• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.86-94
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• 2013

2000s Korean cinema was influenced by capital, so it chose the way of Allegory instead of talking directly about sensitive issues. A representative movie director is Park Chan Wook who directed The Vengeance Trilogy. , The final part of Park Chan Wook's The Vengeance Trilogy, reflected Baroque Aesthetics. I analyzed focusing on Walter Benjamin's Allegory notion in this paper. Walter Benjamin said Allegory is different from a symbol which is represented by totality. Allegory means to reconstruct the fragment instinctively and to expose something repressed. The German Tragic Drama during the baroque period reflects this well. It is my argument that Park Chan Wook incorporated these underlying themes from German Tragic Drama into . He deconstructed the liberation and the birth myth of a nation, and he restored the socialist and anarchist who were completely excluded from history.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.279-284
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• 2006

The field of film art to be wised expression as development of Media has grown. Recently, the concern and effort has built up in digital film by Computer Graphics(CG) one of SFX. In this paper, I certified the formative properties based on Gestalt theory and centering best show in 2005. As a result, I confirmed that to insert 3D animation in film can lead fantasy or virtual world unable to be felt in real world, with the intention of producer, and that it was applied to free space not to be restricted making a film of scenes. And I confirmed that the partial modeling animation as the Gestalt theory that gives totality to objects of perception and needs closure can play role of understanding the meaning of film.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.140-150
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• 2014

Conspiracy theory is often considered as a kind of paranoid and an act of throwing all the blame solely on the Big Other who is presumed to control all the incidents behind the curtain. While, it is also assessed as a socio-political sub-culture and a way of interpreting the world full of closure and insufficient information, keeping us from grasping 'the totality'. Meanwhile recent conspiracy films reflect the ever dense and concealed anatomy of the world now. And it reveals some kind of ideological tendency which is, 'sense of catastrophe' and 'non-ideology' reflecting the world of late capitalism society. This article intends to examine the altered representational appearance and ideology in recent conspiracy films so as to understand how the conspiracy theory, the social-political interpretational mechanism, is converged into the film narrative against the backdrop of late capitalism, a socio-political condition we live in.

• Herbal Formula Science
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• v.20 no.2
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• pp.187-197
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• 2012

Objectives : The purpose of this study is to find a reasonable solution to a current status of drug classification between the drugs of western conventional (allopathic) medicine and Korean medicine. A clear and distinct concept on the drugs of allopathic medicine and Korean medicine based on reasonable concepts and broad consensus is a pressing issue in Korea, and will facilitate the development of herbal medicinal products and pharmaceutical industry. Methods : Considering the issue of drug classification from domestic and international regulations, we reviewed the current Drug Law of Korea and China, Guidance for Industry, Botanical Drug Products of USA, Directive 2004/24/EC of the European parliament and of the council. Results : In Korea, the drug classification of allopathic medicine and Korean medicine is quite vague even though differential licensure system is enforced for the clinicians of allopathic medicine and Korean medicine field. According to the definition in the Drug Law, the scope of Korean medicine drug is so broad that even a drug made of single-compound material, as well as herbal extract of crude mixture, is regarded as a drug of Korean medicine, as long as the material may be separated from medicinal herbs, animal tissues, or mineral resources. Only new compound not found in natural resources are outside of the scope of Korean medicine drug. In USA and EU, medicinal products manufactured from herbs are approved by separate regulations for the herbs with special waivers. In China, the category of new medicine and the definition of allopathic medicine and traditional chinese medicine are clearly specified and classified. Conclusions : As medicines are validated therapeutic materials for efficacy and toxicity, we suggest that generally the concept of conventional medicines is based on a single compound that has been synthesized and individually validated and that of Korean medicines is based on a compound extracted from natural materials or a complex of compounds that has been validated as a whole in its totality.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.59-68
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• 2013

iPod Touch provided so various application software beyond the early music playback function, and enhanced its UI to the level of UX. Because of these, it was evaluated as innovative. In addition, even though various images were provided through the Internet, some people still classify MP3P as audio device in its product category. As for how audio device became video or image device and which factor contributed to such happening, there may be various factors, such as social, cultural, and technical change, other than fundamental change of medium itself. This study is regarding medium characteristics of MP3Player. In other words, this study classified genealogical changes, which can be categorized into 4 points. This study also analyzed the property of each point according to this classification. The result of analysis showed that there is a relation with technological as well as social context in such genealogical change in MP3player. Even though there are various elements in the change of a device, it can be suggested that the factors of genealogical change in MP3player are influenced by a totality of social needs and contexts and technical changes.

• The Journal of Art Theory & Practice
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• no.7
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• pp.89-123
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• 2009

The Philippines was colonized by Spain for about centuries, from 1521 to 1898, and ruled by America for around four decades, from 1899 to 1946. After recovering from the Second World War, the government started to harness human labor as export itself. In the present time the overseas Filipinos keep the economy afloat with their steady transfer of money to relatives and dependents. Through the art works, the issue which Filipinos were exploited and exported by its government has been reflected as the various allegories. As Filipinos traditionally follow and keep Catholic belief, themes of Christ's sacrifice has allegorically been represented as salvation, struggle, suppression, and emancipation of people. Through the allegory, we can interpret both the intrinsic and superficial texts. Also we can identity certain modes of the visuality of allegory in selected works from Philippine art history that in their complex mediations materialize the people and dignity of their predicament and their prevailing. Philippine art can be divided as three different features: passion, vagrancy, and mass formation. The passion stage was depicted as deep structure of Christian thought and devotional feeling, harsh capitalist system. In the pictures of vagrancy, under the regime of Ferdinand Marcos, the themes of drift, deprivation, and homelessness are reckoned through the images of pictures. The stories represented with allegory have been played an important role to bring local issues up as national ones. Those stages take us to the processes of mass formation or the depiction of the people as a moment in the totality of force. The allegorical sign refers to another sign that precedes it, but with which it will never able to coincide reach back to a previous stage and in this constant attempt at return incorporates a structural distance from its origin. The true people's art is one that radically generates transformative technologies and techniques so that it irrevocably breaks the plane of "art". In the painting, the truth is represented by functioning as foundation of a rhetoric of the image. And at this axis, the passional, the vagrant, and the mass formation tend to come together because they render the form of contingency that must be suffered and hopefully surpassed, a Filipino subjectivity that must be stitched in time.

• Journal of Life Science
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• v.16 no.6
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• pp.1044-1051
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• 2006

The barren ground is an abnormal phenomenon of coastal ecosystem in which seaweeds, are destroyed and mostly replaced by the coralline algae containing the calcium carbonate components. To restore the seaweed forest, We have exerted an effort in the local areas, Samchuck, Korea, where barren phenomena are profound. Two methods of seaweed forest construction developed in the present study are underwater longline and seed transplantation for the brown seaweed Costaria costata, a fast growing edible seaweed. The sizes of C. costata attached on the underwater longline were $96.7{\pm}2.2mm$ of blade length and $83.6{\pm}7.7g$ of blade weight in April. Thereafter the sizes declined from May. Similar pattern was obtained from in the transplantation method with maxima of $90.4{\pm}15.8mm$ and $70.1{\pm}31.7g$ for blade length and weight, respectively in April. It appeared totality maturation from two methods in May. This maturation time is the same like that of wild C. costata.

• Korean journal of communication and information
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• v.33
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• pp.193-225
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• 2006

This study attempts to reconsider the significance of political economy as a theory of knowledge and/or a method for explaining the convergence of broadcast and telecommunications. It is going to suggest what the domains of political economy should be in the future by both highlighting the characteristics and blind spots of previous studies and drawing some distinctive features of a new media environment. The principals and recent research trends in political economy are reviewed in order to make clear that the historical totality as a meta-framework of political economy needs to be reexamined in the era of convergence. Although the scope of political economy has been limited to criticize the structure of media ownerships, the study emphasizes the importance of media consumer theory. It also discusses the problems of free market theory, distortion of active media audience theory, and limitations and creative tension of audience commodity. Finally, this study stresses the significance of audience-oriented policies in order to make approach to practical sides of media politics.

• Journal of architectural history
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• v.14 no.4 s.44
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• pp.7-28
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• 2005

We are so used to the concept of the term 'space' that we do not question its conceptual validity. However, this paper argues that the notion of space prevailing all over the world, is not a universal concept that can be applicable to all architectures of the world, but is a particular concept that is generated from the Western way of thinking. This paper alms to identify the conceptual structure of the idea of space as it is originated in the tradition of the West, and, as an alternative view of space, tries to identify the nature of the view of space perceived in the tradition of the Eastern architecture. Comparison of the two views, that of the East and the West, and their meaning in the future of architecture, is another task to discuss in this paper. To be able to clarify the meaning of space in East Asian tradition, a set of new perspective of understanding of space was invited. They are ; 1. sky-earth(天地); insisting that the notion of space should be replaced within the context of sky, which is one half of sky-earth totality 2. energy of the air (空氣), space is not empty part inside of a building, but is a dynamic condition of air that is a part of the sky which always exist in form of energy 3. place(자리): instead of space, which, basically. is a man-made concept, idea of place is necessary, which include not only space but also earth Such concept of space which is different from the notion of space of the West, is meaningful not only to identify the idea of space in the East, but also to be able to contribute for more dynamic, varied, and balanced understanding of space.

• Journal of architectural history
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• v.14 no.4 s.44
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• pp.117-135
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• 2005

This paper is a study of the possibility of experience and expression in the architecture of Louis I. Kahn by focusing on the characters of entrance, court and window/wall of his public buildings. In the course of composition, Kahn defined the entrance, court and window/wall as an connecting elements and elements of boundary. The characters revealed by these elements or rooms give the clue to insight Kahn's thought of relation of interior and exterior space or inner and outer space. Following are the characters of these elements. First, a entrance reveals the fact that inner space separates from outer space by connecting these two space and giving the value to inner space as the entity and totality like outer space. The entrance gives its ontological being to human subjects not by vision but experience and expression which is the essence of commonness, that is, Silence. Kahn made the possibility of activity amplify in this common and silent space. Second, this entrance is connected with wide and huge central space not individual spaces of interior space. This extreme procedure of entering makes human subject feel sublime of intoner space. And the central spaces becomes another exterior or another world in the inner world of architecture by the lights from above and by having the boundary wall which shows same pattern of exterior wall. Third, Kahn regarded a window as the giver of lights not as the medium of vision connecting inner space with outer. He tried to connect interior with exterior through the being and character of the light expressed in the interior. And in his buildings, interior space is connected with exterior by expressing the purpose of building, composition of inner space, structural truth and construction facts through the Form, a pattern of wall, details and ornamental joints. By practicing this thoughts in the real buildings, Kahn tried to gave aura to both the interior space and entity of architecture which is regarded as micro universe like flowers, rocks and human beings.