• Journal of The Korean Association of Information Education
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• v.22 no.5
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• pp.557-564
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• 2018

As promotion of the 3D printer supply policy, need for 3D printer education is emphasized. But it is few that study of 3D printing educational program teachers can utilize at school. Especially study of CAD SW is very urgent because most of the CAD SW for 3D modeling is difficult and expensive. So in this study, we examine the CAD SW for educational purposes and propose educational programs that can be used at primary school. The instructional model is called "MDIAP" which consists of five stages : Motivation, Demonstration, Imitation, Application, Presentation. Instructional process is consisted of performing tasks and projects. We expect to enhance the function of 3D modeling and creative thinking which is essential to the Fourth Industrial Revolution society.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.6 no.1
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• pp.59-81
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• 2011

The 21st century, the creation and utilization of knowledge and information are the core of all economic activity, knowledge-based economy is plunging into. Culture can not live without knowing the age of culture and national spirit of a nation's cultural assets. Closed for other cultures, countries can develop a culture that is neither marked by imitation and import of cultural industries can never be developed. Creative and diverse culture of its own cultural code, evenly balanced mix of social culture is really the cultural and creative culture. Central government and local government-led growth in the local economy in terms of competitive cultural industry development policy has been carried out. In general, a country or society, culture, industry, the creation of a unique cultural and Planning on the basis of information deliquescent recreated a typical high-risk high returns to pay the venture industry and the nature of the creative industries and the venture industry a unique mix of industrial Characteristic is that it has. These times and the industry can contribute to the flow of valuable cultural assets and a history of our righteous living and exercise will be a source of resources.

• Journal of Korean Library and Information Science Society
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• v.9
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• pp.115-144
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• 1982

In ordinary modern wester expression 'the Renaissance' was used to denote the impact made by dead Hellenism civilization in western Christendom, particularly Italian literary and artistic movement at Northern and central Italy in the late medieval period. However, A.J. Toynbee examined the renaissance from the different aspect of view. In his great work "A Study of History" in vol. IX, he succeeded in establishing the theory of historic civilization encounters in space and in time; and in time, civilization of the present and the past or between dead and infant successor contacts on the analogy of parenthood and sonship in the relation of A n.0, pparentation-and-Affiliation. The distinguished his view of 'Renaissance' was illustrated in the sense of encounters between a grown-up civilization and the 'ghost' of its long-dead predecessor. The renaissances (by the process of evocation of ghost of its parent society) has not only one single aspect of literary and artistic field but also in politics, law, science and philosophy, languages and literatures and visual arts, and religion. The main theme of this study is to examine the development of libraries and its historical meaning through Toynbee's literary renaissance. His renaissance of Languages and Literatures has three typical steps: They are: 1st step-to restive the dead literature's remains: 2nd step-to remaster their meaning: 3rd step-to reproduce them in counterfeits... Through its first and second steps, collecting and editing, annotating by compiling an anthology, thesaurus, lexicon or encyclopedia, and in its third step publishing mostly imitation of classics took place. Toynbee depicted the five outstanding eminent representatives of literary renaissance who had a n.0, ppeared on the state of history down to the time of writing. They are: Assurbanipal, Constantine prophyrogenitus, Yung Lo, K'ang Hsi, and Ch'ien Lung and the last four had all been emperors of imperia rediviva. As the result of the examination of these five emperors with three steps of literary renaissance, the common result may be summarized as follows: 1. Those emperors of imperia rediviva interested in intellectual work and study, they also were deeply involved in collecting classics in an ostensible reason. 2. There were strong political intention of collecting materials as an a n.0, ppeasement policy of civilization by transferring scholars energies to an intellectual field. 3. Under the rulers of a resuscitated universal state, the literary renaissance were a product of political plane and that the total size of collection and work were huge. 4. Since there were strong exercise of sovereign power, an active censorship by distortion and elimination was inevitable. 5. There existed newly developed strained atmosphere between grown-up and long-dead parent civilization, whenever the book collection movement had occurred. 6. Over adhesion to the parent civilization caused imitation of classic work and the creative activities were stagnated.stagnated.

• Journal of the Korea Convergence Society
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• v.6 no.6
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• pp.201-212
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• 2015

They insist that there is no more new stuff in modern art to change every circumstance rapidly. According to this situation, they recreate the works which are made with the existed idea or materials, and also transform creative concept which cites the existing functions with modern meaning. Furthermore they can look into any data everywhere from their daily routine using the internet. And this must become one of the general forms which they imitate others' works which are referred or chosen in modern art. These social complextion is called a parody and pastich is technique of the Post Modernism which is the existence of past. Using the new construction, the parody and pastich which can accomplish some better value and bring other meanings makes original recreation with the concept of copying and repeating. It keeps changing and is shaping up to be different aspect so far. Every field has a little different term using its own expression but it keeps empathizing each other a same essential meaning. Although it is like universal mode of expression, It is fact that the public cannot distinguish what is creation, imitation, or piracy. This thesis shows the concept of it and files for terms which is using like that. At last it selects some artist who worked with parody and pastich analyses and compares them and their works.

• Journal of the Korean Society of Costume
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• v.25
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• pp.249-268
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• 1995

Parody has recently prevailed as one of the important techniques of creation in art. The purposes of this study are to reaffirm the pos-ition of fashion as an art by clarifying parody depicted in fashion and to make an opportunity to reconsider the meaning of creation in fashion design through the significance of par-ody. For these purposes, documentary studies about parody in literature and art which had been discussed more often were preceded as a framework of this research. framework of this research. Basedd upon that, parody phenomena in fashion as well as art were analyzed. The synthetic results are as follows ; 1. Parody is a kind or critical technique and can be conceived as a process of creation. The established primary style (material) which is well-known and familiar is imitated and then is recreated in new manner through the three types of parodization, that is, the change of its external form, the change of its internal mean-ing and the shift from its place (i.e. displace-ment). 2. Parody in fashion is also analyzed based upon the three types of parodization which designer's will and expression is necessarily required. First, the parody through the change of external form is to have its effect of novelty, unexpectedness, playfulness, wit, mackery, satire, irony, paradox by changing the form of the original through imitation with similarity, transformation, exaggeration, em-phasis. Second, the parody through the change of internal meaning is to bring about paradox, irony, contempt, satire, unex-pectedness by applying the original to inappro-priate subject through its substitution, inver-sion. Third, the parody through displacement is to pursue a jarring incongruity that results from shifting the original to other context. Its effect consists of paradox, unexpectedness, playfulness, ridicule, mockery, satire, irony. In general, the parody technique in fashion can be used to have an intention of expressing seriousness, playfulness, satire, grotesque. The representative designers using the parody technique are Lagerfeld, Ricci, YSL, Yama-moto, Castelbajac, Gaultier, Mugler, West-sood, Steiner and so on. 3. Parody is the technique which imitates and then recreates the preceding style ; is at the same time the method which challenges the existing concept of originality-singleness and uniqueness. It reflects the more flexible concept of modern creation in art as well as fashion. The imitation as the creation, the characteristic of parody is recognized as an creative expressiveness, publicity, intention. Thus it differenciates from copy which is uncritical mimicry.

• Proceedings of the Technology Innovation Conference
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• 1997.07a
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• pp.222-223
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• 1997

By analyzing the successful innovation case of potato microtuber mass production technology, a representative case of technology-push type creative innovation in an imitation oriented research culture, this paper attempts to figure out conceptual model of creative innovation that is initiated by the public laboratories in catching-up country, Stages of creative innovation can be divided into the internal R&D stage and the external commercialization stage. Success of the internal R&D stage depended on autonomy to secure creative research idea and commitment of individual researchers. Psychological pressure evoked from sportlights of mass media and commitment of sponsor increased the intensity of research efforts of the researcher Recognition of research problem and its significance was intensified by site visits of agricultural fields, and the recognized higher impacts of expected research results and knowledge creation achieved were a fundamental source of self-motivation. In the stage of commercialization stage, various legal, socio-economic, and psychological barriers were confronted. In a catching-up country lacking of experiences of creative innovation, creative innovation process can be regarded as a barrier elimination and cultural revolution process. Among the barriers, psychological refusal of farmers to corn-sized potato seeds was critical, which finally enforced to further researches to enlarge the size of potato seeds. In addition, the researcher has concentrated his research efforts in one specialized research area by getting a series of similar research project funds rather than diversification. It was lucky for him to have a chance to carry out a series of similar researches in one research area during the last 10 years. In getting research funds from government and private companies continuously in one research area, both internal and external promoters played significant roles.

• Journal of architectural history
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• v.18 no.6
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• pp.7-22
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• 2009

This writing is to understand some trends and its meaning of Regionalism Architecture in Jeju Island since 1950's. This thesis began with an interest in the identity crisis implicit in the simultaneous striving for modernism and the so-called regional values in Jeju Island. Regionalism is a response in architectural terms to re-establish continuity in a given place between past and present forms, and also a unique result related to particular places, cultures and climates in region. This is one way of looking at the issues of regional identity. The study began by observing the general characteristics of contemporary ideas on Regionalism in Jeju architecture. This means that tracing the history of development of Regionalism architecture in research area is not the focus of this thesis. The thesis demonstrates that Regionalism architectures in Jeju shows some trends related to the local cultural elements (or ideas) such like traditional architectural forms, natural environment, local construction-materials, etc. In summation, in the perspective of Regionalism architecture,mostofbuildingsin Jeju bring out them only as vernacular architecture as it was once produced, by the simple combination and imitation without any creative interaction of the regional culture. I stress the point in this paper that, in over the last fifty years, there have been very narrowed attempts to design the regional values in the main, and also point out that there are problems in the manner in which local architects have gone about trying to define the regional themes. So, a grate depth is required to understand the phenomenon that Jeju area is with its various nuances of traditions, art, culture, climate and light and then to reinterpret it into the modern building type with all the high sense. In addition to that, some conclusions are reached on future directions and the significance of the study.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.102-119
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• 2014

The purpose of this study is to develop various designs through renewing and changing perception of accessories by examining various and arbitrary Kitsch. For the method of this study, literature review was mainly used for research of formative characteristics in Kitsch fashion. 798 pieces of work from fashion magazines and website with a focus on Milan, Paris, London and New York collections, in the decade of 2000-2010 were collected. The results of this study are as follows. First, the characteristic of exaggeration is classified into two types: the visual exaggeration, which is characterized by psychological expression through excessive images and (2) the collecting exaggeration, which is not simple but a want of large quantities. Second, the characteristic of satire is classified into two types: (1) the imitation-satire, which satirizes messages to societies with creative humor by using easily consumed materials and (2) the resistance-satire, which is destructive and offensive against isolation and desolation of a capitalistic society. Third, the characteristic of amusement is classified into two types: (1) the playful-amusement, which raises a laugh slyly by using clever materials and (2) the childish-amusement, which involves childish imagination and humor-sense because of desire to be a child. Fourth, the characteristic of nostalgia is classified into two types: (1) the romantic character expressing a departure from modern society, which is desolate because of the urbanization process, and (2) the intermediate character recreating an esthetic category by interacting with different and relative elements. Fifth, the characteristic of inappropriateness is expressed through a deliberate mistake, and it denies existing senses of beauty by overturning common sense and creating new senses of beauty, expressions in distortion and modification of stereotype.

• Korean journal of communication and information
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• v.74
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• pp.197-224
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• 2015

This paper critically investigates the cultural phenomenon surrounding the news mobile phone app in which 'curation', relying on the news editing and adaption, has become much more significant than making the news directly. This study affirms the fact that a copying culture which is basically a combinative effect of duplication (alias) and imitation(mimesis) enables us enrich the human beings' creative activities. However, we need to warn the regressive aspects of copying culture challenging the journalistic principles. This study exemplifies a case of Pikicast, which has become the most rapid growing news content mobile app in Korea. By doing a case study, this paper suggests that 'social gift' should be given to the online users as a whole. The communal and social gift would be an alternative way to the unpaid crawling of the news resources from the digital commons by the news content curating corporation such as Pikicast.

• Archives of design research
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• v.9
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• pp.301-320
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• 1994

Filmff.V. is one of the most poweful media in the modern society. Its influnces on economics, culture, and social behavior are being extened more and more. By the growth of mutimedia market and existing film/T.V. market which are nurtured by the modern technology, filmff.V. culture became a giant influencial element. Filmff.V. culture in Korea did not settle down in right position, because of the uncontrolled implant and imitation of foreign film/T.V. culture under the short time of developing our own film/T.V. culture to support exploding technical aspects. A systematic filmff.V. education and financial investment are needed urgently to produce our own creative film/T.V. programs, and review on our filmff.V. culture and educational system are needed also to make a right understanding of filmff.V. media. In this proposal, I discuss the differences of educational system and curriculum between Korean filmff.V. educational institute and foreign countries'. Through this discussion, I sample a futuce oriented filmff.V. educational system and curriculum.