It seemed to be a session where an outside speaker was invited as part of a curriculum for aspiring writers.
Storytelling was the main theme,and the speaker was a brain-related PhD.
' The lecture was impressive, but the attitude of the participating aspiring(?) elders was… deeply rude. If they had been younger than me, 'no manners' would probably have been the most apt description. Behind their behavior was a deeply infantile disposition, craving attention and reacting impulsively to criticism.I bring this up because I cannot shake the feeling that it is not unrelated to why seminars and performances—new knowledge and new events—are gradually decreasing in Daejeon or in other non-Seoul regions. '
Setting that regret aside for now, let me get to the main point.
To cut to the conclusion: expand information and meaning, minimize energy consumption, and design time and space that well combines balance, rhythm, and metaphor.
This context applies not only to communication theory but to basic theory applicable even to inanimate objects; it is not limited to human beings or to a specific region. It is a universal communication method applicable to animals, ecosystems, and diverse societies.
For that reason, we must improve our attitude toward novelty and, through that, build our own criteria for a learned beauty. This is more than just crafting plausible storytelling or improving design skill; it can serve as a foundational alternative for correcting the aesthetic standards and the justification of behavior in societies where obvious, stale messages still work on certain groups.
(Main body)
1. Energy — minimize => 'balance'
Meaning — maximize => Effects 1)Optimization of structure and function => Time-space design
Scope of use expansion: Whole Life Design(lifetime life design)
2) Communication design for emotion (gesture, expression)
2-1. Communication theory " C = W log ( 1 + Signal / Noise ) "
1) In the past, to convey a message the approach was to raise the Signal (voice, volume). Over time this produced many issues. In the arts, extreme story development took place, triggering an 'inflation of emotion.' Cases in everyday life include jokes often being violent or ad-hominem in nature.
2) As an alternative, there is the method of designing time and space by reducing the Noise itself. Because in a quiet space, every individual object or creature's behavior has the potential to be invested with meaning.
* Quiet (joyong): external physical noise,
Stillness (goyo): internal psychological noise (low energy consumption)
Solitude (godok): the writhing of silence (high energy consumption)
2-2. Information theory " I = log 1/Percentage "
* P = information gap
- The lower, the more: 1/0 = infinity = lower probability of occurring = infinite amount of information = surprise or humor = the brain reacts instinctively to the new.
- The higher: 1/0.9 ≈ 1 = value with no influence or meaning = obvious talk = idle chatter, gossip = the reason people prefer novels, essays, or dramas over introductory or expert theory books is that they share similar experiences, so energy consumption for understanding the information is low and they can understand comfortably and easily.
They haven't challenged themselves in new areas much. Through much experience, the pool of curiosities around them has shrunk. The tendency to prefer only the familiar grows stronger.
* Literature — must hold social behavior; it must survey and understand every current and, based on that, appropriately set and express the direction for what the reader already knows versus what is new to them.
3. All of us must improve our personal attitude toward the new, and must be able to self-recognize the information content of what we say.
(The director of Avatar -> filmed using the deep-sea ecosystem as material)
VS the regrettable reality
: many societies or groups where obvious, stale messages still work. But aesthetic standards and the justification of behavior can change.
1) Creativity depends on the overall nuance of society.
2) Communication = delivery of information, Art = delivery of emotion.
3) Traits can change.
4) Differences in the social nuance of the new = which traits should we focus on?
5) Memories of Murder, neologisms, violence, and scattering the axis of emotion deaden the stimulation of the senses.
(Hitler, Nazis, Japan…)
4. Cultural differences between East and West (though pros and cons differ by era)
1) West: Mediterranean culture - nature, geographic features, limestone, seafaring (barter)
- a society where information is important and new things are cool
- Power circulation structure of Turkey, Athens, Western Asia (the agricultural revolution)
- A European community before nations = a single cultural sphere
2) East: culture based on land - shunning; nowhere to run.
- The vogue of retro ideology
5. Ramachandran's ten principles of art
: they are rooted in biological foundations. The same effect can be obtained not only in humans but also in animals. The scope of application extends to meaning, space, structure, color, form, and more.
1) Peak shift: you must go to the extreme to feel pleasure.
e.g., a caricature of Churchill is more Churchill-like than Churchill himself.
e.g., Impressionism (tone > outline), Cubism (tone < outline)
2) Contrast: binary thinking
— easiest method; use sparingly.
— development path: appropriate contrast -> balance -> rhythm -> metaphor
6. The essence(?) of art.. or its conditions.
1) "What is that? Look at that!" — let the reader find the meaning.
2) Not obvious content
3) Reveal the image, hide the meaning.
4) "I don't quite know what it is, but…"
5) Delay of the senses (minimize contrast, maximize metaphor)
6) Many basic elements that do not lean to one side (but watch out for schizophrenia, attention deficit)
7) On the surface it may be ambiguous or invite diverse interpretations,
but in the moment of creation it must carry a single meaning and purpose.
8) The more you look, the better.
9) It is not easy to get the answer at once.
10) Information is not given all at once.
11) It ceaselessly provokes thirst.
: "On the subway, most people have their nose buried in a smartphone."
What emotions does that evoke in you?
1) This is not a matter of good or bad, but of whether you are curious about it.
2) Have you ever seriously held your own feeling about this phenomenon?
3) Are you not chasing the hope of being connected through virtual space to escape isolation in physical space?
4) Such social problems (nose-in-smartphone, the attitude of watching it) are not simply a matter of trend, social effect,
political issue, or citizens' income level; they are a matter of the fundamental attitude of each individual who makes up the group.
