• Cartoon and Animation Studies
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• s.39
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• pp.297-320
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• 2015

Modern technology in the development and convergence of art brought the rapid development of the media arts actively accommodating 'media art' digital media. It has to go to expand the area and limitations as a basis of communication in the 21st century, a new artistic creativity, through the gathering of the existing chain of modern digital mobile technologies and new genre public art that is based on interactive communication break down the boundaries between sectors It has evolved into. This fusion of high technology and the art of mobile interactive media art is to overcome the limitations of time and physical space, as an active subject of interaction and participation, and expanding the range of experiential communications, such as art and science, cultural industries giving provides a flexible platform for a variety of applications. This study presents an expanded paradigm of the new communication and interactive media that define the reporting year review through the literature on art, experiential mobile communications through a case study of mobile interactive media art that is used as a medium of artistic expression the interactive effect was analyzed as a possible new public art. Convergence and interactivity, mobile interactive media art as a buzzword experience has proposed a new approach to high-tech and art and meet the new sensibility of our life and communication, unlimited possibilities worthy of the contemporary trend of convergence and consilience with a new art genre is expected to continued to evolve and develop.

• Journal of Animal Environmental Science
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• v.18 no.3
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• pp.235-246
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• 2012

Reusing livestock manure have various advantages in securing soil organic resources. In this study, the N-loading and recycling capacity assessment of animal manure was analyzed by comparing between the cultivated areas of crops and the amount of manure units that are generated from livestock manure. From this assessment, the possibility of recycling resources of livestock manure was evaluated. The amount generated of livestock manure in Gyeonggi-do were evaluated by applying the manure units to the number of livestock manure. The analysis of manure unit per ha shows that the N loading by MU is quite different by region. When it comes to nitrogen loading, the MU per ha of cultivated land in excess of the N-amount was the highest in the Gyeonggi-do province with 2.70 MU/ha, which is higher than the appropriate level. The Chungcheongnam-do province came next with 2.31 MU. So the recycling capacity assessment was carried out mainly based on areas of forage crops, rice that can be provided by recycling livestock manure. The recycling capacity ware highest in Jeollanam-do and Jeollabuk-do. In order to properly apply the livestock manure into organic resources, the seasonal situation that effects the nitrogen demands of crops along with the regional effects crop cultivation should be seriously analyzed. In addition, a system that can effectively produce and manage fertilizer should be established.

• Korean journal of communication and information
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• v.77
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• pp.137-163
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• 2016

In the early 1900, photography, magic lantern and cinema were simultaneously introduced and experienced until the mid-1910s as mysterious and magical symbol of modern science and technology. The technology of vision, cinema in particular demonstrated its commercially expandable potentials through serial films in the mid-1910s, silent cinema in the 1920s and talkies in 1930s. I argue that a metaphor 'like a movie' which was would be spoken out by peoples as a cliche ever since the late 1910s whenever they encountered something uncanny, mysterious, and looking wholly new phenomena informs how cinematic technology worked in colonial society at the turning point to the early 20th century. Mass in colonial society accepted cinema and other visual technologies not only as an advanced science of the times but as texts of modernity that is the reason why cinema had so quickly taken cultural hegemony over the colony. Until the mid-1920s, discourse on cinema focused not on cinema itself, rather more on the theatre matters such as hygiene, facilities for public use, disturbance, quarrels and fights, theft, and etc. Since the mid-1920s and especially in wartime 1930s, discourses about negative influences and effects of cinema on behavior, mind and spirit of masses, bodily health, morality and crime were articulated and delivered by Japanese authorities and agencies like as police, newspapers and magazines, and collaborate Korean intellectuals. Theories and research reports stemming from disciplines of psychology, sociology, and mass-psychology that emphasized vulnerability and susceptibility of the crowd and mass consumers who would be exposed to visual images, spectacles and strong toxic stimulus in everyday lives. Those negative discourse on influences and effects of cinema was intimately associated with fear of the crowd and mass as well as new technology which does not allow clear understanding about how it works in future. The fact that cinema as a technology of vision could be used as an apparatus of ideology and propaganda stirred up doubts and pessimistic perspectives on cinema influence. Discourse on visual technology cinema constructed under colonial governance is doomed to be technology of mass control for empire's own sake.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.4
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• pp.49-59
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• 2011

This study is a reinterpretation of characteristics of public space in contemporary cities with a view to liminal space. The conditions of pubic space now cannot be captured through the existing discourses of publicness, and public space. The basic premise of the study is that the idea of liminal space or liminality is useful to grasp the fluid and hybrid attribute of public space in contemporary cities. Liminal space, originally from anthropological studies, is the intermingled stage between two realms and the sustained period of the ritual. The idea has been widely used for various cultural phenomenon and spatial experiences. A literature review on public space and liminal space was carried out. Cases pertaining to public space with a view to liminal space were examined and discussed in detail. Through the careful reading of several public spaces with an angle toward liminal space, the new perspective toward public space will be drawn out. First, we need to emphasize the fluid spectrum of public space rather than the serial stage such as the public, the semi-public, the semi-private, and the private. Second, the idea will contribute to understanding the flexible state depending upon time. What we can learn from case studies is the volatile characteristics in public space as a common phenomenon support its vitality. This interpretation will contribute to the perception of a new horizon of public space. The nature of public space is unpredictable and free. In reality, the spectrum of public space will expand and fluctuate. Ironically, public space can be vitalized through enhancing and activating the private space. The intimate and complicated interface between the two realms is a key issue. The boundary of public space might be redefined to embrace the flexible the fragile nature of changing public space. These research implications will guide the thoughtful design and management of pubic space.

• Archives of design research
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• v.16 no.4
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• pp.163-172
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• 2003

Nowadays calligraphy technique is widely utilized in diverse areas throughout the world. It is adopted in the visual environment of modern people comprehending from graphic design areas such as advertisement, package, symbol marks, logotypes, and movie posters to modern abstract paintings. It is because its dynamic and suggestive power of expression as symbolic and kinetic representation has been appreciated anew. In response to modern people's aversion from the mechanical and artificial digital environment as well as from the uniform, official, and modernistic trend, calligraphy technique is attracting people's attention as a new expressive style with oriental mysticism and emotional intimacy. Therefore, this study aims at illuminating the history of calligraphy, understanding its characteristics, searching for the expanded value of modern paintings and graphic designs, and ultimately contributing to the propagation of visual languages and expressive styles. In addition, this study attempted to establish the concept of Calli-Illust, which combines oriental painting techniques and materials and calligraphy techniques, and to explore for its potential uses in order to expand the area of illustration. According to the results of this study, calligraphy technique is a painting style of abstract expressionism, contributing to the expansion of the territory of a new formative area. Furthermore, this study proved that it is necessary to develop new expressive styles to overcome the limitation of design styles based on western rational, logical, and geometric functionalism, which have been received uncritically in the design environment of diversity. What is more, the concept and definition of calli-illust, which has been understood as a part of the concept of calligraphy so far, were clarified Research on calli-illust is just in its beginning stage. The present researcher expects that deeper and more extensive studies will be carried out in the future, so that calli-illust can be applied to communication design in various ways.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.156-168
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• 2022

This study was conducted to investigate the staging principle, the staging work and the trial performance of Shingeuk troupe Geukyesulyeonguhoe during the period of coterie system, focusing on Gogol work·Ham Daehoon translation·Hong Haeseong directing's (5Act). As a result, the first trial performance was based on a faithful full-scale description rather than an interpretive directing of play. It was a performance that focused on copying and implanting the external form of the performance stage of Shingeki troupe Tsukiji Little Theater. The general review of the time was summarized to the point that it was a relatively successful performance that exceeded expectations as a trial demonstration of amateur actors. However, in terms of the content of play and the form of performance, reservations and lack of contemporary(modern) interpretation caused the problem that the general audience was alienated. Therefore, it was difficult to achieve the effect of reflecting the reality of Chosun through , as Geukyesulyeonguhoe intended.

• Korean Journal of Communication Studies
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• v.18 no.4
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• pp.31-50
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• 2010

This study is designed to decode the persuasion strategies in the advertising targeted for children from a semiotic perspective. Semiotic approach to "decoding advertising text" allows us to classify advertising signs and sign systems in relation to the way they are transmitted and communicated. In this strategic process of advertising production, the producers use various "expressive techniques" and "persuasive appeals, premises, and ideology" shared by the members of the society. This study investigates Korean print media advertising for children with the following research questions: ① What types of expression techniques are employed in the print media advertising for children? ② What types of persuasive appeals(consumption values) are used in the print media advertising for children? ③ What are the persuasive premises(cultural premises) underlying those persuasive appeals? ④ What is the structure of ideology that governs those persuasive appeals and premises in the advertising for children? The study result reveals seven most frequently employed expressive techniques, ten major types of persuasive appeals and premises, and the structure of ideology governing the signs and signification systems in the advertising targeted for children.

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.795-802
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• 2006

현대의 소비자는 더 이상 단순히 감성적 소구에 의해서나 기술적 기능을 제공하는 것으로 제품을 구매하지 않는다. 제품의 결정은 사용자와 제품 간의 상호작용에 따른 정서, 인지, 행위 등에 의한 총체적인 경험에 의한 것이며, 그러한 소비자들의 경험은 지리적, 역사적 전통으로 고착된 문화적 특성이 제품을 통한 사용자 경험의 기저에서 작용함으로써 문화권 별, 국가 별로 각기 다르게 구성된다. 특별히 음식 문화는 어느 나라이든 자연 조건의 영향과 함께 오랜 역사 속에서 형성되었기 때문에 독특하고 다양한 문화적 차이를 지니고 있으며 이러한 문화적 차이는 냉장고 사용에 있어서 다양한 사용행태를 구분 짓는다. 따라서 본 연구를 통해 식품 종류에 의한 영향뿐 아니라 내부 공간 활용의 패턴, 냉장고 환경 설정에 대한 능동적인 태도, 냉장고에서 제공하는 파티션이나 옵션에 대한 수용 정도, 식품의 정리 원칙에 대한 준수 정도 등에 따른 사용행태 간의 차이점을 발견하고, 차별적 사용행태의 기저에 존재하는 문화적 요인을 분석하여 문화적 차이가 사용자의 경험에 영향을 끼치게 됨으로 인하여 냉장고 디자인에 어떠한 변화를 초래하는지 그 연관성을 밝혀내고자 한다. 보다 실제적인 용도로 활용 가능하도록 냉장고 제작의 상업적인 측면을 고려하여 냉장고 내상의 레이아웃에 중점을 두어 본 연구를 진행하였다. 본 연구는 설문과 현장 관찰을 통해 정량적 관찰을 중심으로 분석하였다. 두 국가의 문화 비교를 위한 설문은 이미 여러 연구자료에 의해 검증된 Trompenaars의 문화 변수를 바탕으로 제작 하였다. 또한 정량적 연구에서 발견될 수 없는 문화권 별 여러 특징들에 대한 데이터를 구체적으로 수집하기 위하여 정성적인 연구 방식의 일환으로 실제 관찰 및 사용자 인터뷰를 실시하였으며, 이를 통하여 현상의 원인 및 사용자의 의도를 파악하도록 연구를 진행하였다.

• 한국HCI학회:학술대회논문집
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• 2007.02a
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• pp.1069-1074
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• 2007

청각장애인이 PC환경에서 영화, 방송, 애니메이션 등의 동영상 콘텐츠를 이용할 때 장애의 정도에 따라 콘텐츠의 접근성에 있어서 시각적 수용 이외의 부분적 장애가 발생한다. 이러한 장애의 극복을 위해 수화 애니메이션이나 독화 교육과 같은 청각장애인의 정보 접근성 향상을 위한 콘텐츠와 기술이 개발된 사례가 있었으나 다소 한계점을 가지고 있다. 따라서 본 논문에서는 현대 뉴미디어 예술 작품의 예술적 표현 방법을 구성요소로서 추출하여, 기술과 감성의 조화가 어우러진 독창적인 콘텐츠를 생산할 수 있는 기술을 개발함으로써 PC환경에서 청각장애인의 동영상 콘텐츠에 대한 접근성 향상 방법을 추출하고, 실질적으로 청각적 효과의 시각적 변환 인터페이스 개발 및 이미지 캡션 생성 소프트웨어 개발을 통해 청각장애인의 동영상 콘텐츠 사용성을 극대화시킬 수 있는 방법론을 제시하고자 한다. 본 논문에서는 첫째, 청각장애인의 동영상 콘텐츠 접근성 분석, 둘째, 미디어아트 작품의 선별적 분석 및 유동요소 추출, 셋째, 인터페이스 및 콘텐츠 제작의 순서로 단계별 방법론을 제시하고 있다. 이 세번 째 단계에서 이미지 캡션 생성 소프트웨어가 개발되고, 비트맵 아이콘 형태의 이미지 캡션 콘텐츠가 생성된다. 개발한 이미지 캡션 생성 소프트웨어는 사용성에 입각한 일상의 언어적 요소와 예술 작품으로부터 추출한 청각 요소의 시각적요소로의 전환을 위한 인터페이스인 것이다. 이러한 기술의 개발은 기술적 측면으로는 청각장애인의 다양한 웹콘텐츠 접근 장애를 개선하는 독창적인 인터페이스 추출 환경을 확립하여 응용영역을 확대하고, 공학적으로 단언된 기술 영역을 콘텐츠 개발 기술이라는 새로운 영역으로 확장함으로써 간학제적 시도를 통한 기술영역을 유기적으로 확대하며, 문자와 오디오를 이미지와 시각적 효과로 전환하여 다각적인 미디어의 교차 활용 방안을 제시하여 콘텐츠를 형상화시키는 기술을 활성화 시키는 효과를 거둘 수 있다. 또한 청각장애인의 접근성 개선이라는 한정된 영역을 뛰어넘어 국가간 언어적인 장벽을 초월할 수 있는 다각적인 부가 동영상 콘텐츠에 대한 시도, 접근, 생산을 통해 글로벌 시대에 부응하는 새로운 방법론으로 발전 할 수 있다.

• Journal of the Korean association of regional geographers
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• v.8 no.2
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• pp.184-198
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• 2002

Since the mid-1980s there has been an intensive debate on a regional geography in abroad, and its renaissance has been widely expressed. Under the influences of these academic circumstances, many Korean scholars have tried to introduce this trend and at the same time to propose new development lines of the Korean geography with a critical perspective. However, the empirical study of Korean regional geography including area studies is characterized by a quantitative deficit on the one hand and by its peripheral position on the other. The main reasons of this marginalization of Korean regional geography that we can find include a undifferentiated import of new systematic/nomothetic geography in the 1960s and 1970s, a historical interruption with a tradition of old Korean geography, and the practical difficulties of regional geographical approach itself. Now we face with the fundamental changes including globalization/regionalization and an increasing actual demand for the information on different scales of space and place. In order to cope with these challenges, we inevitably need to revitalize various forms and modem characteristics of regional geographical approaches and try to reexamine the basic concepts, methods, and frameworks of regional geography.