• The Korean Journal of Archival Studies
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• no.43
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• pp.5-42
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• 2015

Korean wave 3.0 is focused on 'K-Culture' which includes traditional culture, cultural art as well as existing culture contents as a keyword. It considers everything about Korean culture as materials of Korean wave culture contents. Since Korean wave culture contents reflect contemporary social aspect, it needs to preserve those contents as archives and records which have the important value of evidence. With this social environment, this study aims to implement RMS based on AtoM that manages various kinds of Korean wave culture contents through analysis of management situation of those materials. Recently, it is in progress individually to manage them through organizations dealing with korean cultures such as K-Pop, K-Food, K-Movie. However, it has problems in accumulating information and reproducing high quality contents because of lack of coordination among organizations. To solve the problems, this study proposed RMS based on open source software Access to Memory(AtoM) for managing and recording Korean wave culture contents. AtoM provides various functions for managing records and archives such as accumulation, classification, description and browsing. Furthermore AtoM is for free as open source software and easy to implement and use. Thus, this study implemented RMS based on AtoM to methodically manage korean wave culture contents by functional requirements of RMS. Also, this study considered contents relating K-Food as an object to collect, classify, and describe. To describe it, this study selected ISAD(G) standard.

• The Korean Journal of Archival Studies
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• no.74
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• pp.45-78
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• 2022

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government's indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa's past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa's official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people's memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.

• Archives of Plastic Surgery
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• v.33 no.4
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• pp.521-524
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• 2006

Purpose: The history of biometry dates back to ancient Greek. The ideal body ratio from biometry is used as a guideline in many works of art. Biometry is also used as a medical standard to determine normal or abnormal. Since the biometry of face is so complicated, many surgeons tend to regard preoperative evaluation as a bother and substitute medical records with some photographs. We introduce a new method to measure $MRD_1$ and levator function using digital photographs, which becomes widely used lately. Methods: $MRD_1$ can be measured with the primary-gaze-view photo which is magnified by PhotoshopR 7.0.1. The distance from coneal reflex of ring flash to upper eyelid margin is converted to mm-unit using the piece of ruler attached on the patient's face. Levator function can be measured with up-gaze-view photo and down-gaze-view photo which are superimposed on another. The excursion distance of upper eyelid margin (a) and the excursion distance of eyebrow (b) are measured respectively. The levator function can be assessed through subtraction of two values (a-b). This method is simple and precise and can be applied directly to patient without photos. Results: Using magnified digital photos and computer, this method can reduce personal error and instrumental error. Taking some digital photos doesn't take long time, so it can reduce the effort of preoperative evaluation and discomfort of patients. Conclusion: Digital photo-biometry is useful for retrospective study. Especially reducing personal error, it is useful when the number of specimens is huge. New levator function test is much more useful for Asian-specific eyes than Berke's method allowing frontalis muscle compensation.

• The Korean Journal of Archival Studies
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• no.63
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• pp.145-165
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• 2020

, in collaboration with Mary Kelly, Kay Hunt and Margaret Harrison, tells the story of workers in the 1970s. Since the late 1960s, the world has undergone many political and social changes, and social movements have been active to protect the socially underprivileged, including women, children and workers. This phenomenon led to the diversification of the collection of the general public, the community, and the minority, and the expansion of the artist's political remarks and themes in the art world. , completed in conjunction with these social issues, surveyed and recorded the reality of workers in a factory in London and produced it as a artwork. is a collaborative work of three artists, a record of workers in the 1970s, and a record of the labor situation, factory, and even the history of the region. Therefore, this study examined the methods and features of , which dealt with the lives of women workers in the 1970s, based on social conditions.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.207-241
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• 2007

This paper investigates the royal collection of paintings and calligraphy during King Gojong's (高宗) reign (1897~1907) based on the function of the Jipgyeong-dang Hall (緝敬堂), situated at "sleeping realm (寢殿)," Gyeongbok Palace. Using the surviving palace records and art works this study argues that the date of building the hall is approximately confined to the year of 1890. Not being matched with the general opinion that the Jipgyeong-dang Hall was used for the official meeting with envoys, this hall functioned as the main place for royal audience and the storehouse for archives. The role of Gojong as collector and patron was essential not only to the maintenance of the collection but also to the strengthening of royal authority just before the Japanese annexation in 1910. The specific titles of the collection at this hall can be verified through the Catalogue of the Books, Paintings, and Calligraphy Exposed to the Sun at Jipgyeong-dang Hall (緝敬堂曝曬書目) dating to the nineteenth century. The records of the catalogue inform us that more than 1,000 paintings and pieces of calligraphy, inkrubbings from old steles, manuals for painting, and encyclopedia concerning art theories from Korea, China, and Japan were preserved there. The collection of Jipgyeong-dang Hall resulted from Gojong's policy to foster the collection of contemporary Chinese and Japanese art works and various catalogues. Standing behind the Gyeongbok Palace, the Jibok-jae Hall (集玉齋) also preserved the diverse sources of practical learning, as did the Jipgyong-dang Hall for Gojong. The enormous royal collections by Gojong might have been constructed in accordance with the royal artistic taste and the artistic milieu of the late Joseon period. The surviving royal catalogues confirm this assumption as documentary evidence.

• MISULJARYO - National Museum of Korea Art Journal
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• v.101
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• pp.66-86
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• 2022

This paper focuses on the document "Property Ledger of Dr. Rhee," which was a supplement to the Disposal of the Late Dr. Rhee's Property written by the secretarial office of the Cheongwadae (the Korean presidential residence) in 1970. The document contains a list of 311 items, including furnishings and artworks, once owned by President Syngman Rhee. The items had been in the collection of the Cheongwadae, but in February 1970 they were transferred to the family of the late President Rhee. The background for creating this list is as follows. After the April 19 Student Revolution in 1960, a survey was conducted of Rhee's movable assets, including artworks in his private residence Ihwajang. Their transfer to the National Museum was discussed at one point, but it was decided to use them at the Cheongwadae instead. In 1963, however, the transfer of these assets to the National Museum was ordered, and some duplications of the private possessions were sent to Ihwajang House. In 1970, furnishings and artworks stored at the Cheongwadae were also returned to Ihwajang House, and the "Property Ledger of Dr. Rhee" document was produced. This ledger lists works by artists from the Joseon period through the 1960s. It is difficult to identify each of these artworks since no photos are attached and the details provided are minimal. Nevertheless, this ledger is valuable in that the scale of artworks in the collection of the Gyeongmudae (the former name for the Cheongwadae) and Ihwajang House can be partially identified and in that it helps us understand how the issues surrounding the reversion of ownership of these artworks were resolved.

• Archives of design research
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• v.18 no.2 s.60
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• pp.325-334
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• 2005

The purpose of this thesis is to explore the fundamental reasons and general circumstances of the introduction of geometric shape to the 20th century's design education. The modern design education was directly influenced by the German Kindergarten Movement and its educational ideal, so they began to employ geometric shapes in visual education. When Friedrich Frobel, a professional German child educator of the 19th century, invented the 'Spielgaben,' it soon became a popular educational tool. It was a turning point in the child educational system, from then they began to actively employ 'tools' in art education. The Spielgaben was created based on the geometric principle of a popular block game of the 19th century. On the other hand, a game program called 'Bechaftigungsmaterial' led early Modernists to adopt geometric shape in their works. Then, geometric shape were applied to a primary educational program designed by the Bauhaus that gave birth to the Modern design education in the 20th century. likewise, the substantial reasons why the principles of point/line/plain and geometric shapes had been taken in the 20th century design education can be explained through this historical background. This research is to investigate how Kindergarten Movement and Modern design education can be associated with each other, particularly in the light of geometric elements. Therefore, I first referred to the historic records in order to reveal their relation, and then analyzed the similarities and differences between the two activities. In result, I could explore the relationship between child educational tools and the 20th century's design education.