• The Journal of Art Theory & Practice
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• no.2
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.1
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• pp.1-17
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• 2014

The Practice of Landscape Urbanism has been criticized on two aspects; Landscape Urbanism does not yet provide differentiated forms of planning and design neither able to fill the gap between theory and practice. In response to these criticisms, Landscape Urbanists have tried to provide additional cases that can exemplify achievements of Landscape Urbanism in practice. There has been another type of effort to suggest distinct planning and design strategies of Landscape Urbanism from theoretical texts. However, these approaches overlooked the fact that professional practice actually gave huge influence on the theoretical framework of Landscape Urbanism. Based on this observation, the study examined the development process of Landscape Urbanism by verifying the correlation between its practice and theory. Through an extensive literature review, the study suggested horizontality, infrastructure, process, ecology, media, hybrid, site, and scale as eight major concepts of Landscape Urbanism. Afterwards, the study classified 51 projects cited in major essays and articles of Landscape Urbanism into four categories: Archetypal projects, precedent projects, exemplary projects, and progressive projects. The correlation between strategies of the selected projects and main theoretical concepts was analyzed. The study found out that the early stage of the theory was focused on defining and explaining the new design and planning approaches of contemporary design projects related with landscape. However, these days, Landscape Urbanism became a more productive in providing diverse types of practice sharing the direction and vision proposed by the theory. Various projects influenced in constructing theoretical structure of Landscape Urbanism as well as proved that the suggestions of Landscape Urbanism could be effective to reorganize contemporary cites in the form of design and planning strategies. The observation of this study can contribute to provide proper answers to the criticism on practice of Landscape Urbanism and be helpful in understanding the limits and unrealized potentials of Landscape Urbanism as a practical theory.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.3 s.116
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• pp.120-138
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• 2006

A city evolves over time. It grows, transforms, and sometimes degrades. Chuncheon is at a turning point from a city souggling with regulations regarding clean water supply and a military encampment to a masterpiece city with a sustainable vision. The city is getting ready to restructure itself to become a world-famous culture and tourism complex expanding its physical boundary across the Camp Page site and absorbing Jungdo as a major tourist attraction. The landscape in the future blueprint of Chuncheon will play a great role in restructuring urban form. The regenerated in will have a new networked open space system as well as re-evaluated landscape resources. The hybrid theoretical practice called 'landscape urbanism' burgeoning in the fields between 'landscape architecture' and 'urbanism' can guide us in considering the terms of the relationship between a city and landscape when we design a future city Landscape urbanism is considered to be an effective framework by which we can diagnose the current status of a landscape in our contemporary urban design practice in Korea. This paper tries to provide a different perspective from the viewpoint of landscape urbanism to decipher the hidden implications of the social agreement on the role of landscape in urban structure by re-reading eight design proposals presented for the ChunCheon G5 international design competition based on the main principles of landscape urbanism. The G5 design competition is a great opportunity to test out new ideas on a city, demonstrating the relative values among various urban-design professional realms. First, this paper provides an overview of the main ideas of landscape urbanism based on the literature review and case studies. Second, framework categories are suggested in order to extract the explicit and implicit ideas on the landscape. Third, eight proposals are reviewed according to the suggested categories to situate the current landscape design of Korea within the mainstream of contemporary practice of landscape urbanism. Based on the review of eight proposals, the following diagnostic conclusions are made; first, the ideas of landscape urbanism have not been actively introduced in large-scaled urban landscape projects in Korea like Chuncheon G5. Second, it remains to be a big task for landscape professions to be able to participate in design consortiums on an equal footing. Third, In order to introduce and reify the ideas of landscape urbanism in Korea, it is inevitable and critical to test the ideas in both academic fields and professional practices to find the appropriately adjusted model of landscape urbanism.

• International Journal of Costume and Fashion
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• v.15 no.1
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• pp.1-18
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• 2015

The ethnic dress of Germany's Black Forest, called Tracht, dates back to the 16th century. Although most people living within the Black Forest do not presently wear Trachten, some persistence in this tradition exists. This study explored the factors that have supported the persistence of the Trachten tradition, specifically related to the wearing and crafting of Trachten by women, in a contemporary society. A qualitative, ethnographic approach was adopted. Data were collected via observations and interviews in the Black Forest. Thematic analyses revealed that the maintenance of the Trachten tradition was linked to varied factors that revolved around the overarching themes of both persistence and change. Interpretations were supported by theory proposing that ethnic dress is not static, but rather, changes across space and time in ways that enable its persistence. The persistence of the Trachten tradition was linked to formalized practice, meaningful identities, and desires to preserve and promote local culture. Additionally, the persistence of the Trachten tradition was fostered by change in the tradition, including the conceptualization of Trachten as a "lived practice" and the negotiation of Trachten authenticity.

• Korean Institute of Interior Design Journal
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• v.25 no.1
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• pp.47-55
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• 2016

This article explores an extended sense of autonomy in contemporary architecture activated through the practice of fashion, by taking architect Rem Koolhaas' work Prada Epicenter in New York as a case. In doing so, it argues that throughout the work Koolhaas sets up a world in which the corporate and the individual are entangled together in complex ways. Instead of considering Prada Epicenter to be the exemplar illustrating that the global company-Prada-institutionalizes the designed commercial space in a top-down manner, this article claims that such a space imbricates a multiplicity of meaning that is generated at the intersections of the local and the global, the ordinary and the spectacular, and the individual and the institutional. In this respect French philosopher Gilles Lipovetsky's fashion theory works as a critical point: his claim that the ambivalence of fashion-both as corporate power and individual freedom-is a threshold encouraging us to better understand the operativity of late capitalism in daily life is extended to Koolhaas' case. In other words, Koolhaas' Prada Epicenter brings forth possibilities that the ostensibly technocratic and institutionalized space in fact works as a resillient field where senses of individual autonomy arise in the aid of corporative practice of branding.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.151-167
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• 2010

This research is to analyze ethics in fashion design for more valuable and sustainable human life against the increasing alienation of the human being, the global ecological crisis resulted from contemporary consumption society. I expect that it can be helpful to plan ethical fashion design practice more effectively. For this, the documentary study and practical case study have been executed. The results are as follows. The ethics in design can be defined as the responsibility to reform the social, environmental problem of consumptive design, to sustain together without human alienation, environment disruption and to do social good for total human being ultimately. The ethical design practice means to suggest solutions to problems of human rights and environment and to act willingly. Based on this, ethical fashion design appeared as responsible design solution which has two directions. One is the fashion design for coexistence and sharing, including the design for all which considers even underprivileged minority, the design to promote public issues as well as to donate some profits. The other is the eco fashion design for sustainable environment, including eco-friendly design which is reductive and slow in whole design process, the design to inform the seriousness of environmental crisis as well as to donate some profits. The last one of the most important ethical responsibility as fashion designer is to abide by vocational ethics, that is, the prohibition of design piracy.

• Proceedings of the Korean Institute of IIIuminating and Electrical Installation Engineers Conference
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• 2009.05a
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• pp.224-229
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• 2009

A Study on the Stage Lighting Design by the Type of Performance Hall The purpose of this study is to inquire into the practice of lighting design which is changed by type of stage Proscenium Stage, Thrust Stage, Arena Stage, and Flexible Stage, which have originated from ancient Greek theatre and are still used in contemporary theatre. This studt takes a good at the practical application of lighting design to different types of stage, through which it is expected to improve the understanding of lighting as a part of performing arts and to develop the quality of stage arts. The way of lighting design by type of stage can be acstracted as the following. This is expected to be of a great help to stage arts as well as different lighting designs for each type of stage. The methodology of lighting design might have limits in its application to practice in the current war Id where theatre structures and lighting equipments are fast-developing and ever-changing. However, lighting design can develop based on the basic design concepts as the researches of all fields can develop by applying their basic theories.

• SUVANNABHUMI
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• v.14 no.1
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• pp.9-29
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• 2022

Postcolonial critics have criticized Comparative Literature for exclusively studying literatures from the non-Western world through Western lenses. In other words, postcolonial criticism asserts that theorists and practitioners of comparative literature have traced the "assistance" of the classic "comparison and contrast" approach to an imperialist discourse, which sustains the superiority of Western cultures and economies. As a countermeasure to reading through the comparative lens, literary theories have offered a "juxtapositional model of comparison" that connects texts across cultures, places, and times. This paper examines practices of Comparative Literature in Vietnam, revealing how the engagement with decolonizing processes leads to a knowledge production that is paradoxically colonial. The paper also analyses implementations of this model in reading select Vietnamese works and highlights how conventional comparisons, largely based on historical influences and reception, maintain the colonial mapping of World Literature, centralizing Western, and more particularly, English Literature and in the process marginalizing the others. Therefore, the practice of juxtaposing Vietnamese literary works with canonical works of the World Literature will provoke dialogues and raise awareness of hitherto marginalized works to an international readership. In this process, the paper considers the contemporary interest of Comparative Literature practice in trans- national, trans-regional, trans-historical, and trans-cultural perspectives.

• Proceedings of the Korea Inteligent Information System Society Conference
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• 2001.01a
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• pp.343-351
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• 2001

World practice is evidence of that computer systems of an intellectual support of medical activities bound up with examination of patients, their diagnosis, therapy and so on are the most effective means for attainment of a high level of physician\`s qualification. Such systems must contain large knowledge bases consistent with the modern level of science and practice. To from large knowledge bases for such systems it is necessary to have a medical ontology model reflecting contemporary notions of medicine. This paper presents a description of an observation ontology, knowledge base for the physician of general tipe, architecture, functions and implementation of problem independent shell of the system for intellectual supporting patient examination and mathematical model of the dialog. The system can be used by the following specialist: therapeutist, surgeon, gynecologist, urologist, otolaryngologist, ophthalmologist, endocrinologist, neuropathologist and immunologist. The system supports a high level of examination of patients, delivers doctors from routine work upon filling in case records and also automatically forms a computer archives of case records. The archives can be used for any statistical data processing, for producing accounts and also for debugging of knowledge bases of expert systems. Besides that, the system can be used for rise of medical education level of students, doctors in internship, staff physicians and postgraduate students.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.3
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• pp.544-559
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• 2023

Social discourses surrounding diversity, equity, and inclusion (DE&I) in the fashion industry are vital as they extend beyond language and encompass social practices. This study aimed to understand how discourses on DE&I with in the fashion industry are reconstructed and practiced in society. Therefore, this paper analyzed DE&I in the fashion industry, by focusing on the New York Times articles, employing a quantitative research model based on corpus analysis and a qualitative approach through critical discourse analysis. Results of the analysis of textual practice, showed that the New York Times emphasized black individuals as the central discourse and created a critical racial narrative regarding DE&I in the fashion industry characterized by a dichotomy of black vs. white confrontation. Furthermore, results of the discourse practice analysis revealed that the dichotomy of racial confrontation in the New York Times article tended to select the subject of discourse related to racial DE&I in the fashion industry according based on social and historical context. Thirdly, the analytical results of sociocultural practices indicated that the dichotomous racial discourse between black and white, propagated by the New York Times, spread across social media, transforming fashion from an industry to a domain where black individuals struggle for human rights.