Virtual Things Research Articles

Chile… ¿sabe leer? Cambios en las formas y necesidades de lectura en el campo pedagógico ante la instalación de las nuevas tecnologías

The appearance of new technologies over the Chilean pedagogic field and the consolidation of a culture that emphasizes images and virtual things, make possible a revolution on the way of reading, making also possible the generation of changes on the ways of learning and teaching. In this context, this article analyzes on a critical and theoretical level the social constructs that have repercussion on the configuration of new ways of reading and learning from the new communication technologies. In order to understand this changes we take as study segment secondary and university students, in which the cultural use of computer networks and new technologies is a fact that invites to think about the repercussions that this phenomenon could have over education and the access to knowledge and ways of learning.

The Study of Hyper-Reality in Editorial Fashion Photographs - Focused on Vogue Magazine since 2000 -

The advent of various arts and remarkable development of mass media since 1980s accelerate fashion photographs' advancement. The expression of fashion through photographs can represent characteristics of ages, societies, cultures, traits of designers and techniques of photographers. In addition, that is the tool which contains economical role as a product and artistic role as photos. Therefore, this study examines hyprt-reality images in editorial fashion photographs. Hyper-reality means the reproduction which represents the reality of life more actually. Hyper-reality through photographs elevates reality of virtual things and creates the confused situation which haunts the boundary between reality and reproduction. This study classifies the hyper-reality in editorial fashion photographs into three groups by their external traits, ideal reality, collapse of reality, and restoration of reality. First, ideal reality is represented as harmony among fashion, characters, and space, causality of fashion with time and circumstances, positive will, and melting with nature. Second, collapse of reality is expressed as in harmony between fashion and situation, violence, fetishism and symbol of death. Third, restoration of reality is shown as recurrence to nature and images of utopia to express dignity of life.

형식주의 영화 <Dogville>이 구성하는 인간과 인간다움의 경계

인간다움은 인간적 또는 보다 인간다운이라는 의미와 함께 인간다움의 존엄과 존중을 동시에 함의한다. 본 논문은 영화의 영상이미지가 재현하는 인간과 인간다움의 문제에 천착하고자 했다. 이를 통해 영화가 인간과 사회에 대해 성찰적 태도를 견지하는 방식을 그 고유의 예술형식을 중심으로 살펴보았다. 특히 형식미학에 기반을 두는 형식주의와 작가주의의 이론적 논의를 배경으로, 라스 폰 트리에 감독의 영화 <Dogville>의 시공간 구조의 구성 방식을 분석했다. 연구결과에 의하면, <Dogville>은 시각중심주의적 미학을 영화 형식으로 전유해 연극적 무대의 회화적 상상화를 통해 영화예술의 개념적 규정에 일정한 자율성을 부여하는 것으로 분석되었다. 이것은 영화적 시공간을 가상의 것으로 전환시켜 인간의 성선과 성악의 구분, 인간다움의 정의가 허구일 수도 있음을 즉물화함으로써 기존의 제도적 재현 형식을 전복시킨 것이라고 할 수 있다. Humanism connotes dignity and esteem with the essential idea of human and more human. This paper has conducted a inquiry of the understanding about human and humanism represented by visual image of film. Especially, this study investigated the way to adhere to reflective attitude about human and society. It is based on theoretical discussion of formalism and auteurism and analyzed the way of constructing time-space structure of <Dogville>(by Lars von Trier) which is known the typical formalism film. According to the findings, <Dogville> appeared to appropriate the ocularcentrism aesthetic to film form and give the self-regulation to definite the idea of film art through picturesque imagination of dramatic stage. Such a result means that it converts the filmic time-space to the virtual things and practicalize the classification of the ethical doctrine of innate goodness and innate sin of human and the definition of humanism. Also it means formalism film overturns the existing institutional mode of representation.

Playing Dirty

In the new online economy, virtual cash, earned in games by killing a monster or performing a service, has real value, thanks to sites specializing in what are called real-money transactions (RMTs). People covet the jewel-encrusted super-sword in a game but can't spare the time to log the kind of hours they'd need to actually earn the virtual gold to buy it. So they obtain it the newfangled way: with their credit cards. In other words, they pay real money to buy virtual things.

Peculiarity of Svabhava

In the Abhidharmakosabhasya a dharma in the highest reality (paramarthatas) exists as substance (dravyatas), but not as a virtual thing (prajnaptitas). This dharma as substance must exist in the following two complemental conditions: 1) to be a separate single thing, and 2) to be an indivisible thing. When it is recognized that a dharma exists as substance, the expression “the svabhava of a dharma” is equivalent to the expression “the dharma itself”. At least for the Sarvastivadins, the svabhava does not exist separately from its dharma. In other words the svabhava is not any separate object that belongs to the dharma, or one of the constituents of the dharma. The svabhava is just a concept that represents, in the system of Sarvastivada dogmatic ontology, the identity of its dharma and dharma's basis for real existence.

Alfabetización en la comunicación mediática: la narrativa digital

The generalization of a technological and digital screen world shows a complex reality. Traditional communication systems and new unknown relation with other novel and strangers converge in this reality. The television already has entered the digital world. The digital technologies define a new universe of languages, of interactions and systems of relation. A new reality that is located between the real thing and the virtual thing. This world of «screens» has numerous edges that are necessary to analyze in all their dimensions and individual influences, social and cultural. All solution happens through a process of alphabetization in the new technologies of the communication. La conformación y generalización de un mundo tecnológico y digital, «de pantallas», presenta una realidad compleja. Convergen en esta realidad sistemas de comunicación y de relación tradicionales con otros novedosos y desconocidos. La televisión ya ha entrado en el mundo digital. Las tecnologías digitales definen un nuevo universo de lenguajes, de interacciones y sistemas de relación. Una nueva realidad que se sitúa entre lo real y lo virtual. Este mundo de «pantallas» tiene numerosas aristas que es necesario analizar en todas sus dimensiones e influencias individuales, sociales y culturales. Toda solución pasa por un proceso de alfabetización en las nuevas tecnologías de la comunicación.