• Cartoon and Animation Studies
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• s.41
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• pp.429-454
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• 2015

The starting point of this discussion resides in the 'eyes' of mirror in a sense of seeing the self reflected in a mirror. The meaning of mirror has been evolved over the centuries while strengthening its sense of identity by bringing up some questions for resemblance, reproduction, self-reflection and reality. A mirror has also extended its vision and provided with a range of images that the self can't have. In this regard, looking into a mirror has been a sustained focus of attention by creating another ostensible being of self-image. This shows the two sides of mirror, which reveals an ambiguous gap between substance and illusion. An excessive immersion in a reflected image in a mirror is intensified and expressed today. The eyes of mirror consisting of a complex dual structure show relations between a person who sees and a person who is seen, which draws a hazy line of demarcation between the subject and the object. This opens up the possibility of the world of chiasme, where you could face all the aspects being from the eyes of others. Furthermore, the meaning of the reflection in a mirror has formed a creative discourse as an enigmatic medium that creates a variety of 'eyes' in various forms of aesthetic expression like paintings and literature. I accordingly suggest that the 'eyes of mirror' is the ambiguous 'eyes of human being' reflected in two territories of the world. Therefore, I will present the historical development of the perspective on the mirror to take a concrete approach in which it opens up the reflective structure of resemblance through a series of examples projected onto the literary and artistic productions. This study will serve as ruminations on the fact that your life is being existent in 'chiasme' of mutual entanglement between the self and the world by investigating relations between a person who sees and a person who is seen, in other words, relations between the perceiving subject and the eyes of others reflected in a mirror.

• Journal of the Daesoon Academy of Sciences
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• v.47
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• pp.65-103
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• 2023

In The Canonical Scripture (典經), the core scripture of Daesoon Thought, the Former World and the Later World are divided into the Era of Mutual Contention and the Era of Mutual Beneficence. This concept of the Former World and the Later World appears in diagrams on I-Ching Studies (易學) in the text titled, The Comprehensive Mirror of Taegeukdo (太極道通鑑). In I-Ching Studies, Anterior Heaven (先天) and Posterior Heaven (後天) are the main concepts in Song Dynasty diagram books on I-Ching Studies. Among the diagrams of I-Ching Studies, Fuxi's Diagram of the Sequence of the Eight Trigrams, Fuxi's Diagram of the Positions of the Eight Trigrams, Fuxi's Diagram of the Sequence of the 64 Hexagrams, and Fuxi's Diagram of the Positions of the 64 Hexagrams correspond to the Anterior Heaven, and King Wen's Diagram of the Sequence of the Eight Trigrams and King Wen's Diagram of the Positions of the Eight Trigrams correspond to Posterior Heaven. In The Comprehensive Mirror of Taegeukdo, the diagrams of I-Ching Studies are reinterpreted according to Daesoon Thought. The Diagram of the Eight Trigrams of King Wen's Era corresponds to King Wen's Diagram of the Eight Trigrams in I-Ching Studies. This diagram was drawn according to the text in Chapter Five of the Treatise of Remarks on the Trigrams. This diagram corresponds to "the Era of the Nobility of Earth (地尊時代)" centered on the trigram kun (坤 / ☷ ground). Fuxi's Diagram of the Positions of the Eight Trigrams in I-Ching Studies corresponds to The Diagram of the Positions of the Eight Trigrams of Fuxi's Era in Daesoon Thought. The most significant feature of this diagram is that the trigrams assigned to the directions of north and south match the hexagram indicating the obstruction of Heaven and Earth. This is hexagram 12 (否), meaning "obstruction," and it depicts no exchange or communication between Yin and Yang. Naturally, this symbolizes mutual destruction overtaking Yin and Yang. Daesoon Thought expresses this as "the Era of the Nobility of Heaven (天尊時代)." The most significant feature of The Diagram of the Eight Trigrams of the Corrected Book of Changes in The Comprehensive Mirror of Taegeukdo is that the trigrams assigned to the directions of south and north are indicative of hexagram 11, Peace on Earth and in Heaven (泰). This is a diagram in which mutual destruction is resolved through the Five Phases because the trigrams for water (坎 / ☵) and fire (離 / ☲) are in a corrected orientation. Therefore, this diagram symbolizes a world "free from Mutual Contention" and "the Era of Human Nobility (人尊時代)." According to the contents of The Canonical Scripture, the Supreme God performed the Reordering Works of the Three Realms to correct the Mutual Contention of the Former World, and as a result, the Mutual Contention of the Former World will give way to the implementation of the Dao of Mutual Beneficence. The Supreme God's Reordering Works of the Three Realms have been completed in the realm of divine beings, but in the Later World, they appear as an Earthly Paradise where the Dao of Mutual Beneficence is realized. The diagram depicting the Later World is The Diagram of the Eight Trigrams of the Era of the Corrected Book of Changes in The Comprehensive Mirror of Taegeukdo.

• Archives of design research
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• v.18 no.4 s.62
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• pp.147-154
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• 2005

In this paper, I am going to analyze a correlation of Jacques Lacan's Mirror Stage and the process of remediation on image media. It is because the remediation process of various digital media is letting people pass through one time of mirror stage again. Remediation for the Internet of traditional media, conflict with the virtual world and real world, identification that a virtual image changes a practical image is for it to be caused a remediation process by mutual link of various image media. The Narcissism which occurs in the relation a self with a idealized self searches a new own expression and forms a skillful mania culture. Reflexivity of active mania culture same as a Jacques Lacan's Mirror Stage is to be the possibility becoming the feature of media culture of today. However, if digital media culture generation spends extremely wasting time from the image media, these image media generations cannot grow into new future-type man. According to this, it is necessory to have a study on Visual Literacy that it is related to a Jacques Lacan's Mirror Stage.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.47-61
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• 2013

This paper compared and analyzed costume design shown in two movies that was adapted from the same original work, 'Snow White'. One movie consists of a western director and a western designer team while the other movie is shot by an Asian director and an Asian designer team. Two movies show similarity and difference in expression of characters in 'Snow White'. The findings are as followed;- Both movies project an image of modern women, which is mainly represented by active and confident women, However, Ishioka Eiko, the costume designer of < Mirror, Mirror >, created unique costume in the movie by applying splendid and vivid colors to western costume to make exotic feeling. On the other hand, Colleen Atwood, who was inspired by costume in each historic period and region of the Western. created costume that was closer to the tradition of the Western in his movie, < Snow White and the Huntsman >. The purpose of this study is to help the Korean movie industry to find a way to advance to the world market by fully understanding how the Easterners and the Westerners feel and express 'Snow White'. Moreover, this study may present a chance to review importance and value of the movie costume design area.

• Journal of Korea Game Society
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• v.11 no.1
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• pp.47-57
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• 2011

Mobile based location-based service can normally be classified into four categories according to their dimensions of their screen layout: map-based, bird-eye view based, photo-based, and video-based. Specifically, video-based layout system combining AR technology has a appealing factor to users through the reality-based presence but normally requires sophisticated real-time image matching algorithms to represent the system. This paper provides a new location-based service by introducing mirror world to resolve the problem and implements its prototype. The proposed service does not need such algorithm and will effectively be useful for users to get the reality of the presence for any locations which is regardless of a user's real location.

• Journal of Digital Contents Society
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• v.9 no.2
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• pp.317-323
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• 2008

The purpose of this study is to show typology of virtual world and to look out how virtual world develops especially in Korea. As paradigm changes, the scientific virtual reality and world wide web are absorbed into 3-D virtual world in Metaverse. The metaverse is the convergence of virtually enhanced physical reality and physically persistent virtual space. There are two categories of virtual world, the Ludic Virtual World which is oriented from games like MMORPGs and the Social Virtual World which is oriented from network communication system. Compared to North America and Europe, the Ludic Virtual World and game society grow and develop quickly in Korea. It's because Korean users prefer the online environment where millions of people live out a collective fantasy existence.

• International Journal of Internet, Broadcasting and Communication
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• v.14 no.4
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• pp.52-57
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• 2022

In this study, keywords from representative online portal sites such as Naver, Google, and Youtube were collected based on text mining analysis technique using Textom to check the changes in metqaverse after COVID-19. before Corona, it was confirmed that social media platforms such as Kakao Talk, Facebook, and Twitter were mentioned, and among the four metaverse, consumer awareness was still concentrated in the field of life logging. However, after Corona, keywords from Roblox, Fortnite, and Geppetto appeared, and keywords such as Universe, Space, Meta, and the world appeared, so Metaverse was recognized as a virtual world. As a result, it was confirmed that consumer perception changed from the life logging of Metaverse to the mirror world. Third, keywords such as cryptocurrency, cryptocurrency, coin, and exchange appeared before Corona, and the word frequency ranking for blockchain, which is an underlying technology, was high, but after Corona, the word frequency ranking fell significantly as mentioned above.

• Cartoon and Animation Studies
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• s.30
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• pp.245-262
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• 2013

This paper analyzes three feature films that are based on Brothers Grimm's "Snow White": Disney's Snow White and the Seven Dwarfs (1937), Tarsem Singh's Mirror Mirror (2012), and Rupert Sanders' Snow White and the Huntsman (2012). Disney's animation, not the original literature, is the archetype of the later films. Grimm's fairy tail does not include the kiss of Prince Charming that saved Snow White which is, in fact, borrowed from "Sleeping Beauty", nor Snow White's rapport with animals. In Snow White and the Huntsman 's case, the costume of protagonist is similar with Disney's film and some shots are almost identical with Disney's version in terms of composition and angles. Nevertheless, these films show their originality with markedly different visual styles. Mirror Mirror and Snow White and the Huntsman have achieved reasonable success at the box office despite of relatively simple and predictable narratives due to the power of spectacle. While Disney's Snow White displays the model of witch that later becomes prototype of many movies, Mirror Mirror represents the unique magical world, a trompe-l'oell that can only done by director Tarsem, and Snow White and the Huntsman successfully visualizes Freudian concept of 'the uncanny' itself.

• Smart Media Journal
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• v.10 no.4
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• pp.111-120
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• 2021

This study looked at how the digital cultural heritage, which is being actively built by the government and public institutions, can be utilized in the metaverse service. Through an expert interview, we investigated how the digital cultural heritage of Bulguksa can be serviced with the four elements of the metaverse: augmented reality, mirror world, lifelogging, and virtual world. As a result of the study, it was confirmed that when digital cultural heritage is used in a virtual space called metaverse, interactive and realistic services can be provided to users. In addition, it was found that users can exhibit, experience, and educate online parts that are not available in real life in the same situation as if they were in the field. Through this, it was confirmed that if digital cultural heritage is designed as a metaverse service, it can provide functions and services of a different level than before. In particular, the result was obtained that it is possible to provide services considering the characteristics of each of the four elements of the metaverse. First, it is possible to obtain the convenience of augmenting the senses by using augmented reality, and secondly, it is possible to obtain the scalability and efficiency of reproducing the real space by using it as a mirror world element. Third, by using the lifelogging element, communication can be strengthened through the user's record and connection, and fourthly, through the virtual world element, roles and activities in the virtual world can be given to the user. Therefore, if digital cultural heritage is developed as a metaverse service in consideration of these factors, a more active and open experience environment can be provided to users.

• The Bulletin of The Korean Astronomical Society
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• v.35 no.1
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• pp.63.1-63.1
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• 2010

Over its 30-year lifetime, UKIRT has been the world's leading telescope devoted exclusively to observations in the infrared. Its outstanding success over this period is attributable to a number of factors, foremost among which are the size (3.6m) and high quality of the mirror, the excellent site at the summit of Mauna Kea, and the deployment of unique, world-beating instrumentation. In recent years, as the UK has re-directed its investment in astronomical facilities towards ESO, UKIRT has focussed on wide-field imaging in the near infrared, and we are currently conducting a definitive programme known as the UKIRT Infrared Deep Sky Survey (UKIDSS). In this presentation I will describe UKIRT's current capabilities, its evolving operation, opportunities for Korean participation, and possibilities for its future development.