• 한국정보통신학회:학술대회논문집
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• 한국정보통신학회 2012년도 춘계학술대회
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• pp.893-895
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• 2012

최근 인터넷의 급속한 보급과 네트워크 기술의 발전은 현재 USN(Ubiquitous Sensor Network)을 실현하기 위한 연구가 활발히 진행 중이다. USN의 센서 노드는 개별적인 센서 정보 서비스를 제공하기 위해 다양한 종류의 센서를 탑재한다. 이를 위해 불특정 사용자가 서비스를 이용하여 XML 기반의 웹 서비스 환경에서 활용할 표준화된 데이터 표현 언어가 필요하다. 본 논문에서는 필요한 센서 정보를 표준화된 형태로 표현하기 위한 USN 응용 서비스에서의 센서 데이터 표현 언어를 설계하였다. 이는 USN 분야의 기반 기술과 서비스 활성화를 위해 활용 될 것이다.

• 대한지리학회지
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• 제49권1호
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• pp.77-90
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• 2014

영화에 표현된 장소 재현을 살펴보고자 인천상륙작전을 소재로 한 영화 두 편을 분석하였다. 인천상륙작전은 한국전쟁 당시 인천에 주둔했던 주체가 변화하는 전환점이자, 한국사회 이데올로기의 분기점으로 정립된 큰 사건이었던 만큼 아직까지 이에 대한 해석이 분분하다. 사례로 한국 영화 '인천상륙작전'(1965)과 북한 영화 '월미도'(1982)를 선정하였다. 제작자가 다르다는 것은 제작의도의 차이를 말한다. 제작자가 선택한 재현 대상을 밝혀 영화 속 장소를 알 수 있었다. 그 결과 상륙군 관점에서는 승리를 기념하는 스펙터클을 보여주었지만, 방어군 관점에서는 전사자들을 영웅으로 기록하고 있었다. 제작자는 실제 장소를 의도에 맞게 선택하고 표현하기에 장소 내부적 특성을 파악할 수 있으며, 그로인해 영화의 배경을 알 수 있게 한다. 이와 함께 장소 외부를 표현한 영화 속 장소는 새롭게 미장센으로 공간을 연출한다. 화면에는 보이지 않지만 대사로 전달되는 언어 재현 장소는 장소에 대해 내부자와 외부자 관계를 파악하게 한다.

• 한국콘텐츠학회논문지
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• 제5권4호
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• pp.122-132
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• 2005

CVE(Collaborative Virtual Environment)는 물리적으로 함께 모이지 못하는 사람들이 서로 의논하고, 공동으로 일할 수 있는 가상공간의 공유된 장(場)을 말한다. CVE에서 참여자들은 가상적으로 그들이 존재할 수 있게 하는 사람의 형상을 닮은 체현(體現), 즉 아바타를 통해 대표된다. 그러나 현재 가상환경에서 볼 수 있는 대부분의 아바타들은 그 아바타의 행동과 사용자간에 일어나고 있는 대화 사이의 자연스러운 관계를 나타내지 못하고 있다. 사람과 사람간의 대화에 있어서 교환되는 정보의 65% 이상이 비언어적 기호에 의해 전달된다는 점을 감안할 때, 비언어적 커뮤니케이션 채널을 CVE 시스템의 아바타에서 제공하는 것은 매우 중요하다. 따라서 본 연구는 아바타 제스츄어 디자인에 적용될 수 있는 비언어커뮤니케이션의 전달양식을 도출하고 사람과 사람간의 커뮤니케이션 과정에서 발생하는 대표적인 신체언어들을 언어와의 관련성에 따라 유형을 분류한 후 머리에서 발까지 신체부위별로 흔히 사용되는 동작과 그에 부합하는 언어표현들을 정리하여 제시하는 방법으로 CVE에서 사용자들이 적절한 커뮤니케이션 활동을 할 수 있도록 지원하는 아바타의 동작표현을 제안하고 있다.

• 한국실내디자인학회논문집
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• 제13권5호
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• pp.154-161
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• 2004

When people visit other countries, the first place to go would be either a museum or an art gallery because it might be the most effective way that people could understand culture and history of the place in a short time. It can be alleged that a museum must be an important cultural space because people can experience their life, history and art there. According to these cultural importance, the purpose of this study is to suggest the environmental design of $\boxDr$Design Museum$\boxUl$ through the Transparency of the Cubism. The Transparency means a capability of transmitting light so that objects on the other side can be seen clearly. The Concept of the Transparency could be taken effects in architecture by overlapping facets or space. By understanding formative properties of the Cubism, which especially focused on Transparency, 1 would like to propose the environment as an art and the exhibition-environment as a way of communication. As it were, the study can be valued as a new approach on condition that formative feature is interpreted with modern terms and the ‘Digital technology’ is not used a tool of representation but a tool of thought in terms of design. Moreover, it has a great significance that formative language of the Cubism will be able to be applied to the environmental design through the experimental and creative design process.

• 영어어문교육
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• 제13권1호
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• pp.211-233
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• 2007

Caryl Churchill achieved spacial politics to resist dominant ideology in Cloud Nine. It is suggested that heterotopia is a counter-site to the places which are controlled by colonialism and sexuality. Churchill juxtaposes African colony of Victorian period in the first act and modern London in the second act. It implies that individuals are similarly oppressed by dominant ideology until now though several conditions for individuals are drastically improved. White heterosexual men in the play try to build their utopia to keep their privileges. If they find anything abnormal to their standard, they systematically classify people and organize them into the different ranks and levels to seclude them from their utopia. Actually, the ideal people in the ideal place are oppressed by patriarchal ideology, compulsory heterosexuality, and colonialism which are covertly associated with gender. Therefore, Churchill uses the cross-casting to challenge the artificiality of gender, sexuality, generation and race in the play. People realize that they need to find their own desires free from gender, compulsory heterosexuality, ethnic, and race and their subjectivity flowing in and out of space. It is the site that all the binary oppositions are deconstructed and creates new multiple nodes to expand the boundary of their communities to heterotopia in real places.

• 영어영문학
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• 제55권4호
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• pp.693-718
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• 2009

Kate Burns, a disillusioned Irish woman in Quetzalcoatl, has alternating feelings of fear, repulsion, oppression, compassion, and fascination vis-à-vis Mexican people. Together, these feelings are constitutive of a psychic process in which an imaginary appropriation of the other takes place. In this process white subjectivity represents or reconstructs the dark race precisely as its other. At the same time, Kate's feelings register her anxious recognition of the resistant, unappropriated being of the dark people: their true 'otherness,' or what Žižek calls "the excess of existence over representation." The otherness, frequently racial and sexual, evokes mixed feelings in the white subject. Kate's at once amorous and aggressive response to Ramón's body provides a case in point. Kate's emotional undulation is considerably mitigated in The Plumed Serpent, the revised version of the novel in which the theme of 'blood-mixing' is pushed to the ultimate point. Yet the interracial marriage resolves neither the racial nor the ontologico-sexual issues raised in the first version. Kate is still attracted to Ramón in his sagacious sensuality but goes on to get married to Cipriano, a pure Indian, only to find his mechanical masculinity ever unpalatable. This shows, not just Lawrence's wilful commitment to the 'blood-mixing' theme, but perhaps his lingering taboo against miscegenation as well. Changes in the plot entail those in the narrative voice. In Quetzalcoatl, Owen, a spectatorial and gossipy character, frequently competes for narration with the fully participant third-person narrator. In The Plumed Serpent, the third-person narrator becomes predominant, now attempting with greater confidence to present the reality of the racial other immediately to European readership. While such immediacy is illusional, narrative insistence on it implies a struggle to displace racial stereotypes and offer an experiential understanding of the other.

• 말소리와 음성과학
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• 제13권1호
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• pp.1-15
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• 2021

본 연구는 중의성을 가진 어휘가 심성 어휘집에 표상된 방식과 감각 양상에 따른 처리 과정을 알아보기 위하여 한국어 동음동철이의 어절의 시·청각 재인 과정을 조사하였다. 청각 어절 판단 과제(실험 1)와 시각 어절 판단 과제(실험 2)를 이용한 두 실험에서 두 가지 이상의 의미를 가진 동음동철이의 어절(예: '물었다')과 단일한 의미만을 가진 통제 어절(예: '고통을')이 사용되었다. 어절 자극들의 누적 빈도는 조작하는 한편, 각 동음동철이의 어절의 다양한 의미가 가지는 상대적 빈도는 통제하였다. 어절 판단 과제를 사용한 두 실험 모두에서 유의한 빈도의 주효과와 함께 의미 수에 따른 어절 유형과 빈도 간의 상호작용이 발견되었다. 실험 1에서 청각적으로 제시된 동음동철이의 어절은 저빈도 조건에서 단의 어절에 비해 반응시간이 빠른 중의성 이득 효과가 나타난 반면, 고빈도 조건에서는 이와 반대로 비이득 효과가 나타났다. 마찬가지로 시각적으로 제시된 실험 2의 자극에서도 유사한 상호작용 패턴이 발견되었다. 본 연구 결과는 시각 및 청각 양상 모두에서 어휘-의미 처리가 상호의존적으로 이루어짐을 보여주며, 이는 의미 처리가 감각 의존적 단계보다는 일반적 어휘 지식 처리 단계에서 이루어질 가능성을 시사한다. 이와 더불어 의미 선택 과정에서 동음동철이의 어절이 가지는 다양한 의미의 후보군은 어절의 빈도가 상대적으로 낮을 때에만 촉진적 피드백을 제공함을 보여준다.

• 미술이론과 현장
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• 제1호
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• pp.49-70
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• 2003

What is an exhibition? Is it of the system which is designed to serve Art Works in their representation, or is it a place where the artistic presentation could be considered as art work itself? After modernist era, the role of exhibitional space might have been shifted from those two principle raison d'$\^{e}$tre of exhibitional space into another, a new one. What Deleuze would call it as he borrowed the term from Spinozian philosophy : the Affectional Space. This new type of exhibitional space has been announced since 1969 when a Harald Szeeman, young independent curator and art critic from Swiss, has organized his brilliant exhibition "When Attitudes become Form" in Bern. For sure, these intensities in curatorial practices have been existing before like some early 20th century exhibitional efforts by Marcel Duchamp, El Lissitzky, Yve Klein, etc. It has influenced much on many of, otherwise most of contemporary art exhibiting practices. And now it seems to be necessary to give it a conceptual idea which could enlighten better the new paradigm of exhibitional practices that we try to clarify. I would propose the idea of that new exhibitional space as "space of non-organic becoming". This idea is inspired by Deleuze's ever famous philosophical work Thousand Plateaus, which, with Folds by the same author, has contributed to many contemporary and aesthetical debating issues. What is "affect"? Explaining about Spinoza's principle concepts, Deleuze defines it as a kind of durations or variations which are constituted by different levels of perfection. One perfection is precedented or followed by certain perfection bigger or lesser through lived transitions or passages. So each time it actualizes and reflects the state of All as a cut of Reality while each state of affections, images or ideas can not be separated from the duration which binds it to the precedent state and extends it to following one. Affect is also a term of changes. One affects at the same time it is affected. Exhibitional space as affect (or affectional space) is distinguished from representational and presentational space in the way it attributes movement, produces arrangements and generates new factors of artistic creation including those which are outside of ever accepted artistic elements. The concepts of affectional space are used especially to enlighten contemporary situation of artistic and curatorial processes. Art is no more limited to be seen as mere objects of aesthetical admiration, nor as art vis-$\`{a}$-vis art relationship apart from the whole. It includes possibilities and virtuality that appear in the imperceptible and undescribable manners if delimited in given language. As once noticed by Kuhn, we might be living in a paradigmatically shifting world, not only in Art but also in Life. And we need to express it more with Art as moving and affectional nods than as just a clean window or a distinct manual book.

• 비교문화연구
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• 제34권
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• pp.93-114
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• 2014

Gaston Bachelard had a revolutionary progress in the field of human understanding by proposing his theory of image and imagination. His theory of the new image was so powerful, almost all areas of human science, particularly that of literary criticism, were strongly influenced and this influence continues until today. Today almost everyone accepts his theory of the image without much objection, but not rarely asked where began his transfer from the philosophy of science to the images. We propose a hypothesis that the beginning of the new concept of Bachelard's image was inspired by studies of contemporary science, especially quantum mechanics. The Heisenberg's uncertainty principle was the core of quantum mechanics, and opens new perspectives on the material world. We could summarize the message of the uncertainty principle : the material world is made up of various layers, and the material can not be measured by the location and movement at the same time. So we must have a new point of view of another dimension to know this material world. Bachelard had accepted this view of Heisenberg and developed his own theory of epistemological rupture. What is revolutionary in the theory of Bachelard's image is the fact that he looked at the images with the new perspective. The human psyche is another world compared to the rational world that dominates our daily lives. Bachelard insists that the image can not be explained by the concept. The fantasy world is a totally different world to that of rationality. That is why it can not be explained by the language of rationality as the concept. The imaginary world exists independently of the real world, but it is superimposed on the real world. These two worlds are influencing each other, and it is between these two world where our daily lives continues. The declaration of Bachelard 'image is a specific reality' is never a metaphor or rhetorical expression. This is an ontological expression that must truthfully. The imaginary world is a world built on the image and it works according to its own law. It is not a representation or copy of the real world. But the world of imagination are not alone. It exists in the same time and space with the world of science. It is superimposed with the world of science. Both two world influence each other. Bachelard has made a revolutionary change by studying the images. He gave them their own place. It has changed the views on the images that were treated as mere representations of reality. Thanks to him, the image can have its own value, that of a factor that creates reality. Bachelard shows how we can go deep into the source of being and the universe if we look at the pictures with the eyes of other dimensions.