Emergence: Documents in Crisis

This essay suggests the etymologies of emergence, emergency, and crisis create a useful framework for theorizing documents. Indeed, the overlapping semantic associations of the words allow for the idea that documents emerge in crisis. The semantic overlap also allows a means for theorizing how documents descend into crisis. Theorizing documents in crisis, the essay argues, usefully complements documentalist theories of documentary representation suggested by thinkers like Paul Otlet and Suzanne Briet, as well newer conceptualizations of documentality as conceived by Michael Buckland and Maurizio Ferraris and documentarity as described by Ronald Day

Dance of Anguish: Poetic Texts from 1920s Korea

As bibliographer D. F. McKenzie has suggested, the book is an expressive form. This means that “the fine details of typography and layout, the material signs which constitute a text” (McKenzie 1999, 25) signify. Therefore, the “human motives and interactions that texts involve at every stage of their production, transmission, and consumption” (McKenzie 1999, 15) are also implicitly part of what a text means. The objectives and relations McKenzie describes are those of authors, of course, but also those of the whole spectrum of people involved in a text’s creation and dissemination—what McKenzie has termed the sociology of a text. How the fine details of Korean literary artifacts may impact our appreciation of what they may mean has been all but ignored by scholars of modern Korean literature. Bibliographic descriptions of the artifacts of early twentieth-century literature and research detailing the people and technologies most directly involved in their physical production are almost entirely absent from discourses about twentieth-century Korean literature. Our understanding of this literature is acutely circumscribed by our ignorance of how its texts were made

Printshops, Pressmen, and the Poetic Page in Colonial Korea

By analyzing the way vernacular Korean poetry of the 1920s was produced, this article initiates a study of the sociology of Korean literary production. Based on a survey of forty-five vernacular Korean books of poetry produced between 1921 and 1929, bank records, Japanese colonial government records, and printed interviews, the study describes the people, organizations, and technologies involved in the production of vernacular Korean poetry in the early twentieth century. It suggests that a small number of men in a few printing facilities working within restrained typographic conditions were responsible for printing the extant corpus of Korean vernacular poetry from the 1920s. An overview of the creative ways in which poetry was expressed visually and a discussion of the poem “Pandal” (Half moon), which appears differently in the two originary alternate issues of Kim So-wŏl’s canonical 1925 work Chindallaekkot (Azaleas), make it clear that an understanding of these people and organizations, as well as of the technologies they employed, should inform how we approach texts from this period hermeneutically

To Teach, Delight, and Inspire. Experiences with Kim Sowol’s Jindallaekkot (Azaleas) as a Printed Facsimile, Printed Scholarly Edition, Web-based Reading Text, and Virtual Reality Experience

Here we document how college students responded to a canonical book of Korean poems, Kim Sowol’s 1925 Jindallaekkot (Azaleas), presented in a variety of formats: as part of a 2014 printed facsimile, a 2007 printed scholarly edition, a reading text articulated as a web page on a tablet, and a radical refiguration as a virtual reality forest. We asked students to describe if they enjoyed and felt inspired by their encounters with Kim Sowol’s poetry in these different formats. We also asked if they felt their experiences were educational and if they engendered a desire to share Kim Sowol’s poetry with international peers. Student responses suggest that encounters with novel forms of canonical texts are enjoyable, inspiring, and create a desire to share them with international peers, especially if novel presentations are complemented by more familiar textual idioms, which students found the most educational

Printshops, Pressmen, and the Poetic Page in Colonial Korea

By analyzing the way vernacular Korean poetry of the 1920s was produced, this article initiates a study of the sociology of Korean literary production. Based on a survey of forty-five vernacular Korean books of poetry produced between 1921 and 1929, bank records, Japanese colonial government records, and printed interviews, the study describes the people, organizations, and technologies involved in the production of vernacular Korean poetry in the early twentieth century. It suggests that a small number of men in a few printing facilities working within restrained typographic conditions were responsible for printing the extant corpus of Korean vernacular poetry from the 1920s. An overview of the creative ways in which poetry was expressed visually and a discussion of the poem “Pandal” (Half moon), which appears differently in the two originary alternate issues of Kim So-wŏl’s canonical 1925 work Chindallaekkot (Azaleas), make it clear that an understanding of these people and organizations, as well as of the technologies they employed, should inform how we approach texts from this period hermeneutically. Keywords: Korean poetry, sociology of texts, printing, typography, Kim So-wŏ

Imaging Device

An imaging device comprising a flexible sensor attached to a control case. The flexible sensor provides both a source of illumination to the image being captured and a method of capturing the image. The method of capture comprises a field of reactors disbursed across the facial area of the sensor, the output of which produces a dot-pattern capture of the intended image which is passed to a storage device

Relevance and Creativity—A Linear Model

Purpose—The purpose of this paper is to provide a new and useful formulation of relevance. Design/methodology/approach—This paper is formulated as a conceptual argument. It makes the case for the utility of considering relevance to be function of use in creative processes. Findings—There are several corollaries to formulating relevance as a function of use. These include the idea that objects by themselves cannot be relevant since use assumes interaction; the affordances of objects and how they are perceived can affect what becomes relevant but are not in themselves relevant; relevance is not an essential characteristic of objects; relevance is transient; potential relevance (what might be relevant in the future) can be distinguished from what is relevant in use and from what has been relevant in the past. Originality/value—The paper shows that its new formulation of relevance brings improved conceptual and terminological clarity to the discourse about relevance in information science. It demonstrates that how relevance is articulated conceptually is important as its conceptualization can affect the ways that users are able to make use of information systems and, by extension, how information systems can facilitate or disable the co-production of creative outcomes. The paper also usefully expands investigative opportunities by suggesting relevance and creativity are interrelated

Image Text Search and Retrieval System

An imaging device comprising a flexible sensor attached to a control case. The flexible sensor provides both a source of illumination to the image being captured and a method of capturing the image. The method of capture comprises a field of reactors disbursed across the facial area of the sensor, the output of which produces a dot-pattern capture of the intended image which is passed to a storage device

A method for visualizing poetic texts using L-systems (L-sisŭt\u27em ŭl iyonghan si t\u27eksŭtŭ sikakhwa pangbŏp L시스템을 이용한 시 텍스트 시각화 방법)

본 발명은 시 텍스트 시각화 방법에 관한 것으로, (a) 시각화 장치에 입력된 시의 텍스트를 순서대로 스캐닝하는 단계; (b) L 시스템 모델을 통해 상기 시의 구조를 식물의 구조와 매칭시키고, 상기 텍스트의 형태소 및 모음을 식물의 채도와 명도와 매칭시켜 컴파일링 하는 단계; (c) 컴파일된 상기 텍스트의 명령어에 따라 렌더링하여 페인팅하고, 상기 식물의 그림을 생성하는 단계; 및 (d) 생성된 상기 그림을 상기 시각화 장치의 표시창에 표시하는 단계를 포함한다.이와 같이 본 발명은 시 텍스트의 시각화에 정보 전달 기능 외에 심미성을 부가하여 시각화 결과 자체가 엔터테인먼트적인 요소를 가지고 가며 직관적인 영감까지 줄 수 있는 창작물이 되도록 하는 새로운 시각화 방법을 제공한다. The invention relates to the hour text visualization method comprising the step in order, of scanning the text of the hour inputted to (a) apparatus for visualizing; the step it matches the structure in the above with the structure of the plant through (b) L system model ; and of matching the morpheme and vowel of the text with the chromaticness and brightness of the plant and compiling; and the step paint ; and of producing the drawing of the plant, and the step of indicating drawing generated with (d) in the display of the apparatus for visualizing it renders according to the instruction of the text compiled (c). In this way, the present invention is to provide the new visualization method for doing it becomes the creation which it can give till the instinctive brainwave it goes with the element in which the visualization effect itself is the entertainment it adds the esthetics to the visualization of the hour text besides the information expression function. (Translation made via KIPRIS patent translation

To Teach, Delight, and Inspire. Experiences with Kim Sowol’s Jindallaekkot (Azaleas) as a Printed Facsimile, Printed Scholarly Edition, Web-based Reading Text, and Virtual Reality Experience

Here we document how college students responded to a canonical book of Korean poems, Kim Sowol’s 1925 Jindallaekkot (Azaleas), presented in a variety of formats: as part of a 2014 printed facsimile, a 2007 printed scholarly edition, a reading text articulated as a web page on a tablet, and a radical refiguration as a virtual reality forest. We asked students to describe if they enjoyed and felt inspired by their encounters with Kim Sowol’s poetry in these different formats. We also asked if they felt their experiences were educational and if they engendered a desire to share Kim Sowol’s poetry with international peers. Student responses suggest that encounters with novel forms of canonical texts are enjoyable, inspiring, and created a desire to share them with international peers, especially if novel presentations are complemented by more familiar textual idioms, which students found the most educational