• Journal of Music and Human Behavior
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• v.11 no.1
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• pp.63-82
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• 2014

This qualitative study investigated how a music therapy program was experienced by juvenile offenders of school violence who were under a conditional suspension of indictment. Six adolescents participated in 12 consecutive weeks of group music therapy sessions, and were interviewed individually based on open-ended questions addressing key constructs of self-determination theory, which are autonomy, competence and relatedness. Using this framework, data was deductively analyzed using a modified grounded theory. The analysis also investigated how such impact of music therapy transferred or expanded to their everyday life. The analysis revealed that the properties of autonomy included making choices of songs and instruments, deciding how to play, and expressing opinions about music. Competence was associated with developing skills on musical instruments, creating own music, concentrating on their own project, and demonstrating their abilities. Relatedness were related to collaborating, exchanging opinions, and playing a part in musical projects. In addition, it was found that they also experienced shifts in consciousness and behavior, expanded self-awareness, and mutual exchange and group support. Lastly, it was revealed that the positive emotional and behavioral changes they experienced in music also appeared in their school life.

• Cartoon and Animation Studies
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• s.39
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• pp.111-132
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• 2015

Although Rotoscoping technique has been used for a long time to mimic the natural and smooth motion since the early 20th century, its artistic value was devalued as tricks because it traces the already recorded images. But the fact that the rotoscoping images can cross the boundaries between animation and live action in an infinite integral freedom in the digital era became rather expansive new aesthetic possibilities of representation of the reality. In addition, Jonas Odell's animations such as (2010), (2008), (2006) are good example to prove that the rotoscoping images also can serve as means to enhance its narrative. This study is to analyze how rotoscoping images act as a unique role in relation with the narrative based on the said person's real stories and realistic images. I argue that his animated films constantly contain these three characteristics -Images to mediate Auditory sensitivity as a record of inner metaphysical reality, anonymous images to represent a specific existential character, and images that act as physical representation that holds the physical space/time and related memory. This reveals that rotoscoping images in this digital era went beyond reproduction for natural movements or special type of style. It rather suggests new layers of experience, and acquires new value in animation. I hope that this study could serve as a foundation to rediscover and re-position the value of rotoscoping images as well as good opportunity to introduce very talented swedish animation artist who already received global attention with his unique philosophical and aesthetic style.

• Journal of Korean Philosophical Society
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• no.114
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• pp.305-335
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• 2016

In the eighteenth century, the scottish philosophers Francis Hutcheson, David Hume and Adam Smith share the idea that morality comes from moral sense, which is a feeling of approval or disapproval of agent's motive and action. However, they have the different views in explaining the mechanism that generates the moral sentiments. Hutcheson takes a moral sense to be a unique mental faculty that is innate to all humans, and regards it as being guaranteed by supernatural apparatus like divine Providence. Hume and Smith reject Hutcheson's concept of internal moral sense and take a stage further Hutcheson's projects of internalisation by naturalizing morality in terms of the principle of sympathy. It is widely held that Hume's moral sentimentalism is essentially similar to Adam Smith's. Though there are important points of contact between Smith's account of sympathy and Hume's, the differences are considerable. The chief of them lies in the fact that Hume grounds our approval of virtue on our recognition of its utility and convention, and Smith does not. Smith grounds our approval of virtue on the impartial spectator's judgment, i.e., conscience. Hence for Smith, the impartial spectator is the one that bridges the gap between particularity and universality and works the vehicle of practical reason. Given this, in this paper, first, I will clarify the difference between Hume's and Adam Smith's understandings of sympathy. Second, I will elucidate how they explain the process to produce the moral sentiments based on their understandings of sympathy. I shall finally explicate in what way Hume's and Smith's theories on sympathy work as moral normativity.

• (The) Korean Journal of Educational Psychology
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• v.26 no.4
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• pp.901-926
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• 2012

Previous research on creativity mainly investigated the characteristics of creative individuals and environments. In this study, those factors were also investigated in art by critically reviewing various documents on 5 creative artists: Nam June Paik, Isang Yun, Marcel Duchamp, John Cage and Pina Bausch. The results of the study showed that creativity in art developed through three different developmental stages with the changes of artist's self or self-consciousness: the discovering self, strengthening self-consciousness, and refining self-consciousness stages. The first stage of discovering self is the period during which the creative artists discovered their talents in the area of art and decided to pursue their career in art. During this stage, creative artists expressed a strong curiosity, tried to learn the world of art with intense efforts, and established a good foundation of knowledge. During the second stage of strengthening self-consciousness, creative artists built up their own aesthetic worlds. They tried to slake their thirst for the novelty in the field and made a strong commitment to the field they belong to. Finally, during the refining self-consciousness stage, they expressed their aesthetic worlds with refined self and expanded their aesthetics from personal to social dimensions. And they pursued an integration of various domains to produce a new artistic genre and shared their creative aesthetics with members outside of their field. The main implication of the findings of this study was that creativity could be defined and understood meaningfully by the perspective of self or self-consciousness in the area of art.

• Journal of Music and Human Behavior
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• v.17 no.2
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• pp.29-56
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• 2020

The purpose of this study was to develop and validate an imagery-focused music listening program for improving emotion regulation among infertile women. For the program development in this study, the literature on emotional issues and coping strategy of infertile women was analyzed to establish theoretical foundation; and the literature on Supportive Music and Imagery (SMI) was analyzed to identify intervention components. Based on the established theoretical framework, the program was developed and finalized after evaluation of validity by four SMI professionals. The developed program was found to systematically target changes in emotions in the step-wise process of discovery, reinforcement, and affirmation of positive emotional resources. The list of music for future use was also identified and presented after systematic analysis of musical features in relation to valence and arousal of emotions. The imagery-focused music listening program was an initial approach to infertile women with SMI, which indicates the possibility of extended application for broadened clinical population.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.227-264
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• 2021

This paper summarizes the concept of ludonarrative dissonance that occurred in the realm of full-scale game criticism, and materializes it with the latest work . In the process, it is examined that this game actively utilizes the ludonarrative dissonance to deliver cognitive experiences to players that go beyond the definition of gameness. Along with the all-round development of AAA-class games, the ludonarrative dissonance is emerging as an important task that each game must overcome. On the contrary, however, it should be noted that has a different effect than expected by revealing rather than overcoming the ludonarrative dissonance. The ludonarrative dissonance conveyed by has the effects of ironic interpretative possibilities. This paper looks at dissonance in two dimensions, and the first is the dissonance between the play-narrative structure inside the game. induces the player to recognize the dissonance and actively reconstruct the meaning of the whole game by reminding the player of the dissonance that occurs between the two structures. Second, it stimulates the cognitive dissonance that exists inside the player playing the game beyond the internal structure of the game. That is, by expanding the concept of gameness, it evokes the possibility that games can function more than a tool for convenient self-efficacy. As such, the ludonnarrative dissonance can be a more fundamental redefinition of game nature and an expression of a problem consciousness about the possibility of change.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.175-187
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• 2020

The purpose of this study is to discuss the elements and meanings of the performative scenography which has been revealed through the new directorial interpretation and deconstruction process of the musical 『All Shook Up』. The performative scenography characteristics after postmodernism aim to create individual active perceptions and various social meanings through audience's voluntary and particular emergence. To this end, the theoretical foundation of scenography was examined by periods in advance. Based on this, I attempted to establish performative scenography for synthesized scenic and media design through the reconstruction process for the 『All Shook Up Travelers』. As a result, I set up visual narrative based world of 『All Shook Up Travelers』 which was produced by text-based intense images for a direct medium in order to expand actors' inner narrative and established unique performative scenography of its own: 1. enhancing the adapted one's narratives for the actors' and audience's co-existence and detachment, 2. delivering its own independent meanings which have double meanings, 3. encouraging audience's critical and active perception experiences through collage and montage of media.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.101-110
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• 2019

Filmic spaces are not only a core expressive factors that can embody both internal and external meanings of films, but also play an important role for initiating dramatic context in terms of narratives. They establish visible environment in which provocative incidents occur and characters' behaviors are induced, include characters' psychology or emotional meanings of narratives and provoke tensions through symbolic meanings and the implicit function of surface background. This paper, therefore, analyzes the film, , by focusing on the dramatic function of narrative space. This film provides insights and thoughts through deep philosophical reflection, by escaping from the convention of such a genre, through deep philosophical reflection, by escaping from the convention of such a genre, though it belongs seemingly to the crime thriller genre using Mexico's drug cartel as it main material. In the film, narrative spaces are responsible for emotions invoking dramatic tensions beyond provocative incidents and the elaborately planned and controlled mise-en-scene absorbed audiences' attention by organizing ultimate suspense. In conclusion, flow and dramatic lingering imagery of this film might be achieved by power of scenes rather than plot factors. This study thus explained the correlation between narrative spaces and dramatic immersion, by analyzing spaces appearing in and visualized construction. It is hoped that this will further extends the pattern of researches on dramatic immersion, which have been primarily focused on plots and characters.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.6
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• pp.12-32
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• 2023

Nowadays, the increasing number of religious travelers seeking inner healing has led to the popularity of Buddhist 'temple stays', Protestant and Catholic 'retreats' as alternative vacations. However, unlike Buddhist temples, which are inculturated, Christian retreat centers follow the formula of general recreational facilities and lack an overall framework due to relying on sponsorship. This study attempts to design appropriate outdoor environments for a retreat by reflecting 'theological aesthetics' based on the process of 'Spiritual Exercises', the main method of retreat. First, as the Spiritual Exercises are often described as an 'inner pilgrimage', the images and theological aesthetics experienced in prayer themes were examined. Next, the characteristics of the spaces required for the facility were analyzed, and the composition of religious spaces was proposed. Also the landscape resources of the site were investigated, and the retreatants' behavior to derive spatial preferences was analyzed. Overall, outdoor spaces were planned to induce a shift in consciousness and broaden the spectrum of the retreatants' experience through a physical environment consistent with the mechanism of prayer. This study aimed to implement theological aesthetics by selecting a retreat center with high potential for landscape resources. As a result, it was possible to reveal the 'poetic landscape' to effectively evoke images during 'contemplative prayer', and to support religious experience. The significance of this study lied in deriving various design vocabularies for outdoor spaces of religious facilities.

• Journal of Music and Human Behavior
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• v.21 no.2
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• pp.51-75
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• 2024

This case study aimed to develop a therapeutic rap protocol based on narrative components for improving discourse skills of adolescents with mild intellectual disability (ID) and to explore its applicability. The protocol matched narrative elements (background, initiating event, internal response, attempts, and reaction) with rap components (verse, hook, and interjections), guiding participants to narrate their experiences in a connected discourse form. The protocol was also structured to gradually increase in difficulty, considering the developmental levels of adolescents with ID and it included steps for understanding discourse structures, applying narrative elements to content creation, and expanding narratives. Post-intervention analysis of the stories and rap lyrics created by participants to express their real-life experiences showed that participants increased the length of their stories and rap compositions, with notable improvements in rhythmicity and the inclusion of narrative elements. These findings suggest that, instead of constructing rap from random utterances, providing a structured framework reflecting discourse structure enhanced participants' understanding of event context and logical connections. Furthermore, the various elements and rhythmic features of rap can strengthen motivation and organization in discourse. This study highlights the therapeutic potential of rap in addressing the unique developmental needs of adolescents with mild ID, thereby diversifying and systematizing music therapy interventions for this population.