• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• The Journal of Art Theory & Practice
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• no.9
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• pp.93-121
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• 2010

This study is about Yoo Young-kuk's early works which show constructivism, especially focus on his debut painting, for the 7th Dokuritsu Bijutsu Kyokai(獨立美術協會, the Independent Fine Arts Association) in Tokyo in 1937. The work was painted 2 years after he had started his study in Japan in 1935. It was the first painting that applied Constructivism. played an important role for Constructivism to be a leading art in his abstraction. After this picture, Yoo was soon devoted to the principles of Constructivism-- Faktura(material), Tektonika (tectonics), Tekhnika(technique), space, construction-- in his painterly reliefs. This article examined why Yoo concentrated on Constructivism for , what the characteristics were, and what influences were on other works from 1935 to 1949. In addition, I investigated in which period was painted and how Constructivism was spread in 1930s and early 1940s in chapter 2. I scrutinized Rhapsody in chapter 3. When Yoo created Japan was under the Fifteen Years War(1931-1945), and a major discourse was the Japanese Spirit at that time. It was connected with construction of an ideal nation which the Japanese ultra-national fascism pursued. This ideological pursuit was intended to unite the Japanese people for total war system and to restore a national dignity which had been fallen down due to Manchurian Incident(1931). Thus, on the hand, Kokusai Bunka Shinkokai(國際文化振興, The Society for International Cultural Relations) and the Nippon Kosaku Bunka Renmei(日本工作文化連盟, Japanese Werkbund) were supported financially by the Japanese government. On the other hand, the government enacted regulations to opposing parties which would distract Japanese people's unification. As for the Japanese art world, the merge of art groups was carried out through remodeling of Teikoku Bijutsuin(帝國美術院, The Imperial Fine Arts Academy) in 1935. This brought out continuous dispute and disorder. Young artists who felt difficulty of entering an entry of Imperial Fine Arts Exhibition repeatedly grouped and disbanded for small art groups to build their standing, which they pursued Surrealism and Abstract art. Among them Constructivism was considered as the latest trend and was popular in craft, design, architecture as well as fine arts. In the year before he painted , Avant-garde theatres including Constructivism theatre were introduced in a feature article of September, 1936 in Atelier, which was dealing with mainly avant-garde arts. Books related with Constructivism were translated into Japanese, and Gestaltung Education had become active since the publication of A Compendium of Gestaltung Education("構成敎育大系"(1934)), Salvador Dali(1904-1989) was also introduced, so Surrealism was drawn more attention by young artists. reflected popular trends. Yoo analyzed the Japanese avant-gardists' archaic taste in the Independent Art Association that he submitted his painting to. And then he entitled 'Rhapsody' which derives from Ancient Greek's epic poetry and deliberately set up images in a scene. In chapter 3, I examined a theme which was planned carefully by sorting favorite images from the Japanese Surrealism. was a result that Yoo Young-kuk observed objectively the phenomenon that young artists dreamt of Utopia or longed for Nostalgia passively and lethargically under wars. And then he otherized himself from that circumstance. First of all, for he used the typical icons of Japanese Surrealism such as the horizon, flowing clouds, and vast plain that were considered stereotypes of Arcadia. He, however distinguished himself form those Japanese Surrealists. He made his own vision about Utopia by referring Lyubov Popova(1889-1924)'s stage design. His objective point of view was expressed by positive and dynamic images of structure and human's actions. Constructivism which was attempted in had an effect on other early constructive works, and the principles of Constructivism were sought hard in reliefs, paintings, and photos.

• Korean Journal of Cognitive Science
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• v.27 no.2
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• pp.159-219
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• 2016

Mathematical ability is important for academic achievement and technological renovations in the STEM disciplines. This study concentrated on the relationship between neural basis of mathematical cognition and its mechanisms. These cognitive functions include domain specific abilities such as numerical skills and visuospatial abilities, as well as domain general abilities which include language, long term memory, and working memory capacity. Individuals can perform higher cognitive functions such as abstract thinking and reasoning based on these basic cognitive functions. The next topic covered in this study is about individual differences in mathematical abilities. Neural efficiency theory was incorporated in this study to view mathematical talent. According to the theory, a person with mathematical talent uses his or her brain more efficiently than the effortful endeavour of the average human being. Mathematically gifted students show different brain activities when compared to average students. Interhemispheric and intrahemispheric connectivities are enhanced in those students, particularly in the right brain along fronto-parietal longitudinal fasciculus. The third topic deals with growth and development in mathematical capacity. As individuals mature, practice mathematical skills, and gain knowledge, such changes are reflected in cortical activation, which include changes in the activation level, redistribution, and reorganization in the supporting cortex. Among these, reorganization can be related to neural plasticity. Neural plasticity was observed in professional mathematicians and children with mathematical learning disabilities. Last topic is about mathematical creativity viewed from Neural Darwinism. When the brain is faced with a novel problem, it needs to collect all of the necessary concepts(knowledge) from long term memory, make multitudes of connections, and test which ones have the highest probability in helping solve the unusual problem. Having followed the above brain modifying steps, once the brain finally finds the correct response to the novel problem, the final response comes as a form of inspiration. For a novice, the first step of acquisition of knowledge structure is the most important. However, as expertise increases, the latter two stages of making connections and selection become more important.

• Korean Journal of Psychosomatic Medicine
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• v.9 no.1
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• pp.28-36
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• 2001

Objectives : This study was undertaken to identify the clinical and psychological characteristics in patients of mental disability assessment following traumatic brain injury who had the finding with or without abnormal brain imaging study. Methods : A consecutive series of 59 patients were assessed in hospital from January 1994 to December 1998. Patients were divided into 2 groups based on normal or abnormal brain imaging and the two groups were compared in demographic characteristics, psychiatric symptoms, type of head injury, clinical psychological findings. There were 27 patients with abnormal findings and 32 with normal findings in brain imaging study. Results : Abnormal finding group in brain imaging study had significantly higher incidence of psychosis, decreased memory, decreased appetite, increased nihilistic idea, and intracranial hemorrhage. Also, abnormal finding group showed significantly lower level of performance on the block design subtest of K-WAIS and had significantly lower scores on F, hypochodriasis, depression, hysteria, psychopathic deviate, psychasthenia and schizophrenia subscale of the MMPI. Conclusion : The findings suggest that the patients undergone brain surgery due to intracranial hemorrage at that time of brain injury may have higher frequency of abnormal findings in brain imaging study, complain more cognitive and affective symptoms, and have lower the abstract concept formation and perceptual organization abilities.

• Cartoon and Animation Studies
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• s.51
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• pp.293-319
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• 2018

Thanks to the advancement of the related technologies and equipment, today's video contents like movies, animations and soap operas are rapidly expanding their expressible cinematic imagination area. In order to fulfill the elevated visual expectations of audiences and realize exciting storytelling and fantastic world, the fusion of different techniques is actively used, and the reality for visual effects and image synthesis is increasing more and more. Accordingly, recent VFX-oriented movies using CG have a much more complicated production process than before. Therefore, the importance of Pre-visualization, aka Pre-vis is becoming bigger in the planning process for sophisticated design. Pre-vis means that the advance visualization for stories or directing ideas in the planning process before starting production of movies or animations. 3D animated Pre-visualization realizing directors' abstract and ambiguous ideas in 3 dimensional environment in advance is, as a powerful means for visual storytelling, briskly used focusing on the VFX film industry on which the present CG is broadly used, and the role of Pre-vis throughout productions has increased compared to the past. The studies, however, on the role and utility of Pre-vis are not enough. Therefore, this study was conducted on the role of Pre-vis used for present VFX movie productions using the examples of 3D animated Pre-visualization production in which the researcher of this study participated. In this study, the role of the Pre-vis that is subdivided presently, is divided into and 3D animatics and their each role is analyzed with the example images. Through this, the characteristics that Pre-vis should have are clarified and the concept of the advantages and utility led by the use of Pre-vis in productions is strengthened. The goal of this study is to induce active uses of Pre-vis throughout productions after forming consensus about the various roles of Pre-vis and their utility.

• Korean Journal of Cognitive Science
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• v.23 no.1
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• pp.109-132
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• 2012

According to recent embodied cognition approach, understanding of actions is not based on abstract symbolic process but based on mental simulation of sensory-motor information related to those actions. As supporting evidence, motor resonance effect is a facilitation/interference effect of motor response in terms of similarity between observed action and concurrent own action. In the current research, we investigated this effect in the situation to perceive a complex social action perception and how it would be modulated by perspectives of construals of the social action scene. For this purpose, we created three kinds of fighting action scenes of two people in terms of body actions of the subject(ie., hitting, stepping, biting), and described them in two perspectives; active and passive. During the experiment, subjects had to verify the congruency of the picture and the description first, and if they are congruent, they had to do two different actions in terms of color of following cues. In the first experiment, subjects' response time for stepping on a pedal and pressing a button were analyzed for measuring motor resonance effect for the foot movement. In the second experiment, voice response time with a microphone and button pressing time were analyzed for the mouth movement motor resonance effect. Results showed the facilitation of the foot movement(in Exp1), and the mouth movement(in Exp2) only when the action scene was described in active perspective. Our results indicate that the motor resonance effect can be occurred during perception of social actions in the real life situation, but it can be also modulated by the perspective of the mental construal of the action event.

• Journal of Nuclear Fuel Cycle and Waste Technology(JNFCWT)
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• v.6 no.3
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• pp.179-187
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• 2008

After Canada has struggled with a radioactive waste problem over for 20 years, the Canadian government finally found out that its approach by far has been lack of social acceptance, and needed a program such as public and stakeholder engagement (PSE) which involves the public in decision-making process. Therefore, the government made a special law, called Nuclear Fuel Waste Act (NFWA), to search for an appropriate nuclear waste management approach. NFWA laid out three possible approaches which were already prepared in advance by a nuclear expert group, and required Nuclear Waste Management Organization (NWMO) to be established to report a recommendation as to which of the proposed approaches should be adopted. However, NFWA allowed NWMO to consider additional management approach if the other three were not acceptable enough. Thus, NWMO studied and created a fourth management approach after it had undertaken an comparison of the benefits, risks and costs of each management approach: Adaptive Phased Management. This approach was intended to enable the implementers to accept any technological advancement or changes even in the middle of the implementation of the plan. The Canadian PSE case well shows that technological R&D are deeply connected with social acceptance. Even though the developments and technological advancement are carried out by the scientists and experts, but it is important to collect the public opinion by involving them to the decision-making process in order to achieve objective validity on the R&D programs. Moreover, in an effort to ensure the principles such as fairness, public health and safety, security, and adoptability, NWMO tried to make those abstract ideas more specific and help the public understand the meaning of each concept more in detail. Also, they utilized a variety of communication methods from face-to-face meeting to e-dialogue to encourage people to participate in the program as much as possible. Given the fact that Korea has been also having a hard time in dealing with spent nuclear fuel management, all of these efforts that Canada has made with a PSE program would give good lessons and implications to the Korean case. In conclusion, as a deliberative participation program, PSE could be a possible breakthrough approach for the Korean spent nuclear fuel management.

• Journal of Intelligence and Information Systems
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• v.17 no.4
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• pp.279-292
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• 2011

Movie is a representative media that can transmit stories to audiences. Basically, a story is described by characters in the movie. Different from other simple videos, movies deploy narrative structures for explaining various conflicts or collaborations between characters. These narrative structures consist of 3 main acts, which are beginning, middle, and ending. The beginning act includes 1) introduction to main characters and backgrounds, and 2) conflicts implication and clues for incidents. The middle act describes the events developed by both inside and outside factors and the story dramatic tension heighten. Finally, in the end act, the events are developed are resolved, and the topic of story and message of writer are transmitted. When story information is extracted from movie, it is needed to consider that it has different weights by narrative structure. Namely, when some information is extracted, it has a different influence to story deployment depending on where it locates at the beginning, middle and end acts. The beginning act is the part that exposes to audiences for story set-up various information such as setting of characters and depiction of backgrounds. And thus, it is necessary to extract much kind information from the beginning act in order to abstract a movie or retrieve character information. Thereby, this paper proposes a novel method for extracting the beginning boundaries. It is the method that detects a boundary scene between the beginning act and middle using the accumulation graph of characters. The beginning act consists of the scenes that introduce important characters, imply the conflict relationship between them, and suggest clues to resolve troubles. First, a scene that the new important characters don't appear any more should be detected in order to extract a scene completed the introduction of them. The important characters mean the major and minor characters, which can be dealt as important characters since they lead story progression. Extra should be excluded in order to extract a scene completed the introduction of important characters in the accumulation graph of characters. Extra means the characters that appear only several scenes. Second, the inflection point is detected in the accumulation graph of characters. It is the point that the increasing line changes to horizontal line. Namely, when the slope of line keeps zero during long scenes, starting point of this line with zero slope becomes the inflection point. Inflection point will be detected in the accumulation graph of characters without extra. Third, several scenes are considered as additional story progression such as conflicts implication and clues suggestion. Actually, movie story can arrive at a scene located between beginning act and middle when additional several scenes are elapsed after the introduction of important characters. We will decide the ratio of additional scenes for total scenes by experiment in order to detect this scene. The ratio of additional scenes is gained as 7.67% by experiment. It is the story inflection point to change from beginning to middle act when this ratio is added to the inflection point of graph. Our proposed method consists of these three steps. We selected 10 movies for experiment and evaluation. These movies consisted of various genres. By measuring the accuracy of boundary detection experiment, we have shown that the proposed method is more efficient.

• Journal of Korean Society of Forest Science
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• v.70 no.1
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• pp.1-6
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• 1985

The purpose of this experiment lies in finding the most appropriate cutting condition of Taxus cuspidata Sieb. et Zucc. which has been considered valuable tree species in gardening. Statistical analysis was focused on the comparison of the average ratios of rooting between greenhouses and fields, based on the observation rooted autogenis. To conduct this survey, hardwood cutting of Taxus cuspidata Sieb. et Zucc. were performed at both places of experiment above on April 20, 1982 with rooting results calculated on October 31, 1982. After formation of cuttings, it was soaked in IBA 200 ppm for 12 hours and than put in a bed. A summary of the result is presented as follows; 1) Cutting at the greenhouse showed higher average rate of rooting than at fields. Same tendency was found regardless of the differences in treatment. 2) It was clear that IBA-treatment contributed remarkably to causing higher average rooting rate. As an evidence, when twenty centimeter cuttings were inserted sandy media, IBA-treated area resulted in eighty six percent of average rooting rate, as compared with only twenty three percent in nontreatment case. In case of field cutting, IBA-treatment brought about fifty three percent of rooting in comparison with eleven percent nontreatment. 3) When sandy soil, loam and brown soil were separately used as cutting media, the highest rooting rate was found in case of sandy soil, without any difference between the two experimental places above. 4) As a result of the analysis to seek the impact of the length of cuttings on rooting, the range of length form fifteen to twenty centimeter was apparently most appropriate. It was also found that the rate of rooting declined beyond twenty five centimeter. 5) Two kinds of rooting pattern were observed. One was the case that callus cell lump was created on the lower cut side of cuttings. Importantly, root radical were formed inside the lump to influence the germination of root system. The other relates to the case that adventitious root which look like lateral roots appeared at the stem region. In abstract, first, sandy soil was effectively recommended in case of hardwood cutting in April. Second, the most appropriate length of cuttings ranged between fifteen and twenty centimeters. Third, high density IBA treatment was clearly effective. Forth, for proper environmental management, both pre-disinfection of sail by sterilizer and maintenance of high relative humidity were essentially required.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.66-79
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• 2017

In 2014, a Donghak Peasant Revolution Memorial Park design competition was held with various forms and techniques to convey mourning. This is a process of the reconsideration of memorial projects that are used to stimulate the collective memory and it is a meaningful resource for examining the consciousness of contemporary designers in regards to the memorial designs that are currently under planning in Korea. This study investigated the background of the Donghak commemorative projects that took place at the same site in a timely manner and analyzed the design competition through the existing literature research. Through this, it was seen that the memorial, which was formed by means of past political purposes, has changed into a way to collect various opinions and forms through open design competition. A framework of analysis prepared through multi-layer analysis is daily use, interaction and spontaneity, abstraction, temporality, locality, integration and harmony with surroundings. The results of this study are as follows. First, in order to convey memorial commemoration in everyday life, the projects organized scattered memorial spaces with special characteristics and linked them with daily activities program. Second, the projects used direct participation and emotional experiences to interact with monuments. Third, color, vertical elements, clustering, and park frame manipulation were used for abstract reproduction. Fourth, the projects introduce architecture and furniture that can be changed and plants for temporal change. Fifth, the previous terrain was restored and the setting of the scene was reproduced in order to make the site a space with place. Sixth, to improve the connection with existing monuments, the projects used techniques such as relaxation and the reinforcement of circulation lines and axes. Seventh, a path and a building conforming to the terrain were arranged for harmony with the surroundings.