• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• Cross-Cultural Studies
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• v.26
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• pp.465-485
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• 2012

Instructing "History of Spanish Literature" class faces various types of limits and obstacles, just as other foreign language literature history classes do. Majority of students enter the university without having any previous spanish learning experience, which means, for them, even the interpretation of the text itself can be difficult. Moreover, the fact that "History of Spanish Literature" is traced all the way back to the Middle Age, students encounter even more difficulties and find factors that make them feel the class is not interesting. To list several, such factors include the embarrassment felt by the students, antiquated expressions, literature texts filled with deliberately broken grammars, explanations written in pretentious vocabularies, disorderly introduction of many different literary works that ignores the big picture, in which in return, reduces academic interest in students, and finally general lack of interest in literate itself due to the fact that the following generation is used to visual media. Although recognizing such problem that causes the distortion of the value of our lives and literature is a very imminent problem, there has not even been a primary discussion on such matter. Thus, the problem of what to teach in "History of Spanish Literature" class remains unsolved so far. Such problem includes wether to teach the history of authors and literature works, or the chronology of the text, the correlations, and what style of writing to teach first among many, and how to teach to read with criticism, and how to effectively utilize the limited class time to teach. However, unfortunately, there has not been any sorts of discussion among the insructors. I, as well, am not so proud of myself either when I question myself of how little and insufficiently did I contemplate about such problems. Living in the era so called the visual media era or the crisis of humanity studies, now there is a strong need to bring some change in the education of literature history. To suggest a solution to make such necessary change, I recommended to incorporate the visual media, the culture or custom that students are accustomed to, to the class. This solution is not only an attempt to introduce various fields to students, superseding the mere literature reserch area, but also the result that reflects the voice of students who come from a different cultural background and generation. Thus, what not to forget is that the bottom line of adopting a new teaching method is to increase the class participation of students and broaden the horizon of the Spanish literature. However, the ultimate goal of "History of Spanish Literature" class is the contemplation about humanity, not the progress in linguistic ability. Similarly, the ultimate goal of university education is to train students to become a successful member of the society. To achieve such goal, cultural approach to the literature text helps not only Spanish learning but also pragmatic education. Moreover, it helps to go beyond of what a mere functional person does. However, despite such optimistic expectations, foreign literature class has to face limits of eclecticism. As for the solution, as mentioned above, the method of teaching that mainly incorporates cultural text is a approach that fulfills the students with sensibility who live in the visual era. Second, it is a three-dimensional and sensible approach for the visual era, not an annotation that searches for any ambiguous vocabularies or metaphors. Third, it is the method that reduces the burdensome amount of reading. Fourth, it triggers interest in students including philosophical, sociocultural, and political ones. Such experience is expected to stimulate the intellectual curiosity in students and moreover motivates them to continues their study in graduate school, because it itself can be an interesting area of study.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.447-484
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• 2012

This study aims to analyze the characteristics of post-epic theatre in the Belgian theatre director Jan Lauwers' trilogy titled in "Happy Face/Sad Face": (2004), (2006) and (2008). I regard that it played a very important junction for him to create his own theatrical style compared to earlier years. From this period, Lauwers has tried to create his original plays in order to concentrate the story of our era and has showed to combine a variety of media such as dance, installation, video, singing etc. In this context, I would like to study his own theatricality from the three perspectives of dramaturgy, directing and acting largely based on Hans-Thies Lehmann's theory of post-epic theatre, who pointed out the significance of Lauwer's theatrical leading role very early. First, from the dramaturgical point of view, we need to pay attention to the theme of translunary death; where the living and the dead coexist on the stage. In fact, death is the theme that Lauwers has been struggling to research for quite long time. In his trilogy, the dead never exits the stage. The dead, who is not a representative tragic character, even meddles the things among or with the living and provide comments to people. As a consequence, it happens to reduce a dramaturgical strong tension, leads depreciation of suspense and produces humanism in a way. This approach helps to create his unique comical theatrical atmosphere even though he deals with the contemporary tragic issues such as war, horror and death. Second, from the directing point of view, it is worth to take a look at the polyphonic strategy in terms to applying various media. Among all the things, the arts of dancing and singing in chorus are actively applied in Lauwer's trilogy. The dance is used in individual and microscopic way, on the other hand, singing shows collective and is a macroscopic quality. The dance is the representing media to show Lauwer's simultaneous microscopic mise-en-scene. While main plot takes place around the center-stage, actors perform a dance around the off-centered stage. Instead of exiting from the stage during the performance, the actors would continue dance -sometimes more like movements- around the off-centered stage. This not only describes the narrative, but also shows how each character is engaged to the main plot or incident, and how they look into it as a character. Its simultaneous microscopic mise-en-scene intends to function such as: showing a variety moments of lives, amplifying some moments or incidents, revealing character's emotion, creating illusionary theatrical atmosphere and so on. Meanwhile, singing simple lyrics and tunes are an example of the media to stimulate the audiences' catharsis. As the simple melody lingers in the audiences' mind, it ends up delivering a theatrical message or theme after the performance. This message would be transferred from the singing in chorus functions as a sort of leitmotive in order to make an impression to the audience. This not only richens their emotion but also creates an illusionary effect. Third, from the acting perspective, I'd like to point out the "detachment" aesthetic which Lehmann has pointed out. The actors never go deep into the drama by consistently doing recognize a theatrical illusion. The audience happens to pay attention to their presence through the actor's deliberate gesture, business, movement, rhythm, language, dance etc. The actors are against forming closed action by speaking in various languages or by revealing deliberately stage directions or acts, and by creating expressive mise-en-scene with multiple media. As a consequent, the stage can be transformed to not a metaphoric but a metonymic place. These actions are the ultimate intention for a direct effect to the audience. So to speak, Lauwers uses the anti-illusionary theatrical method: the scenes of fantastic death, interruption of singing and dance, speaking many kinds of languages, acting in detachment-status and so on. These strategies function to make cracks in spectators' desire who has a desire to construct a linear narrative. I'd like to say that it is the numerous potentiality to let the reality penetrate though and collide the reality with a fiction. By doing so, it induces for spectators to see the reality in the fiction. As Lehmann says, "when theatre presents itself as a sketch and not as a finished painting, the spectators are given the chance to feel their own presence, to reflect on it, and to contribute to the unfinished character themselves". In this sense the spectators can perform an objective criticism on our society and world in Lauwer's theatre because there are a number of gaps and cracks in his theatrical illusion where reality can penetrate. This is also the point that we can find out the artists' responsibility in this era of our being.

• (The)Study of the Eastern Classic
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• no.57
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• pp.331-357
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• 2014

This paper is to examine Okdong Lee Seo's historical view through analyzing Yeokdaega("歷代歌"), Okdong's full-length historical epic. As long as Okdong Lee Seo was a Confucian scholar holding moral cultivation as the highest value, his Yeokdaega is hard to explain separately from the Confucian world view. Okdong's Yeokdaega is a long old-style sino-korean poem consisting of 526 7-syllable verses, yet it considerably differs in structure from other historical epics known so far. Okdong's Yeokdaega consists of two parts: the first narrates Chinese historical facts from the beginning to the fall of Ming dynasty, and the second describes the social irrationality of the time and reveals his strong social criticism. It is very different from an ordinary historical epic piece narrating the orders and disorders and the rise and fall of historical facts. It is thought that Okdong's Yeokdaega was written based on his Confucian historical view. It seems that for Okdong the rise and fall of Chinese historical dynasties did not merely mean historical facts but functioned as a tool explaining the reason for people to persue moral cultivation. Okdong summed up his knowledge of the rise and fall of Chinese historical dynasties, his sharp criticism on social irrationality, and his stimulation about the necessity of moral cultivation, and then created a long 526-verse historical epic Yeokdaega. For the reasons, it is not easy to say that Okdong's Yeokdaega is the result of pure literary activities only for artistry. However, Okdong's Yeokdaega is not inferior to other historical epic pieces written by the time in literary value. Especially, Okdong's Yeokdaega can be said to be more meaningful since it was, over its literary value, not only a tool to strengthen his own study and will but also a educational tool for others around himself.

• Journal of Intelligence and Information Systems
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• v.20 no.2
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• pp.109-122
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• 2014

People are nowadays creating a tremendous amount of data on Social Network Service (SNS). In particular, the incorporation of SNS into mobile devices has resulted in massive amounts of data generation, thereby greatly influencing society. This is an unmatched phenomenon in history, and now we live in the Age of Big Data. SNS Data is defined as a condition of Big Data where the amount of data (volume), data input and output speeds (velocity), and the variety of data types (variety) are satisfied. If someone intends to discover the trend of an issue in SNS Big Data, this information can be used as a new important source for the creation of new values because this information covers the whole of society. In this study, a Twitter Issue Tracking System (TITS) is designed and established to meet the needs of analyzing SNS Big Data. TITS extracts issues from Twitter texts and visualizes them on the web. The proposed system provides the following four functions: (1) Provide the topic keyword set that corresponds to daily ranking; (2) Visualize the daily time series graph of a topic for the duration of a month; (3) Provide the importance of a topic through a treemap based on the score system and frequency; (4) Visualize the daily time-series graph of keywords by searching the keyword; The present study analyzes the Big Data generated by SNS in real time. SNS Big Data analysis requires various natural language processing techniques, including the removal of stop words, and noun extraction for processing various unrefined forms of unstructured data. In addition, such analysis requires the latest big data technology to process rapidly a large amount of real-time data, such as the Hadoop distributed system or NoSQL, which is an alternative to relational database. We built TITS based on Hadoop to optimize the processing of big data because Hadoop is designed to scale up from single node computing to thousands of machines. Furthermore, we use MongoDB, which is classified as a NoSQL database. In addition, MongoDB is an open source platform, document-oriented database that provides high performance, high availability, and automatic scaling. Unlike existing relational database, there are no schema or tables with MongoDB, and its most important goal is that of data accessibility and data processing performance. In the Age of Big Data, the visualization of Big Data is more attractive to the Big Data community because it helps analysts to examine such data easily and clearly. Therefore, TITS uses the d3.js library as a visualization tool. This library is designed for the purpose of creating Data Driven Documents that bind document object model (DOM) and any data; the interaction between data is easy and useful for managing real-time data stream with smooth animation. In addition, TITS uses a bootstrap made of pre-configured plug-in style sheets and JavaScript libraries to build a web system. The TITS Graphical User Interface (GUI) is designed using these libraries, and it is capable of detecting issues on Twitter in an easy and intuitive manner. The proposed work demonstrates the superiority of our issue detection techniques by matching detected issues with corresponding online news articles. The contributions of the present study are threefold. First, we suggest an alternative approach to real-time big data analysis, which has become an extremely important issue. Second, we apply a topic modeling technique that is used in various research areas, including Library and Information Science (LIS). Based on this, we can confirm the utility of storytelling and time series analysis. Third, we develop a web-based system, and make the system available for the real-time discovery of topics. The present study conducted experiments with nearly 150 million tweets in Korea during March 2013.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.10 no.2
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• pp.145-157
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• 1999

This study was performed by the children and adolescents who were abused or neglected physically, emotionally that were selected in child & adolescents psychiatric ward. We investigated the number of these case in admitted children & adolescents, and also observed characteristics of symptoms, developmental history, characteristics of abuse style, characteristics of abusers, family dynamics and psychopathology. We hypothesized that all kinds of abuse will influnced to emotional, behavioral problems, developmental courses on victims, interactive effects on family dynamics and psychopathology. That subjects were 22 persons of victims who be determined by clinical observation and clinical note. The results of the study were as follows：1) Demographic characteristics of victims：ratio of sex was 1：6.3(male：female), mean age was $11.1{\pm}2.5$. According to birth order, lst was 12(54.5%), 2nd was 5(23%), 3rd was 2(9%) and only child was 3(13.5%). 2) Characteristics of family：According to socioeconomic status, middle to high class was 3(13.5%), middle one was 9(41.% ), middle to low one was 9(41%), low one was 1(0.5%). according to number of family, under the 3 person was 3(13.5%), 4-5 was 17(77.5%), 6-7 was 2(9%). according to marital status of parents, divorce or seperation were 5(23%), remarriage 2(9%), severe marital discord was 19(86.5%). In father, antisocial behavior was 7(32%), alcohol dependence was 10(45.5%). In mother, alcohol abuse was 5(23%), depression was 17(77.3%), history of psychiatric management was 6(27%). 3) Characteristics of abuse：Physical abuse was 18(81.8%), physical and emotional abuse and neglect were 4(18.2%). according to onset of abuse, before 3 years was 15(54.5%), 3-6 years was 5(27.5%), schooler was 1(15%). Only father offender was 2(19%), only mother offender was 8(35.4%), both offender was 8(35.4%), accompaning with spouse abuse was 7(27%), and accompaning with other sibling abuse was 4(18.2%). 4) General characteristics and developmental history of victims：Unwanted baby was 12(54.5%), developmental delay before abuse was9(41%), comorbid developmental disorder was 15(68%). there were 6(27.5%) who didn‘t show definite sign of developmental delay before abuse. 5) Main diagnosis and comorbid diagnosis：According to main diagnosis, conduct disorder 6(27.3%), borderline child 5(23%), depression4(18%), attention deficit hyperactivity disorder(ADHD) 4(18%), pervasive developmental disorder not otherwise specified 2(9%), selective mutism 1(5%). According to comorbid diagnosis, ADHD, borderline intelligence, mental retardation, learning disorder, developmental language disorder, oppositional defiant disorder, chronic tic disorder, functional enuresis and encoporesis, anxiety disorder, dissociative disorder, personality disorder due to medical condition. 5) Course of treatment：A mean duration of admission was $2.4{\pm}1.5$ months. 11(15%) showed improvement of symtoms, however 11(50%) was not changed of symtoms.