• The Journal of the Korea Contents Association
• /
• v.12 no.1
• /
• pp.308-317
• /
• 2012

In this study, we searched for ways of the demand, the building up of strategic, collaborative networks plan activation of the local area network status by the current social enterprise and the direction of the future resources rinks, conducted by a case study of the (preliminary) social enterprise network-building activities based in Gwangju Metropolitan City and Jeju Special Self-Governing Province. By the study findings, local resources that the two regions social enterprise wants to connect are the most numerous in enterprise, public agencies and local media, followed by professionals' pro bo no, private organizations, volunteer groups. Hope for Information in conjunction is revealed in order by purchasing items, labor and financial support, public relations, purchasing service, marketing and a joint venture. For the conjunction, participating related events, the assistance of government agencies and related organizations joined, the role of chief engineer are emerged in order while they are performing work. By the findings, for the activation of local resources links of the social enterprises, it is necessary to impelled cooperation system between activating local profit companies, universities and one company ; a social enterprise and to uncovered volunteer activities of the community. Also, sparking, solidarity and building trust for social enterprises are derived as a ethical and alternative consumer movement.

• The Journal of Art Theory & Practice
• /
• no.8
• /
• pp.185-215
• /
• 2009

In Malaysia, figurative painting has increasingly become a means for artists to pose questions about presumptions of power and assumptions of history. The body, its potentially breached boundaries and defenses, forms an integral component of the battle for political influence. The degree of control over one's own and other people's bodies has become a measuring stick to determine the power of potential political leaders. Anxiety about boundaries and access to powerful bodies is intertwined with the questions of who has the right to hold power; the relevance of moral bodies and of what comprises an ideal self or selves. These questions are raised in intriguing ways in contemporary Malaysian art. While eschewing a direct take on current politics, Malaysian artists have increasingly turned to the body to address issues in Malaysian history, culture and the distribution of power. This paper will explore some works by three artists in particular, Wong Hoy Cheong, Nadiah Bamadhaj and Ahmad Fuad Osman use the figure to problematise dominant narratives in Malaysian history. Their work variously challenge political, racial and gender hierarchies and in so doing, reveal them as social constructions.

• Safety and Health at Work
• /
• v.11 no.4
• /
• pp.458-465
• /
• 2020

Background: The aim of this study was to analyze the interaction between neck and/or wrist pain and hand grip strength (HGS) and to investigate factors (age, sex, neck disorders, and carpal tunnel syndrome) influencing the HGS of industrial quality proofing workers (N = 145). Methods: Standardized questionnaires [Neck Disability Index (NDI), Boston Carpal Tunnel Questionnaire] were used to evaluate existing neck and/or wrist pain. HGS measurements were performed in different wrist positions. Results: Significant differences between participants with and without neck pain were found in different wrist positions, in neutral wrist position right [without neck pain (n = 48) 46.34 (43.39 - 49.30); with neck pain (n = 97) 38.46 (36.20 - 40.72), F_(1,144) = 16.82, p < 0.001, ŋ_p² = 0.11] and left [without neck pain 44.06 (41.19 - 46.94); with neck pain 37.36 (35.13 - 39.58), F_(1,144) = 12.70, p < 0.001, ŋ_p² = 0.08]. A significant difference between participants with and without wrist pain was found for neutral wrist position right [without wrist pain (n = 105) 42.53 (40.37 - 44.70); with wrist pain (n = 40) 37.24 (33.56 - 40.91), F_(1,144) = 6.41, p = 0.01, ŋ_p² = 0.04]. Regression analysis showed significant results especially for steps two (age and weight, NDI) and three (age and weight, NDI, Boston Carpal Tunnel Questionnaire) for neutral position right (R² = 0.355, R² = 0.357, respectively). Conclusion: Neck pain has an impact on HGS but should be evaluated in consideration of age and sex.

• The Journal of Art Theory & Practice
• /
• no.7
• /
• pp.37-64
• /
• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• Trans-
• /
• v.3
• /
• pp.109-135
• /
• 2017

The purpose of this thesis is to analyze characteristics of everyday movement showed in performances of Steve Paxton. A work of art has been realized as a special object enjoyed by high class people as high culture for a long time. Therefore, a gap between everyday life and art has been greatly existed, and the emergence of everyday elements in a work of art means that public awareness involving social change is changed. The postmodernism as the period when a boundary between art and everyday life is uncertain was a postwar society after the Second World War and a social situation that rapidly changes into a capitalistic society. Changes in this time made scholars gain access academically concepts related to everyday life, and affected artists as the spirit of the times of pluralistic postmodernism refusing totality. At the same period of the time, modern dance also faced a turning point as post-modern dance. After the Second World War, modern dance started to be evaluated as it reaches the limit, and at this juncture, headed by dancers including the Judson Dance Theatre. Acting as a dancer in a dance company of Merce Cunningham, Steve Paxton, one of founders of the Judson Dance Theatre, had a critical mind of the conditions of dance company with the social structure and the process that movement is made. This thinking is showed in early performances as an at tempt to realize everyday motion it self in performances. His early activity represented by a walking motion attracted attention as a simple motion that excludes all artful elements of existing dance performances and is possible to conduct by a person who is not a dancer. Although starting the use of everyday movement is regarded as an open characteristic of post-modern dance, advanced researches on this were rare, so this study started. In addition, studies related to Steve Paxton are skewed towards Contact Improvisation that he rose as an active practician. As the use of ordinary movement before he focused on Contact Improvisation, this study examines other attempts including Contact Improvisation as attempts after the beginning of his performances. Therefore, the study analyzes Satisfyin' Lover, Contact at 10th & 2nd and Bound that are performances of Steve Paxton, and based on this, draws everyday characteristics. In addition, related books, academic essays, dance articles and reviews are consulted to consider a concept related to everyday life and understand dance historical movement of post-modern dance. Paxton attracted attention because of his activity starting at critical approach of movement of existing modern dance. As walking of performers who are not dancers, a walking motion showed in Satisfyin' Lover gave esthetic meaning to everyday movement. After that, he was affected by Eastern ideas, so developed Contact Improvisation making a motion through energy of the natural laws. In addition, he had everyday things on his performances, and used a method to deliver various images by using mundane movement and impromptu gestures originating from relaxed body. Everyday movement of his performances represents change in awareness of performances of the art of dancing that are traditionally maintained including change of dance genre of an area. His activity with unprecedented attempt and experimentation should be highly evaluated as efforts to overcome the limit of modern dance.

• The Journal of Art Theory & Practice
• /
• no.8
• /
• pp.59-87
• /
• 2009

This thesis started from the attempt to make it clear that 80's American artist Keith Haring(1958-1990) had conducted social intervention of criticism, resistance, and participation through his works, and so pursued public value. Haring of graffiti fame left popular and familiar cartoon style pictures on the street wall, the billboards, the posters and so on. Popular and playful works was explained as his unique characteristics, but Haring's creative way at the field has more value than just being grasped as artist's personal characteristics. Haring's work pieces became everyday art by joining with people's life, and are working as a social speaking place. So I think that these Haring's art works possess characteristics of 'the public sphere'. 'The Public Sphere' means that is independent and free from the government or partisan economic forces, so that is not connected with the interested relations, and that is the sphere of rational argumentation without 'disguise' or 'fabrication', and that is the sphere where general public can participate in and is inspected by them. The public sphere between the sphere of public authority such a nation and a market and the private sphere of free individual, it is mutually connected with them and works as the space forming public opinion. Private individuals communicate with this public sphere and perform a role of direct and indirect check, balance, and social criticism way off from power. Openness that should include the voice of not only leading power but also the socially weak such as citizens, women, homosexuals, minority races, and so on, and alienated class, is an index of the public characteristics. The public sphere is not working just with speech and mass media. Many artists as well as Haring open their mouth and act through an art at the center of society, and create another public sphere by an art. I understood that the real participatory and practical characteristics on the Haring's work is a phenomenon and current of a part of the art world including Haring. Such current started from 1960s is the in-depth effort to be connected with the life more closely, to communicate with people, and to improve problems of life. And it has pursued public value on the different way from the nation or public power. Artists have intervened in the society with strategic and positive ways in order to raise pushed-out value and sinked rights as the public agenda, and labored to accept the value of variety and difference at the society. The aspect of such social intervention is the notable features, findable on the Haring's works and process. Haring's works include art historical meanings and are expressed with familiar and plastic language, so they were able to communicate with various classes. And he secured various customers at the field and the street. This communicative and public approach factor raised the possibility much for his works to work as the public sphere. Haring presented critical and resistant speech toward society with his works based on this factor. He asserted his position and justice of gender identity as a sexual minority. And his such work continued to movement for alienated class and social week over his own rights. His speech and message on the wall painting, poster, T-shirts, billboard of the subway, and so on worked as a spectacle and pressed concern with social issues and consciousness shift. And he's been trying to protect and care people who is injured by HIV and drug and to realize social justice through social week protection. Haring's works planned to meet many people as much as possible performed its role of intervening in society through criticism, resistance, speech, and participation, and controlling and checking social issues. These things considered, Haring's works show his consciousness about public attributes of art, and obviously include public value seeking. And also we can find the meaning of such his work as that an art is working as the public sphere and shows the possibility to discuss and practice public issues.

• Journal of Information Technology Services
• /
• v.15 no.3
• /
• pp.211-221
• /
• 2016

The human spatial mobility information is in high demand in various businesses; however, there are only few studies on human mobility because spatio-temporal data is insufficient and difficult to collect. Now with the spread of smartphones and the advent of social networking services, the spatio-temporal data began to occur on a large scale, and the data is available to the public. In this work, we compared the movement behavior of residents and tourists by using geo-tagged tweets which contain location information. We chose Seoul to be the target area for analysis. Various creative concepts and analytical methods are used: grid map concept, cells visited concept, reverse geocoding concept, average activity index, spatial mobility index, and determination of residents and visitors based on the number of days in residence. Conducting a series of analysis, we found significant differences of the movement behavior between local residents and tourists. We also discovered differences in visiting activity according to residential countries and used applications. We expect that findings of this research can provide useful information on tourist development and urban development.

• Journal of English Language & Literature
• /
• v.60 no.2
• /
• pp.211-232
• /
• 2014

In late Victorian England, a "pervert" meant two things. One meaning designated a person who "turned" or converted from one sect of Christianity to another. In Wilde's time this referred specifically to converts from the established state Church of England to the transnational Roman Catholic Church. The other, newer meaning designated someone who turned from conventional heterosexual relations to a (as yet unnamed) homosexual orientation. In the context of the late Victorian empire, both were considered dangerous. The rising social and political influence of Roman Catholicism appeared threatening as a transnational Church invading a national one. For the Anglican Church of England, this crisis was played out what came to be known as the Oxford Movement, still influential during Wilde's time as a student there from 1874 to 1878. What is interesting in Wilde's life, as in his work, is the way he himself played with the dangerous transgressions inherent in being a "pervert." Sexually, he was converted to same-sex love while still a married man. In terms of religion, he remained fascinated with Catholicism, allegedly converting on his death-bed. But what is provocative is way that Wilde used one "perversion" to play into another: so that in such works as The Picture of Dorian Gray and Salome, his version of a kind of anti-Catholic Catholicism becomes a site of sexual desire, and sexual desire expression for that kind of spirituality, which, as unrequited longing, can ultimately n find no object adequate to its imagination.

• Journal of Daesoon Thought and the Religions of East Asia
• /
• v.1 no.2
• /
• pp.13-39
• /
• 2022

The author examines three new religious movements in South Korea: Jehovah's Witnesses, the Unification Church, and the Daesoon Jinrihoe, and aims to identify the factors that are conducive to the growth of each. All three organisations believe in a coming paradise, and the article explores their respective attempts to interest the populace in their appeal. Discussion is given to membership statistics and the problems of measuring allegiance and moves on to consider methods of propagation. Most obviously, evangelisation strategy is important: Jehovah's Witnesses and Unificationists have tended to engage the interest of strangers, while followers of Daesoon Jinrihoe are more inclined to evangelise family and friends. Additionally, there are other factors that determine an organisation's progress: cultural appropriateness, engagement in social and educational work, and attitudes to conflict and peace, the latter being particularly important in a society that has experienced war and occupation. Reference is made to the ways in which these three organisations finance themselves, and it is argued that financial resources merit greater attention in the scholarly study of religion, since monetary assets are needed to secure a spiritual movement's existence. Of the three organisations under discussion, the Daesoon Jinrihoe has been the most successful, being South Korea's largest new religion, while Jehovah's Witnesses are in steady state, and the Unification movement is experiencing slight decline.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.17 no.2
• /
• pp.79-92
• /
• 2015

Covers of fashion magazines are part of the media that reflects the zeitgeist. Thus an analysis of the covers is a tool to probe the social and cultural changes of a period. This study attempts to shed light on the changes of the image of women on the cover of men's fashion magazines; this study intends to investigate the changes of status and role of women, from the past up to the present, through analyzing the meaning of the image of female models. For this purpose, this study conducts both literature and corroborative research. The period for the analysis is limited to post-1960s when female models began to appear alone on the cover of men's fashion magazine. The three decades from the 1960s through today have been analyzed according to its characteristics. The result is as follows: female models in the 1960s were shown as subjugated and ancillary to men as a commodity for the affluent materialistic civilization after World War II. In the 1970s, thanks to feminism movement, the image of resistance dominated. As a result of women's right movement, the 1980s came to witness the female image of subjective characteristics. Finally, starting in the 1990s, a mixture of subjugated, resistant, and subjective image of female models has appeared. In the contemporary culture, where the communication through images is being increased, the image of the female models in fashion magazines could work as a criterion to measure the social change.