적인 질문을 제기하고 있다는 점에서 과학기술영역을 넘어 횡단적이고, 특히 인문과학 중심의 학제적인 논의를 필요로 한다. 방송미디어가 단순히 기술공학 만이 아니라 정치와 문화영역, 즉 인간의 일상과 인류의 미래에 지대한 영향을 미치는 분야라는 사실을 고려한다면 인공지능기술과 그것의 다양한 함의에 대한 초학제적이고 복합적인 연구와 논의가 절실히 요구된다.

• 복식
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• 제55권1호
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• pp.25-42
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• 2005

Costume is a formative art expressed by active human unlike the field of other living formativeness, and an expression of social actions based on a style of culture in a period. Therefore, costume has a deep connection with a mode of living and is recognized as a 'culture for living', and is more characteristic culture than all metaphysical cultures including architecture, craft, painting, and sculpture. Therefore, it expresses wearer's status or social standing, and furthermore, ideas and values of the times with aesthetic features in their form, color, materials, and pattern, so it is expressed as a mirror reflecting the phases of the times as. Korean costume had been dressed until the period of the Joseon Dynasty without a great change and started to be simplified in a simple style on the grounds of inconvenience in behaviors with the opening of an interchange of Western culture in the civilized period. And, this movement had been continued and Korean costume had been applied as an everyday dress under the name of 'Reformed Korean Costume'. Since the middle phase of 1980s, it aroused many people's interests with the introduction of designs focused on activity and convenience. In 1990's, many people had taken a growing interest in Korean costume with development of various designs keeping pace with the internationalization period and Korean Costume had been revitalized under the name of 'The Modernized Korean Costume'. And, since the 21st century, the advanced communication and full-scaled import of Western fashion have made the introduction of many fashion information in the world into Korea, affected greatly the fashion market, led consumers' sensitivity on a trend to be increased. Therefore, a design accepting a trend 'The Modernized Korean Costume' with fashions has risen. Second, this study is an attempt to suggest a revitalization method of domestic casual Korean costume brands by developing and suggesting competitive and highly value-added products with connection of practicality, variety, and highly sensitive fashion styles. For theoretical study, domestic and foreign literatures, academic journals, professional monthly magazines, and newspapers were examined. And, a process of change and features of the Korean fashion since the civilization period, and concept, features and images of casual Korean costume were analyzed, On the basis of analyzing image, features, and consumers' preference of the modernized Korean costume, a design development plan was established and 10 suits of costume were designed and made.

• 한국철학논집
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• 제41호
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• pp.247-270
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• 2014

다문화, 그것은 본질적으로 문화나 문명의 다원성이며 지역적 존재방식과 깊숙하게 연결된다. 이에 인간 존재의 장소에서 다양한 문화의 특수성이 공존한다는 인식은 불가피하다. 사람들의 존재 양태는 그들이 살아가는 공간과 장소에 따라 일정부분 다르다. 그래서 그들은 인종, 민족, 국가기억 등의 '경계'를 이루며 존재한다. 이러는 사이 서로를 배척하거나 상대를 '자기 인식체계' 속에 편입하지 않으려 하기도 한다. 사람들은 역시 자기 동질성을 비본질적이거나 배타적으로 인식한 나머지, '나'와 다른 '너'의 개별 가치, 존재 방식을 서로 외면한다. 그 결과 서로 간 공생의 기틀을 박탈한다. 한편으로 겉으로는 문화의 다양성을 추구하고 포용하려는 모습을 띠면서 나와 다른 존재 양태들을 '자기 안의 보편성'에 포섭하려 하기도 한다. 여기서 자기와 타자의 가치에 대한 대립적 인식을 극복하고 공존의 기반을 마련하려는 노력이 크게 요구된다. 이 같은 문제의식에서 이 논문은 동아시아 사유, 특히 장자와 최한기의 사유를 통해 다문화적 상대주의의 추구와, 그것을 넘는 존재론적 관계성에 대하여 접근한다. 특히 최한기의 '운화기'의 '통(通)', 소통에 주목하여 사물마다의 내재하는 운동성, 변화성, 이동성의 문제를 반추해 봄으로써 사물, 지역 그리고 문명적 가치에 대한 인식의 전환을 모색하고자 한다.

• 철학연구
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• 제148권
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• pp.29-47
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• 2018

20세기부터 학계에서는 유교전통과 현대 중국의 관계에 대하여 탐구해왔다. 그러나 대부분의 논의는 서양을 본보기로 삼았다. 더구나 그때의 중국은 현대화의 길을 밟지 못하였다. 이로 인하여 이와 관련한 연구들은 문제의식이 떨어졌으며 여전히 전근대의 측면에 머물고 있었다. 따라서 중국의 현대화가 이루어지고 있는 중에 이 주제를 다시 논의하는 것은 큰 의미를 지닐수밖에 없다. 다시 말해 이와 관련한 연구의 새로운 탐색은 현재 중국이 당면하고 있는 곤경을 해결하기 위한 것이다. 구체적으로 그 곤경에 대해 말하자면, 시장경제에서 이익을 중시하는 행위로 인해, 따뜻한 인정이 담겨있는 농업사회의 풍속이 파괴되었으며 사람들 간의 사이가 냉담해졌다. 그 결과, 윤리질서가 파괴되었고 도덕은 생활에서 퇴장하였으며, 정신적인 존재로서의 인간은 소홀해졌다. 그리고 집단 국가 지역 등 족군(族群) 사이에 균형을 잃은 근린궁핍의 국면이 형성되었다. 공자 이래의 유교전통은 예악교화를 통하여 풍속을 순박하게 하였다. 한편 이러한 과정에서 유교 전통은 인륜질서도 정돈함으로써 족군 내부 구성원들 간에 감정의 소통이 이루어지게 했다. 다른 한편으로는 자기 수양을 강화시켜 자아의 정신을 일정한 경지로 승화시켰으며, 예악을 적극 활용하여 일종의 문명 형태로 만듦으로써 천하의 평화와 안녕을 실현하고자 하였다. 이상의 유교전통에서의 3가지 측면은 현재 중국이 당면하고 있는 제 문제를 해결하는 데에 참고할 만한 것이 된다.

• 조형예술학연구
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• 제7권
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.