• The Journal of Art Theory & Practice
• /
• no.3
• /
• pp.9-34
• /
• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• Cross-Cultural Studies
• /
• v.28
• /
• pp.67-86
• /
• 2012

Metaphors were conceived of as a figure of speech whose role consisted in merely ornamenting the language. However, with their seminal book Metaphors we live by (1980), Lakoff and Johnson have revolutionized the conception of metaphors by placing them as central to human language, thought and action. Cognitive linguists argue that humans tend to conceptualize abstract concepts, such as time, through more experiential and tangible concepts. For instance, it has been observed that the abstract concept of time is conceptualized as space in several unrelated languages. According to the Conceptual Metaphor Theory (CMT), TIME AS SPACE metaphor covers two more specific metaphors: (1) The MOVING TIME metaphor wherein the observer is conceived as a stationary entity, as in The end of the academic year is getting closer; and (2) The TIME AS A LOCATION metaphor wherein times are conceived as stationary points and the observer is conceived as moving relative to these locations, as in We are first approaching the end of the year. This paper aims at probing the validity of the CMT representations of time on the basis of an analysis of time metaphors in two languages: English and French. This analysis is conducted within the framework of CMT. The results corroborate the CMT representations of time, suggesting that in both languages the abstract concept of time is expressed in spatial terms. In English, as in French, time is conceptualized as a moving entity and as having extension in space. In both languages, time can be seen as bounded; therefore, one can perform actions within defined limits of time.

• Journal of Information Management
• /
• v.21 no.1
• /
• pp.1-33
• /
• 1990

This paper examines the English and Korean abstracts using the part of speech, case, primitive action. primitive state, measures the length of abstracts and individual sentences and analyzes the structures of sentences. In turn, the possible frames of abstract sentences are suggested.

• 제어로봇시스템학회:학술대회논문집
• /
• 2003.10a
• /
• pp.1525-1530
• /
• 2003

In this paper, a model of adaptive individual life support system is proposed from the viewpoint of cybernetics. This model is derived based on the relation between human behavior and human action, static and dynamic in processing speed, and abstract/concrete. In applications, task and information of human which includes in this system analyzed by paying attention to cybernetics. This paper shows a few actual example of modeling by fundamental adaptive individual life support model such as medical diagnosis, health care and education support. Finally as an example, design and implementation are concretely carried out for health care support system. This is also a method to design a information support system which is involved in human.

• Proceedings of the Zoological Society Korea Conference
• /
• 1997.10b
• /
• pp.251.1-251
• /
• 1997

No Abstract, See Full Text

• Proceedings of the Zoological Society Korea Conference
• /
• 2003.08a
• /
• pp.166.2-166
• /
• 2003

No Abstract, See Full Text

• Proceedings of the Zoological Society Korea Conference
• /
• 1996.10a
• /
• pp.144.2-144
• /
• 1996

No Abstract, See Full Text

• Journal of Digital Contents Society
• /
• v.16 no.4
• /
• pp.635-643
• /
• 2015

This study conducted a case study using various platforms centered on a tennis game to examine what forms the movements of a game player had when they were abstracted in the game. In particular, it summarized the forms of the player's experience that could be attained from the abstracted tennis actions into the 4 types: movement, swing, direction & intensity, and skill; and observed and schematized them in the early video games, console games, mobile games, Gesture recognition games, and wearable games. In conclusion, the development of technology offers the players with greater experience. For example the change of the platform of simple games of pressing buttons into swinging. Furthermore, the study found a consistency in the context even though the difference of action was slightly found by the interface.

• International Journal of Advanced Culture Technology
• /
• v.9 no.4
• /
• pp.180-187
• /
• 2021

This thesis explores the place and role of a performer's action from a perspective of a director and playwright David Mamet's concept for performer training. This thesis takes inspiration from the idea of Mamet's simple and practical investigation specifically in text-based approach with a performer's bodily function on stage. For Mamet, the writings and practices of many different body-centered training are not rooted in the principle and nature of acting/performance. Reconsidering complicated approaches particularly psychological-oriented theory, practice, and assumption draw on several practitioners takes us beyond the field of visible and/or outer appearance of a performer which in turn leads the performer's body to be as abstract therefore not to being in the moment on stage. Arming the points, we argue that whatever disciplines and/or methods necessarily need to meet the principles and demands of acting/performance/theatre to connect to the materials, an action/objective given by a specific playwright which the performer must inhabit through his/her body. Out of the context, any 'method' serves no purpose. That is, the mechanics of an action is an extension of addressing what a performer's specific needs which shifts his/her body to respond appropriately to the theatrical demands. Taking this argument further, we claim that the purpose of performer training should not be understood as learning and improving techniques or skills for his/her self-perfection. The research finding shows that this resembles to the phenomenon that the visible very often precedes the invisible where the performer's body lose a clarity with no more chance to happen and/or change the event(s). Rather, it is a process of learning what/how to learn which in turn brings us back to the central question of why we do training for what purpose in this contemporary era. Exploring and answering these questions is not only a way to employ the key materials applicable to the theatrical demands but also to achieve the identify as a professional performer/doer on stage.

• KIISE Transactions on Computing Practices
• /
• v.23 no.4
• /
• pp.256-261
• /
• 2017

The notion of System of Systems (SoS), which is composed by many independent systems (i.e., Constituent Systems, CS), has emerged in various domains including social infrastructure. It is widely expected that complex requirements, which cannot be achieved in each CS-level, will be achieved in an SoS-level. While verification of SoS-level goal achievement is one of the most important problems, concrete case studies on SoS modeling and verification are still rare. In this paper, we focus on the fact that each CS performs an action for its own purpose by its own decision-making mechanism. We propose a novel Action-Benefit-Cost (ABC) SoS model which caters to the independent decision-making mechanisms of CSs. Using an abstract SoS example, this proposal provides a case study for the modeling and quantitative verification of the ABC SoS model.