User:Zuhui/๐Ÿ‘€/Georges Perec's Thinking Machines: Difference between revisions

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==Algorithm and Death==
==Algorithm and Death==
===Kafka machine===
<blockquote>
...But that would only lead to a conventional โ€œFrankensteinโ€ scenario, and Perec dropped the idea. He then turned to an entirely different use that '''might be made of an imaginary computer: to answer the question, What is poetry?'''
</blockquote>
<blockquote>
the most exciting work at that time concerned authorial attributions through the use of rival stylometric algorithms.<br>
...<br>
What attracted Oulipo's particular attention was the idea that if it was possible to identify authorship by algorithm, then the same algorithm might be used in reverse to produce a synthetic text that would be indistinguishable (for a computer) from authentic material.
</blockquote>
-Today's AI
'''1.๋ฌธ์ฒด ๋ถ„์„ ์•Œ๊ณ ๋ฆฌ์ฆ˜:''' ๋ฌธ์ฒด ๋ถ„์„ ์•Œ๊ณ ๋ฆฌ์ฆ˜์€ ์ €์ž์˜ ๊ณ ์œ ํ•œ ๋ฌธ์ฒด๋ฅผ ํŠน์ • ์ˆ˜์น˜๋‚˜ ๋ณ€์ˆ˜(์˜ˆ: ๋‹จ์–ด ๋นˆ๋„, ํ‰๊ท  ๋ฌธ์žฅ ๊ธธ์ด ๋“ฑ)๋กœ ๋ถ„์„ํ–ˆ๋‹ค. ์ด๋ฅผ ํ†ตํ•ด ํŠน์ • ํ…์ŠคํŠธ๊ฐ€ ํŠน์ • ์ž‘๊ฐ€์˜ ๋ฌธ์ฒด์™€ ์ผ์น˜ํ•˜๋Š”์ง€ ํŒ๋ณ„ํ•  ์ˆ˜ ์žˆ์œผ๋ฉฐ ์˜ˆ๋ฅผ ๋“ค์–ด, ์–ด๋–ค ํ…์ŠคํŠธ๊ฐ€ ๋‹จ์–ด ๋นˆ๋„๋‚˜ ๋ฌธ์žฅ ๊ตฌ์กฐ๋ฅผ ํ†ตํ•ด โ€˜์นดํ”„์นดโ€™์˜ ์Šคํƒ€์ผ๊ณผ ์œ ์‚ฌํ•œ์ง€๋ฅผ ๋”ฐ์ ธ๋ณผ ์ˆ˜ ์žˆ๊ฒŒ ๋œ๋‹ค.
'''2.์—ญ๋ฐฉํ–ฅ ์ ์šฉ:''' ์—ฌ๊ธฐ์„œ ์šธ๋ฆฌํฌ์˜ ํฅ๋ฏธ๋กœ์šด ๋ฐœ์ƒ์€ ์ด ์•Œ๊ณ ๋ฆฌ์ฆ˜์„ ์—ญ์œผ๋กœ ์‚ฌ์šฉํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ์ฆ‰, ์นดํ”„์นด์˜ ์Šคํƒ€์ผ ๋ถ„์„์—์„œ ์ถ”์ถœํ•œ ๋ณ€์ˆ˜๋“ค์„ ์ด์šฉํ•ด ์•Œ๊ณ ๋ฆฌ์ฆ˜์ด ์ง์ ‘ ์นดํ”„์นด์™€ ์œ ์‚ฌํ•œ ์Šคํƒ€์ผ์˜ ํ…์ŠคํŠธ๋ฅผ ์ƒ์„ฑํ•˜๋„๋ก ํ•˜๋Š” ๊ฒƒ. ์ด๋ ‡๊ฒŒ ๋งŒ๋“ค์–ด์ง„ ํ…์ŠคํŠธ๋Š”, ํŠน์ • ์ž‘๊ฐ€(์ด ๊ฒฝ์šฐ ์นดํ”„์นด)์˜ ๋ฌธ์ฒด๋ฅผ ๋ฐ˜์˜ํ•˜๋ฏ€๋กœ ์ปดํ“จํ„ฐ๋‚˜ ๋…์ž๋„ ์ง„์งœ์™€ ๊ตฌ๋ณ„ํ•˜๊ธฐ ์–ด๋ ค์šธ ์ •๋„๋กœ ๊ทธ ์ž‘๊ฐ€์™€ ๋น„์Šทํ•œ ๋ฌธ์ฒด๋ฅผ ๊ฐ–์ถ”๊ฒŒ ๋œ๋‹ค๋Š” ๊ฒƒ์ด๋‹ค.
'''3.์นดํ”„์นด ๊ธฐ๊ณ„:''' ์ด๋ฅผ ํ†ตํ•ด ๋งŒ๋“ค์–ด์ง„ ๊ธฐ๊ณ„, ์ฆ‰ โ€œ์นดํ”„์นด ๊ธฐ๊ณ„โ€๋Š” ์นดํ”„์นด์˜ ์Šคํƒ€์ผ์„ ๋ชจ๋ฐฉํ•˜์—ฌ ์ƒˆ๋กœ์šด ํ…์ŠคํŠธ๋ฅผ ์ž๋™์œผ๋กœ ์ƒ์„ฑํ•˜๋Š” ์žฅ์น˜๊ฐ€ ๋œ๋‹ค. ์ด ๊ธฐ๊ณ„๊ฐ€ ์ž‘๋™ํ•œ๋‹ค๋ฉด, ์‹ค์ œ๋กœ ์นดํ”„์นด๊ฐ€ ์“ด ๊ฒƒ์ด ์•„๋‹Œ๋ฐ๋„ ๊ทธ์˜ ๋ฌธ์ฒด์™€ ๋งค์šฐ ๋น„์Šทํ•œ, โ€œ์นดํ”„์นด์ โ€์ธ ํ…์ŠคํŠธ๋ฅผ ์ƒ์„ฑํ•  ์ˆ˜ ์žˆ๊ฒŒ ๋˜๋Š” ๊ฒƒ์ด๋‹ค. ์ด๋Š” ๋งˆ์น˜ ์นดํ”„์นด์˜ ๋ฌด์˜์‹์ ์ธ ์ฐฝ์ž‘ ๊ณผ์ •์„ ๊ธฐ๊ณ„๊ฐ€ ์žฌํ˜„ํ•ด๋‚ด๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค.
===Flow chart===
===Flow chart===
===Radio show===
===Radio show===
===Clinamen===
===Clinamen===

Revision as of 20:14, 31 October 2024

Semantic Poetry and P.A.L.F

The "Semantic Poetry" devised by Stefan Themerson is an experimental approach that deconstructs the meaning and essence of traditional poetry by replacing words in the poem with their dictionary definitions.
(take a line from William Wordsworth)

โ€œI wandered lonely as a cloudโ€ฆโ€
โ†“
โ€œI wandered lonely as a mass of watery vapor suspended in the upper atmosphereโ€

์ด ๊ณผ์ •์—์„œ, ์›๋ž˜ ๊ตฌ์ ˆ์ด ๊ฐ–๊ณ  ์žˆ๋˜ ์‹œ์  ์ •์„œ์™€ ์ด๋ฏธ์ง€๊ฐ€ ์ƒ์‹ค๋˜๊ณ , ๋Œ€์‹  ๋ฌด๋ฏธ๊ฑด์กฐํ•˜๊ณ  ๊ธฐ๊ณ„์ ์ธ ์–ธ์–ด๊ฐ€ ๋‚จ๊ฒŒ ๋œ๋‹ค. ํ…Œ๋ฉ”๋ฅด์†์˜ ์ด ๊ธฐ๋ฒ•์€ ๋‘ ๊ฐ€์ง€ ์ธก๋ฉด์—์„œ ๋…ํŠนํ•˜๋‹ค:
1. ์‹œ์˜ ์ •์ฒด์„ฑ ํ•ด์ฒด: ์˜๋ฏธ ์‹œ๋Š” ๋…์ž๊ฐ€ ์‹œ๋ฅผ ํ•ด์„ํ•  ๋•Œ ๋Š๋ผ๋Š” ์ง๊ด€์  ์•„๋ฆ„๋‹ค์›€๊ณผ ๊ฐ์„ฑ์„ ์˜๋„์ ์œผ๋กœ ์ œ๊ฑฐํ•ด ๋ฒ„๋ฆฐ๋‹ค. ๊ฐ์„ฑ์ ์ด๊ฑฐ๋‚˜ ์ƒ์ง•์ ์ธ ์–ธ์–ด๋Š” ์‚ฌ์ „์  ์ •์˜๋กœ ์น˜ํ™˜๋˜๋ฉฐ, ์ด๋Š” ์‹œ์  ํ‘œํ˜„์ด ์•„๋‹Œ ๋‹จ์ˆœํ•œ ์„ค๋ช…์œผ๋กœ ๋ฐ”๋€Œ์–ด ์‹œ๊ฐ€ ๊ฐ€์ง„ ๋ณธ๋ž˜์˜ ๋งค๋ ฅ์„ ๋นผ์•—๋Š” ๊ฒƒ์ด๋‹ค. ์ด๋ฅผ ํ†ตํ•ด ์‹œ๊ฐ€ ๋‹จ์ˆœํžˆ ์–ธ์–ด์  ๊ตฌ์„ฑ ์ด์ƒ์˜ ๊ฒƒ์ด๋ผ๋Š” ์ ์„ ์—ญ์„ค์ ์œผ๋กœ ๊ฐ•์กฐํ•˜๋Š” ์…ˆ. 2. ๋ฌธํ•™์  ์ง„์ •์„ฑ์— ๋Œ€ํ•œ ์งˆ๋ฌธ: ํ…Œ๋ฉ”๋ฅด์†์€ ์˜๋ฏธ ์‹œ๋ฅผ ํ†ตํ•ด, ๋ฌธํ•™์ด๋‚˜ ์‹œ๊ฐ€ โ€˜์ง„์ •ํ•œ ์˜๋ฏธโ€™๋ฅผ ์ „๋‹ฌํ•œ๋‹ค๊ณ  ๋ฏฟ๋Š” ์ „ํ†ต์  ๊ด€์ ์„ ์กฐ๋กฑํ•œ๋‹ค. ๊ทธ๋Š” ์–ธ์–ด์™€ ์˜๋ฏธ์˜ ์ƒ๊ด€๊ด€๊ณ„๊ฐ€ ๋ฐ˜๋“œ์‹œ ์ง๊ด€์ ์ด๊ฑฐ๋‚˜ ๊ฐ์ •์ ์ผ ํ•„์š”๊ฐ€ ์—†์œผ๋ฉฐ, ๋ฌธํ•™์ด ๋ณธ์งˆ์ ์œผ๋กœ ๋ฌด์˜๋ฏธํ•œ ํ‘œํ˜„์ด ๋  ์ˆ˜๋„ ์žˆ์Œ์„ ๋ณด์—ฌ์ค€๋‹ค.

P.A.L.F and exhausting the lexicon experiment

P.A.L.F. makes translation by semantic definition a recursive device (applying it over again to the output of the โ€œmachineโ€) and quickly produces monstrously inflated expressions that tend asymptotically toward the inclusion of all the words in the lexicon. Perec and Bรฉnabou hypothesized that if any text subjected to the automatic production device tended toward the exhaustion of the lexicon, then any two texts would at some point of expansion come to include the same words as each other.

Technically it didn't work, but I like it. Like some kind of a philosophical jest suggesting that if all texts were infinitely expanded, they would ultimately converge to the same content in essence.

60s' Post-structuralism

P.A.L.F. is of interest as the first explicitly mechanical device entertained by Perec for the production of literary texts, and also as a symptom of the โ€˜60sโ€™ fascination with the potential of the signifier to subvert, overturn, and generally wreak havoc with meaning and authorial intention.

1.๊ธฐํ˜ธ์˜ ์ „๋ณต์  ์ž ์žฌ๋ ฅ:
๊ธฐํ˜ธ๊ฐ€ ๋‹จ์ˆœํžˆ ์˜๋ฏธ๋ฅผ ์ „๋‹ฌํ•˜๋Š” ์ˆ˜๋‹จ์ด ์•„๋‹ˆ๋ผ, ์˜๋ฏธ๋ฅผ ๋ฐ”๊พธ๊ณ  ๋’ค์ง‘๊ณ  ํ˜ผ๋ž€์Šค๋Ÿฝ๊ฒŒ ๋งŒ๋“ค ์ˆ˜ ์žˆ๋Š” ์ž ์žฌ๋ ฅ์„ ๊ฐ€์กŒ๋‹ค๊ณ  ๋ณธ ์‹œ๊ธฐ. ๊ธฐํ˜ธ ๊ทธ ์ž์ฒด๊ฐ€ ์˜๋ฏธ๋‚˜ ์˜๋„(authorial intention)๋ฅผ ์‰ฝ๊ฒŒ ๊ณ ์ •์‹œํ‚ฌ ์ˆ˜ ์—†๋Š” ํž˜์„ ๊ฐ€์ง„๋‹ค๋Š” ์ธ์‹์˜ ํ™•์‚ฐ.
e.g. ํ•œ ๋‹จ์–ด๊ฐ€ ํŠน์ • ์˜๋ฏธ๋ฅผ ์ „๋‹ฌํ•˜๋ ค ํ•˜์ง€๋งŒ, ๊ทธ ๋‹จ์–ด ์ž์ฒด๊ฐ€ ๋‹ค์˜์„ฑ์„ ๊ฐ€์ง€๊ธฐ ๋•Œ๋ฌธ์—, ์˜๋„์™€๋Š” ๋‹ค๋ฅธ ํ•ด์„์ด ์ƒ๊ธธ ์ˆ˜ ์žˆ๋‹ค. ์ด๋Ÿฐ ์ ์—์„œ 1960๋…„๋Œ€ ์‚ฌ์ƒ๊ฐ€๋“ค์€ ๊ธฐํ˜ธ๊ฐ€ ๋‹จ์ผํ•œ ์˜๋ฏธ๋กœ ๊ณ ์ •๋  ์ˆ˜ ์—†๋‹ค๋Š” ๊ฒƒ์„ ๋ฐœ๊ฒฌํ•˜๊ณ , ๊ธฐํ˜ธ์˜ ์ด ํ˜ผ๋ž€์Šค๋Ÿฌ์šด ํž˜์„ ์ ๊ทน์ ์œผ๋กœ ํƒ๊ตฌํ–ˆ๋‹ค. 2.์ €์ž ์˜๋„์˜ ํ•ด์ฒด:
๊ธฐํ˜ธ์˜ ์˜๋ฏธ๊ฐ€ ๋ณ€ํ•จ์— ๋”ฐ๋ผ, ์ €์ž์˜ ์˜๋„ ์—ญ์‹œ ์ „๋ณต๋  ์ˆ˜ ์žˆ๋‹ค๋Š” ์ƒ๊ฐ์ด 1960๋…„๋Œ€์— ํผ์ง€๊ธฐ ์‹œ์ž‘ํ–ˆ๋‹ค. ์ด๋Š” ํฌ์ŠคํŠธ๊ตฌ์กฐ์ฃผ์˜์˜ ์ค‘์š”ํ•œ ์•„์ด๋””์–ด ์ค‘ ํ•˜๋‚˜๋กœ, ์ €์ž๊ฐ€ ๋ฌด์–ธ๊ฐ€๋ฅผ ์˜๋ฏธํ–ˆ๋‹ค๊ณ  ํ•ด๋„, ๋…์ž๊ฐ€ ๊ทธ ๊ธฐํ˜ธ๋ฅผ ์–ด๋–ป๊ฒŒ ํ•ด์„ํ•˜๋Š๋ƒ์— ๋”ฐ๋ผ ์˜๋„์™€๋Š” ๋‹ค๋ฅธ ์˜๋ฏธ๊ฐ€ ์ƒ๊ธธ ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒƒ. ๋”ฐ๋ผ์„œ ํ…์ŠคํŠธ๋Š” ๋…์ž์˜ ํ•ด์„์— ๋”ฐ๋ผ ๊ณ„์†ํ•ด์„œ ์žฌ๊ตฌ์„ฑ๋  ์ˆ˜ ์žˆ๋Š” ์กด์žฌ๊ฐ€ ๋˜๋ฉฐ, ์ €์ž์˜ ์˜๋„๋Š” ์ ์  ๋” ๋ฌด์˜๋ฏธํ•ด์ง€๊ฑฐ๋‚˜ ๋ถ€์ฐจ์ ์ธ ๊ฒƒ์œผ๋กœ ๊ฐ„์ฃผ๋จ. 3.P.A.L.F.์™€ ๊ธฐํ˜ธ ์‹คํ—˜:
ํŽ˜๋ ‰์˜ P.A.L.F.๋Š” ๊ธฐํ˜ธ๊ฐ€ ๊ฐ€์ง„ ์ด๋Ÿฌํ•œ ์ „๋ณต์  ํž˜์„ ์‹คํ—˜ํ•˜๋Š” ์žฅ์น˜์ด๋‹ค. ์ด๋Š” ๊ธฐ๊ณ„์ ์œผ๋กœ ํ…์ŠคํŠธ๋ฅผ ๋งŒ๋“ค์–ด๋‚ด๋ฉฐ, ๋‹จ์–ด์™€ ๊ธฐํ˜ธ๋ฅผ ๋ฐ˜๋ณต์ ์œผ๋กœ ์ •์˜ํ•˜๊ณ  ๋ณ€ํ™˜ํ•˜๋ฉด์„œ ์›๋ž˜์˜ ์˜๋„๋ฅผ ์ „๋ณต์‹œํ‚ค๊ณ , ์ตœ์ข…์ ์œผ๋กœ ํ…์ŠคํŠธ์— ๋Œ€ํ•œ ์ดํ•ด๋ฅผ ์™„์ „ํžˆ ํ˜ผ๋ž€์Šค๋Ÿฝ๊ฒŒ ๋งŒ๋“œ๋Š” ๋ฐฉ์‹์œผ๋กœ ์ž‘๋™ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค.
์ด๋ฅผ ํ†ตํ•ด ์˜๋ฏธ๋‚˜ ์˜๋„๋Š” ๊ณ ์ •๋  ์ˆ˜ ์—†๊ณ  ๋ฌด๋„ˆ์งˆ ์ˆ˜ ์žˆ๋Š” ๋ถˆ์•ˆ์ •ํ•œ ๊ฒƒ์ด๋ผ๋Š” ์ ์„ ์‹คํ—˜ํ•˜๊ฒŒ ๋˜๋Š” ๊ฒƒ์ด๋ฉฐ, ์ด๋Š” 1960๋…„๋Œ€์˜ ์–ธ์–ด์™€ ๊ธฐํ˜ธ์— ๋Œ€ํ•œ ๊ด€์‹ฌ, ๊ทธ๋ฆฌ๊ณ  ๊ธฐํ˜ธ๊ฐ€ ๊ธฐ์กด์˜ ์˜๋ฏธ ์ฒด๊ณ„๋ฅผ ์ „๋ณตํ•˜๋Š” ๊ฐ€๋Šฅ์„ฑ์„ ์ž˜ ๋ณด์—ฌ์ฃผ๋Š” ์˜ˆ๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ์Œ.

Constraint

A constraint is any operation that can be made fully explicit on some level or another of a language (sound, letter, word, sentenceโ€ฆ) and which gives rise to a new text. The first of Perec's Oulipian works to appear in French was his famous lipogram, A Void, a novel of three hundred pages written without the help of the letter e (the constraint being to write with only twenty-five letters, but within the grammar and lexis of the standard language nonetheless).

Die Maschine

Algorithm and Death

Kafka machine

...But that would only lead to a conventional โ€œFrankensteinโ€ scenario, and Perec dropped the idea. He then turned to an entirely different use that might be made of an imaginary computer: to answer the question, What is poetry?

the most exciting work at that time concerned authorial attributions through the use of rival stylometric algorithms.
...
What attracted Oulipo's particular attention was the idea that if it was possible to identify authorship by algorithm, then the same algorithm might be used in reverse to produce a synthetic text that would be indistinguishable (for a computer) from authentic material.

-Today's AI

1.๋ฌธ์ฒด ๋ถ„์„ ์•Œ๊ณ ๋ฆฌ์ฆ˜: ๋ฌธ์ฒด ๋ถ„์„ ์•Œ๊ณ ๋ฆฌ์ฆ˜์€ ์ €์ž์˜ ๊ณ ์œ ํ•œ ๋ฌธ์ฒด๋ฅผ ํŠน์ • ์ˆ˜์น˜๋‚˜ ๋ณ€์ˆ˜(์˜ˆ: ๋‹จ์–ด ๋นˆ๋„, ํ‰๊ท  ๋ฌธ์žฅ ๊ธธ์ด ๋“ฑ)๋กœ ๋ถ„์„ํ–ˆ๋‹ค. ์ด๋ฅผ ํ†ตํ•ด ํŠน์ • ํ…์ŠคํŠธ๊ฐ€ ํŠน์ • ์ž‘๊ฐ€์˜ ๋ฌธ์ฒด์™€ ์ผ์น˜ํ•˜๋Š”์ง€ ํŒ๋ณ„ํ•  ์ˆ˜ ์žˆ์œผ๋ฉฐ ์˜ˆ๋ฅผ ๋“ค์–ด, ์–ด๋–ค ํ…์ŠคํŠธ๊ฐ€ ๋‹จ์–ด ๋นˆ๋„๋‚˜ ๋ฌธ์žฅ ๊ตฌ์กฐ๋ฅผ ํ†ตํ•ด โ€˜์นดํ”„์นดโ€™์˜ ์Šคํƒ€์ผ๊ณผ ์œ ์‚ฌํ•œ์ง€๋ฅผ ๋”ฐ์ ธ๋ณผ ์ˆ˜ ์žˆ๊ฒŒ ๋œ๋‹ค.
2.์—ญ๋ฐฉํ–ฅ ์ ์šฉ: ์—ฌ๊ธฐ์„œ ์šธ๋ฆฌํฌ์˜ ํฅ๋ฏธ๋กœ์šด ๋ฐœ์ƒ์€ ์ด ์•Œ๊ณ ๋ฆฌ์ฆ˜์„ ์—ญ์œผ๋กœ ์‚ฌ์šฉํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ์ฆ‰, ์นดํ”„์นด์˜ ์Šคํƒ€์ผ ๋ถ„์„์—์„œ ์ถ”์ถœํ•œ ๋ณ€์ˆ˜๋“ค์„ ์ด์šฉํ•ด ์•Œ๊ณ ๋ฆฌ์ฆ˜์ด ์ง์ ‘ ์นดํ”„์นด์™€ ์œ ์‚ฌํ•œ ์Šคํƒ€์ผ์˜ ํ…์ŠคํŠธ๋ฅผ ์ƒ์„ฑํ•˜๋„๋ก ํ•˜๋Š” ๊ฒƒ. ์ด๋ ‡๊ฒŒ ๋งŒ๋“ค์–ด์ง„ ํ…์ŠคํŠธ๋Š”, ํŠน์ • ์ž‘๊ฐ€(์ด ๊ฒฝ์šฐ ์นดํ”„์นด)์˜ ๋ฌธ์ฒด๋ฅผ ๋ฐ˜์˜ํ•˜๋ฏ€๋กœ ์ปดํ“จํ„ฐ๋‚˜ ๋…์ž๋„ ์ง„์งœ์™€ ๊ตฌ๋ณ„ํ•˜๊ธฐ ์–ด๋ ค์šธ ์ •๋„๋กœ ๊ทธ ์ž‘๊ฐ€์™€ ๋น„์Šทํ•œ ๋ฌธ์ฒด๋ฅผ ๊ฐ–์ถ”๊ฒŒ ๋œ๋‹ค๋Š” ๊ฒƒ์ด๋‹ค.
3.์นดํ”„์นด ๊ธฐ๊ณ„: ์ด๋ฅผ ํ†ตํ•ด ๋งŒ๋“ค์–ด์ง„ ๊ธฐ๊ณ„, ์ฆ‰ โ€œ์นดํ”„์นด ๊ธฐ๊ณ„โ€๋Š” ์นดํ”„์นด์˜ ์Šคํƒ€์ผ์„ ๋ชจ๋ฐฉํ•˜์—ฌ ์ƒˆ๋กœ์šด ํ…์ŠคํŠธ๋ฅผ ์ž๋™์œผ๋กœ ์ƒ์„ฑํ•˜๋Š” ์žฅ์น˜๊ฐ€ ๋œ๋‹ค. ์ด ๊ธฐ๊ณ„๊ฐ€ ์ž‘๋™ํ•œ๋‹ค๋ฉด, ์‹ค์ œ๋กœ ์นดํ”„์นด๊ฐ€ ์“ด ๊ฒƒ์ด ์•„๋‹Œ๋ฐ๋„ ๊ทธ์˜ ๋ฌธ์ฒด์™€ ๋งค์šฐ ๋น„์Šทํ•œ, โ€œ์นดํ”„์นด์ โ€์ธ ํ…์ŠคํŠธ๋ฅผ ์ƒ์„ฑํ•  ์ˆ˜ ์žˆ๊ฒŒ ๋˜๋Š” ๊ฒƒ์ด๋‹ค. ์ด๋Š” ๋งˆ์น˜ ์นดํ”„์นด์˜ ๋ฌด์˜์‹์ ์ธ ์ฐฝ์ž‘ ๊ณผ์ •์„ ๊ธฐ๊ณ„๊ฐ€ ์žฌํ˜„ํ•ด๋‚ด๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค.

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