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    The aesthetic turn: exploring the religious dimensions of digital technology

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    The arena for developing digital technology has undergone an aesthetic turn, broadening the focus from a functionalist approach producing centralized systems in the 1970s and 1980s to an increased awareness of the aesthetic aspects of the individual userโ€™s interaction with technology in the 1990s and 2000s. Within the academic research fields studying digital technology (e.g. Human-Computer Interaction and Interaction Design) the aesthetic turn has resulted in a shift from a strong emphasis on user behaviour to an increased interest in aesthetic perspectives on the role of the designer, the design process, and the design material. Within these fields, aesthetics has often been interpreted as belonging to the realm of the individual; personal experiences such as pleasure, engagement, and emotions have been emphasized in both technology development and technology research. Aesthetics is not, however, only an individual phenomenon but also has relational and structural components that need to be acknowledged. Structural aspects of aesthetics condition the possibilities for individuals interacting with digital technology. Thus, the tension between individual and relational aspects of aesthetics in digital technology also reflects a tension between freedom and limitation; between change and permanence; between destabilizing and stabilizing forces.Such a broadened understanding of aesthetics offers a model of digital technology that roughly corresponds to Mark C. Taylorโ€™s definition of religion. Taylor argues that religion is constituted by, on the one hand, a figuring moment characterized by structural stability and universality, and, on the other hand, a disfiguring moment characterized by disruption, particularity, and change. The purpose of this paper is to discuss the aesthetic turn and Taylorโ€™s definition of religion to illustrate similarities between the two, suggesting possible religious dimensions of digital technology and how that can inform our understanding of peopleโ€™s interaction with digital technology.

    ์‚ฌ์ง„์˜ ๋ฉ”ํƒ€๋ฐ์ดํ„ฐ๋ฅผ ์ด์šฉํ•œ ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€ ์ธก์ •๊ณผ ์˜จ๋ผ์ธ ๊ณต์œ  ํ–‰๋™ ์—ฐ๊ตฌ

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    ํ•™์œ„๋…ผ๋ฌธ (์„์‚ฌ)-- ์„œ์šธ๋Œ€ํ•™๊ต ๋Œ€ํ•™์› ์‚ฌํšŒ๊ณผํ•™๋Œ€ํ•™ ์–ธ๋ก ์ •๋ณดํ•™๊ณผ, 2017. 8. ์ด์ค€ํ™˜.์Šค๋งˆํŠธํฐ ๋ณด๊ธ‰์ด ํ™•์‚ฐ๋˜๋ฉด์„œ ์Šค๋งˆํŠธํฐ์œผ๋กœ ์‚ฌ์ง„์„ ์ฐ๋Š” ์‚ฌ๋žŒ์ด ๋งŽ์•„์กŒ๋Š”๋ฐ, ๋ˆ„๊ตฐ๊ฐ€๊ฐ€ ์Šค๋งˆํŠธํฐ์— ์ €์žฅ๋˜์–ด ์žˆ๋Š” ๋‚ด ์‚ฌ์ง„์„ ์šฐ์—ฐํžˆ ๋ณด๊ฑฐ๋‚˜ ์Šค๋งˆํŠธํฐ ์กฐ์ž‘ ์‹ค์ˆ˜๋กœ ๋‹ค๋ฅธ ์‚ฌ์ง„์„ ์˜จ๋ผ์ธ์— ์ž˜๋ชป ๊ณต์œ ํ•ด ํ”„๋ผ์ด๋ฒ„์‹œ๋ฅผ ์นจํ•ด๋‹นํ•  ์ˆ˜ ์žˆ๋‹ค. ํŠนํžˆ ์˜จ๋ผ์ธ์— ๊ณต์œ ๋˜๋Š” ์‚ฌ์ง„์€ ๋ˆ„๊ตฌ์™€ ํ•จ๊ป˜ ์–ด๋””์—์„œ ๋ฌด์—‡์„ ํ•˜๊ณ  ์žˆ๋Š”์ง€์™€ ๊ฐ™์ด ๋งŽ์€ ๊ฒƒ์„ ํŒŒ์•…ํ•  ์ˆ˜ ์žˆ๋Š” ์ •๋ณด๋ฅผ ๋‹ด๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์— ์‚ฌ์ง„์ด ์™ธ๋ถ€๋กœ ์ž˜๋ชป ์œ ์ถœ๋  ๊ฒฝ์šฐ ํ”„๋ผ์ด๋ฒ„์‹œ ์นจํ•ด๋Š” ํ‰์†Œ๋ณด๋‹ค ๋”์šฑ ํฌ๊ฒŒ ๋Š๊ปด์ง„๋‹ค. ๋”ฐ๋ผ์„œ ๋ชจ๋ฐ”์ผ ์• ํ”Œ๋ฆฌ์ผ€์ด์…˜์ด ์ž๋™์œผ๋กœ ์Šค๋งˆํŠธํฐ ๊ฐค๋Ÿฌ๋ฆฌ์— ์žˆ๋Š” ์‚ฌ์ง„๋“ค์˜ ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€์„ ์ธก์ •ํ•˜๊ณ , ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€์ด ๋†’์€ ์‚ฌ์ง„์€ ์ด์šฉ์ž๊ฐ€ ์˜จ๋ผ์ธ์— ๊ณต์œ ํ•  ๋•Œ ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€์ด ๋†’์€ ์‚ฌ์ง„์ž„์„ ํ•œ ๋ฒˆ ๋” ํ™•์ธํ•  ์ˆ˜ ์žˆ๊ฒŒ ํ•ด์ค€๋‹ค๋ฉด, ์‚ฌ์šฉ์ž ์ž…์žฅ์—์„œ๋Š” ํ›จ์”ฌ ํŽธ๋ฆฌํ•˜๊ณ  ์•ˆ์ „ํ•˜๊ฒŒ ์‚ฌ์ง„์„ ๊ด€๋ฆฌํ•  ์ˆ˜ ์žˆ์„ ๊ฒƒ์ด๋ผ๋Š” ์ƒ๊ฐ์—์„œ ์ด ์—ฐ๊ตฌ๊ฐ€ ์‹œ์ž‘๋˜์—ˆ๋‹ค. ๋”ฐ๋ผ์„œ ๋ณธ ์—ฐ๊ตฌ์—์„œ๋Š” ์‚ฌ์ง„์˜ ์–ด๋–ค ์š”์ธ์ด ์ง์ ‘์ ์œผ๋กœ ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€์„ ๋†’๊ฒŒ ๋งŒ๋“œ๋Š”์ง€, ๊ทธ๋ฆฌ๊ณ  ์˜จ๋ผ์ธ ๊ณต๊ฐœ๋ฅผ ํ•˜์ง€ ๋ชปํ•˜๊ฒŒ ๋งŒ๋“œ๋Š”์ง€๋ฅผ ๋ฐํ˜”๋‹ค. ๋˜ํ•œ ์—ฐ๊ตฌ์šฉ ์• ํ”Œ๋ฆฌ์ผ€์ด์…˜์„ ์ œ์ž‘ํ•˜์—ฌ ์‹คํ—˜ ์ฐธ์—ฌ์ž ๋ณธ์ธ์˜ ์Šค๋งˆํŠธํฐ์— ์ €์žฅ๋˜์–ด์žˆ๋Š” ์‚ฌ์ง„์œผ๋กœ ์‹คํ—˜์„ ํ–ˆ๊ธฐ ๋•Œ๋ฌธ์— ๋ณด๋‹ค ์ •ํ™•๋„ ๋†’๊ณ  ์‹ ๋ขฐ๋„ ์žˆ๋Š” ์—ฐ๊ตฌ๊ฒฐ๊ณผ๋ฅผ ๋„์ถœํ•˜์˜€๋‹ค. ์‚ฌ์ง„ ์† ์ธ๋ฌผ์˜ ์ˆ˜๊ฐ€ ๋งŽ์„์ˆ˜๋ก, ์ธ๋ฌผ์˜ ์–ผ๊ตด ํฌ๊ธฐ๊ฐ€ ํด์ˆ˜๋ก, ์‚ฌ์ง„์— ๊ฐ€์กฑ ์–ผ๊ตด, ์—ฐ์ธ ์–ผ๊ตด, ๋ณธ์ธ ์–ผ๊ตด์ด ์žˆ์œผ๋ฉด ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€์ด ๋†’์•„์ง€๊ณ , ์‚ฌ์ง„์„ ์ฐ์€ ์‹œ๊ฐ„ ์—ญ์‹œ ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€์— ์˜ํ–ฅ์„ ๋ฏธ์น˜๋Š” ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ๋‹ค. ์˜จ๋ผ์ธ ๊ณต๊ฐœ ๊ฐ€๋Šฅ ์—ฌ๋ถ€๋„ ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€๊ณผ ๋น„์Šทํ•˜๊ฒŒ ์‚ฌ์ง„ ์† ์ธ๋ฌผ์˜ ์ˆ˜๊ฐ€ ๋งŽ์„์ˆ˜๋ก, ์‚ฌ์ง„ ์† ์ธ๋ฌผ์˜ ์–ผ๊ตด ํฌ๊ธฐ๊ฐ€ ํด์ˆ˜๋ก, ๊ทธ๋ฆฌ๊ณ  ์‚ฌ์ง„ ์†์— ๊ฐ€์กฑ์˜ ์–ผ๊ตด์ด ์žˆ๊ฑฐ๋‚˜, ์—ฐ์ธ์˜ ์–ผ๊ตด์ด ์žˆ๊ฑฐ๋‚˜, ๋ณธ์ธ์˜ ์–ผ๊ตด์ด ์žˆ์œผ๋ฉด ์˜จ๋ผ์ธ ๊ณต๊ฐœ๋ฅผ ์ ๊ฒŒ ํ•˜๋Š” ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ๋‹ค. ๋˜ํ•œ ์˜ค์ „ 3์‹œ~9์‹œ ๊ทธ๋ฆฌ๊ณ  ์˜ค์ „ 9์‹œ~์˜คํ›„ 3์‹œ์— ์ฐํžŒ ์‚ฌ์ง„์€ ์˜จ๋ผ์ธ ๊ณต๊ฐœ๋ฅผ ์ ๊ฒŒ ํ•˜๋Š” ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ๋‹ค. ํ•œ ๊ฐ€์ง€ ํฅ๋ฏธ๋กœ์šด ์ ์€ ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€์ด ๋†’์œผ๋‚˜ ์˜จ๋ผ์ธ ๊ณต๊ฐœ ๊ฐ€๋Šฅํ•˜๋‹ค๊ณ  ํŒ๋‹จํ•œ ์‚ฌ์ง„์ด ๋ช‡ ์žฅ ์žˆ์—ˆ๋Š”๋ฐ, ์ด๋Ÿฌํ•œ ์‚ฌ์ง„๋“ค์€ ๋Œ€๋ถ€๋ถ„ ๋ฌด์–ธ๊ฐ€๋ฅผ ์ž๋ž‘ํ•˜๊ธฐ ์œ„ํ•œ ๋ชฉ์ ์ด ๋งŽ์•˜๋‹ค. ์ผ๋ฐ˜์ ์œผ๋กœ ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€์— ๋”ฐ๋ผ ์˜จ๋ผ์ธ ๊ณต๊ฐœ ๊ฐ€๋Šฅ ์—ฌ๋ถ€๊ฐ€ ํŒ๋‹จ๋˜์ง€๋งŒ, ํŠน์ • ๋ช‡ ๊ฐœ์˜ ์‚ฌ์ง„์˜ ๊ฒฝ์šฐ ์ž์‹ ์„ ๋ณด์—ฌ์ฃผ๊ธฐ ์œ„ํ•œ ์ „๋žต์  ์„ ํƒ์ด ์ ์šฉ๋˜์–ด ์˜จ๋ผ์ธ ๊ณต๊ฐœ ๊ฐ€๋Šฅ ์—ฌ๋ถ€๊ฐ€ ํŒ๋‹จ๋˜๋Š” ๊ฒƒ์œผ๋กœ ํ•ด์„๋œ๋‹ค. ๋”ฐ๋ผ์„œ ์‚ฌ์ง„ ์†์— ๊ธ์ •์ ์ธ ์š”์ธ์ด ์žˆ๋Š”์ง€๋ฅผ ๋ณด๊ธฐ ์œ„ํ•ด ํ”ผ์‚ฌ์ฒด๊ฐ€ ์ž˜ ๋‚˜์˜จ ์ •๋„๋‚˜ ์‚ฌ์ง„์˜ ์ „์ฒด์ ์ธ ๋งค๋ ฅ๋„๋ฅผ ํŒŒ์•…ํ•  ์ˆ˜ ์žˆ๋Š” ๋จธ์‹ ๋Ÿฌ๋‹(๊ธฐ๊ณ„ํ•™์Šต) ๊ธฐ๋ฒ•์„ ๋™์›ํ•œ ์ถ”๊ฐ€๋ถ„์„์˜ ๊ฐ€๋Šฅ์„ฑ์„ ์ œ์‹œํ•˜์˜€๋‹ค. ๋˜ํ•œ ๋ณธ ์—ฐ๊ตฌ ๊ฒฐ๊ณผ๋ฅผ ํ† ๋Œ€๋กœ ์‚ฌ์ง„์˜ ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€์„ ํŒ๋‹จํ•˜์—ฌ ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€์ด ๋†’์€ ์‚ฌ์ง„์€ ์‰ฝ๊ฒŒ ์œ ์ถœ๋˜์ง€ ์•Š๋„๋ก ๋ณดํ˜ธํ•ด์ฃผ๋Š” ๊ธฐ๋Šฅ์„ ํƒ‘์žฌํ•œ ์• ํ”Œ๋ฆฌ์ผ€์ด์…˜ ์ œ์ž‘์ด ๊ฐ€๋Šฅํ•  ๊ฒƒ์œผ๋กœ ๊ธฐ๋Œ€๋œ๋‹ค.1. ๋ฌธ์ œ ์ œ๊ธฐ 1 2. ๊ธฐ์กด ์—ฐ๊ตฌ ๊ฒ€ํ†  6 2.1. ํ”„๋ผ์ด๋ฒ„์‹œ ๊ฐœ๋… 6 2.2. ์ž๊ธฐ ๋…ธ์ถœ๊ณผ ํ”„๋ผ์ด๋ฒ„์‹œ ๋ณดํ˜ธ์˜ ์ „๋žต์  ์„ ํƒ 7 2.3. ํ”„๋ผ์ด๋ฒ„์‹œ ์—ผ๋ ค์™€ ๋ณดํ˜ธ ํ–‰๋™์˜ ๊ด€๊ณ„ 10 2.4. ์•Œ๊ณ ๋ฆฌ์ฆ˜์„ ์ด์šฉํ•œ ์‚ฌ์ง„ ํ”„๋ผ์ด๋ฒ„์‹œ ๋ถ„์„ ์—ฐ๊ตฌ 14 2.5. ๋ฉ”ํƒ€๋ฐ์ดํ„ฐ๋ฅผ ์ด์šฉํ•œ ์‚ฌ์ง„ ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€ ์ธก์ • 17 2.5.1. ์‚ฌ์ง„ ์† ์ธ๋ฌผ ๋ถ„์„ 20 2.5.2. ์‚ฌ์ง„์ด ์ฐํžŒ ์žฅ์†Œ์™€ ์‹œ๊ฐ„ ๋ถ„์„ 24 2.6. ์˜จ๋ผ์ธ ์‚ฌ์ง„ ๊ณต์œ  ํ–‰๋™ 26 3. ์—ฐ๊ตฌ ๋ฌธ์ œ ๋ฐ ์—ฐ๊ตฌ ๋ชจํ˜• 30 4. ์‚ฌ์ „์กฐ์‚ฌ 34 4.1. ์กฐ์‚ฌ๋Œ€์ƒ 34 4.2. ๋ณ€์ธ์˜ ์ธก์ • ๋ฐ ๋ถ„์„๊ฒฐ๊ณผ 36 4.3. ์‚ฌ์ „์กฐ์‚ฌ์˜ ์˜์˜ ๋ฐ ํ•œ๊ณ„ 39 5. ์Šค๋งˆํŠธํฐ ์•ฑ์„ ์ด์šฉํ•œ ์‹คํ—˜ 40 5.1. ์‹คํ—˜ ์„ค๊ณ„ 40 5.2. ์‹คํ—˜ ๋Œ€์ƒ 44 5.3. ์ฃผ์š” ๊ฐœ๋… ์ •์˜ ๋ฐ ์ธก์ • ๋ฐฉ๋ฒ• 45 6. ์—ฐ๊ตฌ ๊ฒฐ๊ณผ 47 6.1. ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€ ์ธก์ • 47 6.2. ์˜จ๋ผ์ธ ๊ณต๊ฐœ ๊ฐ€๋Šฅ ์—ฌ๋ถ€ ํŒ๋‹จ 53 6.3. ํ”„๋ผ์ด๋ฒ„์‹œ ์ˆ˜์ค€์ด ๋†’์ง€๋งŒ ์˜จ๋ผ์ธ์— ๊ณต๊ฐœ ๊ฐ€๋Šฅํ•œ ์‚ฌ์ง„์˜ ํŠน์ง•๋“ค 59 7. ๋…ผ์˜ 61 8. ๊ฒฐ๋ก  66 ์ฐธ๊ณ ๋ฌธํ—Œ 70 Abstract 76Maste

    Sensing Human Sentiment via Social Media Images: Methodologies and Applications

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    abstract: Social media refers computer-based technology that allows the sharing of information and building the virtual networks and communities. With the development of internet based services and applications, user can engage with social media via computer and smart mobile devices. In recent years, social media has taken the form of different activities such as social network, business network, text sharing, photo sharing, blogging, etc. With the increasing popularity of social media, it has accumulated a large amount of data which enables understanding the human behavior possible. Compared with traditional survey based methods, the analysis of social media provides us a golden opportunity to understand individuals at scale and in turn allows us to design better services that can tailor to individualsโ€™ needs. From this perspective, we can view social media as sensors, which provides online signals from a virtual world that has no geographical boundaries for the real world individual's activity. One of the key features for social media is social, where social media users actively interact to each via generating content and expressing the opinions, such as post and comment in Facebook. As a result, sentiment analysis, which refers a computational model to identify, extract or characterize subjective information expressed in a given piece of text, has successfully employs user signals and brings many real world applications in different domains such as e-commerce, politics, marketing, etc. The goal of sentiment analysis is to classify a userโ€™s attitude towards various topics into positive, negative or neutral categories based on textual data in social media. However, recently, there is an increasing number of people start to use photos to express their daily life on social media platforms like Flickr and Instagram. Therefore, analyzing the sentiment from visual data is poise to have great improvement for user understanding. In this dissertation, I study the problem of understanding human sentiments from large scale collection of social images based on both image features and contextual social network features. We show that neither visual features nor the textual features are by themselves sufficient for accurate sentiment prediction. Therefore, we provide a way of using both of them, and formulate sentiment prediction problem in two scenarios: supervised and unsupervised. We first show that the proposed framework has flexibility to incorporate multiple modalities of information and has the capability to learn from heterogeneous features jointly with sufficient training data. Secondly, we observe that negative sentiment may related to human mental health issues. Based on this observation, we aim to understand the negative social media posts, especially the post related to depression e.g., self-harm content. Our analysis, the first of its kind, reveals a number of important findings. Thirdly, we extend the proposed sentiment prediction task to a general multi-label visual recognition task to demonstrate the methodology flexibility behind our sentiment analysis model.Dissertation/ThesisDoctoral Dissertation Computer Science 201

    Investigating Obfuscation as a Tool to Enhance Photo Privacy on Social Networks Sites

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    Photos which contain rich visual information can be a source of privacy issues. Some privacy issues associated with photos include identification of people, inference attacks, location disclosure, and sensitive information leakage. However, photo privacy is often hard to achieve because the content in the photos is both what makes them valuable to viewers, and what causes privacy concerns. Photo sharing often occurs via Social Network Sites (SNSs). Photo privacy is difficult to achieve via SNSs due to two main reasons: first, SNSs seldom notify users of the sensitive content in their photos that might cause privacy leakage; second, the recipient control tools available on SNSs are not effective. The only solution that existing SNSs (e.g., Facebook, Flickr) provide is control over who receives a photo. This solution allows users to withhold the entire photo from certain viewers while sharing it with other viewers. The idea is that if viewers cannot see a photo, then privacy risk is minimized. However, withholding or self-censoring photos is not always the solution people want. In some cases, people want to be able to share photos, or parts of photos, even when they have privacy concerns about the photo. To provide better online photo privacy protection options for users, we leverage a behavioral theory of privacy that identifies and focuses on two key elements that influence privacy -- information content and information recipient. This theory provides a vocabulary for discussing key aspects of privacy and helps us organize our research to focus on the two key parameters through a series of studies. In my thesis, I describe five studies I have conducted. First, I focus on the content parameter to identify what portions of an image are considered sensitive and therefore are candidates to be obscured to increase privacy. I provide a taxonomy of content sensitivity that can help designers of photo-privacy mechanisms understand what categories of content users consider sensitive. Then, focusing on the recipient parameter, I describe how elements of the taxonomy are associated with users\u27 sharing preferences for different categories of recipients (e.g., colleagues vs. family members). Second, focusing on controlling photo content disclosure, I invented privacy-enhancing obfuscations and evaluated their effectiveness against human recognition and studied how they affect the viewing experience. Third, after discovering that avatar and inpainting are two promising obfuscation methods, I studied whether they were robust when de-identifying both familiar and unfamiliar people since viewers are likely to know the people in OSN photos. Additionally, I quantified the prevalence of self-reported photo self-censorship and discovered that privacy-preserving obfuscations might be useful for combating photo self-censorship. Gaining sufficient knowledge from the studies above, I proposed a privacy-enhanced photo-sharing interface that helps users identify the potential sensitive content and provides obfuscation options. To evaluate the interface, I compared the proposed obfuscation approach with the other two approaches โ€“ a control condition that mimics the current Facebook photo-sharing interface and an interface that provides a privacy warning about potentially sensitive content. The results show that our proposed system performs better over the other two in terms of reducing perceived privacy risks, increasing willingness to share, and enhancing usability. Overall, our research will benefit privacy researchers, online social network designers, policymakers, computer vision researchers, and anyone who has or wants to share photos online
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