• 한국게임학회지
• /
• v.6 no.1
• /
• pp.70-72
• /
• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.

• The Korean Society of Law and Medicine
• /
• v.16 no.2
• /
• pp.159-193
• /
• 2015

Owing to causes such as population aging, increased use of various medical devices, long-term hospitalization of various patients with reduced immune function such as cancer, diabetes, and organ transplant patients, and the growing size of hospitals, hospital infections are continuing to increase. As seen in the MERS crisis of 2015, hospital infections have become a social and national problem. In order to prevent damage due to such hospital infections, it is necessary to first strictly implement measures to prevent hospital infections, while, on the other hand, providing proper relief of damage suffered due to hospital infections. However, the mainstream attitude of judicial precedents relating to hospital infection cases has been judged to in fact shift responsibility over damages due to hospital infections on the patient. In light of the philosophy of the damage compensation system, whose guiding principle if the fair and proper apportionment of damages, there is a need to seek means of drastically relaxing the burden of proof on the patient's side relative to conventional legal principles for relaxing the burden of proof, or the theory of de facto estimation. In relation to such need, the German civil code (Burgerliches Gesetzbuch), which defines contracts of medical treatment as typical contracts under the civil code, and has presumption of negligence provisions stipulating that, in cases such as hospital infections which were completely under the control of the medical care providers, if risks in general medical treatment have been realized which cause violations of the life, body, or health of patients, error on the part of the person providing medical care is presumed, was examined. Contracts of medical treatment are entered into very frequently and broadly in the everyday lives of the general public, with various disputes owing thereto arising. Therefore, it is necessary to, by defining contracts of medical treatment as typical contracts under the civil code, regulate the content of said contracts, as well as the proof of burden when disputes arise. If stipulations in the civil code are premature as of yet, an option may be to regulate through a special act, as is the case with France. In the case of hospital infection cases, it is thought that 'legal presumption of negligence' relating to 'negligence in the occurrence of hospital infections,' which will create a state close to equality of arms, will aid the resolution of the realistic issue of the de facto impossibility of remedying damages occurring due to negligence in the process of occurrence of hospital infections. Also, even if negligence is presumed by law, as the patient side is burdened with proving the causal relationships, such drastic confusion as would occur if the medical care provider side is found fully liable if a hospital infection occurs may be avoided. It is thought that, alongside such efforts, social insurance policy must be improved so as to cover the expenses of medical institutions having strictly implemented efforts to prevent hospital infections in the event that they have suffered damages due to a hospital infection accident, and that close future research and examination into this matter will be required.