• Korean Journal of Cognitive Science
• /
• v.2 no.2
• /
• pp.205-220
• /
• 1990

Material substance may exist in two different modes of reality:real as physcal objects that comprise material cause and formal cause, and real as function networks that comprise efficient cause and functional cause.Functional networks are real as a mode of material substance because their efficient cause is energy consuming.Neural functional network, in this sense, are different from neural networks.In the same way, mental functional networks are real, for they are energy consuming and they function as a network.Mental functional networks, in turn, may divide into non-lingustic functional networks and linguistic functional networks.And further distinctions among the different levels of mental functional networks will be specified, and hence their reality confirmed more specifically as the research in cognitive science advances.

• Journal of Korean Philosophical Society
• /
• v.141
• /
• pp.1-42
• /
• 2017

This paper's purpose is to seek to grasp how Descartes demonstrates proofs of God's existence on the basis of his works especially Meditations. To consider these points, I shall explore first, second, third proofs that are present in his works, and contents related to God. Descartes argues that there is idea of God within me, but it is God, which is first proof. On the basis of this fact, Descartes shows only God is the cause of thinking self who has idea of God(second proof), both of them are called Cosmological argument. To investigate this, at first he states that representative reality that is different from formal reality sets a kind of hierarchy, the degree of this reality is equally applied to cause and effect, consequently to the cause of my idea or existence(God). From Meditation V, third proof which is called Ontological argument, Descartes examined a supremely perfect God can't be separated from God's existence(perfection) just as surly as the certainty of any shape or number, for example triangle, namely it is quite evident that God's existence includes his essence. Through these processes I shall examine following points: the way of having Descartes' proofs of God's existence itself is not only exposed, God's existence who guarantees cogito ergo sum which is never doubted, despite doubting all things that is outside, is but also postulated; Proofs for the existence of God are an ultimate source of ensuring the clear and distinct perception of human reason, Descartes uses reason suitable for non-christians instead of faith suitable for Christians for these methods, which are similarities with the traditional views on the one hand, but nevertheless there are some of discontinuities establishing authority or power of the first philosophical principle to which God is subjected, on the other.

• Trans-
• /
• v.7
• /
• pp.19-48
• /
• 2019

This study was described to examine the meaning of the media exhibition work <70mK>, which aims to capture the topography of the collective consciousness of the Korean people through large-scale interviews. <70mK> edits and organizes interview images of individual beings in mosaic-like layouts and forms, creating video exhibitions and holding exhibitions. The objects in the split frame show the continuity of differences that reveal their own thoughts and personalities. This is a synchronic and conscious collective typology in which the intrinsic nature of the individuals is embodied in a simultaneous and holistic image. Interview images reveal their own form as a actual being and convey the intrinsic nature of one's own as oral information. <70mK> constructs a new individualization by aesthetically structuring the forms and information of life individuals in the extension of a specific group. The beings in the frame are not communicating with each other and are looking straight ahead. it conveys to visitors their relationship and personality as the preindividual reality. It is the repetitive arrangement and composition of heterogeneity and difference that each individual shows, and is a chain operation that includes collective identity behind it. <70mK> constructs the direct images and sounds of individual interviewee, creating a new form of information transfer called Video Art Exhibition. This makes metaphors and perceptions of the meaning and process of transindividual relationships and the meaning of psychic individuation and collective individuation. This is an appropriate case to explain with modern technology and individualization of Gilbert Simondon thought together with the meaning of becoming and relation of individualization. The exhibition space constructed by <70mK> is an aesthetic methodology of the psychic and collective meaning and its relationship to a particular group of individuals through which they are connected. Simondon studied the meaning of the process of individualization and the meaning of becoming, and is a philosopher who positively considered the potential of modern technology. <70mK> is a new individual as structured and generated ethical reality mediated by modern technology mechanisms and network behaviors. It is an case of an aesthetic and practical methodology of how interviews function as 'transduction' in the process of individualization in which technology is cooperated. The direct images and sounds of <70mK> are systems in which the information of life individuals is carried, amplified, accumulated and transmitted. It is also a new individual as a psychic and collective landscape. It is a newly became exhibition art work through the multiple individualization, and is a representation of transindividual meanings and process. The media exhibition art of individualized metastable states leads to new relationships in which viewers perceive the same preindividual reality and feel affectivity. The exhibition space of <70mK> becomes a stage for preparing the actual possibility of the transindividual group beyond the representation of the semantic function.

• Journal of Korean Philosophical Society
• /
• no.93
• /
• pp.231-260
• /
• 2011

Simondon's theory of individuation and methodology of transduction presents a possibility of contemporary natural philosophy and a new perspective about the relation between philosophy and sciences. According to Simondon's anti-substantial viewpoint, being, as a metastable system charged with potential energy, complicates itself with quantum leaps transversing successive equilibriums. Individuation is the becoming of phases of being which transits from preindividual state to individuated states. Physical individuation as a paradigmatic model of individuation in general demonstrates not only insufficiency of form-oriented hylomorphism, but also spontaneous formational capacity of matter and reality of energetic relational operation immanent in matter. Genesis of a individual (structure or form) occurs as a resolution of the disparation between orders of magnitude, that is, the difference of potentials immanent in nature through the internal resonance, communication by information, transductive relation between the opposites. I'm trying to show that Simondon revives 'physis' of ancient natural philosophy by his own transductive applications of contemporary physics' conceptions, and therefore suggest a new non-reductive materialism. Especially Simondon's 'transduction' which is neither induction, deduction, nor dialectic, but an original ontological process and a peculiar method of thinking, I think, is worthy of note in order to construct network of knowledge and inter-relation between various sciences.

• Proceedings of the Korean Society of Precision Engineering Conference
• /
• 1993.04b
• /
• pp.33-37
• /
• 1993

연결부를 지닌 대형의 노즐형상 제품은 대형산업기기에서 용기의 일부 및 추진체 및 인공위성 발사 대등에서 쓰이는 제품으로 목적하고자 하는 최종 조립품의크기에 따라 제품자체의 지름이 1m 에서 수m 에 이르는 대형으로 제작된다. 대형노즐형 제품은 제품 자체의 강도, 정확한 치수 및 소요재료의 다수등도 중요한 요소이나, 가공하중의 크기에 따라 다르지만 제품을 만들기 위해서는 수만톤을 필요로하기 때문에 제품제조의 가능여부가 성형기의 능력에 의존하게 된다. 본 연구는 비교적 소형장비로써 대형 노즐형단조 품의 제작이 가능한 새로운 성형공정을 개발하는데 그 목적이 있으며 공정개발은 비교적 소형 장비로써 대형단조품의 제작이 가능하도록 하는데 촛점을 맞추고서 이루어 졌다. 이를 위해 여러가지 가능한 방법 들을 제안하고, 각각의 공정 방법들에 대해서 Plasticine 모델 시험을 통하여 소성유동에 의한 성형성과 하중을 검토한 후에 국내에서 사용가능한 장비 및 하중능력, 그리고 성형성 등을 고려하여 적절한 공정방법을 선택하였다. 선택된 공정에서 점진적 팽창단조를 위한 예비 성형체의 결정 및 공정변수의 결정등을 납 모델링실험을 행하여하였으며 실재 재료의 축소모형실험을 수행하여 공정을 확인 하였다.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.5
• /
• pp.561-568
• /
• 2022

The purpose of this study is to explore the narrative of VR disaster and safety Education introduced by disaster film narrative. VR(Virtual Reality) is be suitable technology for disaster and safety Education due to media characteristics as 'immersion', 'presence', 'interactivity', 'pleasure'. Disaster film narrative is able to be worth VR disaster and safety education as a variety of stories and educational effect. For this study, examine a theoretical study and a visiting research of 'Busan 119 Safety & Experience Center'. This study concludes that Firstly need to introduce catharsis effect, Secondly, build 'interactive narratives' that ensure active participation of users, Thirdly, introduce an 'adventure game' narrative element, Fourthly, introduce a hero-shaped narrative in which the user becomes a one-man hero, And lastly, need education as use user's multiple access and group experience learning. Therefore, This thesis is of academic value in that it suggest a desirable new direction of narrative in VR disaster and safety education.

• Journal of Korean Philosophical Society
• /
• v.105
• /
• pp.49-74
• /
• 2008

Le but de notre recherche est $d^{\prime}{\acute{e}}clairer$ la nature du $d{\acute{e}}passement$ de soi aux actes humaines dnas le Thomisme. Dans le Thomisme la nature humaine qui a la raison et la $volont{\acute{e}}$ a une $intentionnalit{\acute{e}}$ ver la fin ultime. De sorte que les actes humaines qui $corr{\grave{e}}spondent$ cette nature humaine a un $caract{\grave{e}}re$ du $d{\acute{e}}passement$ de soi visant toujours plus que le $pr{\acute{e}}sent$. Le fondement de cet acte du $d{\acute{e}}passement$ de soi est $l^{\prime}{\hat{a}}me$ rationelle qui est la forme substantielle de l'homme et de soi subsistante. Chez st. Thomas ce $caract{\grave{e}}re$ du $d{\acute{e}}passement$ a trois ${\acute{e}}taps$ distinctes : (1)le $d{\acute{e}}passement$ dans l'ordre du $progr{\grave{e}}s$ naturel (2)le $d{\acute{e}}passement$ de soi dans l'ordre morale (3)le $d{\acute{e}}passement$ de soi dans l'ordre de la religion. Le $d{\acute{e}}passement$ dans l'ordre du $progr{\grave{e}}s$ naturel apparaît d'abord au $caract{\grave{e}}re$ de $l^{\prime}{\hat{a}}me$ rationelle. St. Thomas $d{\acute{e}}finit$ les vertus rationelles comme $^{\prime}pl{\acute{e}}nitude$ dans le $f{\acute{e}}blesse$, parce qu'il $consid{\grave{e}}re$ la vertu rationelle comme $finalit{\acute{e}}$ des $facult{\acute{e}}s$ du sens $ext{\acute{e}}rieur$. L'homme par le sens $ext{\acute{e}}rieur$ reçoit des $esp{\grave{e}}ces$ sensibles(especies sensibilis), et $poss{\grave{e}}de$ les images. Puis cette images sensible devenant la $r{\acute{e}}alit{\acute{e}}$ spirituelle sous forme du $m{\acute{e}}moire$ et du souvenir, devient aussi la partie de son existence. Donc chez st. Thomas la vertue rationnelle n'est pas simplement un $facult{\acute{e}}$ $sp{\acute{e}}culative$, mais elle est dans l'ordre du devenir et du $pl{\acute{e}}nitude$. A cette raison st. Thomas compare la raison(ratio) comme $g{\acute{e}}n{\acute{e}}ration$(generatio) et l'intelleigence(intellectus) comme ${\hat{e}}tre$(esse). C'est-${\grave{a}}$-dire la raison $d{\acute{e}}passe$ le sensible et l'intelligence $d{\acute{e}}passe$ la raison. Le $d{\acute{e}}passement$ de soi dans l'ordre morale $li{\acute{e}}$ au $progr{\grave{e}}s$ de la conscience. Chez st. Thomas la perception de l'objet $ext{\acute{e}}rieur$ ayant pour but d'avoir conscience de soi, se perfectionne ${\grave{a}}$ ceci. D'avoir conscience de soi signifie d'avoir $l^{\prime}identit{\acute{e}}$ de soi, et de-$l{\grave{a}}$ apparaît l'acte moral en tnat qu'acte $sp{\acute{e}}cifique$ humain. La raison pour laquelle la vie morale elle-$m{\hat{e}}me$ a un $caract{\grave{e}}$ du $d{\acute{e}}passement$, c'est que l'acte humaine qui corresfonde ${\grave{a}}$ $l^{\prime}identit{\acute{e}}$ du soi est une vie qui vise toujours plus que le $pr{\acute{e}}sent$ ou $l^{\prime}id{\acute{e}}al$. Quant au problem du $d{\acute{e}}passement$ dans l'ordre de la religion, chez st. Thomas en raison de $l^{\prime}affinit{\acute{e}}$ entre Dieu et l'homme, $o{\grave{u}}$ il y a des vertues infuses(virtutes infusas), il y a une sorte du $d{\acute{e}}passement$ religieux. Car ces vertues infuses signifie la communication entre Dieu(${\hat{E}}tre$ absolu) et l'homme(${\hat{e}}tre$ fine) et cela signifie le $d{\acute{e}}passement$ de l'humain vers le divin. Cette $id{\acute{e}}e$ thomiste permet de penser que $o{\grave{u}}$ il y a un $d{\acute{e}}passement$ de soi dans la vie religuse d'une personne, il y a une intervention $r{\acute{e}}elle$ de la providence divine. Cette $pens{\acute{e}}e$ thomiste sera alors un $caract{\grave{e}}$ $r{\acute{e}}aliste$ face ${\grave{a}}$ la $pens{\acute{e}}e$ $id{\acute{e}}aliste$ qui n'admette que le $d{\acute{e}}passement$ absolu comme $d{\acute{e}}passement$ religieux.

• (The)Study of the Eastern Classic
• /
• no.70
• /
• pp.495-524
• /
• 2018

This study investigated the literary theory of Jang Jiyeon and his compilation consciousness of the historical biography, and based on this, the study examined the aspect and characteristic of the personage adoption of "Ilsayusa". To figure out the characteristic of "Ilsayusa", this study attempted to investigate the Jang Jiyeon's cognition on epic literature first. Jang Jiyeon had interest in the historical biography in his early days. But he clearly expressed the negative position about the novels which had been handed down from old times, mentioning about their harmful effect, even though they were in a big popularity. The good readings he thought was supposed to be helpful for person's work, study, personality and even the custom, so it is thought that the compilation of "Ilsayusa" was planned as a part of a usefulness to help readers' actual lives by summarizing Jang Jiyeon's philosophy as the form of a historical biography of personages who had actually existed. The direct motivation and the awareness of the problem to compile "Ilsayusa" could be confirmed by the postscript he left. Pointing that Joseon's policy of appointing persons of ability resulted in the loss of the nation, Jang Jiyeon paid attention to the classical scholars from low class, people from under middle class and the local figures in Hamgyeongdo and Pyeongando in the process of compiling "Ilsayusa". Along with this, a kind of a sense of duty that the old heritage must be examined by descendents was manifested as the compilation of "Ilsayusa". Through this, Jang Jiyeon tried to show the good model to the readers of "Ilsayusa" what the way of living would be for raising their volition and keeping the fundamentals. The tendency and characteristic of compiling personages in "Ilsayusa" could be sorted in a few ways as written below. First, it includes all kinds of all actually existed episodes while he was collecting various historical biographies published before. Second, it includes the new kinds of personages paying particular attention to figures of middle class and commoners. Third, it compiled the female figures in a great volume and described new model of woman. Fourth, for areas, it has episodes of all areas in the nation including Pyeongando and Hamgyeongdo. Thinking about all the discussion above, we could estimate that "Ilsayusa" is the definitive edition of these kinds of books which inherited all performances of the biographical literature in better way, which had been accomplished in 19th century.

• Journal of Science of Art and Design
• /
• v.11
• /
• pp.109-152
• /
• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

• Cartoon and Animation Studies
• /
• s.9
• /
• pp.127-142
• /
• 2005

Not only in Korea but throughout the entire world millions of people are in contact with images. Images have become a medium through which to transmit anything from simple visualizations of moving images to knowledge and information. The age of the internet has arisen thanks to scientific development, and the internet generation's acquisition of information is continuously becoming faster. The spectators, ufo must choose amongst the excessive amount of available information, are changing along with it just as quickly. The method of visual transmission has changed to match the demands of the fast-changing pace of the new generation. In order to receive an instantaneous selection amongst much information, the primary requisite is attracting one's attention, and then presenting a corresponding feeling of satisfaction. The early stages of film arose from the desire to capture one's actual situation as it realty is. Unsatisfied with the still picture, people developed the motion picture. Research has succeeded in reproducing 3-dimensional images more realistic than the actual image we perceive as a result of the difference in visual perspective of both eyes and their response to rays of light From color film to 3-dimensional pictures, people enjoy the magnificent results of this. All fields within the category of film are continuously studying the human desire to pursue their visual side, namely the pursuit of visual images with a maximum sense of reality. The images that millions of people around the world see now are flat. The screen's depth and optical illusions effectively give a sense of reality while conveying information. However, although the flat screen is able to create a sense of depth using the different visual perspective of each eye for the realization of a cubic effect, there are limitations. Entering the 21s1 century, there is a quickly-arising branch within the field of image media which seeks to overcome these limitations Although 3-dimensional images began in films, entering the latter half of the 20th century, due to development of 3-dimensional images using the mediums of the animation field, cellular phones, advertisement screens, television etc., without restriction is designated as 'image.'. With research having started around 1900 and continuing for over 100 years, we are now able to witness the popularization of 3-dimensional films happening before our very eyes. Within our own country, we can frequently see them at amusement parks and museums. In the future, through the popularization of HDTV etc., there is a good outlook for practical use of 3-dimensional images in televisions with advanced picture qualify as well as in other areas. Together with the international current, research on 3-dimensional films has been activated in Korea and is rising as a main current in the film industry. Within this context, the contents and understanding of 3-dimensional images must keep in step with the pace of technical advancements. In order to accelerate of development of film contents to keep in pace with technical developments, this dissertation presents the techniques and technical aspects of future developments, and shows the need to prepare in advance to make the field grow- and thereby avoid having a lack of experts and being conquered by other nations in the field - rather than only advancing the technical aspects and importing the contents. This dissertation aims to stimulate interest and continual research by progressive-thinking people related to the film industry. Part II looks into the definition and types of 3-dimensional motion pictures, the terminology, the fundamentals of image formation, current market fluctuations, and looks into 3-dimensional techniques which can be borrowed and introduced in 3-dimensional animations. Part III concerns 3-dimensional animated films. It analyzes 3-dimensional production techniques while using the introduction of specific animation techniques in the 2004 production Lee Sun Shin and Nelson - Naval Heroes 3-dimensional animation produced in 2004 by Clay & Puppet Stop-Motion Animation & Computer Graphic. Original Korean title: 해전영웅 이순신과 넬슨. as an example, and it also looks into how current film techniques used in animations can be applied in 3-dimensional films. Additionally, the actual stages of the various fields of 3-dimensional animations are presented. Given the current direction and advancement of 3-dimensional films making use of animations and the possible realization of this field, the author plans to weigh the development of this yet unexploited new market Not looking at the current progress of the field, but rather the direction of the hypothetical types of animation techniques, the author predicts the marketability and possibility of development of each area.