• 기호학연구
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• no.56
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• pp.45-70
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• 2018

Criticism of the postmodern philosophy of the system of representation, which has continued since the Renaissance, is based on a critique of the dichotomy that separates the subjects and objects and the environment from the human being. Interactivity, highlighted in a series of works emerging as postmodern trends in the 1960s, was transmitted to an interactive aspect of digital art in the late 1990s. The key feature of digital art is the possibility of infinite variations reflecting unpredictable changes based on public participation on the spot. In this process, the importance of computer programs is highlighted. Instead of using the existing program as it is, more and more artists are creating and programming their own algorithms or creating unique algorithms through collaborations with programmers. We live in an era of paradigm shift in which programming itself must be considered as a creative act. Simulation technology and VR technology draw attention as a technique to represent the meaning of reality. Simulation technology helps artists create experimental works. In fact, Baudrillard's concept of Simulation defines the other reality that has nothing to do with our reality, rather than a reality that is extremely representative of our reality. His book Simulacra and Simulation refers to the existence of a reality entirely different from the traditional concept of reality. His argument does not concern the problems of right and wrong. There is no metaphysical meaning. Applying the concept of simulation to algorithmic art, the artist models the complex attributes of reality in the digital system. And it aims to build and integrate internal laws that structure and activate the world (specific or individual), that is to say, simulate the world. If the images of the traditional order correspond to the reproduction of the real world, the synthesized images of algorithmic art and simulated space-time are the forms of art that facilitate the experience. The moment of seeing and listening to the work of Ian Cheng presented in this article is a moment of personal experience and the perception is made at that time. It is not a complete and closed process, but a continuous and changing process. It is this active and situational awareness that is required to the audience for the comprehension of post-representation's forms.

• Archives of design research
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• v.19 no.2 s.64
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• pp.129-138
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• 2006

Design securing a dominant position currently in the global market has shown inherent culture of each country, i.d. national disposition. For instancess, there are Scandinavia emphasizing humanism, America adopting pragmatism, Germany reflecting the rational principle, Spain reflecting the daily an, Italian design being rationalism and impressionism. The members of society shall be under the control of the already formed social-cultural value and character. So culture shall restrict the internal manner of social behaviour and apply pressure to the action of main body. Also culture shall be under the control of social environment and each culture shall be materialized as per the disposition of the members of society. Now korean design has been attracted lots of interests and attention from global market because it is excellent in the aspect of application capability for new technology and also suggests the image of design produced through them. Now Korean design shall run side by side the application for formative element to be recognized by technical design as well as korean identity. So dear definition for national and cultural disposition shall be required to korean design education and design development. These prescribed efforts shall be a shortcut for globalization of korean design.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.9
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• pp.833-840
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• 2017

This study was attempted to explore in depth the education of cultural diversity in the curriculum and textbooks of middle school according to [1] As a result, the educational goals in the curriculum emphasized[2] the realization of the meaning and value of cultural diversity education reflecting the global citizen education in various time, space background and socio-cultural context. The purpose of the curriculum guidelines is specified, and the following is given: "To properly recognize the diversity of the world culture; To acquire knowledge on cultural diversity; To grasp important functions in the city life, and to have attitudes and qualities required as members of the world, and to develop a pluralistic literacy ability''. In the textbooks, the subjects of the cultural diversity education are mainly based on the curriculum standards, the education area of the 7th grade is the 'human community life', the education area of the 8th grade is the origin and development of the Chinese civilization, Suggesting the scope of the theme 'harmonious coexistence with the world'. In order to analyze cultural diversity education in response to the demands of the times, we analyzed three factors such as diversity, identity, and interrelationship.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.123-132
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• 2019

This paper analyzes the performances of actor Song Kang-Ho in the background of interdisciplinary and integrated film acting, using performance rather than acting as a general term. If the act is a concept limited to acting training or acting skills, performance is a broad concept that includes expressions, movements, and emotions. The performance on the screen can be explained in the context of film and can be extended to the social attitude of acting. In addition, I used the term screen in terms of representation rather than film referring to medium. Song Kang-Ho expressed the performances of various characters in more than 30 films. Although his facial expressions, gestures, and voices suitable for individual characters in various genres are represented in various ways, personality inherent in the actor Song Kang-Ho integrates persona with character. What drives it is the social attitude of screen performance. As a sign, acting is an ideological construct and foregrounds a character who describes a certain social and historical moment. Song Gang-Ho as actor, persona and character, who asserts the popularity, speaks to society and makes discourse. His comic performance is always confronting the tragedy of life, his face is the spirit of the times, and it expands into social meaning. The face of the close-up does not laugh at all, the gesture symbolized by the curved rear view is exaggerated disorderedly and disturbingly, and the voice using dialect accent does not follow the standard of the vocal.

• The Journal of Art Theory & Practice
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• no.16
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• pp.41-69
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• 2013

The inauguration of the collective Reality and Utterance (Hy$\breve{o}$nsil kwa Par$\breve{o}$n) in 1979 and 1980 marked a watershed moment in Korean art. This is not only because the collective gave birth to the politically-engaged art movement that would come to be labeled "Minjung Art" by the middle of the 80s, but also because it enthusiastically embraced a wide range of images from the urban culture. With a special focus on the members' early work, my research explores an issue largely neglected in the dominant narrative of Minjung art as a form of activism against the authoritarian Korean government during the 80s. The issue is what was at stake in Reality and Utterance's exploration of contemporary urban visual culture. The aim of this essay is to recognize the engagement with the urban visual culture as central to the group's early project and to consider it at some distance from the anti-urban and anti-mass culture perspective which was endorsed by the Minjung narrative. Focusing on members' turn to urban visual culture, this essay instead argues that this turn was by no means merely a means to making art as social critique, but more importantly, it was an experiment with the shared image world, as opposed to the rarefied visual vocabularies of abstract modernism. Visual productions such as advertisements, billboards, posters, and kitsch paintings, which come from outside the narrow confines of fine art, were definitely ominous signs of the colonization of everyday life in the capitalist city, but at the same time they were anticipated to be a catalyst for redefining Korean art in a more communicative, accessible, and democratized way. In this regard, in the early 1980s-in particular 1980 and 1982-the members' gesture oscillated between critique and embrace, which allowed the group to occupy a unique domain in the realm of Korean art production.

• Archives of design research
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• v.16 no.4
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• pp.335-344
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• 2003

Creativity has become a buzzword in the 21s1 century to the extent that it is considered as one of the criteria for a nation's competitiveness. In the cultural industry, one of the industries with the highest growth potential, creativity is the decisive factor Nevertheless, we have to admit that there is a serious lack of this quality in the planning area. Everyone is born with creativity and creative way of looking at things can be developed through training and education. Most of universities now classify digital contents within the realm of design, therefore, emphasizing only the formal or the artistic side of it. However, the study of digital contents requires creative thinking processes that are oriented to problem-solving, for which one needs to put together his/her planning (socio-cultural), expressive (artistic) and technological (scientific) capabilities at the same time. Also, the education of digital contents should be focused not only on acquiring the knowledge and skills, but also on developing individual creativity and learning to increase one's creativity working in a team of an organization. For the environmental aspect, education for creativity should take into account social and cultural specificities of Korea. Therefore, continuous studies must be done to explore more concrete ways of developing creativity on the individual, organizational and environmental levels.

• Cross-Cultural Studies
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• v.45
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• pp.167-194
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• 2016

V.V. Rozanov, a well-known writer and thinker, has wrote many critical essays about Russian literature and writers. The most famous literary criticism written by him is an essay about F. Dostoevsky - Legend of the Grand Inquisitor (1894), which has been highly appraised by N. Berdyaev. If Dostoevsky was the best and the most admirable writer by Rozanov, Gogol was one of the most condemned one by him. This paper, first of all, aims to analyze Rozanov's literary essays about Gogol. At this time, our subjects of analysis included writer's critical essays about Pushkin and Dostoevsky because Rozanov tried to investigate the nature of a creation of Gogol through comparative studies. Based on these analyses, we attempted to deduce an overall view of Rozanov about Russian literature. We also examined the influence of Rozanov on the later criticism.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.131-140
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• 2020

This article attempted to apply the methodology of film acting as a performance oriented towards socio-cultural meaning to Min-sik Choi's acting. Specifically, the relationship between the body, the face, the audio, the direction and the attitude toward film technology mentioned in the interview dictation of actor Choi Min-sik was analyzed. In conclusion, Min-sik Choi's acting cannot be defined only by method acting, but implies or integrates the typical or avant-garde acting theories such as Stanislavsky, Strasberg, Mayerhold, Brecht and Grotovski. Above all, it is the presentation that expresses the flow of life through movement suggested by S. Kracauer. The feeling of compassion that Choi Min-sik himself emphasizes is in contact with the essence of the film that reproduces the flow of life, and it expands to an intended screen performance with a certain purpose. The screen performance that can be compressed with compassion and the flow of life is expressed by Min-sik Choi's various personas. His persona, transcending good and evil, reflects the present of Korean society.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.59-67
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• 2019

This article examines how Brecht's Gestus is borrowed and transformed into the film. I examined the critical debates on the film's use of Brecht and the style of Brecht's acting adopted in radical experimental films and Hollywood films. In addition, through the case of Korean film actor/ress, I sought to apply the Brechtian theory. First, despite the criticism that the film's acceptance of Brecht is overly formal and mechanical, film theory and practice reflect Brecht's ideas. In particular, regardless of the socio-political situation of Brecht's day, his Gestus is suitable and useful for film acting. Brecht's thought was realized by technological innovations such as montage and computer special effects, and above all, the social attitude of the actor was popularized through the education of the audience. Second, his strategy on performance is no longer unfamiliar, and goes beyond the boundaries of contradictory daily life and art, and becomes the pleasure of popular film. Although the intentions of naturalism and anti-naturalism in acting arts are different, the process and effects look at the same point. Third, through the case of Korean film actor/ress as an attempt of popular understanding about Brecht strategy, I could confirm the possibility of searching identity of Korean film actor/ress.

• Korean Journal of Social Welfare
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• v.68 no.1
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• pp.225-248
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• 2016

This study explores the effects on development of poor children by community-based orchestra educational activities and the orchestra educational activities factors for promoting the effects using longitudinal data are those collected for "The Evaluation of the Impact of Our Neighborhood Orchestra on Children's Learning" made by the Seoul Philharmonic Orchestra. For these purposes, this study employed a latent growth model analysis of the factors such as depression, aggressive behavior, communality and interpersonal relationship of development of poor children and evaluation, satisfaction, outsiders'attention and participation of facilitative factors. The result shows that they displayed significantly positive development in depression, aggressive behavior, and interpersonal relationship. It appears that the evaluation on music achievement had a positive impact on the rate of change in communality, while the evaluation on attitude had an impact in the initial value of depression, aggressive behavior, and communality, also the sense of satisfaction had a positive impact on the initial value of communality and interpersonal relationship in conditional models. And parents' attention and participation had a negative impact on the initial value of aggressive behavior, while the attention and participation of the community showed a positive impact on the initial value of depression and aggressive behavior. Based on these results, this study attempted to broaden the understanding of the development of poor children taking part in orchestra-based educational activities and provide a practical basis for social workers' direct invention, and look for new ways by shedding light on the merits of the cultural/art education of poor children that engage in the community-based orchestra educational activities.