• Journal of the Korean Geographical Society
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• v.47 no.4
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• pp.568-591
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• 2012

Korean historical geography as a distinct subset of modern geography began with the path-breaking efforts of Do-Yang Roh in the second half of the 1940s. He was joined in 1960 by founding father Dr. Chan Lee who carried with himself the Berkeley geography he learned from Fred Kniffen, his advisor, and Robert West at Louisiana State University. Dr. Lee, the single-most important figure in the development of Korean historical geography, founded in 1988 the Association of Korean Cultural and Historical Geographers in order to pull together those interested in past geographies and geographical change. Korean historical geography took off in the 1980s when large numbers of doctoral theses were produced domestically and abroad and British cross-sectional methodology added. Diversity in research theme and methodology characterizes present-day Korean historical geography.

• The Journal of the Korea Contents Association
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• v.9 no.10
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• pp.102-109
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• 2009

What Michel Foucault has interpreted about Jeremy Bentham' Panopticon in the point of power relationship of ones's gaze is put in comparison with the characteristics shown in the modern media and mutual meanings are interpreted in the respect of a power relationship of modern gaze. Modern people communicating through media are placed in certain type of power relationship. This study analyzed the difference of it in the respect of the power of gaze in Panopticon and the consumption of information. Panopticon assumes single-network supervision, that is, one-way gaze. However, in modern media, interactive communication is possible based upon the development of information telecommunication technology. Therefore, this study aims to compare and study modern single-network supervision and multi-networks supervision based on information telecommunication technology. The development of various media such as internet, mobile phone and smart card has changed the single-network supervision system structured since modern times into the multi-network supervision system. 'Gaze-power' presented in the relationship to media enables us to discuss the problem of mutual receptiveness, the presence of various powers according to information structure and consumption power. In particular, the form provided by modern media has the complexity of mutual communication in the relationship of multi-networks, rather not assuming only one-way nature of single-network. Therefore, the approach of communication issue provided by modern media in the respect of multi-networks relationship was done by the power relationship of gaze in the respect of information communication. Gaze determines the power of watching. In addition, the visualization format aims at the power.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.91-100
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• 2019

It is an undeniable that cultural landscape of Korea is centered in Seoul, where all the cultural powers are oriented. From this aspect, a municipal theatre of Daegu (Daegu Municipal Theatre), where is considered an area somewhat isolated from the perspective of culture, has managed to develop theoretical programs serving public purposes through efforts on the diversification of performance programs, development of creative plays, acceptance of open direction, classic, modern and experimental plays, foreign exchange, musicals and non-verbal, development of modern and post-modern history of the region, aggressive exploration of subjects, and characterization of the theater through citizen-participated programs and communication with citizens. With such efforts on diversification of public benefits and communality conforming to its purpose, it has been recognized for its contribution to the recovery of popularity of performance art and plays in Daegu. The Daegu Municipal Theatre, celebrating the 20th anniversary of establishment this year and having Choi Ju-Hwan as its fifth art director, has managed to conduct various experimental attempts to gain popularity and these include the exploration of the region and its historical figures, development and promotion of creative musicals, and promotion of communication between citizens and performance culture and of participation of audiences, in turn having a stabilized operation system. Such changes are seemed to be attributable to the maturity of performance production and roles of senior members. From this aspect, this study aims at investigating the changes in the Daegu Municipal Theatre and 'roles and popularity of national/public theatre companies.

• 한국벤처창업학회:학술대회논문집
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• 2020.06a
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• pp.167-171
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• 2020

최근 다양한 산업에서 키오스크를 활용한 서비스가 확대되고 있으며 현대증권의 보고서에 따르면 세계적으로 키오스크 시장이 2021년도 까지 연평균 17%의 성장률을 기록할 것이라고 전망되어진다. 이와 같은 배경에서 국내에서도 키오스크 제조, 관리업이 늘어나고 있으며 창의적인 기술력을 바탕으로 차별성을 둔 스타트업들의 진출도 보이고 있다. 하지만, 대부분의 제조, 관리업자들은 1차 소비자인 설치 매장의 관점에서 접근을 하여 서비스 개선을 이루어 내기에 여전히 키오스크를 실제 사용하는 소비자의 불편 및 불만에 대한 개선은 부족한 실정이며 학계에서도 디자인, UI, 기술수용 등 다양한 방면으로 연구가 진행되고 있지만 현실적인 효과의 확인에는 어려움을 호소하기에 본 연구에서는 실제 소비자의 관점에서 키오스크를 사용함에 있어서 중점을 두는 요인들과 현재 연구가 이루어지고 있는 주제들을 중심으로 핵심 요인 10가지를 추출하여 이를 다시 품질속성 분류와 만족수준 측정을 진행하였다. 본 연구에서는 Kano를 활용하여 품질속성을 분류하고 이 과정에서 모델의 단점으로 인해 발생하는 문제점을 보완하기 위해 추가적으로 Timko를 통해 만족계수와 불만족계수 측정과 PCSI를 통한 현재 만족수준을 확인하여 복합적으로 해석하고 이를 통해 최종적인 서비스개선 순위를 시사하는 방향으로 본 연구를 진행하였다.

• The Journal of the Korea Contents Association
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• v.7 no.4
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• pp.91-102
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• 2007

Post-modern period differentiates itself from Modern period in many aspects. One of these is the emphasis on phenomena which are ephemeral and changing. This paper looks at the psychological bases of these expressions of time & change in contemporary design and their affordances on human behavior. It also analyzes the types of time & change design on the basis of the behaviors they afford. This will lead us to the understanding of how the design including time & change expresses the spirit of the age and how it can play positive roles in human psychology.

• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.540-555
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• 2016

Art in the modern sense takes the lead to reform the society through constant interaction with members in society. Therefore the works of Art should be understood as social compositions that are reconstructed creatively according to the social environmental impact. Recording, collecting and preserving the references are compulsory for the constant social reform, so the importance of Archive is stressed. However, the Art Archive in Korea is operating very limitedly just to provide simple references to the users. Thus, We need to seek for various ways and user-focused service to utilize the digitalized Art culture records, and need positive research on Art Archive to enhance the creative activities. So in this study, we subdivided the interactivity and applied TAM model. Our analysis on the effect on the purpose of use shows that the users need to be provided with useful informations easily for their creative activities. It also shows that the purpose of use increases through awareness of interactivity. However, the result of this study has a limit of the sample so further studies for the purpose is suggested.

• Journal of Digital Convergence
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• v.18 no.9
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• pp.351-356
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• 2020

This study is an introductory study on Convergence of Traditional Chinese Paper-cutting Art and Contemporary Ceramic Decoration. As a part of Chinese folk art, now newly developed by the convergence of contemporary ceramic ar, today it promotes artists' creativity and find a alternative way for ceramic art. This mainly explore transition of 2 dimentional paper-cutting art into ceramic art. As a part of convergence art, this study suggest combination of 4 elements yin-yang-true-false with understanding of its history and contemporary status, and towards aesthetic values.

• Archives of design research
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• v.20 no.1 s.69
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• pp.111-120
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• 2007

This research proposes contextual space expression as a possibility of solution methods for local and historical issues, the matters that our contemporary architecture has to overcome. When modernistic architecture aimed for anonymous public interests denying the characteristics in historical and spacial contexts, postmodern architecture and regional architecture, etc have been striving to revive discontinued contextual meanings using various historical and environmental elements. While such attempts only borrowed architectural materials by superficially understanding the context, they could not comprehend ceaselessly changing contexts sufficiently. Choosing Jean Nouvel as one of the architects that can explain spatial plan to properly respond to such ever-changing, contemporary contexts, the researcher intended to understand his line of expressional characteristics of his architectural space and analyze his works as examples.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.

• Proceedings of the Korean Institute of Industrial Safety Conference
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• 1998.05a
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• pp.113-118
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• 1998

현대에는 건물이 대형화, 고층화되어짐에 따라 많은 재실자들을 수용함으로써 대형 재난의 잠재적인 가능성을 가지게 된다. 더욱이 건물의 미적인 면과 효율성이 강조됨에 따라 재난시 재실자의 대피에 영향을 주는 통로와 사무 시설 배치등과 같은 방과 건물구조의 용도 변경이 잦아지게 되었다. 그러나 안전적인 측면에서 특히 재실자의 대피는 피난 법규의 요구이외에는 설계시 특히 건물 내부의 용도 변경시 피난의 상황은 중요하게 고려되어지지 않고 있는 실정이다. 이에는 설계자나 건물 관리인에게 있어서 안전의 개념의식이 미비한 점도 있지만 대피시의 상황을 예측할 수 있는 효율적인 프로그램의 개발이 적절히 이루어지지 않았기 때문이라고 생각되어 진다. 이에 본 논문은 동일 건물 구조하에서 재실자들의 대피 상황을 프로그램을 통하여 미리 제시함으로서 설계 및 건물구조 변경시 건물 구조의 효율성과 안전성의 적절한 조화를 꾀하는데 목적을 두고 있다. (중략)