본 연구의 목적은 사용자가 경험하는 정체성의 변화와 감각경험의 특이성을 고찰하는 것이며, 이를 통해 예 술치료 공간으로서 메타버스의 가능성을 점검하는 것이다. 최근 메타버스는 오락과 교육, 경제, 정치와 같은 사회문화적 체계를 모방할 뿐 아니라 직접 구성하고 실현하는 플랫폼으로 자리잡고 있다. 메타버스의 정서 소통의 내용이 세밀해지고 범위가 넓어진 만큼 예술표현과 치료도 다양한 형태로 구현될 수 있다. 메타버스 의 ‘정서적 소통’과 ‘감각적 표현’의 특이성은 원격현전의 존재감, 그리고 상호작용의 소통에서 비롯된다. 원격 경험이란 물리적 자아와 현전적 자아의 일치와 분리의 정서를 동시에 느끼는 것이기 때문에 감정 경험에서 도 분리와 일치가 일어날 수 있다. 사용자는 스스로 만들어내고 맥락화한 세계를 경험하며 가상공간에서 미 학적 내용은 물질적 경험은 감소한 채 총체감각의 몰입을 추구하는 유희적 상호작용 행위의 반복에 의해 창 조된다. 가상공간은 양가적 개념을 동시에 수용하는 공간이기도 하지만 그것을 사용하는 사람의 정서도 양가 적으로 발현되는 특징이 있으며. 사용자 본인의 정서 상태, 심리적 안정성의 상황에 따라 증상이 다르게 나 타난다. 메타버스는 양가성의 수용, 현실과의 연계성, 가상 및 물리적 감각경험의 혼합을 통해 분열되고 변형 되는 자아상의 재통합을 가져오는 치료실로 활용될 수 있다.

Not only in the text, but also with the text, linguistic image comes into being. This means that it cannot only be interpreted, but it can also be presented physically. Here begins the issue of ‘presence culture’ as a relative concept of ‘meaning culture’. The so-called ‘pictorial/iconic turn’ sheds light on this material character of text. The text as a type of image presents itself sensately and enters spatially into relations with us. This iconization of text reminds us of the long history regarding the connection between image and text. In artistic tradition, such as text-labyrinth, micrography and concrete poem, the iconic text produces the meaning not only with the aid of grammatical structure, but also with visual sequence. The characters as abstract elements produce a visual form, and they create sensation and life in its visual sequence. The text constitutes a meta-code of image, in that it makes a visual form as such, and the image also becomes a meta-code of text because it restructures the text visually. In this way, image and text coalesce in a type of circular and dialectic relationship. This conglomerate finds a possibility in the artificial life art and bio art. In the artistic practice of computer algorithm and DNA scripts, it has an opportunity to be changed not only into aesthetic life but also into real life. The combination of characters does not make a sentence nor a visual form, but builds levels where real life can be emergent. Although we cannot explain why, there is a marvellous change, while the characters are combined, arranged, and changed chemically, physiologically, and electrically. Indeed, this kind of emergence of life completes the idea of presence. The image. or the text. does not only represent the reality, it also constitutes levels of life, presents itself, and becomes a life.

This paper is an attempt to interpret "Ash Wednesday" based on the assumption that religion as the background of life indeed can contribute to the salvation of mortals, and to examine how Eliot can reach the 'still point' in the Christian view. Religion(Religare in Latin) means the reunion between The Absolute and humans on the basis of the cleansing of The Original Sin caused in Eden. On the other hand, it may be the great spirit of 'engagement' as nothingness standing against existence. Further, religion becomes not only a way of an imaginary level defending grim reality, but also a 'presence' determined over innumerable ages to save humans from the horror of death. Eliot, believing poetry can function as a substitute for religion, pursued several aspects of religion to grasp the very essence of life and an unknown stage after life. But he might have gone through severe conflicts between religion without consciousness and religion with consciousness as Paul de Man put it. Through reading "Ash Wednesday," this can be associated with whether religion serves as a role of a mid-wife or a soporific. As a whole, this poem surely touches upon 'washing worldly cares' such as honors and achievements on Earth, or 'baptism' in the Christian way. In this sense, the poetic narrator thinks that "the aged eagle" tries to fully stretch his/ her wings, which only become mechanical gestures and squirmings harboring under Heaven, revealed in "infirm glory" and "transitory power." After the narrator died, his/ her flesh was gulped down by carnivorous "leopards" and then the dry bones were exposed to the earth. This stands for the process of naturalization that must be destined for all living things. Under "a juniper tree," Elijah cried and faced his cruel fate, but "The Lady" was only indulged in "contemplation" regardless of his pressing situation. This can be thought of as 'A View of White Bones' issued from Hinayana as found in the lines: "Where all loves end/ Terminate torment/ Of love unsatisfied/ The greater torment/ Of love satisfied." Consciousness, escaping from its body, moved to a transcendental level through "the toothed gullet of an aged shark." This step can be equivalent to Jonah's regeneration, needing negation of worldly concerns. The process of negation, as shown in Upinishad, must be necessary for the dead to renew their souls, so they can expect the amazing grace of the Creator. After having forgotten his earthly affairs through limbo, the narrator came to "the third stair," in which some blessed and comfortable environments were given to him/ her: "spring," "fiddles," and "flutes." Here there are no values of things that humans valued extremely on Earth. The values are merely for either 'exchange value' or 'sign value' just a kind of made-up value. Self-restoration happens after "Mary" leads "the others" across the other shore of Lethe and "fiddles" and "flutes" wash their ears, equivalent to a regenerative scene of "unicorn" leading "hearse." The reality of "signed" cross exists in the apocalyptical background of "the silent sister" and functions as a way of redemption. The Creator sends his holy message to creations by "wind" as "the token of the word unheard, unspoken" corresponding to some sensible revelation. Eliot doubts authenticity of language since he thinks that "the unheard, unspoken word" can be the true word "for the world," and values "enough silence." In this way, "those who walk in darkness" are those who pursue 'self' and "those who avoid the face" are those who disregard 'self.' The poet does not want "to turn again," which means that he may recognize the principle of entropy heading from valuable Eros to valueless Thanatos. The prayer like "Bless me father" can correspond to the ego-centric desire of the narrator, for he/ she tries to transfer his / her own faults to the God. The Human's spirit, "weak spirit," is merely a "lost heart" which can cause "lost lilac" and "lost sea," and arbitrarily drives "salt savour of the sandy earth." In conclusion, Eliot, reminding me of a missing and crying baby yearning for its lost mother, reflects on his bitter past on the assumption of his imaginary death. His 'alter-ego,' the narrator, through the process of sweeping off worldly cares, eventually gets to "place of solitude" dusting off "time of tension" and comes to learn how "to sit still" under "the juniper tree." Thus he becomes to be reborn in one with "spirit of the river" and "spirit of the sea," which means an esoteric level of enlightenment through which Buddha must have overcome the glossy temptations of Maya. But wandering long since being banished from Eden, Cain's offsprings heartily wish for the ecstatic recurrence of it. Eliot says that we can come to terms with the Maker only through burning each secular soul and body as becoming "ash," meaning the extinction of fiery desire.