다문화사회에서 이주여성의 몸 경험 : 유목적 체현을 위한 목회상담 연구

송민애 연세대학교 신과대학 2008 신학논단 Vol.54 No.-

This study purports not only to offer practice to pastoral counselors dealing with the transnational married migrant women but also to receive the wisdom through their nomadic embodiment experience. Their nomadic embodiment experience could show the way how the multicultural society has to reach to the Kingdom of God. In the era of "feminization in migration", women's circumstance is conditioned socially, culturally as well as personally. So this study focuses on the woman as the subject who is ignored by the dominant structure of society but rejects to describe the woman as only the subordinate character, It puts emphasis on the priority in order to overcome and resist to the oppressive structure of patriarchy and. racism. Hence the post-colonialism has to be reconsidered in the perspectives of the feminist theologies. The interracial or international married ones have been suffered from the prejudice of races, genders, and classes. These accumulated oppressive phenomena can be reminded of our past memories such as the Japan's military 'comfort women' or more recently "GI brides". These have been affected as the spiral violence such as the pre-victimized could become the post-oppressor. It is the hidden agenda of the 'dangerous memory' among the community members. Therefore, the researcher as the feminist theologian who has experienced the 'outsider within' position is challenged to expose this spiral and hidden violence of this society through the embodied experiences of the migrant women. Also feminist theologians have to help them retaking and keeping their own liberation. The migrant women's embodied experiences are considered spiritually as well as personally and politically in the unrighteous context. As for the research design and methods, the phenomenological case study approach which is employed for the analysis of real experiences and for the theological reflections, respectively. To implement the qualitative research, 12 participants were selected to offer the in-depth interviews and their authentic experiences were analysed as the basic resources for theological reflections. Not only the critical dialogues among the interdisciplinary perspectives in the migrant women's experiences but also the patriarchal theological analysis were reconsidered. Through theological reflections, this study reaches conclusion as follows; First, it has to be criticized that the married migrant women are categorized as a homogeneous group irrespective of differences among women from the dominant group and the systematic arrangement of power in society along the axes of race/ethnicity, gender and class, It needs to dismantle the structure and empower them who continue to struggle so that they may survive and explore their latent capacities. Their marginalized context makes them confusing their identities, but they are not the victimized in the globalized liberal capitalism. They are the subject of the self-determination and responsibility even though their circumstances are very poor. They are eager to help their family members economically and try to find out good opportunity for themselves. They are brave enough to cross the borders. Second, they are involved as "the pseudo members" in the Korean society. They realize that their caste, religious, ethnic, economic, and political differences have created division and caused to be controlled. At first stage of immigration, they tried to do hard to enter into the community but they can not be welcome as the members, In order to survive, they use their strategies to make a mockery of this prejudiced society, It results in deconstruction of the systematic unjustice. Their embodiment experiences were exposed as the hybridity and discrimination. Their identity were oppressed to the assimilation by the dominant host society. This assimilation is the result of the ethnocentric attitude and their hybridity will open the possibility. Third, the meaning of the migrant women's embodiment experience shows that they are posed in slippery "in-between" position such as decontextualized, Post colonial diasporic embodiment. But these factors give them the new identities strategy for the resistance against oppression. Fourth, the result of this study is the epistemological norm is the solidarity. Of course, the women's experience of oppression is the central focus and evaluative norm of feminist theology at the first stage, because their marginalized position cannot be hardly any relationship with the center. So the feminist theologian has to interpret their languages or evaluate their experiences in order to be heard. This process will help not only the migrant women but also the dominant privileged community. To do this the theological reflection and the praxis in the pastoral counselling extract from the Jesus Christ's embodiment as the liberation and salvation "from the bottom not from the upper", If the migrant women's nomadic embodiment experience could be empowered by the feminist theologian and pastoral counsellors, the intersubjectivity and interpathy between theses two parties will be the praxis of the "Kang Kang Sullae" pastoral counselling based on the nomadic embodiment feminist theology.

VR 영화 관객의 가상 체험 디자인 연구 -체화된 인지이론을 중심으로-

위안전닝(Yuan Zhenning),박성호(Park Seong-ho) 한국만화애니메이션학회 2021 만화애니메이션연구 Vol.- No.64

VR 영화는 파노라마 인터렉션(Panoramic Interactive) 장면과 인터렉션 관람방식의 구축을 통해 관객에게 가상 현실에 몰입(Immersion)하게 만들어 전통 영화와 완전히 다른 체험을 제공한다. 또한 VR 영화의 서사는 전통 영화와 달리 저자, 스토리, 관객이 공동으로 완성하는 큰 변화가 발생하였다. 따라서 기타 예술 유형에 비래 VR 영화의 수용자는 더욱 복잡하고 중요한 서사 신분(Narrative Identity)을 지니게 되었으며, 관객의 관람 체험은 VR 서사의 완전성에 직접적인 영향을 끼치게 되었다. 일반적으로 VR 작품의 관객 관람 체험에 대한 가장 기본적인 평가 기준은 관객의 몰입 여부이며, 가장 큰 VR 몰입감은 바로 관객이 체화된(Embodiment) 느낌을 받는 것이다. 따라서 본 연구는 VR 관객의 체화된 인지(Embodied Cognition)를 바탕으로 대표적인 VR 영상의 캐릭터 설정, 표현과 인터렉션에 대한 분석을 통해 VR 관객의 체화된 신분 구축과 표현을 고찰한다. 그리고 이를 통해 관객과 콘텐츠가 더욱 적절하게 교류하고, 관객의 체화된 관람 체험을 강화하여 양호한 VR 영화의 창작과 실천을 이끌고자 한다. 우선 제2장 첫 소절에서 VR 관객의 특징을 분석한다. 캐서린 헤일즈(Katherine Hayles)의 포스트 휴먼(Posthuman) VR 환경에 따른 관객의 특징을 설명하였다. 즉, 관객이 가상 환경에 존재하여 영향을 받는 것이 아니라 수용자의 심리, 감정, 인지가 변화되어 체화된 인지를 생성하는 것이다. 다음은 VR 관객의 체화된 인지 특징을 분석한다. 체화된 인지 이론에 따르면 관객의 VR 체험은 물리적 세계에 근접하거나 동등한 “진실”을 경험할 수 있기 때문에 감각, 지각, 정서, 기억, 자아 인지 등의 심리를 구축할 수 있으며, 또한 이러한 체화된 체험(Embodied Experience)의 추구는 VR 영화 창작의 새로운 방법이 되었다. 그 다음으로 VR 영화 관객의 가상 체험 디자인 부족을 다음과 같이 구체적으로 분석한다. 첫째, 관객 신분의 설정이 흐릿하다. 많은 VR 영화 관객은 이동하거나 고정된 또는 어떤 때 있고, 어떤 때는 없는 카메라와 같이 인칭 시점에 혼란이 존재하며, 이는 일정 정도에서 서사의 논리를 파괴한다. 둘째, VR 관객의 이미지 표현 측면에서 일부 제1인칭 관객 시점의 경우 관객은 자신의 몸을 볼 수 있지만 VR 환경에서 자유롭게 걸을 수 없기 때문에 “자신의 몸”을 볼 수 있는 디자인은 시각 측면의 순간적 체화 느낌만을 제공하고, 시간의 진실성과 연속성이 부족하여 몰입감을 떨어뜨린다. 셋째, 관객의 상호작용설정이 지나치게 도전성이 높을 경우 좌절감을 느낄 수 있고, 반대로 도전성이 지나치게 낮을 경우 흥미를 떨어뜨리는 문제를 초래하여 인터렉션과 몰입의 균형을 깨뜨릴 수 있다. 제3장은 기존 VR 영화의 체화된 가상 캐릭터 구축 분석을 통해 세 가지 어려운 점을 어떻게 보완하는지 설명한다. 우선 관객이 VR 영상의 새로운 캐릭터가 “무엇인가”, “누구인가”, “자의식이 어디 있는가”를 명확히 알게 해야하며, 이를 통해 관객은 VR에서 서사 논리의 어색함이 발생하지 않고 빠르게 가상 공간에 몰입할 수 있다. 다음으로 VR의 아바타(Avatar)와 관객 시점을 일치시키기 위해 “거울”과 “응시”를 통해 수용자는 제1인칭 시각으로 “자신”을 볼 수 있으며, 이는 관객의 자의식 형성을 가속할 수 있다. 마지막으로 적절한 제시와 효과적인 상호작용을 통해 관객은 가상 현실의 현장감을 플롯과 관객의 사고에 이식하게 되며, VR 환경에 대한 복합적인 감지를 통해 새로운 의식과 자아를 구축하고, 체화된 인지를 실현할 수 있다. 미래 VR 서사는 시각과 아바타의 일치, 환경과 서사의 균형을 추구해야 하며, 몰입감과 현장감을 초월한 심미 체험으로 발생하는 체화된 인지는 VR 영화의 미래 발전을 위한 필연적 방향이다. 또한 관객의 체화된 가상 체험에 입각한 VR 영화의 장면 서사는 VR 영화 창작의 새로운 방법이다. VR (Virtual Reality) film creates a virtual space of multi-dimension. The creation of panoramic interactive scenes and interactive ways to view can not only provide the audience realistic artistic experience physically and mentally, but also give them an aesthetic space completely different from traditional films. The narrative style of VR films has changed substantially compared with traditional films. In VR films, the narration is done from the aspects of author, story and audience. Compared with any type of art, the audience of VR film plays a more complicated, clear and significant narrative identity, as their viewing experience will have a direct influence on the integrity of VR narration. In VR works, the most basic measurement for the viewing experience of the audience is to enable them immerse with rapt attention, while the highest level of VR immersion is to make the audience feel embodied. Therefore, this study is designed to create the embodied cognition of VR audience. Through the analysis of the setting, presentation and interaction of the characters in classical VR films, the construction and presentation of the embodied identity of VR audience is analyzed in this paper, so as to allow them to better interact with the content, strengthen their embodied viewing experience, and better guide the creation and practice of VR films. The characteristics of VR audience are analyzed in Section 1 of Chapter II herein. The thoughts of “Posthuman” proposed by Heller have reflected the characteristics of human beings in VR environments, namely, the influence of the virtual environment on the audience is not only reflected by the moment when they step out of the virtual environment. As a result of the role of information and material, the psychology, emotion and cognition of the audience will make a difference, stepping into the stage of “Posthuman”. However, during this period, embodied cognition plays a critical role. In Section 2, the characteristics of VR audiences’ embodied cognition are analyzed. According to the theory of embodiment, physical experience of users in VR can shape a kind of “real” experience, which is close to or equivalent to the physical world, and then form psychological meanings of sense, consciousness, emotion, memory and self-cognition. The pursuit of embodied experience is a new approach to the creation of VR film. In Section 3, The deficiency of audience virtual experience design is analyzed .1. The audience identity is not set clear. They often face a moving or stationary and intermittent camera. Confused personal perspectives, and contradictory and unclear audience identity also disrupt the narrative logic to some extent. 2. Image presentation of VR audience. Some audience can see their own bodies from the first perspective, but they cannot walk freely in VR environment. Such design can only provide instantaneous embodiment of visual level, rather than the authenticity and consistency of time, destroying the sense of immersion. 3. Audience interaction performance level. The setting of audience interaction points will cause frustration as a result of higher challenges, or decrease the interests because of lower challenges, destroying the balance between interaction and immersion. In Chapter III, an in-depth analysis of the construction methods of audience identity in classic VR films is made, thus providing us with methods to avoid the above three problems. First, it is necessary to make audience to know their new identity in VR films. Only by doing so can the audience be immersed in the virtual space as soon as possible without any confusion of narrative logic in VR environment. Second, in order to make the Avatar in VR consistent with the point view of the audience, “mirror image” and “gazing” can be adopted to allow the audience to see “themselves” from the first person perspective, thus speeding up the formation of their self-consciousness. Last, effective interaction is required for

역대 서론의 형상화 경향 연구

김희정 ( Hee Jeong Kim ) 한국동양예술학회 2016 동양예술 Vol.31 No.-

본 논문은 古代書論 가운데 物象을 形象化하여 서예를 表現하고, 서예의 理想을 敍述했던 문헌(문장)들을 採錄하여 자연의 형상화, 인체의 형상화, 인격의 형상화로 분류하고, 그것을 다시 시대적 傾向性을 연구한 것이다. 연구 결과 서론의 형상화 경향의 시대적 흐름은 다음과 같다. 첫째, 서예를 자연물을 비유하여 형상화 한 예를 筆畵과 書體로 나누어 분석하였다. 역대 서론에서 자연물을 빗대 서예를 형상화 한 것은 대부분 漢과 魏晉시기부터 唐代 초기에 집중되었다가 唐代 중기 이후에는 급격히 사라진다. 이는 문자가 막 象形性을 벗어나 抽象化되고, 意象으로서의 서예로 초월하는 과정에서 문자 자체의 생명성(생동감)을 유지하고자 했던 사유에서 기인한 것이라 생각된다. 이러한 사유와 기술방식은 당대 초기에 문자가 楷書로 고착화되어 象形性이 완전히 사라지면서 더 이상 ‘자연을 模倣하는’ 사유가 사라지고, 인간의 주체적 敍情性이 서예의 주제로 자리 잡은 결과라 하겠다. 둘째, 서예의 주체인 인간의 신체를 들어 형상화한 예이다. 이러한 형상화는 書論이 記述된 초기부터 끊임없이 이어지고 있다. 이는 문자를 만들고 서예를 창작하는 과정이 ‘자연을 모방’하든 ‘내면의 감정과 의지를 표현’하든 행위의 주체를 형상화하는 것이기 때문에 지금까지도 변하지 않는 것으로 생각된다. 셋째, 人品과 道德으로 서예를 형상화 한 예이다. 이러한 내용의 서론은 唐初까지의 ‘尙法’에서 탈피하여 抒情性을 띠기 시작한 唐代 중기부터 機微를 보이다가 宋代부터는 인격과 연관 지어 형상화 되었다. 明代에서는 도덕심과 연관시켜 형상화 하였다가, 淸代는 서예를 인격과 윤리, 도덕과 연관시키고 상징적 대상물을 비유하여 형상화 한 예도 볼 수 있었다. 이상을 정리하면 서예에 대한 사유(인식)가 서론 발생 초기인 漢·魏晉시대에서 唐代초기까지는 서예를 ‘자연(대지연과 인간신체)을 模倣한’ 것으로 보았다가 唐代 중기부터는 서정(감정)의 表現으로 轉移되었다. 宋代에서는 서예주체자의 내면인격을 表象하는 수단으로 인식하였다가 明代에서는 서예를 인격을 수양하고 도덕심을 고양하는 대상으로 인식하였고, 淸代 말기에 이르면 서예가 인격과 도덕심의 상징으로 인식되기까지 한다. 이는 美學史에서 美論과 審美論, 藝術論(문화예술 상징론)으로 전개되는 과정과 같은 맥락이라 할 수 있다. The purpose of this study is to sample a series of ancient literature that embody the shapes of objects to express the caligraphy and discuss the ideal of caligraphy, and therewith, classify their embodiments into nature, human body and personality to analyze their historical tendencies. The results of this study can be summarized as follows; First, this study analyzed the embodiments comparing the caligraphy with the nature by categorizing them into brush paintings and calligraphic styles. The works that embodied the caligraphy by comparing it with the natural objects started mostly during Han and Wei dynasties followed by Jin dynasty to prosper during the early Tang dynasty and then, disappeared rapidly since the mid-Tang dynasty. Such a transition is perceived to be attributable to the trend that the letters began to be abstract, departing from their images and in this process the letters struggled to keep their own life (sense of vitality). Thus, the letters began to be set in as Kai Shu during the early Tang dynasty with their images lost completely, and therefore, the meditation ’imitating the nature’ would disappear, while the independent human lyricism would be settled down as subjects of caligraphy. Secondly, the subjects of caligraphy or the human beings were embodied. Such embodiment has continued since when the calligraphic discourses started. Such a trend is due to the nature of the calligraphic creativity: embodiment of subjects whether it is ‘imitation of the nature’ or ‘expression of inner sentiment and will.’ Thirdly, the caligraphy was embodied into personality and ethics. Such a trend showed up during the mid-Tang dynasty when ‘the imaging technique’ that had sustained until the early Tang began to be replaced by lyricism. Since Sung dynasty, the embodiment began to be related with personality. During Ming dynasty, the embodiment was related with the sense of morality, and during Ching dynasty, some calligraphic works began to be related with personality, ethics and morality, being compared with their symbolic objects. Summing up, for the period from Han, Wei and Jin dynasties when the meditation (cognition) began to be the theme of the calligraphic discourse to the early Tang dynasty, the caligraphy was thought as ‘imitation of the nature (The great Nature and human body).’ Since the mid-Tang dynasty, it was transformed into the expressions of lyricism (sentiment). Then, the caligraphy would be perceived as means of imagize its subject’s inner personality, and during Ming dynasty, it would be recognized as means of cultivating personality and morality. By the end of Ching dynasty, the caligraphy would be perceived as symbol of personality and morality. Such a transition of the caligraphy seems to be in the same context as the development of theory of aesthetics, theory of pursuit of aesthetics and theory of arts in the history of aesthetics.

체현과 도덕적 정서교육

고미숙 ( Mi Suk Ko ) 한국윤리교육학회 2010 윤리교육연구 Vol.0 No.21

본 연구는 정서와 체현 사이의 관계를 토대로 하여 도덕적 정서 역시 체현된 정서로 보고, 체현된 도덕적 정서에 근거한 도덕적 정서교육의 방향은 어떠한지를 탐구하였다. 정서이론은 크게 인지주의 이론과 비인지주의 이론으로 구분될 수 있는데, 정서에 대한 체현접근은 이 양자를 서로 결합시킬 수 있는 면이 있다. 체현 이론은 정서에서 몸의 역할을 중시하면서도 또한 정서의 지향성 역시 제기하고 있기 때문이다. 우리는 몸을 통해 우리의 정서를 보여준다. 정서는 세계와의 관계에 체현된 주체가 참여하는 몸의 경험이다. 도덕적 정서는 도덕적 준거와의 관계 속에서 일어나는 정서이다. 도덕적 정서 역시 체현되어 있다. 체현 이론은 도덕적 정서가 단지 인지 이후에 일어나는 것으로 보기보다는 때로는 인지에 앞서는 것일 수 있으며, 몸에 의한 자동적인 평가일 수 있음을 지적한다. 본 연구는 체현된 도덕적 정서교육을 하기 위한 방안으로 우리의 가치관을 재정향 짓기, 자아와 타자를 체현된 정서적 주체로 지각하기, 실천을 통해 도덕적 정서 습관을 형성하기, 체현된 도덕적 상상력을 통해 정서를 느끼기, 재평가하기를 제시하였다. In this study, I studied the relationship between emotion and embodiment and the direction of moral emotion education based on embodied moral emotion. Emotion theory is divided into cognitive theory and non-cognitive theory. Embodied perspective of emotion accepts both in part. It emphasizes the role of body in emotion and intentionality of emotion. We reveal our emotional experience through our body. Emotion is body`s experience. Moral emotion is emotion that arouses in relationship with moral aspect. Moral emotion is embodied. Embodied theory sees moral emotion as often precede cognition. I suggested reorientation of our value, perceiving self and other as embodied emotional subject, having moral emotion habit through practice, embodied moral imagination and reappraisal to do embodied moral emotion education

Visual representation of the upper-body avatar affects embodiment in VR

DoHyung Kim,KyoungJu Park 한국HCI학회 2023 한국HCI학회 학술대회 Vol.2023 No.2

Embodiment enhances immersion in a virtual experience. While various factors affect self-embodiment, we focus on an upper-body representation of the self-avatar and investigate the effects of the representation details on the embodiment. We use three different levels of the upper-body avatar model from the abstract, iconic, and realistic models. These three models imitate the corresponding user’s pose during VR experiences. We conduct a user study and evaluate the effects of the representation of an avatar on the embodiment.

신체화에 기반한 ‘달리다’류의 의미 확장 연구

임태성(Lim, Tae-sung) 담화·인지언어학회 2015 담화와 인지 Vol.22 No.2

The purpose of this study is to investigate the meaning extension of the category of the Korean verb dallida. This paper investigates chidallida and naedallida of the category of dallida by corpus analysis. The meaning extension is based on embodiment, through which we can understand our language with the help of our experience. Embodiment can be subclassified into ‘embodied experience’, ‘embodied concept’, ‘embodied meaning’ and ‘embodied mind’. Herein lies the importance of embodiment, which facilitates the conceptualization of meaning. This paper investigates naedallida and chidallida of the category of dallida. Naedallida and chidallida are analyzed into semantic components on a sentence level. First, naedallida connotes six semantic components such as Starting point, Location, Speed, Relative position, Attitude and Ending point in physical motion. Naedallida expresses both fictive motion and situated motion in terms of psychological motion. Second, chidallida entails two semantic components such as Orientation and Ending point in terms of physical motion. Chidallida expresses both fictive motion and situated motion in psychological motion. The difference between dallida, naedallida and chidallida is as follows. First, the semantic components of dallida are motion and manner. The connotation of dallida is combined with various semantic components. Second, the semantic components of naedallida are motion, manner and additional manner. Dallida and naedallida are combined with similar components. Third, the semantic components of chidallida are motion, manner and orientation. Chidallida does not need the component of orientation in a sentence.

탈신체적 로고스에서 신체적 에토스로 : 몸의 수사학

김종갑 한국수사학회 2012 수사학 Vol.0 No.16

Rhetoric is the art of finding diverse modes of persuasion: it employs not only logos, but ethos and pathos as well. In order to achieve such a goal of persuasion, the speaker makes the most of his or her personal character and appearance, that is ethos. The fact is logos does not speak itself, but should be spoken by the speaker with some specific character. Since logos is embodied as such, the question of who does speak is as important as the message itself. Aristotle said, "we believe good men more fully and more readily than others." In order to win the case the speaker does everything in his or her own power to appear good, even hiding his or her evil intention. And it happens that audience is beguiled by such false appearance. This danger of ethos has been at the core of philosophical speculations, along with the question of how to shun off or regulate the possible misuse of embodiment. Platonic logocentrism disapproved ethic embodiment of any kind. But Aristotle proposed to regulate ethic embodiment by the representative rule of correspondence or propriety, later named "decorum." Decorum is the norm regulating the fitness between logos and ethos, or between characters, actions, and style of narration. But the breakdown of this convention of decorum with the rise of enlightenment or modernity turned the trend toward disembodied logos. This paper has two aims, one being to trace the problematic history of ethic embodiment in rhetoric by focusing on Plato, Aristotle, and Kant, and the other, to answer the question why ethos becomes the center of persuasion in this age of postmodernism.

몸의 교육학으로서의 춤

김옥랑 ( Kim Ock-rang ) 한국무용과학회 2018 한국무용과학회지 Vol.35 No.4

본 연구의 기본 관점은 춤이 몸의 교육학으로서 핵심적인 중요성을 지니고 있다는 것이며, 내용은 세 가지 부분으로 나뉘어져 있다. 첫째는 무용학의 바깥에서 춤 및 몸을 움직여 아는 것의 중요성을 강조하는 내용으로서, 세 가지의 사례를 통해 살펴본다. 둘째는 무용학에서 춤의 체화된 측면을 강조하는 보다 전문적인 논의를 다룬다. 이와 함께 이런 관점을 구체화하여 제시한 프로그램의 내용도 검토한다. 세 번째 부분은 몸의 교육학으로서의 춤이 구현되기 위해서 무용 교육의 측면에서 성찰할 필요가 있는 점을 하나의 사례를 통해 살펴본다. 각 부분은 춤의 중요성에 대한 무용학 외부의 메시지, 이에 조응하며 살펴볼 수 있는 무용학 내부의 논의 그리고 몸의 교육학으로서의 춤이 무용 교육 프로그램으로 구현될 때 검토해야 할 점을 설명하고 있다. 이 논문은 춤의 체화적(embodied) 측면 및 체화 교육에 기여하는 춤을 강조하고 있다. 또한 이 논문의 논의가 무용학 외부와 내부 그리고 무용 교육의 영역을 가로지르며 이루어지고 있다는 점에서 무용을 중심으로 이루어지는 학제적(學際的) 연구에도 긍정적인 기여를 할 수 있다. This research claims the crucial importance of dance education based on the embodied pedagogy. To develop and discuss this claim, Firstly, it examines the three cases outside the dance studies. Secondly, three papers of the dance studies which emphasized the embodiment are discussed according to the values of educational programme. Three cases from cinema, political science and religious studies confirm the importance of dance education, while three papers of the dance studies shows the concrete programmes of embodiment in dance education. Thirdly, it shows that dance education so far is not enough in terms of the embodiment. This research which results from three combined areas (outside the dance studies, dance studies, and pedagogy) can be used as a fruitful example of interdisciplinary studies.

몸적 주체: 인지과학의 체현주의를 화이트헤드적 입장에서 해석하기

박일준 한국화이트헤드학회 2012 화이트헤드 연구 Vol.0 No.24

This article is to interpret the theories of embodiment in a field of cognitive science in terms of the Whiteheadian ontology of event. For gaining some insights from the multiple disciplines like cognitive science and the whiteheadina philosophy of organism, this reflects upon a possibility for the subjectivity of the body, paying special attention to it. The subject of the body is not a common term in Whitehead and cognitive science. For Whitehead, the subject is none other than a decision for satisfaction as the final aim of the concrescence, and it becomes the superject in a form of objective immortality. All these processes are carried out on actual entity, not on a society like the body. Thus, any thematization of the subjectivity of the body is equal to doing violence against Whitehead’s philosophy and appropriating his texts. Nonetheless, Whitehead deeply acknowledges that life is always robbery. In this sense, this paper commits robbery in order to carry out its own interpretation of the texts by Whitehead. The field of cognitive science does not also take the subject of the body as its research project, although it thematizes embodiment. Rather, there is a tendency to interpret embodiment as a non-subjective process in terms of concepts like ‘cognitive unconscious.’ Our search for a possibility of the discourse of the subject in the research of cognitive science is not to recover the Cartesian subject of consciousness, but rather to pay the status of the subject back to the subaltern that is suppressed and excluded by the conscious subject. Isn’t the very role of the human subject in our age that of the spokesperson for the subaltern? This paper is an attempt to speak as its spokesperson for the subjectivity of the body, which cannot help but having been designated as the subaltern by the conscious subject under the discoursive power since the modern times. It also hopes someday when it will seek for a possibility of the human subject in an age of trans-humanism under the ecological crisis of our civilization. 본고는 인지과학의 체현주의(embodiment) 이론들을 화이트헤드의 사건적 존재론의 관점에서 해석해 보고자 한다. 그러한 인지과학과 화이트헤드의 철학 간의 접목을 위해 본고는 특별히 ‘몸’에 주목하면서, ‘몸의 주체성’이라는 가능성에 대하여 성찰할 것이다. 몸의 주체성은 사실 화이트헤드나 인지과학에서 명시적으로 언급되는 말은 아니다. 화이트헤드에게 주체란 합생의 최종목적인 만족을 향한 결정과 결단 과정으로서 정초되어있고, 모든 주체는 ‘객관적 불멸’의 형식으로 ‘초월체’(superject)가 된다. 그리고 이 모든 과정은 현실적 존재의 수준에서 이루어지는 것이지 결코 몸과 같은 사회의 차원에서 이루어지는 것은 아니었다. 따라서 화이트헤드의 철학에서 ‘몸의 주체성’을 주제화한다는 것은 화이트헤드 철학에 일정한 폭력을 휘둘러 그의 텍스트들을 전용하는 것을 의미한다. 그럼에도 불구하고, 화이트헤드는 삶 혹은 생명은 언제나 강도짓(robbery)이라는 사실을 인정했다. 따라서 본고는 우선 화이트헤드의 본문들에 본인의 해석을 관철시키기 위한 강도짓을 감행한다. 아울러 인지과학 분야에서 ‘체현’(embodiment)이 주제화되고 있기는 하지만, 그것이 주체로 해석되지는 않는다. 오히려 “인지적 무의식”같은 개념들을 통해 비주체화 과정으로 해석되는 경향이 더 많다. 그럼에도 불구하고 인지과학의 발견들을 통해 주체 담론의 가능성을 모색한다는 것은 데카르트의 의식 주체를 복구하려는 것이 아니라, 그 의식 주체로부터 억압되고 배제되었던 하위주체(the subaltern)에게 주체의 지위를 회복시키기 위함이다. 우리 시대 인간주체의 진정한 역할은 바로 그러한 하위주체들을 위한 “대변인”(the spokesperson)의 역할이라고 하지 않던가? 본고는 특별히 근대 이래의 담론에서 의식 주체에게 ‘하위주체’가 될 수밖에 없었던 ‘몸’의 주체성을 대변하고자 하는 시도이다. 이를 통해 추후 트랜스휴머니즘 시대의 생태문명적 위기 속에서 인간 주체의 가능성을 탐구할 발걸음을 모색해 보고자 한다.

인터페이스의 매체성 : 뉴미디어 퍼포먼스에서의 체현미학 연구

김진현 이화여자대학교 이화인문과학원 2009 탈경계 인문학 Vol.2 No.2

Tracing recent tendencies of New Media Performance incorporating the human or the artificial body to interactively generate and modify a computer-generated artistic world, this article deals with the mediality of interfaces in New Media Performance that seems to be constitutive for a user's aesthetic experience which she or he attains while actively participating in the process of shaping and completing a "work of art". Beginning with an introduction to the concept of interface in terms of machine interface as used in human-computer interaction, I contend that different principles are required in interface design for traditional musical practices and for New Media Performance, respectively. The latter is based on arbitrary mapping of input parameters onto output parameters for algorithmic modeling of artistic events. In this case, user's shaping of the perceptually guided artistic activities and entering into artistic interaction with aesthetic experience relies upon the interface design mediating bodily based action and perception when she or he explores the interface for artistic purpose. Hence, the skills of interpreting bodily information and translating it into parameters for sound/image synthesis or manipulation become significant in interface design for New Media Performance. Observing several strategies of mediating bodily-based experience, such as extending the physical limit of human bodies or constructing bodily-based multiple identities and materialities in artistic interaction, I discuss the alternative concept of embodiment: "Embodiment" is understood as the bodily base of aisthesis, cognition and meaning, which does not bear on the Cartesian mind-body dualism, but gives an emphasis on the moment of presentation that embodiment only brings forth, rather than the logic of representation. Embodiment, therefore, should not be considered being eliminated by means of the informatized process of digital art. The new perspective on "embodiment" allows us to scrutinize the sensual aesthetic experience in New Media Performance.