KJCKorea
Journal Central

The article discusses two cases of interventions in AI technology, human and al-gorithmic. The first is the ‘Naver case,’ which was accused by the Korea Government of manipulating search algorithms. The case raises the issue of computer engineer's professional ethics, on whether to ‘intervene’ in existing algorithms to get ‘better results.’ The second is the chatbot case, ‘Yiruda’ (Korean chatbot) which made serious hate speeches against socially disadvantaged groups. It raised concerns about abuses of artificial intelligence. Finally, this paper notes that despite technical efforts in the process of utilizing artificial intelligence, bias cannot be entirely removed. In order to minimize bias, I argue that active feedbacks through the continuous monitoring produced by artificial intelligence will be required in addition to technical efforts such as refining data training. Furthermore, the need for optimization of bias beyond simple reduction is suggested based on John Rawls’s ‘Overlapping Consensus.’

This study analyzed the ‘Yeonnam-dong’ space located in Mapo-gu, Seoul, which serves as a space for production and consumption, a space for play, and also a place for young people’s creative experiments. Today, new flows are forming in regional space. In particular, this space attracts new consumers through the creation of a series of infrastructure. As a result, Yeonnam-dong was transformed into a space with the fastest turnover in South Korea and a space where creative experiments took place. At the same time, these changes are full of spectacles, and it is functioning as a space where the power of the cultural industry was conveyed to the public in a sophisticated way. Hence, the ways in which the standardization, uniformity, and identity of commercialized space are linked and combined with the public's desire to resist, subvert, submit, or assimilate are discussed through the voices of the young generation, who experience the space from the perspective of cultural industry theory. For this, we conducted a combination of in-depth interviews and focus group interviews (FGI) with young people who have repeatedly experienced the Yeonnam-dong area to discuss the social imagination and collective desires pursued by the young generation through the space. Especially, by combining cultural industry theory and postmodern spatial theory, relationships and identities between individuals are formed, transformed, or refracted in a specific space called Yeonnam-dong, and in this process, a series of new socio-cultural meanings and differences are created. Also, this theme was explored through a kind of auto-ethnographic perspective and analysis. This cultural approach to a specific space may present useful observations and implications in terms of cultural policy, as well as academic implications regarding cities, youth, regions, and placeness.

In Lee Ki-ho's novel, 'laughter' is an important keyword, and narratives characters and events through laughter. The purpose of this article is to understand the occurrence process and aspect of 'laughter' in Lee Ki-ho's novel by paying attention to the role of the narrator. First of all, the narrator emphasizes those who obey power through a sense of distance from the character, and also creates a sense of distance between the character and the reader, giving the reader a sense of superiority and laughter. However, emphasizing the obedience and failure of a passive person rather highlights the hidden activity of the passive subject, thereby revealing the existence of power and law that suppresses the subject. And through this process, the subversion of the position occurs inside and outside the text, resulting in 'masochistic laughter'. In addition, the narrator repeatedly calls out the reader in the novel. The called reader is a 'real reader' and at the same time becomes a 'character' in the text, so the position shift occurs at this time. The repetition of the dynamic process of moving to the position of the character by the narrator provides the reader with pleasure in itself. In addition, through the 'transposition' created by the narrator, the reader can capture the transcendence of the character, and in the process, 'sublime laughter' occurs.