집에 굴러다니던 똑딱이 필름카메라를 발견해서 필름을 넣고 사진을 찍어보았다. 기억이 어렴풋하지만 대략 15년은 더 이전에 구입했던 것 같은데 아직도 쌩쌩하게 잘 기능을 해주니 감사할 따름이다. 필름카메라의 거의 끝물에 그러니깐 비교적 후기에 개발된 카메라라서 그런지 다른 똑딱이 필름 카메라에 비해서 잔고장이 적기로 유명하다. 36mm f2.6의 밝은 조리개에 1/1000초 셔터타임을 지원해주는 고마운 카메라다.
In essence, the term ‘internal object’ means a mental and emotional image of an external object that has been taken inside the self. The character of the internal object is coloured by aspects of the self that have been projected into it. A complex interaction continues throughout life between the world of internalised figures and objects and in the real world (which are obviously also in the mind) via repeated cycles of projection and introjection. The most important internal objects are those derived from the parents, in particular from the mother or breast into which the infant projects its loving (life instinct) or hating (death instinct) aspects. These objects, when taken into the self, are thought to be experienced by the infant concretely as physically present within the body, causing pleasure (good internal part-object breast) or pain (bad internal part-object breast). The infant’s view of the motivation of these objects is based partly on accurate perception by the infant of the external object and partly on the desires and feelings that the infant has projected into the external objects: a malevolent desire to cause pain in the bad object and a benevolent desire to give pleasure in the good object. Internal objects are experienced as relating to each other within the self. They may be identified with and assimilated, they may be felt as separate from but at the same time as existing within the self. Within Kleinian theory the state of the internal object is considered to be of prime importance to the development and mental health of the individual. The introjection of and identification with a stable good object is crucial to the ego’s capacity to cohere and integrate experience. Damaged or dead internal objects cause enormous anxiety and can lead to personality disintegration, whereas objects felt to be in a good state promote confidence and well-being. Internal objects can exist on several levels. They can be more or less unconscious and more or less primitive. Infantile internal objects are experienced initially concretely within the body and mind and constitute a primitive level of the adult psyche, adding emotional influence and force to later perceptions, feelings and thoughts. Internal objects may be represented to the self in dreams, fantasies and in language. Internal objects are conceptually confusing in that they are described both from metaphsychological and phenomenological perspectives. Metapsychologically, the first internal objects are in part a creation of the life and death instincts, can affect the structure of the ego and are the basis of the superego. Phenomenologically they are the content of phantasy but of phantasy that has real effects. The conceptualisation of internal objects is inextricably linked to Klein’s theory of the life and death instincts, her ideas about unconscious phantasy and her theories of the development from the paranoid-schizoid position to the depressive position within which there is a move from part-object to whole-object functioning. This means that no single definition can capture this concept.
The name Ihwa-dong comes from ‘Ihwa-jang’ where the president Seung Man Lee lived. It is called Sanggye-dong, which was formerly occupied by Ihwa-dong and Dongsung-dong. It is one of the five major attractions in the province during the Chosun Dynasty, as it has a pair of clear streams, strange rocks and lush forests.
In 2006, when the public art project started, Ihwa-dong was a decaying suburb designated for demolition, and home to mostly poor families and elderly people. The government’s “Art in the City” campaign set about to improve conditions in some of these areas. The village was part of the history of street paintings in South Korea, with locals and visiting artists carrying out similar projects around the country. In the mural village, buildings and surroundings became part of the art; flowerpots, telephone poles, stone fences, stairs and even “the crack on a wall has been transformed into a wrinkle on a smiling woman’s face”. By 2015 it had become even more popular with locals and a tourist destination for international travelers, with a continued tourism spike that year. The influx of visitors to the village continued to create problems for local residents, including a loss of privacy. The problem became more and more serious, and there was an accident where villagers erased all famous paintings. This incident was a great alarm to the indiscreet community development of Korean society. Now the congested situation of the past has improved a lot and has become a more relaxed village.
Seodaemun Prison History Hall is a museum and former prison in Seodaemun-gu, Seoul, South Korea. It was constructed beginning in 1907. The prison was opened on October 21, 1908, under the name Gyeongseong Gamok. The prison was used during the Japanese colonial period to imprison Korean liberation activists, and could originally hold around 500 people. In 1911, Kim Koo was imprisoned. He was one of the more important figures in the Korean liberation movement. In 1919, shortly after the March 1st Movement, the number of imprisoned increased drastically. About three thousand liberation activists were imprisoned, and shortly before the colonization ended in 1945, the number of prisoners was at 2980. Among imprisoned after the March 1st Movement was Ryu Gwansun, who died from the torture inflicted on her. After the colonial era ended in 1945 as part of the surrender of Japan in World War II, the prison was used by the South Korean government, and was known by various official names, including Seoul Prison until 1961. In 1992, the site was dedicated as the Seodaemun Prison History Hall, part of Seodaemun Independence Park. Seven of the prison complex’s original fifteen buildings are preserved as historical monuments. The History Hall showcases all those imprisoned during the Japanese colonial period and continues to serve as a memorial hall.
When I was younger than now, I often went to the Han River to take pictures. Because the Han River is quite wide, I could see the city center from the far side. It was an awe-inspiring experience to see the city from a distance while staying in the city center. It was good to feel the distance between me and the world again through the pictures I took. When I look at the pictures, I always feel like I’m back at that time and feel like I’m back on the spot. I think there is a desire to return to the landscape in my mind.
Parangtritis is a popular tourist beach and village area on the southern coast of Java in the jalan bima bumi sari natar within the province of the Yogyakarta Special Region. Often small ponies or horse-drawn carts can be hired for rides along the beach. Parangtritis is sometimes said to be a place to meet the legendary Nyai Loro Kidul (also known as Ratu Kidul) or ‘Queen of the South’. Local folklore warns visitors not to wear green clothes or the queen is likely to try to entice the wearer into the ocean to drown. When I visited here, the beach was not a very typical beautiful place. Nonetheless, I liked the feeling of a secluded countryside beach that was not too touristy. The appearance of the people and merchants that are visible at a glance. Wagons and motorcycles. Footprints and ridges of people who lengthened along the beach. As the sun went down, all of these things felt just as beautiful.