cssi/SciSciGPT-SciSciNet huggingface dataset:
Frame-Changing in the South Korean Legacy Media Coverage of the North Korean Nuclear Controversy

This chapter examines the frames and narratives that dominated South Korean legacy media coverage of the North Korea nuclear issue between September 2016 and June 2018. The period covers the critical moments of two nuclear tests, two leadership changes in the United States and South Korea (Trump and Moon elected), and two summit talks (the 2018 Inter-Korean Summit and the 2018 North Korea-United States Singapore Summit). We discovered both similarities and differences in the narratives based on the political perspectives of the media outlets and how they constructed notions of the past, present, and future of the Korean Peninsula. Conservative outlets tended to manifest media frames that focused on North Korea’s past attacks and broken promises, while liberal media outlets focused on the future, and on the new promises offered by political actors. The frame-changing was often influenced by the internal political dynamics of South Korea and by the highly unusual U.S. leadership style of President Trump. We argue that the public perceptions were likely polarized given this disparity in the media coverage, generating more challenges for the Moon administration as it sought to implement a softer diplomatic approach toward North Korea.
Like It Was a Movie: Cinematic Listening as Public Art

The widespread use of personal stereos has created large numbers of listeners navigating the city in reverie, enjoying a synaesthetic relationship between what they see and the music they hear. Such sonic mediation to the body's experience has been described, and analyzed, as a form of 'physical cinema.' But how does this cinema work? And how might sound artists use these kinds of auditory interventions as sites for their own work? This current situation offers rich opportunities for artists to take advantage of the nonchalance with which the public now synthesizes disparate sonic and visual sources into complete, and very individual, filmic experiences. By analyzing the relationships among mediated sound, ambient sound and visual environment in a number of sound works situated in the public sphere (among them works by Janet Cardiff and Christina Kubisch), this paper aims to discover how sound artists might use the idea of ?physical cinema? to broaden the audience's sensory spectrum and seduce them into creative engagement with their environment.