• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.927-934
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• 2023

This study explored the process of how children are connected to and placed in the daycare center's interest area environment. Focusing on the process of getting to know, we tried to understand it through Deleuze's concept of connection-placement, which emphasized the power between materials and humans, to see how the familiar environment called the area of interest affects children's behavior. For this purpose, 20 children in the mixed class aged 4-5 years at B Daycare Center in Seoul were observed for a total of 2 hours each through 2 preliminary observations and 5 research observations from March to May 2023. First, the results of the study showed that infants' true interest could be found in the infant's gaze, not in the adult's gaze. Second, the space and play materials of the interest area environment are structurally arranged in accordance with the order of play types, but the boundaries become ambiguous as they are connected to children. Third, although the children's play seemed to be play without deviating from each area of interest, the space itself was a single mass in which interest was expressed. We hope that this study will help instructors in their practice of constructing an environment for areas of interest, and that we will become instructors who ask questions at every moment about what kind of traces will be left on children's thinking as the environment of space and media.

• Journal of the Korean Institute of Educational Facilities
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• v.12 no.4
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• pp.17-29
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• 2005

The purpose of this study is to establish fundamental standards of architectural planning concerning special class facilities in order to offer the basic information on the appropriate spatial organization of the special classroom by looking at the relationship between learning activities and living activities and the existing spatial organization. At present, there are no proper architectural standards which correspond to special class children's handicap and it's various characteristics. The special classes are just using ordinary classrooms without a considerations of the children with manifold handicap. In this sense, this study deals with appropriate special class facilities corresponding to the various characteristics of children's handicap, the contacting activities of special children with ordinary children and finally proper environment for the mainstreaming education which special education pursues.

• Korean System Dynamics Review
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• v.14 no.4
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• pp.5-35
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• 2013

The study examines the play theory based internet rumor process by using simulating tools, Vensim, which offer a new theoretical basis from which to explore complex adaptive social system. Internet rumor is not a simple linear diffusion process, but a complex interaction behavior between the actors of production and diffusion. Rumor actors consist of two type of diffusion, which is rumor mongers and playful mongers. These two type of mongers make the internet rumor as collective system. Playful mongers play strategically to maximize playfulness. Internet rumor as play is consequence of collective framing constituted by dynamic interaction and playfulness. The networking space spreading internet rumor function as a playground which mobilize play rule, ignoring fact based framing. Rumor as paly, even though it turns out to be a false and loses the public attentions rumor sustains the game play function which makes the rumor without natural extinction. The study proves that playful mongers is a main actors in rumor play ground.

• Archives of design research
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• v.19 no.1 s.63
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• pp.119-128
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• 2006

'Play' itself is enough of a motivation for anyone to do it. Still, it will be very difficult to continue to enjoy meaningless and aimless repetition of fights, mimicking, chases, discoveries or changing of sceneries by the mechanism alone. Of course, in rare occasions there are games like Tetris which can be enjoyed on its great gameplay alone for hours. But for most cases, players need goals, initiatives, and dynamism through storytelling for their experiences to be a rich one. Validity and feasibility of storytelling in games has always existed with plenty of skepticism. However, as games evolved from some small play mechanisms for spare times to a major entertainment with recognizable volume and content, a need to keep players interested and participating has made storytelling an essential ingredient. Storytelling within games has to have different meanings and shapes to existing narratives. Hence, new definition and methodology must emerge and studies has been active. If a case can be made so that a tested and tried methodology that has been successful for other media can be substituted for games, then it can bring a new direction to the ongoing studies. This study will borrow some methodology from cinema which can sometimes be seen as opposite to games and sometimes as something games want to be alike.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.11-20
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• 2021

The purpose of this study is to propose a documentary plan for the 7th Gyeongbuk Intangible Cultural Property, Andong-Notdaribapgi. Most of the records of Andong-Notdaribapgi. are produced centering on play. Thus this study aims to the method of recording it so that it can be accessed and utilized in the long term. This is a study at the beginning stage for documenting the Andong-Notdaribapgi. First of all, at the stage of the basic framework, the concept and characteristics of the recording of the Andong-Notdaribapgi were derived, and the meaning and necessity of recording was raised. In addition, the entire category of records was set through the analysis of the behavior process of Andong-Notdaribapgi, and the occurrence records and the contents of the records were organized focusing on the behavior processes occurring in various forms through the analysis of the recording target. In addition, materials that can be used are organized by focusing on the details and contents, including related records, and records that can be produced in the course of action are organized by type characteristics. Lastly, record analysis was based on performance behavior, and management functions were organized based on producers. The management of the records is to make it easier for users with various purposes to access the Intangible Cultural Property, the Andong-Notdaribapgi, and it is expected that it will provide directions and guidelines that can be applied to the recording plan in fields with similar characteristics.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.148-158
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• 2011

This study examines visitors' image and behavior characteristics of Wolseong palace in Gyeongju. This area has been a royal palace during Silla periods. So many scholars dedicate to the protection of this historical-cultural heritage. The research process consists of two main steps, such as on-site field investigation and survey research. The data were collected in summer and autumn. Collected data is classified into three groups to describe visitors' behavior, time, space, and then processed by statistical methods. The results are as follows: First, there is a shortage of programs and facilities. The result shows most visitors consider Wolseong palace as a pathway for walking. Hence better functions should be developed to attract more visitors but with least effect to historical remains. The founding is that increasing programs for history exploration, enhancing lighting installation, facilities, plant arrangement, road condition and so forth would be suggested.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 2003.11a
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• pp.129-132
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• 2003

본 연구에서는 사이버 교육(e-Learning)에서 컨텐츠 정보특성, 인터페이스 특성, 브랜드인지도, 부가서비스 제공 여부, 강사의 능력, 기술인프라 정도, 놀이성, 지각위험 등이 전반적인 만족도, 신뢰, 몰입 및 재구매 의도에 미치는 영향에 관하여 연구하고자 한다. 연구의 대상은 세 가지로 나누어 기업의 사내교육대상자, 학원 등 사교육대상자 및 대학교육대상자 등의 사이버 교육의 피교육자 유형에 따라 어떠한 e-Learning의 특성이 전반적인 만족도, 신뢰, 몰입 및 재구매 의도에 영향을 미치는가를 조사하기 위한 것이다. 연구모형에 포함된 변수는 기존의 연구에 근거하되 e-Learning의 특성적 요인을 포함하여 선정하였다. 사이버 공간에서 구매행위에 관한 연구는 다수의 연구자들(Jarvenpaa 등, 1997; Eugene 등, 1995; Parasuraman 등 1996; Spiller 등, 1998; O'keefs 등, 1998, Li, 등, 1999; Donthu 등, 1999; Macintosh 등, 1997; Garbarino 등, 1999)에 의해 다양한 방법으로 연구가 진행되었지만 본 연구에서는 e-Loaming의 환경적 특성에서 종합적 연구를 하고자 한다. 따라서 기존의 인터넷 환경 하에서 행해진 인터넷 컨텐츠의 특성에 관한 연구를 기반으로 사이버 교육(e-Loaming)의 특성과 부합하는 변수들을 연구 모형에 포함하였으며, 또한 사이버 교육에서 새롭게 부각되는 요인들을 부가하여(이승희, 2001; 박광태 등, 2002; Bonk, 2002; Learning Decisions, 2001) 연구모형을 설정하고 이를 근거로 실증연구를 수행 중에 있다.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.176-199
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• 2020

In 2018, the National Museum of Korea purchased a pair of Japanese folding screens, respectively entitled Gathering on the Year's First "Day of the Rat" and Boating on the Oi River. Both of these two screens (hereinafter collectively referred to as the "NMK edition") have a gold background that bears the seal and ink inscription of Tosa Mitsuyoshi (1700-1772), who served as edokoro azukari, a painter in the court of Kyoto. According to the seller in New York, the screens were brought from Japan to the United States in the early twentieth century, but no other details are known. Each folding screen has six panels. The screen on the right (i.e., Gathering…) depicts "nenohi no asobi," an annual event conducted on the first "day of the rat" (according to the Asian zodiacal calendar), wherein the Kyoto imperial court ventured to the woods to gather pine seedlings. The left screen (i.e., Boating…) shows three boats traveling down the Oi River in Kyoto, representing the ritual known as "mifune" (literally, "three boats"), which involves three boats representing Chinese classical poetry (kansi), Japanese classical poetry (waka), and Japanese imperial music and dance (gagaku). Notably, these two screens are identical in theme and iconography to two screens with the same respective titles that were commissioned by Emperor Komei (1831-1867) and painted by Ukita Ikkei (1795-1859), an artist of the Yamato-e Revivalist School (fukko yamato-e), now in the collection of Sennyu-ji Temple in Kyoto (hereinafter collectively referred to as the "Sennyu edition"). While both of these themes have been painted independently numerous times, the NMK edition and Sennyu edition are the only known cases of the themes being painted as a single set. According to Diary of Official Business Between the Court and Shogunate (the journal of a court official named Hirohashi Kanetane, 1715-1781), Tosa Mitsuyoshi was commissioned in 1760 to replace the fusuma (rectangular sliding panels) of Tsunegoten, one of the buildings of the Kyoto Imperial Palace, which had been built in 1709. Notably, records show that Tsunegoten once contained a series of fusuma painted by an artist of the Kano school on the themes "Outdoor Procession on a Spring Day" and "Three Boats Cruising on the Oi River." Hence, it seems probable that Tosa Mitsuyoshi was influenced by the theme and iconography of the existing fusuma in producing his own folding screens depicting the court's visit to the forest and a cruise on the Oi River. While the practice of collecting pine seedlings on the first "rat day" of the year was an auspicious event to pray for longevity, the mifune ritual was intended to honor the greatest talents of the three aforementioned arts, which were of crucial importance to the court of Kyoto. Folding screens with such auspicious themes were commonly featured at the ceremony to enthrone the emperor or empress. Significantly, the Diary of Official Business Between the Court and Shogunate also records that Tosa Mitsuyoshi, while working as a court artist, produced two pairs of folding screens for the coronation of Empress Go Sakuramachi (1762-1771), which was held in 1763. Hence, research suggests that the NMK edition is one of the pairs of royal folding screens produced at that time.

• Archives of design research
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• v.16 no.2
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• pp.179-188
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• 2003

We can discover some facts that vernacular design products with a property of volunteer culture coexist with ready-made products as an useful objects in the post-industrial society. Currently, few attempts had been made at studies of the vernacular design objects with understanding cultural context in post-industrial society, it is necessary to illuminate the relationships between the user with a role of design producer and the product viewed in culturally. In chapter 2, by examining documentary, t have been understood the definition, apprehensions, attributes linking creative use's culture with vernacular design culture, and distinctions between vernacular design and main stream design system. In chapter 3, by verifying products of everyday street and construction site, have been investigated the public characters and the differences compared with the past. In chapter 4, as a subtle example, have been analyzed design feathers and cultural characters of the products which children and infants culture generates by reflecting the socio-economic backgrounds and the culture from 60c and 70c to now according to the phases of the times. In conclusion, first, it seems quite probably that all of artificial objects exist a state of ready-made but that is not appropriate to correspond with user's whole behaviors. supplementally, it causes the phenomenon of vernacular design products. Secondly, it is reasonable to suppose that such main-stream design system and vernacular design go forward continually and crossly with coexistent relationships as high culture and sub culture. Third, three concepts: long-life design, ecology design and recycling revealed in vernacular design are useful distinguishing marks for the future design directions, moreover instant-response, fast and flexible process, three distinctions have a possibility of alternative process which can overcome the control-based process such as the systematic approach and the planning MTG in present. Finally, in children and infants culture, vernacular design products have changed the pure style products in the past into the modified techno playing products in the present. These should De a substitute product that supplyes variousness to ready-made design system and a design culture that maintains continually as a independent culture.

• The Journal of Art Theory & Practice
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• no.15
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• pp.83-109
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• 2013

The study mainly discusses appreciation of interactive art works seen from the perspective of play attributes that make spectators glimpse the truth of things. The general studies of interactivity, as one of remarkable features in contemporary art, are regarding the relation between the effects of digital media and interactivity as well as video games. From the preceding discussion, I analyze the effects of the appreciating interactive art works which are focused on new sensory systems, the methods to intuit the essence of the art works. Based on the concept, as I investigate the play attributes found in the interactive art works, this study gives attention to the possibility that if the spectators can reach the inherent aspects of interactive art works, while interacting them. Thus to discuss the properties of the play, this article studies play concept of Johan Huizinga(1872-1945), psychologist and anthropologist and play theory of Hans Georg Gadamer(1900-2002) who considers play as a metaphor for art. As Huizinga thinks acting is the important attribute of play, Gadamer argues whenever the term 'play' is used, we should think about 'to-and tro movement' and the movement is absence of goal as well as endlessly renews through repetition. Then what we should pay attention to, seeing the essence of art and play as similar? That is, Gadamer claims, we can understand the truth of things through the play. To apply the play concept to the interactive art works, I research the works of Maurice Benayoun(1957 - ), French interactive artist. By employing interactivity, he attempts to extend and affect the experience of his art works to one of social phenomenon. Striving this, spectators can widen and deepen the breadth of their intuition and recognize the essence of art works. It is the interactive art works that can be the apex of the transformation of structure from the play to the art. The endless repetitive process of play, which is free creation-annihilation process, is similar with the interactive experience of spectators that is variable, de-centered, and multi-sensory. The pure action of the play lets us recognize, sense and accept the world and through the system of interactive art experience, we can expand the horizons of perception. Interactive art works with these play attributes are capable of playing the role that the spectators glimpse the truth of things and experience the world around them.