• The Journal of the Convergence on Culture Technology
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• v.10 no.4
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• pp.509-516
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• 2024

We rethink human existence as a assemblage through intersectionality by comparing autopoiesis and sympoiesis systems with reference to science fiction protagonists such as Ghost in the Shell, Neuralink, Camille, a genetic hybrid, and San Ti against the background of neo-materialism. Our findings reveal that, first, radical sympoiesis is characterized by the dissolution of individuals and boundaries, and attempt to explain existence solely through heterogeneous linkage and fusion; second, by ignoring the capacity for autonomous thinking at the individual level, they are unable to fully recognize the destructive nature of hybrid co-production or to develop practical responses to it. Third, we suggest that if the very survival of humanity is threatened by heterogeneous linkage, we should pay more attention to our identity as autonomous members of a autopoietic system rather than to heterogeneous sympoietic networks and we should also pay attention to the role of individual units in stabilizing self-regulation. Through this study, we aimed to contribute to overcoming the limitations of neo-materialism by arguing that it is likely to fail to provide an adequate practical vision if it is limited to describing the hybrid connections that recur through the intersection of beings, and by urging us to define the identity of the human species from a new perspective by utilizing various SF stories that trigger the imagination of destructive interactions between beings, and to explore the autopoiesis in terms of symbiotic interactions based on a certain level of boundary and self-regulation.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.259-267
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• 2011

Although having only become a unified nation in latter 19th century, Germany saw a movement centered on intellectuals to find culture via mental revolution after experiencing much confusion amidst rapid urbanization and materialism. Having expressed as they are such psychological states as anger, sorrow, repression, etc., which arise in reality, by remaining faithful to instinctive sensibility, the form naturally becomes distorted or exaggerated and continues on the tradition of romanticism of a powerful, dark, and introverted atmosphere. Having been discontinued after being branded as 'decadent art' by the Nazis of Fascism, expressionist art has returned in latter 20th century mainly centered on Germany, and this merits our attention. While neo expressionists actively use various objets and media, they metaphorically express hope about Germany's culture and society by again placing on the screen figures, myths, and symbols using rough brush touch, rich colors, etc., which past expressionists enjoyed using to represent the inner world of humans. As such, by examining expressionism, which can be seen as the origin of neo expressionism, we will discover the context in which these people conform to Germany's traditional romanticism and how they inherited and developed it.