Comment about UV regularization of basic commutators in string theories

Recently proposed by Hwang, Marnelius and Saltsidis zeta regularization of basic commutators in string theories is generalized to the string models with non-trivial vacuums. It is shown that implementation of this regularization implies the cancellation of dangerous terms in the commutators between Virasoro generators, which break Jacobi identity.Comment: LaTeX, 9 pages, no figures, submitted to Physics Letters

Connection between visual arts and music: The painting and music of I-Uen Wang Hwang

This document explores the connection between the visual arts and music, particularly focusing on the similarity between visual and aural artistic expression by analyzing two sets of piano pieces composed by I-Uen Wang Hwang, a contemporary Taiwanese-American composer and artist. The piano pieces are Dream Garden, Series I and II (2000-2004) and Preludes for Piano (2016). Series I of Dream Garden contains two piano solo compositions based on a series of Hwang’s own watercolor works. Each composition has an analogous painting: “The Horn of the Plenty” and “Butterfly Orchid”. Series II includes two compositions written for two pianos: “Red and White” and “Fireworks”, which are also based on her watercolor paintings of flowers. “Each piano part has its own individual character with different timbres and rhythms, as if each part represented a different color or texture of the painting.”[1] Preludes for Piano is a new composition set that Hwang composed in 2016. There are three preludes, each prelude based on an abstract acrylic painting. My intention is to explore the connection between paintings and music by discussing the historical background of the two art forms, analyzing the selected music of Hwang in detail, and referring to other composers whose musical compositions were related and inspired by paintings. [1] I-Uen Wang Hwang, “Dream Garden”. Program notes for doctoral lecture recital. Yining Jiang. Harrisonburg: James Madison University Recital Hall, September 17, 2017

AZJA WSCHODNIA, NARRACJA POWROTU ORAZ PRZYWRACANIE PAMIĘCI

In the early 2000s, Hwang Seok-young published three full-length novels. They were The Old Garden (2000), The Guest (2001) and Sim-Cheong (2003). The return trilogy attracted much attention in that they were works that informed Hwang Seok-yeong’s return to the Korean literary world. He visited North Korea in 1989 and exiled in Germany until 1993. He was imprisoned shortly after returning home in 1993 and imprisoned until 1998. Conflict and anguish due to his personal history overlap in the three works. It was the thematic focus of ‘return’. ‘Return’ is not simply returning. Above all, it is an encounter with ‘self-absence’ and is the most positive return to think of ‘today’. Furthermore, the final goal is to reconcile with the present. Therefore, the three long-time narratives he published were Hwang Seok-young’s return process as a writer.Hwang Seokyeong opublikował na początku wieku XXI trzy powieści: Stary ogród (2000), Gość (2001) oraz Sim-cheong (2003). Powieści te prezentowały powrót Hwang Seok-yeonga do świata twórczości literackiej, stąd przykuły uwagę czytelników jako trylogia powrotu. Hwang był w 1989 roku w Korei Północnej a następnie aż do roku 1993 przebywał na wygnaniu w Niemczech. Krótko po powrocie do kraju w 1993 został uwięziony na pięć lat. Powieści te przesycone są konfliktem i udręką spowodowanymi osobistymi doświadczeniami. To właśnie stało się motywem przewodnim ‘powrotu’. ‘Powrót’ nie polega jedynie na ponownym przybyciu – jest to przede wszystkim zetknięcie się z własną ‘nieobecnością’, skłania także do pozytywnego podejścia do ‘dzisiaj’. Celem jest przecież pogodzenie się z teraźniejszością. Te trzy powieści obrazują proces powrotu  Hwang Seok-yeonga do twórczości literackiej

Oral History Interview with Hwang Soo Chiat: Conceptualising SMU

This is an abridged version of the original interview. Please contact the Library at [email protected] for access to the full version of the transcript and/or audio recording.</p

Said and the Mythmaking of Auerbach\u27s Mimesis

In her article Said and the Mythmaking of Auerbach\u27s Mimesis Hyeryung Hwang revisits critical debates on Edward W. Said\u27s unwitting participation in the mythmaking of Erich Auerbach\u27s Mimesis and analyzes the degree to which critical discourse overlook what Said actually wanted to revive, namely the spirit of philological methodology. Hwang argues that before Said worked on Mimesis, the book already acquired a sort of myth. Hwang attempts to go beyond the commonly held understanding of philology and suggest it as a methodology for historical synthesis whose dialectical tension between texts and history amounts to the synthesis of fact and truth

ISSF 2017 Reflections

My weeklong journey in Busan came with disbelief: five-star service, global networking, and a warm, fun-loving tour guide I’ll never forget, Kiwook Hwang. On the night I arrived, I was missing a towel, a poster, and a warm meal, but the Korean Science Academy took care of me and assured I had everything I needed and more (e.g. snacks, cold water bottles, Wi Fi) to live comfortably for the next-week

The big lie

People wonder about the cause of poverty when scarcity is the natural state of things. Why? Because we are “designed” (metaphorically) to survive and reproduce our genes as much as possible. Not to discover reality. Not to enjoy. This is why evolution has selected in us the fear of death and the belief in that life is always worth living. We are “programmed” to make our life as long as possible, at any cost. “The Big Lie” was published in The Antinatalism Magazine, vol. 1, September, 2017. Jiwoon Hwang, Ed. Paperback Kindle Editio