Victor Segalen was a poet, an archeologist and a navy doctor. But he was first a great traveler. Although its first text was published in 1902, his work was largely unknown until the late 20th century. As a thinker of the Multiple, he strongly influenced the approaches of modern anthropology.

We approach topics such as: the rise of the digital-analogous interaction, as a consequence of the emergence in many fields of the discrete-continuous interaction; the consequences in the field of the visual and the related physical, biological, linguistic, psychological and computational aspects; ‘visible' versus ‘intelligible' the place of the ‘visual' with respect to ‘reality' and ‘fiction' the visual accounting for infinities of various types; the challenge of the wrong visual representations; ‘visual' and ‘macroscopic' ‘visual' and ‘fractal' ‘visual' and non-Euclidean universes.

In the context of new technology and visual communication, there are two different perspectives: on the one hand, the connection of writing to language appears prior to its connection to vision; on the other hand, writing is certainly nothing new. Although it is somehow provocative to choose writing as a theme in such context, this paper meets the second one, by demonstrating that new technologies have dramatically magnified some potentialities of writing.

Anxiety prevails when the faith in life is absent. It is the uncertainty that causes anxiety. Uncertainty as a source of anxiety consists of several conceptual elements, which are, to name a few, existential uncertainty, cognitive uncertainty, moral uncertainty, and aesthetic uncertainty. The social uncertainty indirectly related to aforementioned uncertainties, however, is directly related to the prevailing dilemma of “not knowing how to live on” and is the very source of collective anxiety. This article seeks to address the following agendas: 1) examine the social anxiety as a source of collective anxiety with emphasis on flexibilization thesis; 2) describe the unique characteristics embedded in South Korean society where collective anxiety is being aggravated; 3) explore the directions and strategies for possible countermeasures.

Regarding the nature of digital representation, this paper aims to understand how digital technologies redefine the very identity of animation within the history of moving images: Digital technology has reinvented inherent attributes of animation rather than act to assist in its evolution toward the totality of cinematic realism. The paper examines the ‘digital' nature of animation with regard to frames, metamorphosis, and hybridity. Consequently, this paper will reveal the possible convergence of a kino-eye of camera and a kino-body of computer in digital animation.

Semiotic mediation has recourse to a more advanced technology which leads humans to form a new aspect of life causing the human and technology to become intermingled. As many media theorists indicate, new media with complexity attempts to disguise the nature of technology, resulting in reflecting the very nature of human, closely imitating human in mind and body. This makes us ponder on who we are as humans and what kind of mediational tools we use. In this paper, I will examine three kinds of mediation which are consciousness, social organization, and technology so as to discover self identity in the digital era. I will specifically look into narrative mediation for consciousness activity for human development according to the two intertwined domains of phylogeny and ontogeny. The idea of development in the two directions is apparent in the digital culture in that an individual should not be confined to a subjective world; rather, an individual functions as the representation of universal characters as human beings. Then, how is this individual being defined as in-between character both in private and in public. I suggest a self-portrait as an autobiographical writing describing self identities in the three domains: the personal self in description in reality, the virtual self in a narrated world from the past, and the expressive self as in thought activity for the future. These three selves in an autobiographical writing in cyberspace will illuminate this point.

In Japanese, there are two words indicating ‘the naked body': hadaka (はだか) as Japan's pure native word and ratai (裸体) as kanji word. Originally, due to the hot and humid climate, Japan had a tradition of living naked, but in the Meiji era, contacting with the western cultures, Japan began to enforce the naked body. In the ordinance to restrict the naked body, Chinese characters 裸体 appeared officially. In the early days, it is likely that they read ‘hadaka' for 裸体. Also, in the 1920's of Meiji, there was “Nude Painting Controversy (裸体画論争)” in Japan, after introducing the western nude paintings. In this controversy, people started to read ‘ratai' for 裸体. This style is ‘the new kanji word' indicating the western cultures as two chinese characters. There was the need to make a new expression for the naked body as the subject to the restriction and appreciation.

This paper will aim to criticize the issue of contemporary-ocularcentrism by the origin of eyes and film. But I willing to analyze a few genre films which we able to see routinely. Thus this paper will arrive at the conclusion about the return to Tactile and the new paradigm of how to see the movie. Even though the conclusion brings about the repetition of existing methodology which we commonly have learned, this will have meaning of sensuously diversified new discourse. Because the hidebound thought of optical sense has to attain to integrate with the tactile validity which converges at this study of etymology on skin and film. It is very important to indicate movies which have tactile eye. Also, this is very significant mention which implies contemporary ocularcentrism is overcome by tactility. Therefore, the society of ocularcentrism above all is the object which we have to cope with. For this purpose, I have established this agenda as very first place where accommodates the special tactile movies.

This paper focuses its attention on dealing with a cartography of the body as one of the most important areas in semiotic research. This limited and partial cartography is meant to propose what we call Corposphere as one of the frontiers within the Lotman's Semiosphere. The article starts from previous research (Finol & Finol, 2008), where some approaches based on Morris's three-dimensional semiotics are analyzed, and continue by proposing a list of sub areas where semiotics, anthropology, sociology and philosophy share a common heuristic interest.

The body identity is an important problem in itself as well as a term of reference for the problem of identity in general: the identity of an object, of a person, of a concept, of a nation, of a people, of a culture. In some respects, it may play a role similar to the role of Euclidean space for the understanding of other spaces occurring in science and in art or to the way in which natural languages are a term of reference in the study of other languages. The typology we are proposing in this paper is open to additions or modifications; it wants only to point out a possible approach and to suggest the complexity of the problem.