For last fifty years, studies on the history of writing have changed various sides: among the domain of linguists, many of them increased in the graphic aspect. Reviewing back to the ideas of Saussure on writing as a transcript of the language, studies of writing turn to its symbolic and spatial dimension. While all human sciences have participated in this revision, especially philosophy and ethnology, we probably see the backlash of the development of new image technologies, although they consist of languages and mathematical writings.
Solid relationships between aesthetics and ethics are always discussed, as so are many complex ramifications between the sensible and the intelligible. The question comes to enrich a third term which is often set back from these basic polarities: the aesthesia, the world of the senses, sensations, which are intended to cooperate. Schematically, it creates a fundamental relationship between aesthesia (sensations), aesthetic (forms) and ethics (values), which governs the approach of the sensible world and directs a complex issue such as the representation taste, the taste sensation, emotion gourmet, in terms of communication. It is understood that the heart of the semiotization process of taste, served by new technologies which are defined as aesthetic, must deal with strategies of the indexical representation in connection with the aesthesia and the sensations of taste. The simplest way is to articulate the purpose of aesthesia, assuming that the logic of representation is deployed in the registered aesthetics in order to represent the flavor and the form of system with guaranteed consistency and uniformity in the figurative strategies. However, it is not able to think a possible system to articulate aesthesia, synesthesia, hyperesthesia, and anesthesia with aesthetic resources outside of food life forms ethically at this time.
Like in all human relationships, the care relationship happens in a space-time environment where there is an encounter between the care giver and the care receiver. Care relationships mobilize all our senses and require a singular physical contact, thus, the hand becomes a technical mediation as well as symbolic of human communication. This article aims to comprehend the sensory, perceptible and symbolic dimensions that are involved in this perceptible experience from a cross-disciplinary point of view of the Information and Communication Sciences (ICS). Questioning the areas of the care relationship with a multidimensional view, characteristic of the ICS, can permit to suggest new viewpoints and to lead towards other ways of seeing proper to this research. We are coming into the era of a new confluence between the ICS and the sciences of health and care.
This paper discusses a possible paradigm shift within the field of intercultural communication. Distinguishing cross-cultural and intercultural approaches from historical and epistemological standpoints, it echoes the need expressed by scholars to develop a new model for examining intercultural interactions. Arguing that nation-centric studies have difficulty accounting for the complexity of communication processes taking place between foreigners, the author suggests that communication science and a "semiopragmatics" approach to interpersonal interactions can be used to reconceptualise the relationship between cultures, identities and communication, taking into account the mediating role of the contextual factors specific to the encounter itself.
Dealing with Smart Information (Intelligence of Information) the purpose of this paper is to enlighten the various paradigms of information. First we propose a definition of information including its heterogeneous and scientific aspects both at the same time. Second, we place the concept of information in its context, reaffirming there is no information without the concepts of information user, data and knowledge. Then we conclude by the sketch of new paradigms and by offering two ways of future research in actor-centered information theory.
The introduction of mobile communication devices disrupts the domestic sphere, including couple relations. Indeed, the individual may now establish more easily relations with the "intruders" at home (in various fields: friendship, love or career) and find themselves in poly-commitment situations causing de-synchronization of everyday life. This article will try to show that this intrusion of ICT at home questions the idea of the relationship and leads to new strategies of actors within the couple.
We owe the intensive use of the terms "indexicality" and "reflexivity" to Harold Garfinkel’s ethnomethodology. After being controversial when it first appeared, to the point of being compared to a cult, but then tolerated as "marginal", ethnomethodology is now a growing response as an operational discipline of observation and reporting of professional practices. Paradoxically, this applicability is largely due to the radicalism of its epistemological position, based entirely on a careful consideration of the manufacturing operations of common sense. The purpose of this paper is to clarify this apparent paradox by showing how this "factory" works, to point the limits it imposes but also to mention the opportunities it opens, and to list some of its practical applications.
Victor Segalen was a poet, an archeologist and a navy doctor. But he was first a great traveler. Although its first text was published in 1902, his work was largely unknown until the late 20th century. As a thinker of the Multiple, he strongly influenced the approaches of modern anthropology.
We approach topics such as: the rise of the digital-analogous interaction, as a consequence of the emergence in many fields of the discrete-continuous interaction; the consequences in the field of the visual and the related physical, biological, linguistic, psychological and computational aspects; ‘visible’ versus ‘intelligible’ the place of the ‘visual’ with respect to ‘reality’ and ‘fiction’ the visual accounting for infinities of various types; the challenge of the wrong visual representations; ‘visual’ and ‘macroscopic’ ‘visual’ and ‘fractal’ ‘visual’ and non-Euclidean universes.
In the context of new technology and visual communication, there are two different perspectives: on the one hand, the connection of writing to language appears prior to its connection to vision; on the other hand, writing is certainly nothing new. Although it is somehow provocative to choose writing as a theme in such context, this paper meets the second one, by demonstrating that new technologies have dramatically magnified some potentialities of writing.
Anxiety prevails when the faith in life is absent. It is the uncertainty that causes anxiety. Uncertainty as a source of anxiety consists of several conceptual elements, which are, to name a few, existential uncertainty, cognitive uncertainty, moral uncertainty, and aesthetic uncertainty. Existential uncertainty arises when people are not sure of their own existence amidst the world around them; Cognitive uncertainty takes place when people are not too sure of what is right and what is wrong; Aesthetic uncertainty refers to the lack of conviction on what is beautiful and what is ugly. The social uncertainty indirectly related to aforementioned uncertainties, however, is directly related to the prevailing dilemma of "not knowing how to live on" and is the very source of collective anxiety. Thus, this article seeks to address the following agendas: 1) examine the social anxiety as a source of collective anxiety with emphasis on flexibilization thesis; 2) describe the unique characteristics embedded in South Korean society where collective anxiety is being aggravated; 3) explore the directions and strategies for possible countermeasures.
Regarding the nature of digital representation, this paper aims to understand how digital technologies redefine the very identity of animation within the history of moving images: Digital technology has reinvented inherent attributes of animation rather than act to assist in its evolution toward the totality of cinematic realism. The paper examines the 'digital' nature of animation with regard to frames, metamorphosis, and hybridity. Consequently, this paper will reveal the possible convergence of a kino-eye of camera and a kino-body of computer in digital animation.
Semiotic mediation has recourse to a more advanced technology which leads humans to form a new aspect of life causing the human and technology to become intermingled. As many media theorists indicate, new media with complexity attempts to disguise the nature of technology, resulting in reflecting the very nature of human, closely imitating human in mind and body. This makes us ponder on who we are as humans and what kind of mediational tools we use. In this paper, I will examine three kinds of mediation which are consciousness, social organization, and technology so as to discover self identity in the digital era. I will specifically look into narrative mediation for consciousness activity for human development according to the two intertwined domains of phylogeny and ontogeny. The idea of development in the two directions is apparent in the digital culture in that an individual should not be confined to a subjective world; rather, an individual functions as the representation of universal characters as human beings. Then, how is this individual being defined as in-between character both in private and in public. I suggest a self-portrait as an autobiographical writing describing self identities in the three domains: the personal self in description in reality, the virtual self in a narrated world from the past, and the expressive self as in thought activity for the future. These three selves in an autobiographical writing in cyberspace will illuminate this point.
In Japanese, there are two words indicating 'the naked body': hadaka (はだか) as Japan's pure native word and ratai (裸体) as kanji word. Originally, due to the hot and humid climate, Japan had a tradition of living naked, but in the Meiji era, contacting with the western cultures, Japan began to enforce the naked body. In the ordinance to restrict the naked body, Chinese characters 裸体 appeared officially. In the early days, it is likely that they read 'hadaka' for 裸体. Also, in the 1920's of Meiji, there was "Nude Painting Controversy (裸体画論争)" in Japan, after introducing the western nude paintings. In this controversy, people started to read 'ratai' for 裸体. This style is 'the new kanji word' indicating the western cultures as two chinese characters. There was the need to make a new expression for the naked body as the subject to the restriction and appreciation.
This paper will aim to criticize the issue of contemporary-ocularcentrism by the origin of eyes and film. But I willing to analyze a few genre films which we able to see routinely. Thus this paper will arrive at the conclusion about the return to Tactile and the new paradigm of how to see the movie. Even though the conclusion brings about the repetition of existing methodology which we commonly have learned, this will have meaning of sensuously diversified new discourse. Because the hidebound thought of optical sense has to attain to integrate with the tactile validity which converges at this study of etymology on skin and film. It is very important to indicate movies which have tactile eye. Also, this is very significant mention which implies contemporary ocularcentrism is overcome by tactility. Therefore, the society of ocularcentrism above all is the object which we have to cope with. For this purpose, I have established this agenda as very first place where accommodates the special tactile movies.
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