• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.101-114
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• 2009

In recent times Fusion Historic Soap Operas have been produced and highly rated in Showtime. They have encouraged more creative costume designs for historic soap operas, as it is difficult to re-create costumes of the era in which the soap opera is set, knowledge of which is scant or even non-existent. These more creative and innovative costumes appeal to young modern audience in a way which the more classical setting did not. This study aims to study styling of combat uniforms in two Fusion Historic Soap Operas- "Zumong" and "Taewangsasingi" and to introduce new styling for future use. Those combat uniforms in two fusion historic soap operas were reproduced by modern imaginations and fantasies, rather than historical researches. Also the new design has applied unique styling for each character and enhances characters in those soap operas. This study focuses on combat uniforms of main male characters, but it can be suggestible that following researches will study in a variety of costume design stylings and characters in future historical soap operas.

• Journal of Science of Art and Design
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• v.6
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• pp.267-287
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• 2004

The study of a new expression within Korean ink painting that meets the demands of the times has continued, resulting in various expressions with acrylics, handycoat, objects and installations, crossing over from traditional Korean painting techniques. A 'margin' was both a very important space and esthetical matter that expresses 'Ki', 'Distance', and 'Omission' in traditional sense when addressing Korean ink painting Its expression methods and concepts, however, have changed today. A 'margin' through Montage technique can be a significant example in understanding the expression methods of today's Korean ink painting. This is because the margins in Montage make the meaning of the work various and flourished and deeply construct the surface with a double-layered structure, instead of using a single layer. These 'margins' created by Montage are spaces where different images conflict, divide and continue with each other and where a reconciliation between different spaces is accomplished. Furthermore, they establish more vitality and truthfulness to life through both the images conflict and reconciliation. After the adoption of Post-modernism Art in Korean ink painting, the characteristics of the 'margin' in Montage style by the division of surface are an 'acceptant's participatory imaginative space'; where viewers fill the margins with their imaginations ; an 'abandoned space' ; where unnecessary parts are deleted for more live surface ; and a 'strategic space', where the work enriches the structure and contents of surface by using margins strategically.

• The Korean Journal of Community Living Science
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• v.15 no.3
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• pp.63-70
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• 2004

This study was performed to identify the relationships between parents' nurturing behavior and preschoolers' creativity. The differences of parents' behavior and children's creativity by children's sex were also analyzed. The subjects were one hundred and four children(54 boys and 50 girls) and their mothers. Parents' nurturing behavior was assessed by a nurturing behavior questionnaire administered to the mothers, preschoolers' creativity was rated by the author through observation of the children's responses. The reliability of observation was calculated from 10 among the 104 children. The reliability coefficient was .96. The results were as follows: First, there were significant differences in parents' behavior according to the child's sex. Girls' parents showed more affective and achievement oriented attitude compared to the boys' parents. Second, there were also significant differences in .children's creativity according to sex. Girls' originality and flexibility were higher than boys, however, significant differences between girls and boys in fluency and imagination were not found. Third, parents' nurturing behavior and children's creativity were strongly related to each other. Children's imaginations were strongly related to the mothers' behavior. Children's originality and flexibility were also significantly related to their parents' behavior, but children's fluency did not show relations with their parents' behavior.

• Korean Institute of Interior Design Journal
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• no.6
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• pp.63-66
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• 1995

Our natural desire to exuviate old theory and search for new ideas means conversion and reformation. Howev-er, the new idea of the present moment will soon become an ancient history when the next generation emerges with more advanced ideas. Naturally, we have learned to accept the past history and utilized it as a the foundation for the future. Through the repeated process of the learning method, the popula-tion cultivate themselves with proper understanding and appropriate attitude toward design. By analyzing social behaviors of the past and living conditions, we can ex-pand our imaginations beyond limits. Each society and its local condition have tremendous effects on the develop-ment and progress of artistic theories, techniques and craftsmanship, and potential design of every day use products. Today, interior design can not afford to ignore the or-ganic relationship of life style and space. Thus, the plan-ning of space means the planning of life style. Life style, as it is, has a vast definition and changes with time. That is why spaces, which consider the life style and its environment when designed, show different aspects ac-cording to its corresponding time. Interior design, in particular, differs by time and re-gion to create its unique style. The change in space is the natural result of the change in life style which again is sensitive to the change in cultural and environmental elements. Design is no longer designing of mere physical elements and environment. Design should be taken as the equivalent of creating spiritual culture.

• Journal of Fashion Business
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• v.17 no.5
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• pp.70-83
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• 2013

This study aims to analyze the physical distortions of fashion design which appear in the 20th century. People have been expressing the hope and beauty by twisting human body since the beginning of mankind. Each period has been showing different forms according to various social and cultural environments. The exaggerated body distortions from the primitive times to the modern are based on human body proportions. Such distortion is to emphasize the inherent beauty within the human body. However, the distortions of the body after the 20th century have been developed with the advent of surrealism which is not affected by reasons but by imaginations. Generally speaking, the reconstruction of the heterogeneous elements is allowed in art. The unexpected surreal elements are creating formative beauty using by distinctly different technique which is unfamiliar and awkward. Physical distortion creates other beauty that is not uniform and absolute beauty but it pursues the diversity of breaking down into categories. Formativeness of surreal physical distortion fashion has the potential for a variety of clothing design, therefore it has intrinsic values for continuous study.

• Journal of the Korean Geographical Society
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• v.51 no.3
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• pp.311-326
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• 2016

Assemblage has become a popular concept in modern socio-spatial theories with relational and material turns. This article investigates the concept of assemblage focusing on Deleuze and Guattari. By comparing similar concepts such as Foucault's apparatus and Actor-Network Theory, this article demonstrates that assemblage emphasizes not only deterritorialization but also (re)territorialization, and that the exteriality of relations is a critical aspect that differentiate assemblage from other relational spatial concepts. Assemblage can highlight the value of empiricism as an analytical tool, and be open to new spatial imaginations as well as multiple existences and possiblities of alternative political projects and practices.

• Journal of Science of Art and Design
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• v.6
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• pp.100-118
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• 2004

Mi Fu, who was associated with Wen Tong, invented the Mijoem Technique (Dotting Technique) in landscape painting with his son Mi Youren. His landscapes, which referred to Dong Yuan's landscape technique and was inspired by the scenery of Jiang Nan, illustrate the mood of a cloud-covered foggy landscape by liberally applying dots with ink. 'Chunsansoesong' which is considered done by Mi Fu, clearly shows the virtues of ink painting's spreading, absorbing and omission techniques. This simply rendered landscape - whose mountains and hills are wrapped in both clouds and fog - displays exquisiteness by using small dots. In 'Chunsansoesong', the characteristics of Song painting: a 'vital energy', a 'poem within the painting', a 'beauty of margin', a 'beauty of one brush stroke, and a 'display of inner meanings' are implicatively expressed This is because it's simple but connotatively delineative. There is the characteristic of a 'poem within the painting' when analyzing the both fragmented and combined 'Chunsansoesong'. The margins support an imaginative space as the height of the mountains get higher which result in deepening both the width and depth of the landscape space. Furthermore, the soft thickness of ink, clouds, pine trees, and pavilion evoke delineative feelings and a desire to write a poem Every thing in 'Chunsansoesong' is enveloped in both clouds and fog regardless of its distance and this delivers boundless feelings of Oriental mystery and urges a desire for 'writing a poem'. The pavilion that faces the cloud and fog-bound mountains especially flames the poetic urge further by inducing viewers' poetic imaginations. As we reviewed above, 'Chunsansoesong's cloud and fog-covered landscape is a good example that clearly showcases the characteristics of a 'Poem within the Painting'.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.2
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• pp.12-27
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• 2003

The purpose of this study is to look for an environmental design method based on open narrative structure, and to promote various experiences and interpretations of space through user's engagements. That is to say, the designer does not lead specific events through separate Boning but using the continuous open composition users are provided with margins for their imaginations. Spatial formulation through open narrative structure gives us various thoughts and it plays an important role in making a sequential space. Like an abstract painting, it is a complex story making or arranging a montage of images containing stories that elicit the reader's engagement through diverse interpretations. Like this, open composition exists in an ambiguous state and it is possible to interpret unfinished‘evolving work’within it. Utilizing open narrative structure, this study attempts to apply the idea of sequencing and open composition in the case of designing Arirang Culture Park. Open composition should induce various engagements by users and could be a medium which organically connects nature, culture and people. The spatial strategies of‘ambiguity’ and‘transparency’are like a bundle of complex and heterogeneous factors. Finally, the study focuses on the ‘integration’of the main ideas that compose multilayered space. ‘Voidness’and‘thickening’are also used for spatial strategies in open narrative structure. As alternative plans for undecided programs of the space, the voidness can be a strategic design program with flexibility about changes of futures. Also, thickening can be a strategic design program for functional reinforcement of the space, for the dramatic effects and for the generation of incidental events. Although both voidness and thickening seem paradoxical, we can see they are similar in the way that both focus on various spatial uses and by how they do not function as one-to-one correspondence, but as multiple correspondences. Therefore, open narrative structure is possible to apply in designing space and it can be an alternative design strategy for inducing multiple interpretations of space.

• Journal of Engineering Education Research
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• v.7 no.3
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• pp.44-50
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• 2004

We introduce an introductory engineering education course for engineering majors and non-engineering majors. This course does not require any previous knowledge and experience on engineering. It requires strong curiosities and imaginations on current and future society we live in, where technology is inseparable ingredient. Course encourages attendees to explore fundamental issues of engineering: what is proper technology and what are proper ways of exercising engineering, issues dealt in soft engineering. Since course topics cover many aspects of technology, traditional learning methods fail to be successful and efficient. Various efficient learning methods have been proposed and implemented. We utilize various interactive tangible media, which include simulated thought experiments and physical media experiences. About twenty (20) episodes in short film format are produced based on scenario written according to related issues selected. Physical media like interactive robots are introduced for attendees' stimulated experiences. We summarize our exciting experiments on interactive teaching experiences at Pusan National University which include on/off-line interactions, assignments, projects, and evaluations.

• Journal of Korea Game Society
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• v.17 no.2
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• pp.35-44
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• 2017

Recent years have witnessed a surging popularity of games based on augmented reality and virtual reality. While old games embody virtual reality within the game platform, recent popular games based on augmented reality and virtual reality incorporate reality into virtual worlds. They present a new genre that is unprecedented, combined with what gamers have a passionate desire for, and thus provide new experiences. Good examples include smartphone games that were the game changer of the gaming industry in 2010 and the sensational $Pok{\acute{e}}mon$ Go that is gaining popularity nowadays. This study, thus, set out to analyze "gaming act(GA)" directly connected to the experiences of gamers to shed light on games as experiential content. The study analyzed gaming acts based on Park Sang-woo (2009) and assumed that gaming acts would change greatly according to the degree of real space intervening in game space; thus, examining changes to the gaming acts of games in two aspects of realizing virtual space from imaginations in game space and reproducing virtual space in real space.