• Archives of design research
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• v.17 no.2
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• pp.43-54
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• 2004

The appreciation of cultural properties related with what the aspects of society was is mandatory to understand our culture correctly. To make over all cultural properties to our descendants without breakage or damage is our natural duty and national obligation. On the contrary, inhabitants in the preserved area should be restricted and controlled by the cultural property law. The conflict between the inhabitants in the preserved area and the government raises economical problems and damages all the time. Especially it is time to discuss to mediate between them and solve the problems. This feasible study is a proposal to settle them up through renovating abolished school in the preserve area to the museum and a case to preserve the cultual properties as well as habitant's assets in that area.

• 한국노년학
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• v.28 no.4
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• pp.1165-1178
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• 2008

The objectives of this study are developing the new types of elderly abuse and finding the variables affecting the new elderly abuse type. And This is at suggesting the intervention strategies preventing the elderly abuse. The 350 cases of elderly abuse reported in Elder Protection Agency was analysed. Data is analyzed by using statistical techniques including cluster analysis and logit-regression. New type of elderly abuse is "violent elderly abuse" and "avoiding elderly abuse". Violent elderly abuse is very connected with directly violence speech and behavior and avoiding elderly abuse is connected with neglect and abandonment, self-neglect. The elderly's instrumental activity of daily living and education, the offender's sex and education and living together type of the elderly - the offender, and the offender's care burden are the casual factors of the new type of elderly abuse. Based on the results, the various service programmes for the abused elderly is developed and implemented.

• Cartoon and Animation Studies
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• s.36
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• pp.375-391
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• 2014

Animation movie is a non-photorealistic animated art that consists of formative language forming a frame based on a story and cuts describing frames that form the cuts. Therefore, in expressing an image, artistic expression methods and devices for a formative space are should be provided in a frame while cuts have the images between frames faithfully. Short animation movie is produced by various image experiments with unique image expressions rather than narration for expressing subjective discourse of a writer. Therefore, image style that forms unique images and various image directions are important factors. This study compared the experimental image directions of and , both of which showed a production method of film manipulation. First, while uses pixilation that produces images obtained from live images through painting and many optical disclosure process on a cell mat, was made with diverse collage techniques such as tearing, cutting, pasting, and folding hundreds of scenes from action movies. Second, expresses non-causal relationship of characters by their repetitive behaviors and circulatory image structure through a fixed camera angle, resisting typical scene transition. On the other hand, has an advancing structure that progresses antagonistic relationship of characters through diverse camera angles and scene transition of unique images. Third, in terms of editing, uses a long-take short cut technique in which the whole image consists of one short cut, though it seems to be many scenes with the appearance of various characters. On the other hand, maximizes visual fun and commitment by image reconstruction with hundreds of various short cuts. That is, both works have common features of an experimental work that shows expansion of animated image expressions through film manipulation that is different form general animation productions. On top of that, delivers routine life of diverse human beings without clear narration through image of conceptualized spaces. expresses it in a new image space through image reconstruction with collage technique and speedy progress, setting a binary opposition structure.

• Cross-Cultural Studies
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• v.40
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• pp.7-39
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• 2015

A kite in Japanese is the octopus. The reason is that when they saw the tail of the kite, they remembered the foot of octopus. And this kinds of associative action is called a mitate(見立て) in Japanese. Mitate is similar to metaphor, but these two concepts are somewhat different in causing laugh. Korean and Chinese comedic story's metaphor cause laugh by similarity of two things, but Japanese comedic story's mitate cause laugh by dissimilarity of two things. Chinese and Korean comedic stories focus on 90%'s similarity of two things, but Japanese comedic stories focus on 10%'s dissimilarity of two things. So, in this paper, I tried to consider the mitate of comedic stories of East Asia, and I found that there are the following three features. First, we can see the tendency of Chinese and Korean comedic stories's mitate concern on the human body's physical weakness. But, Japanese comedic stories subject to not the human body's physical weakness but the human's professional or identification temperament. Second, East Asian's comedic stories mitate which related character and word play came from the method of decomposition of Chinese characters, for that area's people have used Chinese characters for a long time. However, there are different cases in Japanese comedic story's Chinese characters mitate, where that characters mitate is combined with two different type's characters, for example, to associate one Chinese character and another Japanese characters, hiragana or katakana. Third, there are next type's mitate which came from misunderstanding of Chinese characters, it can be seen in Chinese and Korean comedic stories. Perhaps, this pattern related with Chinese three syllable's character pattern, which is a Chinese traditional word and character play.

• Journal of Korean Home Economics Education Association
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• v.23 no.1
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• pp.143-157
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• 2011

It is a story through which people share their ideas and express their thoughts. Storytelling is temporally and spatially interconnected narration that consists of characters, background, its beginning and its conclusion. Furthermore, the story in storytelling is a means of delivering culture and history; thanks to the development of various media, delivering and exchanging the story are conducted in a variety of forms. Due to the technological advancement, the way storytelling is done has changed, which was a method called digital storytelling. This storytelling has been frequently used in education; that is, teachers utilize stories to communicate their thoughts. As receivers, students understand a shade of meaning and the role of language, thus reorganizing the important factors in the context of meaningful events. However, in practice the classes are so teacher-centered that the role of students are relegated to that of passive learners, thus debilitating the interaction between participants; as a result, this situation shows serious limitations in that it does not improve students' practical skills. Despite this situation, home economics has attempted to broaden students' practical knowledge and has enabled them to acquire procedural knowledge as its main objectives in the context of the entire life. To overcome this problem, this study attempts to demonstrate the lesson model utilizing the storytelling where the lively participation in the process and results of learning can increase learners' self-confidence and responsibility. This lesson model is believed to facilitate the communication among participants including teachers and students. Through this alternative teaching method, learners can participate in the process of learning so that they can acquire practical knowledge: this method can be a step-stone for further development. In conclusion, the development of curriculum and lesson plans should be encouraged.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.5
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• pp.64-77
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• 2009

In landscape architecture, the pursuit of pluralism requires diverse expression based on cultural and philosophical differences. Landscape architects impart social purposes and spatial relationships to the contemporary generation by providing particular environments that reflect the culture of the day. Particularly, landscape architects reflect contemporary art in their design works and express the characteristics of the arts of the day in real spaces. Historically they have sought motives from all fields of art. The plastic concept in landscape design is based specifically on paintings that directly influence spatial composition. Minimalism in landscape architecture contributes to the formation of artistic characteristics that can be explained to improve artistry in landscapes as aesthetic objects, which were eliminated in the modernist era, and to realize contemporary art. By interpretively studying design works, therefore, this study reveals plastic concepts' influence on landscape design affected by minimalist art. The characteristics of plastic concepts in minimalist landscape design can be summarized as follows. First, the reduction of Minimalist Landscape is meant for viewers to immediately understand a work's identity and to easily perceive its intention by using design language implied by the pure geometric forms such as circles, triangles and squares. Second, the extension intends to seek internal order by connecting design elements mutually and externally to provide visual direction by adopting linear expression. Third, the flatness that defines meaningless space tends to overlay additional elements on a flattened site to induce the perception of a sequence of landscapes and to patternize pavement to improve its visual image. Finally, seriality has two characteristics: to make centrality in space and to compose by repeating formative elements and materials based on the pursuit of a site's totality, rather than an individual space's originality.

• Journal of Korean Philosophical Society
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• v.142
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• pp.193-220
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• 2017

In times when identity-principles dominate through culture-industry, it appears to be the idea of the perfect identity-knowledge which Hegel had required for philosophy to become true. By being produced, cultures, according to the principle of production for production itself, became commodities which can be exchanged in the market. So what cannot be exchanged in the market is excluded as worthless and useless. As culture-industry gets rid of room for the new and the experience of it, the experience of what is new became impossible. In such degrees the consciousness is reificated, and the freedom as autonomy becomes an empty concept. But if there is not the freedom of will, conscious thought will not be possible, and human beings will degenerate into a simple species. Nevertheless, freedom which becomes meaningless in reality is an essential element for a human being to be human, so in the times when consciousness is reificated by means of the culture-industry, as the autonomous art awakens a reificated consciousness, it will be the antidote of a reificated consciousness which makes free thought and action possible. In this sense, this study will try to justify the aesthetic experience as shudder through the experience of what cannot be exchanged that becomes possible with critics regarding the constructive imperfection of identity-knowledge. Then it will argue that the aesthetic experience as shudder makes the autonomous art possible.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.2
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• pp.1-16
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• 2021

The act of design in landscape architecture consists of a concept within a designer's mind, technical representations, and finally, a process of construction. In the 4th Industrial Revolution, the design process is facing many changes due to the rapid development of computer technology and the IT ecosystem. Computer technology was initially developed for simple functions, such as mathematical calculation and graphic representation. However, after the spread of Personal Computers, starting with IBM and Macintosh, programming languages and hardware rapidly developed, algorithms and applications became specialized, and the purpose of using computers became very diverse. This study diagnoses issues concerning the functions and roles that new design methods, such as computational design, parametric design, and algorithmic design, can play in landscape architecture based on changes in the digital society. The study focused on the design methodology using parametric technology, which has recently received the most attention. First, the basis for discussion was developed by examining the main concepts and characteristics of parametric design in modern landscape architecture. Prior research on the use of parametric design in landscape architecture was analyzed, as were the case studies conducted by landscape design firms. As a result, it was confirmed that parametric design has not been sufficiently discussed in terms of the number and diversity of studies compared to other techniques investigated by landscape design firms. Finally, based on the discussion, the study examined specific cases and future possibilities of the parametric design in landscape architecture.

• Trans-
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• v.9
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• pp.37-66
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• 2020

Entering the 21st century, the flow of society and culture is emerging as a cultural phenomenon in which one experiences, enjoys, and experiences on one's own. This trend has emerged as community dance, which has been active since 2010. Community dances can be targeted by anyone and can be divided into children's, adult and senior citizens' dances depending on the characteristics and age of the group, allowing them to work in various age groups. It also refers to all kinds of dances for the happiness and self-achievement of everyone who can promote gender, race and religion health or meet the needs of expression and improve their physical strength at meetings by age group, from preschoolers to senior citizens. Community dance is a dance activity in which everyone takes advantage of their leisure time and voluntarily participates in joyous activities, making it expandable to lifelong education and social learning. It is a voluntary community gathering conducted by experts for the general public. The definition of community dance can be said to be the aggregate of physical activities that enrich an individual's daily life and enhance their social sense to create a bright society, while individuals achieve the goals of health promotion and aesthetic education. In the contemporary community dance, the dance experience in body and creativity as self-expression reflects the happiness perspective by exploring the positive psychological experience and influence of the participants in the process of participation, and participants have continued networking through online offline to enjoy the dance culture. Although research has been conducted in various fields for 10 years since the boom in community dance began, the actual methodology of the program has been insufficient to present the Feldenkrais Method, hoping that it will be used as a methodology necessary for local community dance, and will be used as part of the educational effects and choreography creation methods of artists that can improve the physical functional aspects of dance and give a sense of psychological stability.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.58-68
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• 2017

The conclusion of this research after analyzing and interpreting the landscape structure and meaning of Yeongsajeongpalkyung (永思亭八景) that appears in Yeongsajeongpalyeongsi(永思亭八詠詩) of Cheonggye(靑溪) Yang, Dae-bak(梁大樸, 1544~1592) and through document studies, poetry and painting analysis and interpretation, and site investigation, is as follows. Yeongsajeong and its nearby lands are the area of "Yeongsa", where the builder, Ahn, Jeon(安?, 1518~1571) worshipped towards the grave of ancestors, and Yeongsajeongpalkyung oversees a family burial ground in Namwon, centering around Yeongsajeong such as Yocheon, Geumseokgyo and Cheonggyedong, and Sunjagang River and Mountain Jiri, which are the foot hold and key points of advantageous scenic views in Namwon. Yeongsajeongpalkyung, unlike general Jeongjapalkyung, shows a panoramic bird's-eye structure overseeing the landscape and scenery of the Yocheon area and Sunjagang River, in addition to Yeongsajeong, while show in a transition of location, a multi-view structure and time. The trace of visual unity with Sosangpalkyung of China can be seen in many places in Yeongsajeongpalkyung, which seems to be a transitional feature of composing poems regarding Palgyeong during the mid-Joseon dynasty, which pursues harmony with the local landscape of the Namwon area. The 'Changsongchwijuk(蒼松翠竹)' appearing in each of the first and second scenic views of Palgyeong and Yeongsajeongpalyeong can be understood as an incarnation of Yang, Dae-bak, the author of Palyeongsi or Ahn, Jeon, the builder of Yeongsajeong. On the other hand, as a result of interpreting the yin-yang features of poetic diction and picture elements appearing in the subtitle of Yeongsajeongpalyeong, Palyeongsi seems mostly full of yin-like elements and Palgyeongdo. Moreover, as a result of comparing and analyzing the acts expressed in and acts described in Yeongsajeongpalyeong, based on the fact that the reis almost no common ground between the two media except for Soongangmowoo, the third scenic view, the formal similarity between the two media can be acknowledged, however, it is difficult to discover any substantive 'integrity of poetry and painting'.