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Difference, not Differentiation: The Thingness of Language in Sun Yung Shin’s Skirt Full of Black
( Haerin Shin ) 한국영어영문학회 2018 영어 영문학 Vol.64 No.3
Sun Yung Shin’s poetry collection Skirt Full of Black (2007) brings the author’s personal history as a Korean female adoptee to bear upon poetic language in daring formal experiments, instantiating the liminal state of being shuttled across borders to land in an in-between state of marginalization. Other Korean American poets have also drawn on the experience of transnational adoption and racialization explore the literary potential of English to materialize haunting memories or the untranslatable yet persistent echoes of a lost home that gestures across linguistic boundaries, as seen in the case of Lee Herrick or Jennifer Kwon Dobbs. Shin however dismantles the referential foundation of English as a language she was transplanted into through formal transgressions such as frazzled syntax, atypical typography, decontextualized punctuation marks, and phonetic and visual play. The power to signify and thereby differentiate one entity or meaning from another dissipates in the cacophonic feast of signs in Skirt Full of Black; the word fragments of identificatory markers that turn racialized, gendered, and culturally contained subjects into exotic things lose the power to define them as such, and instead become alterities by departing from the conventional meaning-making dynamics of language. Expanding on the avant-garde legacy of Korean American poets Theresa Hak Kyung Cha and Myung Mi Kim to delve further into the liminal space between Korean and American, referential and representational, or spoken and written words, Shin carves out a space for discreteness that does not subscribe to the hierarchical ontology of differential value assignment.
( Haerin Shin ) 한국영어영문학회 2017 영어 영문학 Vol.63 No.2
Nicolas Abraham develops the concept of “transgenerational phantoms” to explain the enigmatic phenomenon of alien agencies infringing upon private memories to exert authorship in the form of mental trauma. Historical legacies, particularly in the domain of literary representations, serve as such phantoms that acquire material manifestations through lived locales and somatic experiences of identification. Alvin Lu`s novel The Hell Screens takes this metaphorical phantom a step further to carve out an exquisite portraiture of postcolonial Taiwan, infested with supernatural beings that claim stakes across the Pacific to entice a Chinese American visitor who descends upon the decaying backstreets of the city to collect tales of the strange. Exploring the intricate ties between collective memory and individual identity, and transposing them onto the liminal space of historically burdened present, this essay explores the psycho-social textures of literary haunting as a phenomenology of historical authorship through scholarship on memory and witnessing. Enlisting the concepts of residual haunting and reference points, I claim that the buried secrets of others―Abraham`s notion of the phantom―can emerge from their crypts and become incorporated into the present through a conscious recognition of historical locales as reference points whereby discrete individuals form tangible contacts and resonances.
Haerin Shin 한국문화경제학회 2017 문화경제연구 Vol.20 No.1
The rise of Hallyu (Korean Wave) has generated a treasury of historiographic and cultural inquiries into the phenomenal success of South Korea’s media entertainment industry. Whereas the majority of such studies focus on TV dramas and popular music, there is a medium, or rather a hybrid sub-genre within the medium category of short films, that must be reexamined and thus appreciated as the archetypal predecessor of popular Hallyu contents: music videos. The rapidly changing social, political, and economic climate in the mid- to late 1990s called for content that would grasp the attention of a younger, increasingly mobile population with diversified interests and routines that no longer guaranteed fixed-time viewership. Meanwhile, the advent of cable TV channels and high-speed internet service ensured greater temporal and infrastructural accessibility. The media entertainment industry’s response to the new opportunities and challenges arising from these sudden growths in the scale, range, connectivity, and mobility of consumer demographics was synergetic cross-sector collaboration in the form of dramatized blockbuster music videos, which combined two popular and lucrative genres: trendy dramas and ballad music. In this essay, by relocating Hallyu’s archetypal medium/genre, I claim that increasing upward and sideways mobility across sectors not only inspired new production but also reconfigured the very concept, form, and impact of media-driven cultural imaginary in South Korea.
Ambiguous AI: Lossy Compression, Model Collapse, and Intercultural Sensitivity
신혜린(Haerin Shin) 한국비평이론학회 2024 비평과이론 Vol.29 No.3
이 논문은 인공지능(AI), 문화적 표현, 그리고 문화 간 민감성의 교차점에 대한 고찰을 통해 AI 시스템에서 손실 압축과 모델 붕괴가 문화적 표현에 미치는 영향을 비판적으로 분석하며, 이를 위해 AI를 단순히 능동적 행위자가 아닌 문화적 수용자이자 생산자로 개념화하는 대안적 틀인 ‘의도적 수용성’을 제시한다. AI 시스템은 압축 알고리즘에 의존해 문화의 복잡성을 제거하고, 세밀한 전통을 단순화된 고정 이미지로 나타낸다. 테드 창이 역설하는 손실 압축의 문제점과 웬디 천의 노이즈에 대한 비판 등의 담론적 틀을 통해 AI의 데이터 최적화 과정이 어떻게 문화적 다양성을 선택적으로 필터링하고 지배적 담론을 강화함으로써 소수의 목소리를 침묵시키는지를 살펴본다. 생성형 인공지능 시스템에서 발생하는 모델 붕괴 현상은 데이터 균질화를 반영하고 확대 재생산함으로써 치마만다 응고지 아디치에가 지적하는 바와 같이 문화적 표현을 “획일화된 서사”로 단순화 시킨다는 폐단을 보인다. 이러한 문제점에 대한 대응책으로, 이 논문은 문화 확장과 윤리적 안전 장치를 통해 문화적으로 민감한 AI 개발 패러다임을 제안한다. 즉, “인공지능의 모호성”을 필요 조건으로 제시함으로써 의도적 수용성을 바탕으로 한 패러다임을 구축하여, AI의 역할을 참여적 문화 구성원으로 재구성하는 아키텍처의 개발을 촉구한다. This paper examines the intersections of artificial intelligence (AI), cultural representation, and intercultural sensitivity, critiquing the impact of lossy compression and model collapse on cultural expression in AI systems. The study introduces “intentional patiency” as an alternative framework, conceptualizing AI not merely as an active agent but as a cultural receptor, and in turn, producer. AI systems often rely on compression algorithms that strip away cultural complexities, rendering nuanced traditions as simplified, stereotypical artifacts. Drawing on frameworks from Ted Chiang’s metaphor of lossy compression to Wendy Chun’s critique of noise, the essay explores how AI’s data optimization selectively filters cultural diversity, perpetuating dominant narratives while silencing marginalized voices. Model collapse in generative systems demonstrates while also exacertabting the pitfalls of homogenous data to reduce cultural representations to monolithic “single stories,” echoing concerns raised by Chimamanda Ngozi Adichie. To address this issue, this essay advocates for an interculturally sensitive AI development paradigm, incorporating cultural expansion and ethical safeguards to mitigate cultural erasure. Through the concept of “ambiguous AI,” a paradigm rooted in probabilistic engagement and intentional patiency, the essay seeks to reframe AI’s role as a nuanced participant in cultural discourse, promoting culturally adaptive architectures.