• The Journal of Art Theory & Practice
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• no.14
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• pp.7-32
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• 2012

The exhibition was started in 2010 in the New Acropolis Museum of Athens and embarked a journey since 2011 as a travelling exhibition inside Greece and abroad. The main purpose of the exhibition was to draw attention of the general public to the value of the 'rescue excavation' and of cultural heritage of Greece, by presenting the reconstruction bust of a girl whose skull was found in Kerameikos cemetery of ancient Athens. The new Kerameikos excavation was initiated by the construction of Metropolitan Railway lines in the center of Athens between 1992 to 1998. It revealed a pit of a mass burial where about 150 people were inhumed in a very hasty way without proper funeral rites or offerings. These bodies are identified as the victims of the infamous plague of Athens in the first years of the Peloponnesian War(430-426 BC). The epidemic disease killed almost one third of the city population including Pericles, and brought extreme fear and panic to the Athens society. The traditional funerary rites were totally disrupted, and the social decorum and the morality among the citizens became enfeebled. The plague and the civil war were the decisive factors to end the Golden Age of Democratic Athens. However, the exhibition organizers did not focus on the tragic aspect of this disaster and its casualties. Their main concern was to simplify the scholarly works of archaeological excavation and microchemistry analysis so that the exhibition viewers will easily understand and empathize the living value of the scholarly works of ancient Greek civilization. The centripetal element of the exhibition was the vivid face of an 11 years old ancient girl 'Myrtis', which was carefully reconstructed based on both the scientific data and artistic imagination. Also the set up of the exhibition was structured in order to stimuli cognitive and emotional experience of the visitors who witnessed the rebirth of a vibrant human being from an ancient debris. The museologists' continuous efforts to promote projects of contemporary artists, publications, and school programs related to the exhibition indicate that the ulterior motive of this exhibition is the cultural education of the present and future generation through the intimate experiences of ancient Greek life. Also this is the reason why the various museums that held the travelling exhibition try to make the presentation as a gesture of memorial service for an anonymous Athenian girl who deceased circa 2400 years ago. The pragmatic efforts of Greek scholars and museologists through exhibition show us a way to find a solution to the continuous threat of cultural resources by massive construction projects and land development, and to overcome public indifference to the history and cultural heritage.

• Journal of the Korean Society of Costume
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• v.55 no.1 s.91
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• pp.25-42
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• 2005

Costume is a formative art expressed by active human unlike the field of other living formativeness, and an expression of social actions based on a style of culture in a period. Therefore, costume has a deep connection with a mode of living and is recognized as a 'culture for living', and is more characteristic culture than all metaphysical cultures including architecture, craft, painting, and sculpture. Therefore, it expresses wearer's status or social standing, and furthermore, ideas and values of the times with aesthetic features in their form, color, materials, and pattern, so it is expressed as a mirror reflecting the phases of the times as. Korean costume had been dressed until the period of the Joseon Dynasty without a great change and started to be simplified in a simple style on the grounds of inconvenience in behaviors with the opening of an interchange of Western culture in the civilized period. And, this movement had been continued and Korean costume had been applied as an everyday dress under the name of 'Reformed Korean Costume'. Since the middle phase of 1980s, it aroused many people's interests with the introduction of designs focused on activity and convenience. In 1990's, many people had taken a growing interest in Korean costume with development of various designs keeping pace with the internationalization period and Korean Costume had been revitalized under the name of 'The Modernized Korean Costume'. And, since the 21st century, the advanced communication and full-scaled import of Western fashion have made the introduction of many fashion information in the world into Korea, affected greatly the fashion market, led consumers' sensitivity on a trend to be increased. Therefore, a design accepting a trend 'The Modernized Korean Costume' with fashions has risen. Second, this study is an attempt to suggest a revitalization method of domestic casual Korean costume brands by developing and suggesting competitive and highly value-added products with connection of practicality, variety, and highly sensitive fashion styles. For theoretical study, domestic and foreign literatures, academic journals, professional monthly magazines, and newspapers were examined. And, a process of change and features of the Korean fashion since the civilization period, and concept, features and images of casual Korean costume were analyzed, On the basis of analyzing image, features, and consumers' preference of the modernized Korean costume, a design development plan was established and 10 suits of costume were designed and made.

• Journal of Digital Convergence
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• v.10 no.7
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• pp.237-243
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• 2012

Human beings were constantly developing and using tools. This implies the history of humans have been creatively maintained and developed. Humans put its utmost efforts to the development of civilization to lead better life at the same time constantly pursuit to the cultural development such as formative characteristics for the satisfaction of aesthetic needs. Gyubang crafts are regarded as extremely feminine and contained emotions of Korea while being classified as a genre of Korean culture & art. Gyubang crafts were created independent & unique formative beauty on the basis of then social, cultural, religious background, in which those sewing kits being called friends of ladies express the emotion of arts contains cultural depth of its appearance of life as well as its spiritual world of happiness, anger, sorrow and pleasure of ladies. And it was aimed to sought the possibilities to start itself in various ways under the assumption capable to be expressed detail & contemporary taste of the sewing kits that lived together with the ladies in their historic life through linking with ornaments arts with convergence and harmony of formative image. As stated, it could be an opportunity to rediscover the formative characteristics, harmony of convergence, elegance, delicacy, aesthetic beauty focused on sewing kits among Gyubang crafts filled with ladies' scant and spiritual hope and to be re-understood the excellence and the aesthetic beauty of traditional culture & arts through personal ornaments.

• Journal of Korean Philosophical Society
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• v.137
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• pp.33-56
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• 2016

This article criticizes the dichotomous world view in which the East and the West are absolutely divided from each other and asserts that the East and the West should be understood as 'we' who ought to acknowledge each other not only as subjects but also reciprocally as 'others'. If the East is 'I', then the West is 'You' and vice versa and as such, the East differs from the West. Hence, supposing that they both regard themselves as subjects and if they realize that they can also be others against the other subject, they as different subjects should be understood as 'others in us'. Since the 19th Century the East has made efforts to learn and accept Western culture and thought. But it seems that the East has never regarded the West as an 'other in us', but rather as either an 'other outside of us' or as 'the real I that it should develop into'. This shows the self-contradictory perspective of the East. It can be thought that such an attitude was revealed as typical of the Far East in the 19th Century, in which the Opium War broke out and Sinocentrism collapsed. On the other hand, the West has never recognized the Eastasan 'other in us'. Nowadays we pursue the most actual value, that is, 'globalization'. In order to realize that value for the development of the whole human, it is necessary that both the East and West should first recognize each other as the 'other in us'.

• The Journal of Korean Philosophical History
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• no.30
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• pp.59-86
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• 2010

This paper tries to study theoretical transformation about modernity by analyzing changes of the concepts of Gaining Knowledge of the Study of Things(格物致知). Gaining Knowledge of the Study of Things(格物致知) was the main concept to explain the thought of Neo-Confucianism(性理學). But in the Modern era Gaining Knowledge of the Study of Things(格物致知) was understood as the meaning of Science. In Neo-Confucianism(性理學) Gaining Knowledge of the Study of Things(格物致知) was closely related to the side of human duty and the moral value judgement. But in the modern meaning Gaining Knowledge of the Study of Things(格物致知: Science) was focused to scientific study of the objective matter. So the Science on Gaining Knowledge of the Study of Things(格物致知學) effect to breakup the thinking of Neo-Confucianism(性理學).

• The Journal of Korean Philosophical History
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• no.43
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• pp.33-53
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• 2014

It's the situation that modern technological civilization shakes the life environment fundamentally without a serious reflection on the dangers. The sense of crisis' brought the rise of modern Ecology in awareness of survivability of the humanity. Because the serious reflection is not just a campaign for environmental protection, but is to establish the values which is possible to coexist and to make harmony between the nature and man, man and man, and to form a healthy relationship through philosophical thought and practice has intrinsic value for human and nature. Under these circumstances, if Yulgok lives now and he is questioned by the ecological theorists of the 21st century that "What do you think about the serious environmental problem of present times?", what really would be his explanation? In the presentation methods of the explanation, will question first what contents western ecologists who study Theory of the environment in technology, Deep Ecology, and Social Ecology propose, then will compare and introduce what similarities and differences from theirs. As a result, we'll be found that Yulgok's thought, moral consciousness, about the nature and humanity as a confucian scholar.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.40 no.3
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• pp.239-247
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• 2022

Cities are becoming more complex due to rapid industrialization and population growth in modern times. In particular, urban areas are rapidly changing due to housing site development, reconstruction, and demolition. Thus accurate road information is necessary for various purposes, such as High Definition Map for autonomous car driving. In the case of the Republic of Korea, accurate spatial information can be generated by making a map through the existing map production process. However, targeting a large area is limited due to time and money. Road, one of the map elements, is a hub and essential means of transportation that provides many different resources for human civilization. Therefore, it is essential to update road information accurately and quickly. This study uses Semantic Segmentation algorithms Such as LinkNet, D-LinkNet, and NL-LinkNet to extract roads from drone images and then apply hyperparameter optimization to models with the highest performance. As a result, the LinkNet model using pre-trained ResNet-34 as the encoder achieved 85.125 mIoU. Subsequent studies should focus on comparing the results of this study with those of studies using state-of-the-art object detection algorithms or semi-supervised learning-based Semantic Segmentation techniques. The results of this study can be applied to improve the speed of the existing map update process.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.103-132
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• 2020

By analyzing the characteristics and meaning of dystopia in Korean juvenile science fiction, this study aims to search for the principles of juvenile literature responding to the contradictions of scientific technologism in collusion with state capitalism, and to consider its limitations and significance. This study focuses on the juvenile science fiction in which children or teenagers fight against system dystopia functioning as a setting of the story. System dystopia consists of 'fake utopia' and 'concentration camps' holding those excluded from this 'fake utopia'. Young people whose right to life are violated under the system dystopia escape from concentration camps and fight against political power. We don't have many novels that have focused on environmental dystopia, but a nomadic subject is found in works set on Earth after environmental pollution or nuclear explosion. In short, juvenile dystopia science fiction deepens the contradictions of the hierarchical society based on scientific technologism, criticizing the repressive, material-oriented and differential educational realities of our society. They hope that children or teenagers will act as a resistance that sees through the deception and hypocrisy of the social system. These works are significant in that they expose the biopolitics strategy of political power in collusion with industrial capitalism and induce us to reflect on it. However, it seems to be the limit of humanism to equate human life with nature and to warn of dangers of technology, machinery, and material civilization as the counterpart. This paper has the significance of taking a general survey of juvenile dystopia science fiction since the 2000s, and revealing the writers' perception of scientific technologism and its limitations.

• SUVANNABHUMI
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• v.14 no.2
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• pp.117-148
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• 2022

The full impact of COVID-19 has yet to be felt: while it may not define the new decade, it is clear that its immediate significance was to test many of the basic operating assumptions and procedures of global civilization. Even as vaccines are developed and utilized and even as it is possible to see the beginning of the end of COVID-19 as a discrete historical event, it remains unclear as to its ultimate importance. That said, it is evident that the academic exploration of Southeast Asia will also be affected by both the global and regional experiences of the pandemic. "Breakthroughs of Area Studies and ASEAN in the Era of Homo Untact" promises to help reconceptualize the study of the region by highlighting the importance of redefined spatial relationships and new potentially depersonalized modes of communication. This paper acknowledges these issues by suggesting that the transformations caused by the pandemic should motivate scholars to raise new questions about how to understand humanity-particularly as it is defined by societies, nations and regions. Given that COVID-19 (and the response to it) has altered many of the fundamental rhythms of globalized regions, there is sufficient warrant for re-examining both the ways in which disease, health and their related spaces affect the perceptions of Southeast Asia. To achieve "breakthroughs" into the investigation of the region, it makes sense to have another glance at the ways in which the discourses about diseases and health may have helped to inscribe definitions of Southeast Asia-or, at the very least, the nations, societies and peoples who live within it. In order to at least consider these larger issues, the discussion will concentrate on a formative moment in the conceptualization of Southeast Asia-British engagement with the region in the late 18^th and early 19^th centuries. To that end three themes will be highlighted: (1) the role that British diplomatic and military narratives played in establishing the information priorities required for the construction of colonial knowledge; (2) the importance not only of "colonial knowledge" but information making in its own right; (3) in anticipation of the use of big data, the manner in which manufactured information (related to space and disease) could function in shaping early British perceptions of Southeast Asia-particularly in Batavia and Java. This discussion will suggest that rather than see social distancing or increased communication as the greatest outcome of COVID-19, instead it will be the use of data-that is, big, aggregated biometric data which have not only shaped responses to the pandemic, but remain likely to produce the reconceptualization of both information and knowledge about the region in a way that will be at least as great as that which took place to meet the needs of the "New Imperialism." Furthermore, the definition and articulation of Southeast Asia has often reflected political and security considerations. Yet, the experience of COVID-19 could prove that data and security are now fused into a set of interests critical to policy-makers. Given that the pandemic should accelerate many existing trends, it might be foreseen these developments will herald the triumph of homo indicina: an epistemic condition whereby the human subject has become a kind of index for its harvestable data. If so, the "breakthroughs" for those who study Southeast Asia will follow in due course.

• Iberoamérica
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• v.21 no.2
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• pp.25-52
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• 2019

Esperpento denotes a literary style in Spanish literature first established by Spanish author Ramón María del Valle Inclán that uses distorted descriptions of reality in order to criticize society. And esperpento's narrative strategy is similar in many ways to Mikhail Bakhtin's carnivalism. Especially Valle Inclán's first esperpentic theatre, Luces de Bohemia contained various carnivalistic elements of Bakhtin. The various techniques of Valle Inclán's esperpento used in Luces de Bohemia can be explained by Bachchin's carnivalist techniques. Therefore, this paper aims to re-examine the esperpentic techniques in Luces de Bohemia of Valle Inclán in terms of Bakhchin's carnivalism. Because the esperpentic tecniques of this play pursue the subversion of power or authority through the carnivalistic aspects such as polyphony, subversion of seriousness, parody, grotesque realism, plaza, ambivalence, anomalous structure of space, time and plot, etc. Esperpento and carnivalism serve as a tool to interpret the social reality, beyond criticism and satire of Spanish society. The characters act passively on all the external factors that determine human destiny, rather than actively carving their own destiny like the classic heroes. Modern man cannot defy or control the external situation of the modern civilization. So they are tragic. In this situation, the protagonist of the tragedy who challenges reality disappears and a puppet figure like Max Estrella, the protagonist of the Luces de Bohemia, takes his place on a satirical level. This is the satire and the true meaning of carnivalistic humor that Valle Inclán tried in his play.