<베오울프>의 디지털 액터, 리얼리즘, 그리고 사이보그

류재형 한국영화학회 2008 영화연구 Vol.0 No.35

A digital actor shown in Beowulf (Robert Zemeckis, 2007) can be viewed as the cinematic representation of a present human being becoming a cyborg. The figure of a live actor, acting with the technique of Performance EOG Capture, in a tight suit with white electronic markers on his/her body, face, and even eyelids much resembles that of a cyborg. A digital actor as the cinematic representation of a live actor reflects the phase of the present people transforming themselves into cyborgs in the digital age. As a digital actor loses its indexicality, it goes beyond the borderline of live-action films and proceeds to the realm of computer animation; so classical realist film theories cannot explain the reality a digital actor creates. Instead, theories of digital realism suggest the various aspects of new realism under the new technological condition such as the accordance between the digital actor's performance and live-action environment (or, the live actor's performance and digital facilities), an audience's expectation about a digital actor derived from his/her experience of a live actor, and sophisticated and rich visuality to the degree that the audience cannot recognize the perceptual difference between the live-action and the digital performance. The performance of a digital actor is losing its indexicality, and at the same time it is seeking perceptual and sensuous indexicality. As a digital actor intakes digital information, it projects a present human being as a cybernetic organism up-loading itself to the digital environment. A cyborg leaves the indexically realist information-seeking behavior, such as directly asking someone, or visiting some places and collecting information. It believes and intakes the perceptual and sensuous indices, such as information obtained from the Internet search engines. A digital actor does/can not present the live actor's indexical performance but downloads perceptual indices through the technique of digital scanning and/or performance (EOG) capture. A cyborg's routine starts with booting the computer, stops with turning it off. A digital actor's life begins with computing, ends with deleting it. As a digital actor is made up of the subject of the live actor as the user of electronic markers and that of the digital actor in the diegesis the computer generated, a cyborg is comprised of the subject as the computer user and that as the avatar in cyberspace. In this sense, a digital actor is the cultural representation of the cyborg people in this digital age. A digital actor shown in Beowulf (Robert Zemeckis, 2007) can be viewed as the cinematic representation of a present human being becoming a cyborg. The figure of a live actor, acting with the technique of Performance EOG Capture, in a tight suit with white electronic markers on his/her body, face, and even eyelids much resembles that of a cyborg. A digital actor as the cinematic representation of a live actor reflects the phase of the present people transforming themselves into cyborgs in the digital age. As a digital actor loses its indexicality, it goes beyond the borderline of live-action films and proceeds to the realm of computer animation; so classical realist film theories cannot explain the reality a digital actor creates. Instead, theories of digital realism suggest the various aspects of new realism under the new technological condition such as the accordance between the digital actor's performance and live-action environment (or, the live actor's performance and digital facilities), an audience's expectation about a digital actor derived from his/her experience of a live actor, and sophisticated and rich visuality to the degree that the audience cannot recognize the perceptual difference between the live-action and the digital performance. The performance of a digital actor is losing its indexicality, and at the same time it is seeking perceptual and sensuous indexicality. As a digital actor intakes digital information, it projects a present human being as a cybernetic organism up-loading itself to the digital environment. A cyborg leaves the indexically realist information-seeking behavior, such as directly asking someone, or visiting some places and collecting information. It believes and intakes the perceptual and sensuous indices, such as information obtained from the Internet search engines. A digital actor does/can not present the live actor's indexical performance but downloads perceptual indices through the technique of digital scanning and/or performance (EOG) capture. A cyborg's routine starts with booting the computer, stops with turning it off. A digital actor's life begins with computing, ends with deleting it. As a digital actor is made up of the subject of the live actor as the user of electronic markers and that of the digital actor in the diegesis the computer generated, a cyborg is comprised of the subject as the computer user and that as the avatar in cyberspace. In this sense, a digital actor is the cultural representation of the cyborg people in this digital age.

賽博格角色的擬人化樣態與程度的認知分析

저우이팅,박응석 중국어문학연구회 2026 중국어문학논집 Vol.- No.155

Based on the theoretical framework of cognitive linguistics, this study analyzes the modes and degrees of anthropomorphizationof cyborg characters appearing in Chinese and Korean science fiction films. The findings can be summarized as follows: First, the Anthropomorphization of Cyborg Characters.The significance of the cyborg character expands from the human body outward, with primary modes of anthropomorphism including image schemas, conceptual metaphor, and conceptual blending.Firstly, thecontainer schemais one method for anthropomorphizing cyborgs. When a character's appearance can no longer define its identity, directors often initiate the container schema by exposing internal structures to reveal the cyborg's dual nature as both human and machine. For instance, exposed components in the head reveal the presence of an electronic brain, while the mouth discharges fired bullets, thereby demonstrating its hybrid human-machine characteristics.Secondly,conceptual metaphoralso serves as a crucial method for anthropomorphizing cyborgs. The mechanical parts of a cyborg are often represented via the “Machines are living beings” metaphor. Based on functional similarity, skeletal structures inform the construction of “exoskeleton” devices, while arms and snakes, due to their morphological resemblance, combine to form serpentine weapons.Finally,conceptual blendingillustrates the process of mapping and selectively projecting elements from the two input spaces of “human” and “machine”, resulting in the integrated cyborg character perceived by the audience. The selection of elements from these input spaces reflects choices made after “semantic struggle”. A “machine heart” retains the shape and archetypal color of a human heart but uses silver metallic material at the arterial interfaces to signify its mechanical properties. A cyborg with a human-like appearance exposes the presence of internal chips by replacing blood vessels with blue cables.Through modifications to different body parts, cyborgs in science fiction films give concrete form to humanity's future visions of bodily function and extension. Simultaneously, they reveal how these imaginings remain constrained by biological characteristics and cultural cognition. Second, the degree of anthropomorphizationof cyborg characters is influenced by their morphological form. The greater the skin coverage, the higher the degree of anthropomorphization; conversely, when mechanical elements occupy a larger proportion of the skin surface, the degree of anthropomorphization decreases. At the same time, films may intentionally emphasize certain body parts’ mechanical properties through visual representation, thereby reducing the character’s perceived humanity. Through this analysis, the study clarifies when audiences perceive “humanity”and when they perceive “mechanicality”in cyborgs. This insight is made possible by the application of cognitive linguistic theories, such as image schema, conceptual metaphor, and conceptual integration. Although cognitive linguistics has traditionally been applied to language studies, this research demonstrates how its major cognitive mechanisms can effectively explain character construction and narrative effects in film. In the context of the growing importance of multimodal analysis, integrating findings from linguistic studies provides a promising foundation for developing a comprehensive multimodal analytical methodologythat enables the examination of meaning from multiple perspectives.

크립 사이보그(crip-cyborg)’로서의 장애 신체·정신 - 김초엽의 「로라」, 『므레모사』, 『파견자들』을 중심으로 -

최새흰 ( Choi Saeheen ) 반교어문학회 2024 반교어문연구 Vol.- No.68

This study examines Kim Cho-yeop’s short story Lora and her novels Mremosa and Dispatchers, naming the political representations found in these works as crip cyborgs and exploring the disability-centered political implications they reveal. Here, crip cyborg is an attempt to critically reinterpret Donna Haraway’s concept of the cyborg through the lens of disability. It emphasizes the need for a political contemplation of cyborgified representations of disability. Kim Cho-yeop's works allow for an examination of the excess that arises when reading bodyminds with disability through the lens of conventional cyborgs. The characters in Kim Cho-yeop's stories illuminate the uneven relationship between humans and technology, enacting a crip cyborg politics that reveals the political significance of disabled bodies and minds within political maps. They raise questions about boundaries between posthumanism and transhumanism, showcase forms of resistance against techno-ableism, and create opportunities for reflection on the authorship of the self. In summary, Kim Cho-yeop’s fiction practices a crip cyborg politics that introduces disabled cyborg representations and sheds light on the power relations associated with them. This approach enables the discovery of the diversity and social construction of the relationship between disability and technology in her works. The crip cyborg narratives in Kim Cho-yeop’s writings facilitate thinking that transcends dichotomies that reinforce discrimination, thereby allowing for the envisioning of a coexistential future.

한국 혼합현실 서사에 나타난 ‘디지털 사이보그’ 표상 연구 -웹소설을 중심으로-

유인혁 ( Yu Inhyeok ) 국제한국문학문화학회 2020 사이間SAI Vol.28 No.-

The purpose of this study is to examine the imagination of mixed reality spaces and digital cyborg in Korean web fiction. Here, mixed reality is a term encompassing the concepts of virtual reality and augmented reality, and refers to virtual continuum of several stages. And digital cyborg refers to the subject appearing in the mixed reality. In other words, it is a hybrid of a machine and an organism, and is a representation of a body that is digitally mediated, expanded, and improved. In chapter 2, I examined the virtual reality space and the shape of the digital cyborg as its subject, focusing on the “The moonlight sculpture”. Here, the cyborg, a digitally mediated body, emerged as a special subject that perceives and improves oneself through numbers. And virtual reality was represented as an alternative space capable of statistical reduction of human beings. At this time, improving the statistical self by administering labor has emerged as a key theme of the narrative. In chapter 3, I examined the augmented reality space and the representation of digital cyborg as its subject, focusing mainly on “Level Up Alone”, “The Infinite Level Up in Moorim”, and “The God of Cooking”. Thus, it was confirmed that augmented reality is appearing as ‘unreality superimposed on reality’ as a ‘strange illusion’ that causes subjects to experience heterogeneous reality. We also looked at how the ‘upgrade’ of the digitally-mediated body appears as a abnormality[bug] in the social system. These narratives showed reality recognition that it is difficult to transcend society’s hierarchical structure without being abnormal. Through these works, it was confirmed that the mixed reality and digital cyborg are both appearing as utopian alternatives that overcome the limitations of the real world. In other words, it was examined that mixed reality is a space where the subject can grow according to effort unlike the real world and digital cyborg appears as a body capable of performing social mobility impossible in the real. At this time, mixed reality and cyborg are not simply reduced to one of the most powerful elements of popular culture, but can be understood as creatures that develop a critical imagination of social reality. In other words, the readers of the mixed reality narrative are not just consuming the materials of popular culture familiar to them, but support the critical imagination of the real world.

가상게임에 나타나는 소프트웨어 사이보그특징에 대한 고찰

김대우(Kim, Dae-Woo) 한국만화애니메이션학회 2015 만화애니메이션연구 Vol.- No.41

본 논문은 철학적 관점에서 게임에서 발생되는 가상자아와 가상신체에 대한 소프트웨어사이보그 특성의 변화에 관해 연구한 것이다. 사이보그개념은 넓게 보면 인간과 기계의 결합을 말하지만 구체적으로 들어가면 유기체인 인간과 보철물 같은 기계를 결합하는 하드웨어 사이보그와 인간의 뇌를 전자화시켜 가상신체로 전환시키는 소프트웨어 사이보그가 있다. 가상게임은 두 번째 소프트웨어 사이보그가 적용되는 사례인데, <언틸던>게임 같은 경우 일반적인 사이보그 개념과 다른 가상신체와 가상자아의 특징들이 보여 진다. 이런 특징들을 분석하기 위해 한스모라벡의 소프트웨어사이보그개념과 김선희의 사이버공간 속성과 다중자아개념을 적용하였다. 일반적인 가상게임은 뇌의 유형을 복제한 소프트웨어사이보그로써 가상세계의 속성 때문에 신체가 무효화되는 경향이 있었다. 그러나 <언틸던>게임 같은 경우 3인칭시점과 실존배우를 게임캐릭터로 제작한 점을 본다면 오히려 플레이어의 심리적 동일성을 유지하기 위해 사진 이미지적 사실성을 추구하면서 가상신체의 필요성을 역설하고 있는 것이다. 그리고 게임진행 중 플레이어는 8개의 캐릭터를 교차선택하면서 미션을 완수하게 되는데 이것은 현실자아가 다중자아로 복제되면서 겪게 되는 선택과 경험을 이용해 바람직한 최종엔딩을 이끄는데 큰 역할을 하게 된다. 이러한 사이버 다중자아는 현실세계의 다중자아들에게 비해 적극적이고 긍정적인 특징을 보여주면서 소프트웨어사이보그의 장점으로 부각될 수 있다. <언틸던> 게임의 특징은 최종엔딩이 플레이어의 선택에 따라 달라지고 등장인물간의 우정관계에 따라 친구의 생사가 결정된다는 점이다. 이때 가상자아는 시행착오를 통한 경험적, 도덕적, 직관적 선택의 기준을 자기 나름대로 설정하면서 바람직한 선택을 하려고 노력한다. 또한 다중자아들의 지식을 하나로 융합할 수 있어 한 단계 높은 정신적 성찰을 이루게 된다. 이런 과정은 세계에 대한 자신의 해석을 긍정하고 자기극복을 통해 정신적 성찰의 이루는 인간, 니체가 말한 위버멘쉬가 되는 과정으로 볼 수 있다. This paper is a study of the changing nature of software for virtual Cyborg self and the virtual body that occur in the game from a philosophical point of view. Looking broadly, the cyborg concept refers to the combination of man and machine. Specifically, there is a hardware cyborg organism to combine human and restoration of machine In addition, there is software cyborg by electronic the human brain of converting a virtual body. Virtual games are cases software-Cyborg applied. In the game <untildawn>, There seems to have characteristics of virtual body and ego that different from general cyborg meaning. To analyze the features, I applied the concept of software-cyborg of Hans morabek and the multiple selves in cyberspace properties of Kim Sun-Hee. generally, software cyborg cloning the brain type tended to invalidate the body due to the nature of the virtual world. But If you look at third-person"s view and the game character that made from real actors, it is pursuing the realism of photographic images and it stressed the need for a virtual body in order to maintain the psychological identity of the player. And, The game player crosses the eight characters to choose while completing the mission. This is a big role in the reality ego leads to the desired final ending with the selection and experience to be experienced as self-replication to multiple. These cyber multi-ego looks for an active and positive features compared to the multi-ego in the real world and highlights the advantages of the software cyborg. Game <untildawn> The characteristics of the final result varies depending on the selection of the player. The life and death of a friend is determined by the relationship between the characters friendship. In this case, the virtual self is empirically through trial and error, moral, and try to select the desired setting the standard for intuitive and self own choice. Also It can be fused to the knowledge of multiple selves as one step is formed by a high spiritual introspection. This process is a positive interpretation of the world and their own forms of mental reflection through self-overcoming human, Nietzsche is said that the process is Wibeomenswi.

사이보그와 그 자매들: 해러웨이의 포스트휴먼 수사 전략

김애령 한국여성철학회 2014 한국여성철학 Vol.21 No.-

After Haraway’s “A Manifesto for Cyborgs”was introduced in 1986, the ‘cyborg’has become a figure for the hybrid subject. Through this figure, Haraway has mosteffectively described the critical awareness of the human becoming perhaps, underthe influence of bio-technology and information science, the ‘posthuman’, a beingthat is difficult to define, its boundaries ambiguous. Haraway has never declared adirect objection to the tendency to interpret the ‘cyborg’as the utopian prospectprefiguring a transcending of gender and the body. However, by calling upon the“sisters”of the cyborg, she has attempted to enrich the significance of figuration. The Female Manⓒ, OncoMouseTM, vampire, trickster, etc. are embodied as thesisters of the cyborg which can attest for the world that the 2000s’technosciencehas brought about. This study attempts to interpret Haraway’s rhetoric. For Haraway, figuration is astructural strategy of resisting discourse, transforming the boundary between thevisibility and unvisibility of technoscience’s discourse. “The cyborg and her sisters”are a rhetorical instrument which reveals the power that has become invisible inthe dominant discourse of technoscience. And they let us to realize who benefit orsuffer through such power. Thus, to correctly understand Haraway’s assertions, wemust comprehend the functions of such rhetorical instruments and their strategicmeanings. For this aim, this study focuses on the rhetorical strategy of “irony”which Haraway uses as the “ironic story”, narrated through the perspective of “the cyborg and her Sisters”, is the most appropriate strategy which can vitalize thecritical potential inherent in the “situated knowledge”which is Haraway’sepistemology.

불구화된 사이보그의 전사(前史) - 한강 『희랍어 시간』(2011)을 중심으로

임혜민 이화여자대학교 한국문화연구원 2026 한국문화연구 Vol.50 No.-

알파고 대 이세돌의 격돌이 사회적으로 큰 충격을 주었던 2016년 이후 문학장에는 이미 포스트휴먼 열풍이 조성됐다. 이후 ‘인간’이란 무엇인가를 치열하게 고민하는 흐름이 ‘SF 현상’을 타고 강화되었다. 2020년대 한국문학장에서는 신유물론의 방법론과 SF가 결합하며 ‘근대적 인간’ 범주를 재고하는 시도가 다각적으로 이루어졌다. 그러나 여성, 퀴어 범주에 비해 상대적으로 장애에 관한 연구는 여전히 부족하다. 이는 SF에서 주로 ‘사이보그’로 형상화되는 혼종적 존재에 대한 사유가 관점의 징검다리 없이 급속히 이루어진 데서 비롯된 것일 수 있다는 가설로 이어졌다. 담론장에 사이보그를 강력히 도입했던 도나 해러웨이는 장애를 은유적 형상으로 도구화했다는 점에서 거센 비판을 받았으나, 문학장은 여전히 해러웨이의 사이보그를 적극적으로 호명하고 있다. 지금까지 장애의 측면에서 포스트휴먼의 논의가 더 이상 진전되지 못하고 있는 이유는 바로 여기에 있을지 모른다. 때문에 본고는 사유의 과정 안에 사회적, 정치적 맥락을 적극적으로 인용하는 방식으로 사이보그에 대한 비판적, 불구적 개입을 시도해야 한다는 앨리슨 케이퍼의 ‘불구화된 사이보그(Cripped Cyborg)’라는 분석틀을 이용한다. 이를 통해 포스트휴먼에 장애의 축을 더하는 작업을 도모한다. 그 과정에서 인간과 긴밀하게 결합한 ‘기계’의 개념을 확장하고 불구화된 사이보그의 전사적 상상력을 제안한다. 이어 장애 인물을 통해 인간성을 질문해온 한강의 『희랍어 시간』을 포스트휴먼적 시각으로 분석해봄으로써 2016년으로부터 이어진 포스트휴먼 논의에 ‘장애’를 결합하고 한강을 2020년대적 맥락 안에 기입하는 하나의 독법을 제시한다. After the 2016 confrontation between AlphaGo and Lee Sedol, which brought a great social shock, a posthuman trend had already formed in the literary field. Since then, a current that intensely questions what it means to be “human” has been strengthened through the so-called “SF phenomenon.” In the Korean literary scene of the 2020s, various attempts have been made to expand the category of the “human” by combining the methodology of New Materialism with SF.However, compared to categories such as women and queer identities, research on disability remains relatively insufficient. This may stem from the rapid development of thought on hybrid beings—primarily represented as “cyborgs” in SF—without sufficient mediating perspectives. Donna Haraway, who strongly introduced the cyborg into discourse, faced sharp criticism for instrumentalizing disability as a metaphor, yet the literary field still actively invokes Haraway’s cyborg. This may be precisely why discussions of the posthuman have not progressed further from the perspective of disability. Therefore, this paper attempts a critical, crip intervention into the cyborg by employing Alison Kafer’s analytical framework of the “Cripped Cyborg,” which actively incorporates social and political contexts into the process of thought. Through this, it seeks to add the axis of disability to posthuman discourse. In the process, it expands the concept of the “machine” that is closely intertwined with humans and proposes a transgressive imagination of the “Cripped Cyborg.” From this perspective, by analyzing Han Kang’s Greek Lessons, which questions humanity through disabled characters, it presents another reading that situates Han Kang within the context of the 2020s by combining disability with the discussions that have continued since 2016.

테크놀로지와 주거의 인문학 시스템으로서 사이보그와 디지털 거주

김연순 ( Youn Sun Kim ) 성균관대학교 인문학연구원 2015 인문과학 Vol.0 No.56

Cyborg is generally defined as a creature that is part human, part machine. But this definition is ever becoming vague as biotechnological mutation and artificial life in imaginary space are categorized as cyborg with the rapid development of the cutting-edge science and technology. In consideration of the way of combination between human beings and machine, this paper defines cyborg as a reproduced human being based on: a direct combination of man and machine; a direct connection between man and machine; and an integrated system of human being-machine-space. This study focuses on the third, an integrated system of human being-machine-space, among the three hybrid types. It is because the people of today think the activities in virtual space and their life as two different things and disregard the meaning of virtual space even though, in contemporary times, many activities are carried out in the world of virtual reality including computers. With the realization of virtual reality through computers and Internet communications networks, people are experiencing virtual space as an extension of actual space. As man and machines naturally interact with each other, people have crossed the border of reality and virtual reality, and have become cyborgs that experience virtual reality by extending their mind and senses through the medium of machines. More importantly, man has established a unique system with machines in the process of direct or indirect interaction between the two, through which man can lead their lives in the artificially made virtual reality. In short, man leads his life in the system. Furthermore, contemporary man who is living in close connection with machines finds it hard to live outside the system. Although men have not yet combined their bodies with machines, they have naturally become cyborgs that are unable to get out of the “system of man-machine-space.” Therefore, the meaning of virtual space is as significant as actual space for cyborgs. Then, can men reside in virtual space? How can we understand the habitation in virtual space in comparison with the habitation in natural space? Only when we can answer this question can habitation in the digital zone be naturally endowed with the proper meaning of life. It is because electronic environment of virtual space that is formed through computers and the Internet blurs a distinction between reality and virtual reality in our daily lives and all the activities of human beings are being shared outside a border of reality and virtual reality.

A Study of Preservice Elementary Art Teachers' Perceptions of Cyborgs through Watching [Ghost in the Shell]

Young Lim Nam 아시아태평양교육문화융복합학회 2024 Asia Pacific Journal of Teaching and Learning Vol.4 No.2

Purpose The objective of this study was to ascertain the perceptions of cyborgs held by pre-service elementary art teachers following their viewing of the anime [Ghost in the Shell]. The main content of the study was to find out whether pre-service elementary art teachers know about cyborgs and how they perceive cyborgs in relation to their own existence. Method The study was conducted using a questionnaire method over a two-week period in May 2023 among 43 third-year students at J and C universities of education in Korea. Results The results demonstrated that 90.7% of the subjects were aware that Motoko, the protagonist of the anime, was a cyborg. When comparing her to themselves, 41.9% of the subjects indicated that she was similar to them, 30.2% asserted that she was not comparable to them, and 25.6% stated that she was neither similar nor dissimilar to them. However, regardless of which of these three responses was given, the overwhelming majority of respondents (86.0%) answered in the negative to the question of whether they were cyborgs. Conclusion This study is significant in that it provides insight into the tangible perceptions of cyborgs held by preservice elementary art teachers based on their responses to a narrative questionnaire.

We Have Never Been Non-Hybrid: The Cyborg as Our Existential Mode in the Posthuman Age

송호림 21세기영어영문학회 2012 영어영문학21 Vol.25 No.1

As technoscience becomes significant part of human life and body, traditional discourses of liberal humanism based on purification, placing things into one of two oppositional poles, such as nature or society, no longer properly articulate the human subject in that changed environment. Posthumanism, which centers the relationship between the human and technoscience in its discourses, is replacing liberal humanist discourses. This essay offers cyborg as the posthuman subject. In doing so, the essay explores that the cyborg, a cybernetic hybrid of the human and the nonhuman, the organic and the nonorganic, and the material and the discursive, is not a revolutionary entity in order to maintain that the human subject has never been non-hybrid. Although the modern made hybrids invisible and unrepresentable, hybrid beings have always existed, and recently posthumanism foregrounds hybridity of the human subject through the image of cyborg. The cyborg used to be considered a postmodern model of the human subject. But this essay refuses that claim, showing that the postmodern is not real since even the modern based on purification is false as Bruno Latour argues, and also pointing out that postmodern theories cannot accommodate hybridity of the posthuman since it does not explain the materiality of the body, or bodily embodiment. The cyborg, as a model of the posthuman, is a historical text displaying how human beings are hybridized in the technoscience age.