• Journal of the Korea Society of Computer and Information
• /
• v.16 no.9
• /
• pp.145-153
• /
• 2011

In this paper, we propose a CMS(Career Management System) based on the Android Platform, which is able to manage the result of MBTI, an aptitude test and English skills such as TOEIC, conversation, writing, etc. and to deal with the performance of the on-the-job practice, internship, project participation, graduation exhibition, contest exhibition, etc. during the period of attendance at school, This system is divided into the server module and the client one. First, the server module is used to build up the web site of the CMS that can serve to save the data related to each student's career. Second, the client module is to develop the application based on the Android Platform. This application can easily access the career-related information and always function as maintaining and managing the new data. If we make good use of the CMS proposed in this study, the relevant departments and bureaus in colleges and universities can activate the service capacity and also enhance the employment competitiveness by adding value to the students.

• The Journal of Art Theory & Practice
• /
• no.3
• /
• pp.135-154
• /
• 2005

In the late decade of 1930, under the Japanese Imperialism, the Korean abstract art which was formed with affection by Japan and Europe. They say the early Korean abstract art is colonized, from a point that it derives from exterior impact. And they say also it is colonized not to be related to the representation of their own life world. On the other hand, the early Korean abstract art in 1930s is told as the prehistory of 'Korean Modernism in Art', which flourished in 1970s followed 'Informal Art Movement' in the late 1950s. Because the status of abstract art in 1930s was not more than a germ of 'Korean Modernism in Art', while they understand until 1950s as a period dominated by representational art based on Chosun Exhibition or Korean National Exhibition, the period until 1970s as a period ruled by abstract art which was accepted as 'Korean Modernism in Art', and the period after 1980s as a period by Min-jung Art and Post-Modernism Art. However, the historical value of Korean Abstract Art in 1930s cannot be passed over, if not trying to understand the development of 'Korean Modernism in Art' especially focusing on not their own history but the impact of Western and Japanese art. In the late colonial period, the Korean early abstract art was the strongest utterance of the time paradoxically, even if not related much to optical representation of the Korean subjectivity. Therefore the existing viewpoints about the early Korean abstract art should be changed.

• The Journal of Art Theory & Practice
• /
• no.15
• /
• pp.31-49
• /
• 2013

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

• Korean Journal of Veterinary Research
• /
• v.49 no.1
• /
• pp.91-99
• /
• 2009

The concept about zoo is changing from the animal exhibition which simply contained the animals to the ecological zoo which has the function of preserving the animal species. At the central point of maintaining such role, the basic principle called the animal welfare lies obviously. Korea has applied the animal welfare principles such as carrying out the enrichment in the zoos since 2003, but there has not been any institutional device to evaluate and examine the application of the animal welfare so far. This study aims to confirm the level of animal welfare in Korea and suggest a developmental direction. For the purpose of the study, 12 zoos in Korea were evaluated according to 68 evaluating categories. 'Five Principles of Animal Welfare' in the Secretary of State's Standards of Modern Zoo Practice were selected and carried out as the evaluation categories, and the result, from the highest to lowest score given, was 'provision of food and water', 'provision of protection from fear and distress', 'provision of health care', 'provision of an opportunity to express most normal behaviours', and 'provision of a suitable enrichment' with the overall score of the entire Korean zoos being 2.86 (${\pm}$ 0.56). It was also confirmed that in order to improve the animal welfare of the Korean zoos, the animal management system must be standardized and organized. The evaluation and feedback, the active practice of animal welfare and its legislative support should be provided to establish an effective institutional device as well.

• The Journal of Sustainable Design and Educational Environment Research
• /
• v.21 no.2
• /
• pp.11-24
• /
• 2022

The purpose of this study is to derive a curriculum environment for operating various student-centered teaching and learning methods, and the following results were derived: First, most of the lectures, discussions and consultations, data search, report preparation, presentation, work exhibition, and others were commonly derived, regardless of the types of long-term and short-term project classes for each subject. In particular, the necessity of operating various classes at the same time was suggested, indicating the need for an integrated teaching and learning operation environment in the unit subject class. Second, considering that practical classes are linked concurrently to lectures and discussion classes to conduct one subject class, it is necessary to switch to a specialized curriculum system that allows various classes such as lectures to be carried out at the same time. Third, as a result of grasping the appropriateness of the space size of the subject class for realizing different class types in the future, it can be seen that the space size of the practice room, including the space for practice and the area for exhibition, should be expanded. Based on the research results, the spatial environment for the operation of future teaching and learning classes is based on the public curriculum classroom system, and whether professional curriculum classes, such as lecture rooms and discussion and presentation rooms, are secured according to the number of students.

• The Journal of Art Theory & Practice
• /
• no.1
• /
• pp.49-70
• /
• 2003

What is an exhibition? Is it of the system which is designed to serve Art Works in their representation, or is it a place where the artistic presentation could be considered as art work itself? After modernist era, the role of exhibitional space might have been shifted from those two principle raison d'$\^{e}$tre of exhibitional space into another, a new one. What Deleuze would call it as he borrowed the term from Spinozian philosophy : the Affectional Space. This new type of exhibitional space has been announced since 1969 when a Harald Szeeman, young independent curator and art critic from Swiss, has organized his brilliant exhibition "When Attitudes become Form" in Bern. For sure, these intensities in curatorial practices have been existing before like some early 20th century exhibitional efforts by Marcel Duchamp, El Lissitzky, Yve Klein, etc. It has influenced much on many of, otherwise most of contemporary art exhibiting practices. And now it seems to be necessary to give it a conceptual idea which could enlighten better the new paradigm of exhibitional practices that we try to clarify. I would propose the idea of that new exhibitional space as "space of non-organic becoming". This idea is inspired by Deleuze's ever famous philosophical work Thousand Plateaus, which, with Folds by the same author, has contributed to many contemporary and aesthetical debating issues. What is "affect"? Explaining about Spinoza's principle concepts, Deleuze defines it as a kind of durations or variations which are constituted by different levels of perfection. One perfection is precedented or followed by certain perfection bigger or lesser through lived transitions or passages. So each time it actualizes and reflects the state of All as a cut of Reality while each state of affections, images or ideas can not be separated from the duration which binds it to the precedent state and extends it to following one. Affect is also a term of changes. One affects at the same time it is affected. Exhibitional space as affect (or affectional space) is distinguished from representational and presentational space in the way it attributes movement, produces arrangements and generates new factors of artistic creation including those which are outside of ever accepted artistic elements. The concepts of affectional space are used especially to enlighten contemporary situation of artistic and curatorial processes. Art is no more limited to be seen as mere objects of aesthetical admiration, nor as art vis-$\`{a}$-vis art relationship apart from the whole. It includes possibilities and virtuality that appear in the imperceptible and undescribable manners if delimited in given language. As once noticed by Kuhn, we might be living in a paradigmatically shifting world, not only in Art but also in Life. And we need to express it more with Art as moving and affectional nods than as just a clean window or a distinct manual book.

• Journal of Korean Society of Archives and Records Management
• /
• v.14 no.3
• /
• pp.127-151
• /
• 2014

This study aims to share a methodology for locality reproduction by concretely explaining the theoretical model, procedure, and practice of constructing the Port of Busan Image Digital Archive, based on the photographic and postcard images of the Port of Busan, the representative place of Busan. Among the open-source record management programs, Omeka was chosen in implementing the digital archive because of its suitability for image exhibition. After establishing the principles for archive implementation in accordance with the purpose of the archive, a basic investigation was conducted for the record collection. With the consent of the individuals and institutions that possess the related records on the Port of Busan, such as the National Archives of Korea, the Busan Museum, and the City of Busan, original image artifacts were thus collected. The collected artifacts were then described using the Dublin Core metadata and categorized by time period. The Port of Busan was classified through four distinctive spatial characteristics (transportation, historic, industrial, and living spaces). A total of 11 themes for the exhibition was then suggested. The Busan-Shimonoseki Ferry Boat was chosen as an example exhibition of transportation space.

• The Journal of Sustainable Design and Educational Environment Research
• /
• v.8 no.1
• /
• pp.23-33
• /
• 2009

The purpose of this study was to examine the basic academic achievement of technical high school students, their learning capability about major, their adaptability to school instruction and whether those factors of them was linked to their career in an effort to suggest workable reform measures. Technical high school seniors to grasp their basic learning capabilities and their opinions on the curricula. The findings of the study were as follows: First, the civil engineering students at technical high school weren't fully able to understand what they learned because of their poor basic achievement. They should take all the required courses to fix their academic deficiencies in the first year of high school, and client-centered additional education should be provided about particular subjects, such as mathematics, which they should learn to study their major. Second, many of the students chose technical high school through the advice of parents or since they weren't able to go onto academic high school. So they entered technical high school without knowing well about their major, and vocational education wasn't properly publicized. As students make a critical career decision in middle school, the government should build permanent pavilions for vocational-education exhibition where interested students can acquire information and explore their career without any restraints. Current fragrant vocational education that is based on experiential learning should be avoided. Third, the government substituted regular classroom teaching for field practice, and that resulted in providing just uniform instruction, destroying learning atmosphere and eventually holding teachers back from offering quality education. To remedy the situation, two different sorts of classes should be prepared. One type of classes are for college- bound students, and the others are for job-seeking students. College- bound students should receive education about humanities to improve their academic deficiencies, and job-seeking seniors should be allowed to take field-practice courses at authorized companies in the second semester. It's advisable personally and socially to help ensure their successful and immediate social adjustment.

• Journal of Korean Home Economics Education Association
• /
• v.30 no.4
• /
• pp.127-139
• /
• 2018

The purpose of this study was to develop and examine the effect of flipped learning in hand sewing practice. The flipped learning class was designed to three steps(pre-class, in-class, after-class). Pre-class: Students learned kinds of hand sewing by watching video and ppt. In-class: Students were evaluated for their prior learning through the quiz. After the quiz, instructor had a brief hand sewing demonstration. Then basic hand sewing practice was progressed. After that advanced project(making things using more than 3 kinds of hand sewing methods) was progressed. After-class: Students were evaluated each other through project exhibition. The effectiveness of flipped learning was measured based on the students' self-reflective journals and class awareness surveys. As the results, students were actively participated in flipped learning and satisfied with the overall quality of the flipped learning class. They said that videos, project & feedback were helpful in understanding hand sewing. Flipped learning applied to hand sewing practice showed more positive learning effect than the general practice class.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.42 no.2
• /
• pp.278-297
• /
• 2018

This study examines the concept and type of art marketing used by luxury fashion brands as well as to elucidate the productive outcome of art marketing based on art marketing case studies. The research methods adopted in this study were a literature review and case studies. The scope of the research focused on companies operating luxury fashion brands such as Louis Vuitton S.A., Kering Group, Prada S.p.A., $Herm{\grave{e}}s$ International S.A., Salvatore Ferragamo Group, Giorgio Armani S.p.A. and Compagnie $Financi{\grave{e}}re$ Richemont S.A.. The results showed that luxury brands using art marketing to enhance the competitiveness of the company by combining art and marketing mainly incorporate the following types of art marketing: art foundation and museum, art sponsorship, art collaboration, advertising campaign, exhibition promotion, and flagship stores. In terms of the outcome of art marking by luxury fashion brands, it was found that art marketing facilitates company activities help companies acquire a positive image from revitalizing culture and art, produces increased profits for the companies due to increased product sales as well as expands the marketability of respective companies through company PR and brand promotion, customer satisfaction by providing cultural space, artistic places and new experiences.