• Journal of Contemporary Eastern Asia
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• v.19 no.2
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• pp.125-147
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• 2020

On the World Refugee Day in 2017, Yao Chen, a Chinese actress, philanthropist, and social media influencer, posted messages in her Weibo in support of the United Nations Refugee Agency (UNHCR). Yet, social media users quickly interpreted this supportive message of the refugee program as encouraging people to "accept and receive refugees" (jieshou nanmin) into China. Particularly, the category of Middle Eastern refugees elicited most criticism in China's cyberspace. As the inclusion of refugees is an integral part of immigrant multiculturalism, this article examines the limits of multicultural imagination of refugees―particularly those from the Middle Eastern and North Africa―in contemporary China. I argue that the limits of multicultural imagination in contemporary China is profoundly shaped by an intricate interweaving of domestic policies and global imaginaries toward refugees. By deploying a mixed methodology, such limits are examined from legal-institutional, ideological, and sociocultural perspectives. More specifically, three interrelated aspects will be highlighted in the article: (1) the global circulation of right-wing populism imaginaries, and their entanglements with the anti-Muslim sentiments in contemporary China; (2) the current insufficiency of the legal-institutional framework regarding refugees and asylum-seekers, which needs to be contextualized in China's modern history of dealing with refugee issues; (3) population politics, the rise of Han-centric nationalism, and their constraining impact on the interpretation of historical events related to cultural diversity. In conclusion, this article also offers potential implications for further examining the different yet potentially intersected genealogies of multicultural imaginaries beyond the Middle Eastern and North African refugees in Asia.

• Journal of Digital Contents Society
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• v.17 no.5
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• pp.339-348
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• 2016

While the development of digital media has positive aspects of knowledge enlargement and a new communication channel, it also demonstrates a lot of unexpected defects, such as personal isolation, addiction, obsession or Attention Deficit Hyperactivity. Thus, the author considers it is urgent to develop the contents specifically designed for children in this new digital environment and would like to propose the combined Children's device and contents using the new concept of Mixed Reality. The Mixed Reality that mixes real world and virtual world provides the opportunity that can experience the new concept of play education by using touchable interface of children's real life toy cars together with the virtual world in the smart phones. This Mixed Reality that is extended from sole senses will lead the children to develop the concentration, sense of reality and imagination and also to experience the enlarged play and education concept.

• Korean Institute of Interior Design Journal
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• v.13 no.2
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• pp.80-90
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• 2004

Scientism is a kind of paradigm since the birth of Modernism. Architectural design was also effected from scientism in the 1st Machine age, and being effected still In the End Machine age. But many architects in the 2nd Machine age express scientism in architectural design as a "science for kick" as SF. The design of Rem Koolhaas follows the line of Modernism which was effected from scientism in many ways. However he shows modified machine aesthetics as SF pataphysics mixed with literary imagination, and now shows new science paradigm in post-modern age. He expresses many new science theory like indeterminacy theory, chaos, catastrophe theory in his works. And those are expressed as indeterminate program that proceeds in non-linear way, rhizome in space, order out of chaos, topological metamorphosis as a catastrophe. This study analyzes the expression of scientism in architectural design of Rem Koolhaas since 1970s.nce 1970s.

• The Journal of the Korea Contents Association
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• v.14 no.4
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• pp.47-57
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• 2014

The horro movie which was released in 2003, was a box office hit drawing audiences totaling 3,140,000 people. Then, there were partial opinions that it was difficult to understand the content of the movie. However, it was most favorably received in the horror movies which were released before and after 2003. The 4 main characters in the movie are a family. The family conflicts begin as the dad has an affair. Muhyeon(the dad)'s infidelity leads his wife to kill herself. The suicide of the wife and mom again leads Suyeon(the younger sister) to be dead. At this moment, Suyeon's death is related to Eunju(the step mom). Sumi(the older sister) is deeply hurt by the fact that Eunju left her younger sister's death after she was dead. But at the same time, she realizes that she is also related to Eunju's act. And she felt guilty about her younger sister's death. Eunju was also hurt by Sumi's biting remarks. However, she feels guilty about the fact that she made Suyeon be dead. Director Jiun Kim said in the interview when it was released, "this movie is about hurts and guilt among families." These hurts and guilt are expressed by horror images that imagination and reality are mixed. Hurts are expressed by virtual images and guilt is done by real images. This paper presented still pictures which explain the virtual and real images and examined what hurts and guilt mean. And it described the symbolic meanings of three media which cause conflicts among main characters.

• Korean Institute of Interior Design Journal
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• v.24 no.1
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• pp.152-159
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• 2015

Contemporary architecture is philosophy and art, and science are different that holds the architecture of human thought and behavior based on a variety of physical space. In addition, the technology is used by the new media graphics, lasers, LED, which were possible only in imagination, using tools such as the time-space of the potential for explosion. In particular, it was found in the spacial color of atypical using the nature of light. Such these architecture is space people actively experiencing a sense towards the expansion of its place. Therefore, the study purpose is to explore the Steven Holl's spacial colors to utilize the space is important to the possibility of light. He prefers the connection to the invisible world is inferred from the visible world and other space. He thoughts an idea linked to the concept watercolors which is a tool that holds to the notion of the flexibility of light and shadow. Concept watercolor is the idea space, establish space, recombinant space, and the growthy space. These have shown the no fixed spacial color cause of the combination of the different tones according to the characteristics of the mixed-color development of a concept watercolors demonstrated the spacial color of the replacement. That is to establish a parody of the works light blending spacial color.

• Journal of architectural history
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• v.11 no.3 s.31
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• pp.87-103
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• 2002

In contemporary architecture, there are developing aspects of variety design in material, image and form. These various architectural trends even change classical media and this concept is based on the background of current idea - digital, information-media, imagination with paradigm. So this study aims to show the present status of the expressions in the contemporary architecture of Korea under its media situation. Namely usual thoughts for design have to be changed because our life is surrounded by many kinds of powerful media signs and various mixed cultural circumstances. And like this, we know for study about the relation between media and current architecture, still more Korean present condition. In chapter one, the background, purpose and method of study are explained. In chapter two, the general concept of media is inquired in this study. In the process of searching for the formingbasic background, the characteristic of this study is understood. In chapter three, this study inquires the aspect of media expression in modern architecture. In chapter four, according to chapter three, this study shows the present status of media expressions in the contemporary architecture of Korea. In chapter five, a synthetic conclusion is presented.

• Journal of Korea Game Society
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• v.20 no.6
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• pp.89-98
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• 2020

Computer simulations based on technical imagination break down invisible walls placed between the virtual and reality and causes users to face situations mixed with reality and the virtual. The development of technology embraces evolves human identity. This can serve as an opportunity that increases the value and utilization levels of games and this can be seen as an opportunity to discuss the evolution of games. In this study focused on MMORPG, discussions are made of the diverse values of online games along with the evolution of human identity that is achieved within them.

• Journal of architectural history
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• v.12 no.3
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• pp.149-162
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• 2003

Schulz accepted the existentialist view based on Heidegger's thought and at the same time the objectivist view making fixed this living world, evoking controversies for discussion. He could not see various presentations of the meaning of place because he perceived elements of this world individually. Thus Schulz's mixed system of understanding is sternly different from Heidegger's thought. First, Heidegger suggests that place as existential space represents the occasion revelation of incidents in Dasein. While Schulz recognizes that place is a systematic space predetermined for Dasein. Second, Heidegger interprets the placeness as creative openness in which elements comprising this world face and interact with each other into one. In contrast, Schulz defines each of the elements through signification and regards it as invariable and static. Third, Heidegger perceives that the placeness is expressed with sustainable, complex images through "rift-design" which seeks dynamic interactions between the ground and the world. While Schulz attempts to take "Genius Loci" or "habituated scene" through "gathering" as a concept he regards static and then visualize such structural two factors, producing certain internal images of place. However, limits of Schulz's theory prevent us from exerting complete imagination and discovering the inner creative world of the object. Thus the ultimate goal of paying attention to the placeness, that is, the recovery of individual identity, fails due to the prevalence and abstraction of objectified thinking. In contrast, Heidegger's thought about "openness" is a useful means of realizing the placeness. Openness may be referred to a dynamic coordination in which the earth and the world sustain each other under incessant mutual tensions, but not sticking o each other. "Rift-design" is an openness strategy to cause tense relations by preventing structuralization intentively. This is a creative design that allows seeing original seams of the object.

• Journal of Elementary Mathematics Education in Korea
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• v.22 no.1
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• pp.47-67
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• 2018

The purpose of this study is to develop an elementary mathematics education program for social justice. In the two years of research including literature review and development of a teaching model, forty 6th grade elementary students at two schools in Seoul participated as participants for verification of the effectiveness of the program. Parents' SES in each group is in the high and average levels, respectively. The students participated in 12 mathematical classes for social justice, and the effects of mathematics education for social justice were tested by using mixed method. As a result of the study, students' perceptions of mathematics and tendency toward mathematics were changed positively. The results of this study showed that students' perceptions on mathematics and tendency toward mathematics were influenced by individual ability, inclination, and condition rather than parents' socio-economic environments. It is necessary to develop high qualified and diverse mathematical materials for social justice in order to cultivate creative convergence ability that flexibly copes with future society. It is also necessary for teachers to look at mathematics education in a broader and deeper perspective such as seeing mathematics with humanistic imagination.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.5
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• pp.109-118
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• 2012

The study is aimed to suggest a preliminary data on the improvement of children's recreational facility to enhance children's creativity at Sangsang Children Park Project(SCPP) in Seoul Metropolitan City being the case study. The book review, especially the field observation was implemented by the video recording methods for analyzing the children's play behavior with regard to the six sites of the SCPP that was constructed in March 2008 until May 2010. Because of the research, the first 21 patterns of the creative activities were shown. Second, the prime using rates of facilities were the combination of play facilities among other play facilities like swings, slides, trembling horse etc. However, more children's creative behaviors occurred on independent play facilities like swing, trembling horse, etc. than at combination play facilities. Third, children's creative behaviors diversely occurred at a moving or fluid facility like a swing, trembling horse and a spatial facility like sand field more than a fixed facility like combination play facility. Fourth, children's creative behavior could be divided and evaluated by five categories and elements of fluency: the flexibility, the creativity, the elaborateness, and the imagination. Nevertheless, it was assumed that the creative elements of the five categories were mixed together with each other instead of showing an individual characteristic. Fifth, based on this analysis, the research reached out to the conclusion that the combination play facility of imaginary children's park would be designed together with more fluid and spatial facilities to improve the children's creativity. Finally, It was proposed that the play facilities of imaginary children's park like drawing wall or board, spatial play facilities and handicraft facilities etc. would be introduced to improve sorts of creativeness on elaborateness and imagination shown less than the fluency, flexibility, and originality.