• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.67-71
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• 2023

The purpose of this study is to investigate the effect of a community-based cognitive stimulation program on cognitive function and subjective memory in the elderly with mild cognitive impairment. This study was applied by selecting 15 users who understood the purpose of this study and agreed to participate in the shelter program for more than 3 months from April 2019 to August 2019 at the D Dementia Center in G located, Gyeonggi-do. The program consisted of a total of 36 cognitive stimulation programs 3 times a week a total of 3 months. Cognitive stimulation program stimulates cognitive function through various activities such as orientation reinforcement, cognitive training, recall, music, art, and physical play, and is used for the purpose of improving social function. It consists of folk songs, percussion instruments, national gymnastics, dance, games, and traditional games. As a result of the cognitive stimulation program, the average cognitive function increased by 2.13 points from 26.33 points before implementation to 28.46 points after implementation, and a statistically significant result was obtained (p=0.000). Subjective memory decreased by 3.53 points from the average of 7.13 points before the cognitive stimulation program was implemented to 3.60 points after the implementation, and a statistically significant result was obtained (p=0.000). It can be confirmed that this works. Dementia is leading to a cost burden, and congnitive function decreases the aqulity of life. It brings various burdens. It is necessary to study cognitive stimulation programs applied to various environments in the future.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.551-557
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• 2024

Early childhood cultural and artistic education is a process of expressing oneself and understanding society, which has a great impact on the lives of young children. It utilizes the principle of individualization, which means that individual diversity should be considered because each toddler has different developmental characteristics; the principle of play-centeredness, which means that toddlers form active attitudes toward experiential activities through enjoyment through play; the principle of integration, which is the foundation for holistic development; and the principle of direct experience, which means that toddlers have the experience of touching and manipulating materials. In the introduction, children are encouraged to explore and think about materials, read and share books together, and express their thoughts creatively through artistic expressions such as art, music, physical expression, drama, movies, and photography in the first and second phases. In the final stage, a teaching and learning plan was developed that consisted of a circle time for the children to share their opinions with each other in the process of appreciating the results created by the children and presenting their thoughts. As the educational effectiveness of early childhood cultural arts education is best developed in the early childhood period, when learning is emphasized by children exploring according to their interests, this study presented a learning guidance plan that reflects various educational methods and genre convergence education that can be applied to early childhood cultural arts education.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.4-23
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• 2018

Seo Byeong-o (徐丙五, 1862-1936) played a central role in the formation of the Daegu artistic community-which advocated artistic styles combining poetry, calligraphy and painting-during the Japanese colonial period, when the introduction of the Western concept of 'art' led to the adoption of Japanese and Western styles of painting in Korea. Seo first entered the world of calligraphy and painting after meeting Lee Ha-eung (李昰應, 1820-1898) in 1879, but his career as a scholar-artist only began in earnest after Korea was annexed by Japan in 1910. Seo's oeuvre can be broadly divided into three periods. In his initial period of learning, from 1879 to 1897, his artistic activity was largely confined to copying works from Chinese painting albums and painting works in the "Four Gentlemen" genre, influenced by the work of Lee Ha-eung, in his spare time. This may have been because Seo's principal aim at this time was to further his career as a government official. His subsequent period of development, which lasted from 1898 until 1920, saw him play a leading social role in such areas as the patriotic enlightenment movement until 1910, after which he reoriented his life to become a scholar-artist. During this period, Seo explored new styles based on the orchid paintings of Min Yeong-ik (閔泳翊, 1860-1914), whom he met during his second trip to Shanghai, and on the bamboo paintings of Chinese artist Pu Hua (蒲華, 1830-1911). At the same time, he painted in various genres including landscapes, flowers, and gimyeong jeolji (器皿折枝; still life with vessels and flowers). In his final mature period, from 1921 to 1936, Seo divided his time between Daegu and Seoul, becoming a highly active calligrapher and painter in Korea's modern art community. By this time his unique personal style, characterized by broad brush strokes and the use of abundant ink in orchid and bamboo paintings, was fully formed. Records on, and extant works from, Seo's early period are particularly rare, thus confining knowledge of his artistic activities and painting style largely to the realm of speculation. In this respect, eleven recently revealed nanjukseok (蘭竹石圖; orchid, bamboo and rock) paintings, produced by Seo in 1889, provide important clues about the origins and standards of his early-period painting style. This study uses a comparative analysis to confirm that Seo's orchid paintings show the influence of the early gunran (群蘭圖; orchid) and seongnan (石蘭圖; rock and orchid) paintings produced by Lee Ha-eung before his arrest by Qing troops in July 1882. Seo's bamboo paintings appear to show both that he adopted the style of Zheng Xie (鄭燮, 1693-1765) of the Yangzhou School (揚州畵派), a style widely known in Seoul from the late eighteenth century onward, and of Heo Ryeon (許鍊, 1809-1892), a student of Joseon artist Kim Jeong-hui (金正喜,1786-1856), and that he attempted to apply a modified version of Lee Ha-eung's seongnan painting technique. It was not possible to find other works by Seo evincing a direct relationship with the curious rocks depicted in his 1889 paintings, but I contend that they show the influence of both the late-nineteenth-century-Qing rock painter Zhou Tang (周棠, 1806-1876) and the curious rock paintings of the middle-class Joseon artist Jeong Hak-gyo (丁學敎, 1832-1914). In conclusion, this study asserts that, for his 1889 nanjukseok paintings, Seo Byeong-o adopted the styles of contemporary painters such as Heo Ryeon and Jeong Hak-gyo, whom he met during his early period at the Unhyeongung through his connection with its occupant, Lee Ha-eung, and those of artists such as Zheng Xie and Zhou Tang, whose works he was able to directly observe in Korea.

• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.54-73
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• 2012

In this article, we examined the patterns of activities of the Sarmathians though in a humble measure, with a focus on the regions where the Sarmathian sheaths spreaded. One of the main weapons the mounted nomads like the Scythias, the Sarmathians, and the Alans used at war was a spear. Though complementary, a sword was the most convenient and appropriate weapon when fighting at a near distance, fallen from the horse to the ground. The Sarmathian swords continued the tradition of the Akinakes which the Scythias or the Persians used, but those of the Sarmathians showed some advances in terms of the easiness with which a sword was drawn out from a sheath, and the way the sheaths were worn to parts of a human body. It turns out that the Sarmathian sheaths, which were designed for the people to draw swords easily, having the sheaths attached to thighs through 4 bumps, spread extensively from Pazyryk, Altai, to South Siberia, Bactria, Parthia and Rome. The most noteworthy out of all the Sarmathian sheaths were the ones that were excavated from the 4th tomb in Tillatepe, Afghanistan which belonged to the region of Bactria. The owner of the fourth tomb of Tilla-tepe whose region was under the control of Kushan Dynasty at that time, was buried wearing Sarmathian swords, and regarded as a big shot in the region of Bactria which was also under the governance of Kushan Dynasty. The fact that the owner of the tomb wore two swords suggests that there had been active exchange between Bactria and Sarmathia. It seemed that the reason why the Sarmathians could play an important role in the exchange between the East and the West might have something to do with their role of supplying Chinese goods to Silk Road. That's why we are interested in how the copper mirrors of Han Dynasty, decoration beads like melon-type beads, crystal beads and goldring articulated beads, and the artifacts of South China which produced silks were excavated in the northern steppe route where the Sarmathians actively worked. Our study have established that the eye beads discovered in Sarmathian tomb estimated to have been built around the 1st century B.C. were reprocessed in China, and then imported to Sarmathia again. We should note the Huns as a medium between the Sarmathians and the South China which were far apart from each other. Thus gold-ring articulated beads which were spread out mainly across the South China has been discovered in the Huns' remains. On the other hand, between 2nd century B.C. and 2nd century A.D. which were main periods of the Sarmathians, it was considered that the traffic route connecting the steppe route and the South China might be West-South silk road which started from Yunnan, passed through Myanmar, Pakistan, and Afghanistan, and then went into the east of India. The West-south Silk road is presumed to have been used by nomadic tribes who wanted to get the goods from South China before the Oasis route was activated by the Han Dynasty's policy of managing the countries bordering on Western China.

• Communications of Mathematical Education
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• v.13 no.2
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• pp.563-589
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• 2002

고학년으로 갈수록 지필 환경에만 머무르는 현실 속에서 생활 및 예술 작품 등에서 수학적 원리와 개념을 발견하도록 하는 테셀레이션 수업은 학생들의 흥미와 호기심을 유발하고 수학의 아름다움을 느끼게 하는 것 이상으로 기하학적 사고의 기초를 학습하는데 도움을 줄 수 있다. 이에 본 연구는 4학년까지 적용되고 있는 7차 교육과정을 중심으로 새롭게 등장하고 있는 테셀레이션에 대한 이해 및 교수 학습 자료가 체계적으로 정비되어 있지 못한 현실적인 문제의 해결 방안으로서 테셀레이션을 활용한 수학 학습의 내용을 분석하여 교사들에게는 테셀레이션의 이해 및 교수 학습 자료로서 , 학생들에게는 수학의 기하적 개념들을 쉽고 재미있게 학습할 수 있는 학습도구로서 활용할 수 있도록 하는 것을 목적으로 테셀레이션을 구현할 수 있는 컴퓨터 소프트웨어를 활용하여 테셀레이션 교수 학습 자료를 개발하였고 이를 위해 다음과 같은 연구 내용을 설정하였다. 가. 테셀레이션의 정의와 예 그리고 종류를 알아보고 테셀레이션 속의 수학적 개념을 활용방법과 함께 제시한다. 나. 제7차 초등 수학 교육과정 중 도형 영역과 규칙성과 함수 영역을 중심으로 테셀레이션을 적용할 수 있는 내용영역을 분석하고 컴퓨터 소프트웨어를 활용한 테셀레이션 자료를 제시한다. 다. 제작된 테셀레이션 교수 학습 자료의 효과적 활용을 위한 활용 방안을 탐색한다. 라. 제작된 테셀레이션 교수 학습 자료의 활용 효과를 알아보기 위해 적용 실험을 하고 이에 대한 학생들의 반응을 분석하여 학습의 효과를 밝힌다. 제작된 테셀레이션 교수 학습 자료의 적용 실험을 위하여 광주대성초등학교 6학년 한 반을 선정하였고 약 4주에 걸쳐 컴퓨터 소프트웨어를 활용한 테셀레이션 교수 학습 자료를 투입하여 4번의 활동수업을 실시하였다. 수업 후 작성된 학습지와 소감문 및 연구자에 의해 관찰된 수업내용을 바탕으로 다음과 같은 연구 결과를 얻을 수 있었다. 첫째, 제7차 초등 수학 교육과정 중 도형 영역과 규칙성과 함수 영역을 중심으로 컴퓨터 소프트웨어를 활용한 테셀레이션 자료를 제시한 결과 지필적 환경에서 제한적이었던 탐구하고 조작해보는 활동을 할 수 있는 역동적인 수학 실험실 환경이 제공됨으로써 도구적 이해가 아닌 관계적 이해를 하는 것을 확인할 수 있었다. 수학적 개념을 암기하는 것에서 벗어나 자연스런 조작을 통해 학생들이 개념을 이해하고 탐구하는 과정 속에서 학생들은 수학을 공부한다기 보다는 수학 속에서 재미있게 놀이한다는 생각을 가지고 수업에 참여하였고 배우는 즐거움을 알고 자신감을 가지며 더 나아가 창의적인 생각을 하도록 하는 기회를 줄 수 있었다. 둘째, 테셀레이션은 우리 생활 속에서 쉽게 발견할 수 있는 것으로 수학이 단순히 책에서만 한정되지 않고 다양한 분야 즉 디자인, 생활 속에서의 벽지문양과 포장지, 예술작품 등에 활용되고 있음을 체험함으로써 수학이 실생활에 광범위하게 활용되고 있음을 알게 하였다. 역으로 생활 속에서의 테셀레이션을 통해 수학적 개념을 찾는 과정을 통해 수학이 아름다우면서도 실용적이라는 생각을 심어줄 수 있었다. 셋째, 테셀매니아, GSP, 캐브리, 거북기하 등 평소 수업에서는 활용도가 적은 컴퓨터 소프트웨어를 활용함으로써 컴퓨터 소프트웨어 자체에서 오는 호기심뿐만이 아니라 직접 조작하여 테셀레이션 작품과 개념을 익히고 새로운 작품과 학습을 해 내는 과정을 통해 자신감과 성취감 등에 있어 큰 변화가 있음을 발견할 수 있었다. 컴퓨터 기능이 미숙한 학생의 경우 처음에는 당황해 하고 어려워하는 부분도 있었으나 조작할 시간적 여유를 주고 교사와 우수한 학생들이 도우미로서 역할을 잘해내어 나중에는 큰 어려움 없이 마칠 수 있었다. 테셀레이션이라는 용어가 아직은 생소한 현장에서 교수 학습 자료가 부족하고 그에 따른 이해도 부족한 현실 속에서 컴퓨터 소프트웨어를 활용한 테셀레이션 교수 학습 자료가 교수 학습 현장에 투입되어 유용하게 사용될 수 있는지 그 가능성을 조사한 것을 목적으로 한 본 연구의 결과로서 테셀레이션이라는 주제는 도형 영역과 규칙성과 함수 영역에서 평면 도형의 각과 모양 등의 성질을 탐구하게 하고, 대칭변환의 개념을 효율적으로 학습하게 할 수 있고, 반복되는 모양에서 규칙성을 발견하고 부분과 전체를 파악하여 패턴을 인지할 수 있게 하며 제작하고 분석하는 과정을 통해 여러 가지 수학적 개념과 수학적 창의성, 수학적인 아름다움을 느끼게 할 수 있음을 발견할 수 있었다. 또한 테셀레이션은 수학적 개념은 물론 수학과 미술, 수학과 일상 생활과의 연결성을 논의하고 확인하는 데 흥미로운 주제가 될 수 있다. 초등학교 교육과정에서 새롭게 도입되고 있는 테셀레이션을 활용하여 지도하기 위한 교수 학습 자료로 유용하게 사용될 수 있고 앞으로는 테셀레이션과 관련된 내용이 직접적으로 교육과정 내에서 다루어지고, 또한 테셀레이션을 적용한 수업이 학생들의 기하학적 사고 및 수학적 태도에 미치는 영향과 관련한 연구가 뒤따라야 할 것으로 본다.

• Cartoon and Animation Studies
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• s.43
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• pp.285-320
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• 2016

Cartoons and Animation are convergent arts created with a composite application of language arts described in the form of literary texts and sounds, plastic arts visualized in the form of artistic paintings, and film arts produced in the form of moving pictures. An academic university major in cartoons and animation studies established in late 20th century however, did not satisfactorily meet the needs in academic research and development and the free expression of artistic creation was limited. In order to systematize the major in cartoons and animation studies, an convergent approach to establish and clarify following are in demand : the terms and definitions, the historical developments, the research areas and methods, the major education and related jobs and start-ups. New culture and arts industries including cartoons, animation, moving images, and games contents are not yet listed in the industries listing service jointly provided online by the portal site Naver.com and Hyung-Seol publishing company. Above all, cartoons and animation are inseparably related to each other that even if one uses the term separately and independently, the meaning may not be complete. So a new combined term "Animatoon" can be established for the major in cartoons and animation studies and also used for its degree with concentrations of cartoons, animation, moving images, games, and etc. In the Introduction, a new combined term Animatoon is defined and explained the use of this term as the name of the major and degree in cartoons and animation studies. In the body, first, the Historical Developments classified Animatoon in the ancient times, the medieval times, and the modern times and they are analyzed with the help of esthetics and arts using examples of mural frescos, animal painting, religion cartoons, caricatures, cartoons, satire cartoons, comics, animation, 2 or 3 dimensional webtoons, and K-toons. Second, the Research Areas of Animatoon reviewed the theories, genres, artworks, and artists and the Research Methods of Animatoon presented the curriculum that integrated the courses in humanities, science technologies, culture and arts, and etc. Third, the Major Education considered Animatoon education in children, young adults, students of the major and the Related Jobs and Start-Ups explored various jobs relating to personal creation of artwork and collective production of business-oriented artwork. In the Conclusion, the current challenges of Animatoon considered personalization of the artists, specialization of the contents, diversification of the types, and liberalization of the art creation. And the direction of improvement advocated Animatoon to be an academic field of study, to be an art, to be a culture, and to be an industry. The importance of cartoons and animation along with videos and games rose in the 21st century. In order for cartoons and animation to take a leading role, make efforts in studying Animatoon academically and also in developing Animatoon as good contents in the cultural industries.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.95-130
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• 2006

Japanese government college researchers, including Sekino Tadashi(關野貞), have conducted research studies and collected data, on overall Korean cultural relics as well as Silla tumuli(新羅古墳) in the early modern times under the Japanese imperialistic rule. They were supported by the Meichi government in the early stage of research, by the Chosun government-general, and by their related organizations after Korea was coIonialized to carry out investigations on Korean antiquities, fine arts, architecture, anthropology, folklore, and so on. The objective for which they prosecuted inquiries into Korean cultural relics, including Silla tumuli, may be attributed to the purport to find out such data as needed for the theoretical foundation to justify their colonialization of Korea. Such a reason often showed locally biased or distorted views. Investigations and surveys had been incessantly carried out by those Japanese scholars who took a keen interest in Korean tumuli and excavated relics since 1886. 'Korea Architecture Survey Reports' conducted in 1904 by Sekino in Korea gives a brief introduction of the contents of Korean tumuli, including the Five Royal Mausoleums(五陵). And in 1906 Imanishi Ryu(今西龍) launched for the first time an excavation survey on Buksan Tumulus(北山古墳) in Sogeumgangsan(小金剛山) and on 'Namchong(南塚)' in Hwangnam-dong, which greatly contributed to the foundation of a basic understanding of Wooden chamber tombs with stone mound(積石木槨墳) and stone chambers with tunnel entrance(橫穴式石室墳). The ground plan and cross section of stone chambers made in 1909 at his excavation survey of seokchimchong(石枕塚) by Yazui Seiyichi(谷井第一) who majored in architecture made a drawing in excavation surveys for the first time in Korea, in which numerical expressions are sharply distinguished from the previous sketched ones. And even in the following excavation surveys this kind of drawing continued. Imanishi and Yazui elucidated that wooden chambers with stone mound chronologically differs from the stone chambers with tunnel entrance on the basis of the results of surveys of the locational characteristics of Silla tumuli, the forms and size of tomb entrance, excavated relics, and so forth. The government-general put in force 'the Historic Spots and Relics Preservation Rules' and 'the Historic Spots Survey Council Regulations' in 1916, establishing 'Historic Spots Survey Council and Museum Conference. When museums initiated their activities, they exhibited those relics excavated from tumuli and conducted surveys of relics with the permission of the Chosun government-general. A gold crown tomb(金冠塚) was excavated and surveyed in 1921 and a seobong tomb(瑞鳳塚) in 1927. Concomitantly with this large size wooden chamber tombs with stone mound attracted strong public attention. Furthermore, a variety of surveys of spots throughout the country were carried out but publication of tumuli had not yet been realized. Recently some researchers's endeavors led to publish unpublished reports. However, the reason why reports of such significant tumuli as seobong tomb had not yet been published may be ascribed to the critical point in those days. The Gyeongju Tumuli Distribution Chart made by Nomori Ken(野守健) on the basis of the land register in the late 1920s seems of much significance in that it specifies the size and locations of 155 tumuli and shows the overall shape of tumuli groups within the city, as used in today's distribution chart. In the 1930s Arimitsu Kyoichi(有光敎一) and Saito Tadashi(齋藤忠) identified through excavation surveys of many wooden chamber tombs with stone mound and stone chambers with tunnel entrance, that there were several forms of tombs in a tomb system. In particular, his excavation survey experience of those wooden chamber tombs with stone mound which were exposed in complicated and overlapped forms show features more developed than that of preceding excavation surveys and reports publication, and so on. The result of having reviewed the contents of many historic spots surveyed at that time. Therefore this reexamination is considered to be a significant project in arranging the history of archaeology in Korea.

• Archives of design research
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• v.18 no.3 s.61
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• pp.117-128
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• 2005

The French Belle Epoque is a period where the literary and artistic movement was very activated. The birth of the cubism reflects this atmosphere of the times and the change of paradigm in all fields. The Bergsonism is often designated as one of the important backgrounds of cubism. The problem consists in knowing if Bergsonian ideas gave real influence on the cubist movement and up to what point. Our analysis will show that it is not homogenous and very variable according to painters. In the case of Picasso and Braques it seems be a simple inspiration of Zeitgeist. But the influence upon Metzinger and Gleizes is explicit. The text of 1912, Du cubism, prove their attachment to his thought. The key concept of cubist theory, influenced by Bergsonian philosophy, is the concept of simultaneity. Cubist simultaneity is in one hand a reflection of an artist's psychological experience and the other hand a synthesis of multiple views for grasping the object in itself by the way of conceptual representation. The temporal simultaneity could be identified with the notion of memory, which is a temporal continuity connecting the past to dynamic present. The spatial simultaneity is a juxtaposition of multiple views obtained by the movement around the object. But the dose reading of Bergson's text shows that there is a divergence between the notion of cubist simultaneity and his ideas. The biased interpretation is often, as well as the strict understanding, like the history shows us well, a great source of inspiration and creativity. The cubist mouvement is not far from this case.

• The Korean Journal of Archival Studies
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• no.74
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• pp.45-78
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• 2022

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government's indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa's past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa's official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people's memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.

• Trans-
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• v.16
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• pp.1-31
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• 2024

The advent of digital media has facilitated easy access for adolescents to environments conducive to the purchase of narcotics. In particular, there's an increasing trend in the purchase and consumption of narcotics mediated through Social Network Services (SNS) and messenger services. Adolescents, sensitive to such environments, are at risk of experiencing neurological and mental health issues due to narcotic addiction, increasing their exposure to criminal activities, hence necessitating national-level management and support. Consequently, the quest for sustainable treatment methods for adolescents exposed to narcotics emerges as a critical challenge. In the context of high relapse rates in narcotic addiction, the necessity for cost-effective and user-friendly treatment programs is emphasized. This study conducts a literature review aimed at utilizing digital platforms to create an environment where adolescents can voluntarily participate, focusing on the development of therapeutic content through art. Specifically, it reviews societal perceptions and treatment statuses of adolescent drug addiction, analyzes the impact of narcotic addiction on adolescent brain activity and cognitive function degradation, and explores approaches for developing digital therapeutics to promote the rehabilitation of the addicted brain through analysis of precedential case studies. Moreover, the study investigates the benefits that the integration of digital therapeutic approaches and art therapy can provide in the treatment process and proposes the possibility of enhancing therapeutic effects through various treatment programs such as drama therapy, music therapy, and art therapy. The application of art therapy methods is anticipated to offer positive effects in terms of tool expansion, diversification of expression, data acquisition, and motivation. Through such approaches, an enhancement in the effectiveness of treatments for adolescent narcotic addiction is anticipated. Overall, this study undertakes foundational research for the development of digital therapeutics and related applications, offering economically viable and sustainable treatment options in consideration of the societal context of adolescent narcotic addiction.