• The Journal of Art Theory & Practice
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• no.14
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• pp.187-215
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• 2012

In recent studies of art historical methodology, such as Critical Terms for Art History and The Art of Art History, subjectivity, identity, abjection, and other terms have been placed safely in the genealogy of contemporary art history. This paper questions the contemporaneity in the story of contemporary art in our time in relation to two other critical terms that have been regularly cited by contemporary critics, not only in Euro-American fields but also in Korea. The terms are postmedium and postproduction, respectively, as used by Rosalind Krauss and Nicolas Bourriaud. This paper stems from the critical condition in which art criticism and theory have their power in the rise of neo-liberalism. But this paper does not deal with the contemporary as a chronological term for art history but rather examines the three critical terms-contemporaneity, post-medium, and postproduction-that have garnered scholarly attention. I would like to put aside postmodernism for the moment; I don't disregard the postmodern condition although the death of postmodern critical terms has resulted in the loss of its polemical power in art worlds such as in exhibitions, etc. To look at "the postproduction in the age of post-medium age after postmodernism," I first explore Krauss's notion of post-medium because, unlike media artists like Lev Manovich and Peter Weibel, Krauss's post-medium condition is different and insists on medium specificity. In this sense, Krauss has turned out to be another Greenberg in disguise. For her, photography and video are expanded mediums after Greenberg, because Krauss has spent her life explicating those mediums. Under the Cup, her recent publication, came out in 2011, and discusses her desire to defend medium-specificity against the intermedia of installation art found ubiquitously in international exhibitions and biennales. Her usage of post-medium has been taken up by Weibel as postmedia in a broader sense. But whether the post-medium condition or the postmedia age, we nonetheless enter the new age of the contemporary. Consequently, this paper questions what constitutes contemporaneity in our times. It is said that there is nothing new on earth, yet I find original artistic strategies among the younger generation in the postmedia age. The contemporary justifies its place in art fields and criticism by keeping its distance from postmodernism although we still find the remnants of postmodern artistic practices and theoretical foundations. By looking at materials written by Terry Smith, I would like to examine contemporaneity as a rhetoric where artists, critics, and curators endeavor to set up a new spirit of criticism, distant from the past of modernism and postmodernism. In discussions, modernism and postmodernism act as catalysts interacting with each other while justifying their own place. In conclusion, my paper reaches to delineate where the contemporary finds its place among artists' responses and working methods. It explores the postproduction of the Internet and the World Wide Web generations, where images become data rather than representation (of modernism) and appropriation (of postmodernism). This paper analyzes Bourriaud's text, as well as relevant artists like Pierre Huyghe, Liam Gillick, and others. By examining the aforementioned critical terms, I would like to reconsider our own contemporary art in Korea, especially among young artists influenced by digital media and the World Wide Web in the 1990s.

• Journal of the Economic Geographical Society of Korea
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• v.19 no.2
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• pp.189-208
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• 2016

This research aims to discuss the impact of on regional development as a place brand and glocal heritage. Based on understanding of the changes and influences of local heritages in the globalization era as a key component of place branding, this study explores how is used to develop a place branding strategy for Lijiang. The research methods are both a literature review and a field research related to Lijiang and its culture. Also, the resources from news, internet, and YouTube are used to analyze the impact of . The performance has been attracting tourists from both Chineses and foreigners and contributed to increase the economic profits of local tourism industry as one of the representative identities of Lijiang. Also, in the process of preservation and recreation of cultural heritages of Lijiang such as , the participation of local residents and on-going interactions between the residents and global tourists highly influence on a transition from place marketing to place branding. By applying local cultural heritages to place branding strategies, the regional values of Lijiang strengthen its place identity from a place of preserving a minority's heritage to that of flourishing cultural exchanges and hybridization from the world.

• Archives of design research
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• v.12 no.4
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• pp.89-98
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• 1999

The application of tool which has grown rapidly by the age was used for the product development, however as today the computer digitalization has been fixed to the necessary process in every factory-made mass production, making the sensitive desire of designer the digitalization through systematic, rational information database building from the planning level of product to the final mass production in such a environment change. It should satisfy a variety of needs of consumer. The enterprise that hopes to get a winner in the present age brought in computer with useful tool to process information efficiently. The computer has displayed much more excellent computation ability than human to come up to their expectation and the growth of electronic technology was possible to make the computer's high-efficiency, economy and integration. No matter what we have a good economy and integration. No matter what we have a good information there is no meaning unless we are able to use it' so we should take it out by the our need. Therefore, this paper observes a future-oriented possibility of computer & Telecommunication in information society, information-oriented design environment and the trends of minimal and integrated computer. We will improve the designer's ability to develop a novel product that have the diversification of them using application, aiming at computer utilization and image identification design strategy of product in the age of network telecommunication.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.208-212
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• 2008

The mediacy is now evolving with the development of mankind civilization. In the evolution, mediacy shows duplicate logic of remediacy with the opposite mediacy property between immediacy and hypermediacy. The duplicate logic of remediacy is defined as a result of hypermediacy which clearly requires transparency and absorption of immediacy. Because of changes from analog to digital age and the development of image technique, At present, the era is coming when the splendid and spectacle visual speaks for the screen not well-organized script and direction. With this developing period, the research for visual effect is actively performed and advanced to the new study. Though the study of visual effects contains the hypermediacy trait, it is also conjugated as a research field for immediacy on the screen which is the wish of content production directors. In this study, the analysis of case study for the movie "The Lord of The ring"'s visual effect application is carried out. Also, it is investigated that visual effects can guarantee for the verification of valuable new research filed which insure transparency and absorption in the hypermediacy results. Furthermore, on this study, it is executed for the contribution of the identity and systematization in the new research field "Visual Effects".

• Journal of the Korea Institute of Information Security & Cryptology
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• v.17 no.1
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• pp.41-55
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• 2007

The certificate is used to confirm and prove the user's identity in online finance and stocks business. A user's public key is stored in the certificate(for e.g., SignCert.der) and the private key, corresponding to public key, is stored in the private key file(for e.g., SignPri.key) after encryption using the password that he/she created for security. In this paper, we show that the certificate, deleted by the commercial certificate software, can be recovered without limitation using the commercial forensic tools. In addition, we explain the problem that the private key encryption password can be detected using the SignCert.der and the SignPri.key in off-line and propose the countermeasure about the problem.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.267-275
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• 2020

Even ordinary-looking plays can have a profound meaning. Based on this assumption, Eugene Pink (1960) has established an analytical model of play with five elements, namely "delight", "meaning", "community", "rules" and "tools." It was an effort to reflect on the true meaning of play beyond the cortical entertaining nature of play. In this study, it was carried out that all the texts containing images and performance from the EBS character "Pengsu" were selected, since he emerged as a new star in 2019. And also his play structure was analyzed by applying the Pink's model. As a result, Pengsu's play structure was confirmed to be systematic and complete as a play prototype because it was well-organized with five elements of play. It was regarded as a successful character that skillfully attracts participants to the play world. Among the components of the play, "fun" was found to be his funny appearance, sudden and unconventional behavior, "meaning" was the elimination of authoritarianism, self-esteeming and energizing, "community" was a multi-platform media user who crossed off-on-line, analog-digital-line, "rules" was to set his concept fixed as a young stranger with an ego to unreveal his identity, and "tools" was shown as his character itself and continual discourse. It shows that until now, Pengsu has a social net function of quite spreading the positive meaning of encouragement and comfort, advice and guide, consideration and forgiveness, introspection and nirvana to all members of our society, including the youth who are struggling with uncertainty and anxiety by showing rather exaggerated and stimulating performance that precisely combines these play elements.

• Korean Journal of Culture and Social Issue
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• v.28 no.3
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• pp.513-527
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• 2022

This study was conducted to examining the socio-cultural impact of the COVID-19 pandemic that swept the world around 2020, and the transformation of norms and social problems due to COVID-19. For this, the characteristics of changes in the socio-cultural norms of the 14th century European Black Death, a representative example of the pandemic, were derived, and based on this, the COVID-19 pandemic was analyzed. The Black Death served as an opportunity to change social norms based on the existing religious authority and the power of the feudal system to the Enlightenment. The population declination and labor shortage also promoted commercialization and mechanization. Printing, which spread during this period, led to the popularization of knowledge, which raised the level of thinking and led to epochal scientific development. This became the foundation of the Industrial Revolution. Like the recent Black Death, COVID-19 has triggered changes in social norms. The technological environment of metaverse, a mixture of virtual and reality, has changed the norm of a consistent identity into free and open identities exerting various potentials through alternate characters. In addition, meme, which are about people being friendly to those with the same worldview as him on the metaverse, weakened the sense of isolation in non-face-to-face situations. Artificial intelligence (AI), which developed during the COVID-19 pandemic, has entered the stage of being used for creative activities beyond the function of assisting humans. Discussions were held on what new social problems would be created by the social norms changed due to the COVID-19 pandemic.

• Journal of the Korean Society for Library and Information Science
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• v.56 no.1
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• pp.5-25
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• 2022

In most countries, public libraries are knowledge information centers, complex cultural spaces, lifelong learning facilities, and third places for local residents. The social homage spoken on the premise of this identity and socio-cultural role is the knowledge and information agora, cultural infrastructure, living room in the city, and the university of the people. However, if there is a significant gap between public libraries regardless of country or region, it will inevitably lead to information gaps, regional gaps, and cultural inequality and cultural welfare gaps among local residents. This study is regarded as the essence of regional cultural facilities and premised that the regional gap in public libraries is a factor of regional cultural gaps. Based on this premise, the gap between the location quotient, input indicators, and output indicators of public libraries of regional governments in Korea and basic local governments in the Gyeongbuk region was analyzed. And this study derived core elements through correlation and regression analysis of input and output indicators of all public libraries nationwide, developed a management model for each indicator, and suggested a plan to resolve the relative gap for public libraries by city and county in Gyeongbuk.

• Korea Science and Art Forum
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• v.24
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• pp.399-409
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• 2016

This study's purpose is to research the correlation between property and the major festivals with media art of exemplary 3 cities among 8 Unesco Media Art Creative Cities. As a result, it is drawn a conclusion that the below strategies are necessary to achieve success for Unesco Media Art Creative City. First, from the Creative City's point of view, on the basis of the maximization of various merits such as history, natural surroundings, and human resources of the city, it is necessary to reconcile a vision of the city and an identity of Media Art Creative City, and to seek for continuous growth of the city by consistency and durability of control tower within the local government. Second, from the local festival's point of view, it is necessary to provide a differentiated service in the existing media art festivals, to attract the fusion of media art and festivals, and the diversification and the popularization of media art programs. And, it needs to lead to involvement of young people with the fusion of on-line and off-line festivals, the fusion of analogue and digital festivals. In the conclusion, for the successful constructing of Media Art Creative City, it is necessary to maximize the merits of the city's own, to enhance the image for Media Art Creative City with the correlation between the merits and media art, and to differentiate the city's own various festivals, ant the same time, to converge them with media art technology. With these strategies, the local festival can make a new leap for global festival when it constitutes a whole with Media Art Creative City.

• Journal of Microbiology and Biotechnology
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• v.34 no.7
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• pp.1475-1483
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• 2024

Three Gram-stain-positive, aerobic, rod-shaped, and non-motile bacteria, labelled as W11^T, SW19^T, and YR1^T, were isolated from soil, and performed their polyphasic taxonomic investigation. The phylogenetic and 16S rRNA gene sequence analysis showed that strains W11^T, SW19^T, and YR1^T belonged to the genera Agromyces, Rathayibacter, and Nocardioides, respectively. Strain W11^T was closely affiliated with Agromyces cavernae SYSU K20354^T (98.1%), strain SW19^T showed the closest affiliation with Rathayibacter rubneri ZW T2_19^T (97.0%), and strain YR1^T was most closely related to Nocardioides marmorisolisilvae KIS18-7^T (98.0%). The genome sizes of strains W11^T, SW19^T, and YR1^T were 4,181,720 bp, 4,740,677 bp, and 4,228,226 bp, respectively, with DNA G+C contents of 70.5%, 64.2%, and 69.7%, respectively. Average nucleotide identity and digital DNA-DNA hybridization values of W11^T, SW19^T, and YR1^T with their respective reference species were <79.6% and <23.6%, respectively. The predominant cellular fatty acids detected in strain W11^T were anteiso-C_15:0, iso-C_16:0, and anteiso-C_17:0. In strain SW19^T, they were summed feature 9 (C_16:0 10-methyl and/or iso-C_17:1ω 9c), anteiso-C_17:0, and anteiso-C_15:0. Strain YR1^T exhibited C_18:1ω 9c, C_18:0 10-methyl, TBSA, and anteiso-C_15:0 as its major cellular fatty acids. Overall, the polyphasic taxonomic comparisons indicated that strains W11^T, SW19^T, and YR1^T represent novel species within the genera Agromyces, Rathayibacter, and Nocardioides, respectively. Accordingly, we propose the names Agromyces silvae sp. nov., with the type strain W11^T (=KCTC 49818^T =NBRC 115999^T), Rathayibacter soli sp. nov., with the type strain SW19^T (=KCTC 49860^T =NBRC 116108^T), and Nocardioides terrisoli sp. nov., with the type strain YR1^T (=KCTC 49863^T =NBRC 116165^T).