• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.653-665
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• 2020

As the use of recommended agents has become more active, the "Explain Facilities" is drawing attention as a way to solve the black-box problem that could not explain internal logic to users. This study wants to look at how the description Method and Detail affects to user experience. The Explanation method was divided into 'why the agent did a particular action' and 'why not do a particular action' and the detail condition were divided into 'high or low'. Studies have found that 'why method' have a positive effect on users' transparency, trust, satisfaction, and behavioral intention to use, and 'high detail condition' higher the user' Psychological reactance. In addition, it was found that the explanation methods and detail influenced the 'Explanation' perception through interaction and tended to affect satisfaction and intention to adopt recommendation. This study suggested that careful attention is needed to determine the method and detail of the Explanation facilities in the context of the recommended agent, based on the research findings that it affects the user experience through the interaction of the method and detail.

• Cross-Cultural Studies
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• v.46
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• pp.435-463
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• 2017

This paper aims to identify the structural characteristics of Okawa Syumei(大川周明), Wakamiya Unosuke(若宮卯之助) and Okakura Tensin(岡倉天心). In fact, after Okawa Syumei studied the Principles of Wakamiya Unosuke and Okakura Tensin, he derived a conclusion and wrote a book named "yeolseongjeon". This book talks about the emperor dynasty. Based on this, the theory presented by Wakamiya Unosuke and Okakura Tensin described the characteristics of the East European culture. Okakura Tensin crossed the western part and discovered that western culture is only western culture and not a universal culture. Western culture has developed from its own experience. Wakamiya Unosuke translated a book by William Knox, The spirt of the orient. They have the same point of view, but they have a different culture and they must follow their own culture. Okakura Tensin insisted that culture is dynamic and it improves by adapting different cultures of different countries. Wakamiya appealed and he opposed Tensin's studies about culture. Wakamiya's definition of culture has not changed or is fixed from the past, which still exists in the modern times. Culture must be cultivated and it must be introduced to people who have forgotten their own culture. Despite such methodological differences, the commonality between Okakura and Wakamiya is that Western civilization is nothing more than a regional culture, as the West is not a universal civilization, but as a whole, it is a regional culture. Okawa Syumei learned the Okakura and Wakamiya's theory about culture and derived a conclusion. He stated that both opinions are correct as culture can be adapted as explained by Okakura. For example, Japanese people are now adapting and embracing the culture of Chinese people and Indian people. On the other hand, he also learned Wakamiya Unosuke's theory that culture does not change. Japanese have their own culture that was created in the past or it was developed by their ancestors; for example, the emperor dynasty. Okawa Syumei learned different cultures of different countries and Japanese people are adapting those cultures, and Wakamiya stated that the emperor dynasty must be instilled and it must be universal. Japanese emperors have different cultures, especially the Meiji emperor who is willing to accept different cultures of different countries. Finally, he claimed that the emperor dynasty created a new Japanese civilization and they are now embracing the new adapted culture.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.9-44
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• 2020

This article aimed to looked back at the 1960s, which were assessed to be 'the age of essays', to survey denotations of essays, amplified by the discourse antagonism surrounding 'essays' and the writings of philosophers. Kim Hyeong Suk, Ahn Byeong Uk, and Kim Te Gil were philosophy professors of Yonsei University, Soongshil University, and Seoul National University and writers of numerous essay collections of the 1960s. However, there have been very few studies conducted on them. This is because of old prejudices within literary history that primarily undervalue essays and practices that try to limit them as 'Literariness'. Essays of the 1960s became the flavor of the times based on democratic demands that attempted to objectify individual experiences and grounds that passed through the war and the April 19 Revolution. The language of philosophers was expropriated through the various senses of first person writing to readers of the times, which lacked civil culture and national morality. Deficits in public spheres of the 1950s and 1960s were filled by Kim Hyeong Suk's narrations of comfort and conquest based on historic experiences, Ahn Byeong Uk's logic of self-discipline and knowledge based on democracy, and Kim Te Gil's humor and introspection that objectified the lives of the petit bourgeois. However, as the essays of philosophers failed to connect with the public discourse of the age, they were unable to go as far as sparking or serving as a medium for civil culture in the 1970s. Regardless, as essays rose historically in the 1960s, thought was given to the characteristics of the 'essay' genre and in connection, to the merits and demerits of cultural history that possesses the language of philosophers.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

• 기호학연구
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• no.54
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• pp.7-36
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• 2018

Michael Polanyi's idea of tacit knowledge came from the realization that scientific objectivity and critical philosophy had become too restrictive for philosophy, especially in the realm of meaning, which is beyond positivistic proof and contains more non-critical elements than critical ones. In social life, people still share certain kinds of knowledge and beliefs which they obtain without making or learning those explicitly. Contemplating the role and significance of tacit knowledge, he called for a post-critical philosophy that integrates the realm of meaning and thereby appreciates the intertwined nature of tacit and explicit knowledge. Polanyi's position towards skepticism and doubt shows similarities with Charles S. Peirce's thinking about the relationship between belief and doubt. Although Peirce's semeiotics stands firmly in the tradition of critical philosophy, he affirms that doubt cannot be a constant state of mind and only belief can form a basis for a specific way of life. Polanyi's approach differs from Peirce's by focusing on the impossibility of scientific knowledge based solely on principles and precision, and his emphasis on the crucial role of the community of scientists. Nevertheless, the deeper implications of Peirce's contemplations on belief and doubt have myriad ramifications on the philosophy of science as well as the sociology of science.

• Journal of The Korean Association For Science Education
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• v.25 no.3
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• pp.400-410
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• 2005

According to the cognitive conflict process model, student anxiety factor is known to have both positive and negative effects on student response behaviors in a conflict situation for conceptual change learning. However, there is little research that reveals what type of anxiety, either constructive or destructive, is related when conducting step-by-step experiments to resolve cognitive conflicts. This study attempted to learn the characteristic of explanatory hypothesis according to anxiety type after conducting five step-by-step experiments related to action and reaction concept. Results found that students who belonged to the types of 'conviction in logical misconception', 'insisting on additional variables', and 'reasonable modification' suggested explanatory hypothesis close to physical nature. On the other hand, those who showed the other five types of anxiety ('compatible predictions', 'dependence on others', 'fusion of past experience', 'lack of confidence', and 'conflict with past experience') suggested temporary supported hypothesis or simple explanatory hypothesis according to student intuition and simple observation. These results indicate that students in the above-mentioned five categories need more external interactions with instructors based on the type of anxiety related to student behavior. In addition, the results present student characteristics which instructors should be more attentive to when using step-by-step experiments to resolve cognitive conflicts.

• Journal of Korea Spatial Information System Society
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• v.5 no.1 s.9
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• pp.49-63
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• 2003

Recently, two international standard organizations, ISO and OGC, have done the work of standardization for GIS. Current standardization work for providing interoperability among GIS DB focuses on the design of open interfaces. But, this work has not considered procedures and methods for designing GIS DB. Eventually, GIS DB has its own model. When we share the data by open interface among heterogeneous GIS DB, differences between models result in the loss of information. Our aim in this paper is to revise the design guidelines for geographic information databases in order to make consistent spatial data models, logical structures, and semantic structure of populated geographical databases. In details, we propose standard guidelines which convert ISO abstract schema into relation model, object-relation model, object-centered model, and geometry-centered model. Furthermore, we provide sample models for applying these guidelines in commercial GIS S/Ws. Building GIS DB based on design guidelines proposed in the paper has the following advantages: the interoperability among databases, the standardization of schema definitions, and the catalogue of GIS databases through.

• Science of Emotion and Sensibility
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• v.15 no.3
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• pp.389-398
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• 2012

Virtual worlds have pursued reality as if they actually exist. In order to evaluate the sense of reality in the computer-simulated worlds, several subjective questionnaires, which include specific independent variables, have been proposed in the literature. However, the questionnaires lack reliability and validity necessary for defining and measuring the virtual realization. Few studies have been conducted to investigate the effect of visual factors on the sense of reality experienced by exposing to a virtual environment. Therefore, this study was aimed at reinvestigating the variables and proposing a more reliable and advisable questionnaire for evaluating the virtual realization, focusing on visual factors. Twenty-one questions were gleaned from the literature and subjective interviews with focused groups. Exploratory factor analysis with oblique rotation was performed on the data obtained from 200 participants(females: 100) after exposing to a virtual character image described in an extreme way. After removing poorly loading items, remained subsets were subjected to confirmatory factor analysis on the data obtained from the same participants. As a result, 3 significant factors were determined to efficiently measure the virtual realization. The determined factors included visual presence(3 subset items), visual immersion(7 subset items), and visual interactivity(4 subset items). The proposed factors were verified by conducting a subjective evaluation in which participants were asked to evaluate a 3D virtual eyeball model based on the visual presence. The results implicated that the measurement method was suitable for evaluating the degree of the virtual realization. The proposed method is expected to reasonably measure the degree of the virtual realization.

• Cartoon and Animation Studies
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• s.49
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• pp.25-52
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• 2017

As the expansion of the cultural industry expands, various competitive structures are formed and the methodologies for producing commercial success are being discussed. Among them, Hollywood studios use political relationships and apply ideologies that can produce the best interests. Also, they use a structure that can convey this ideology, which is a mythology. The myth has satisfied the public for a ling time. Campbell suggested that strategies come from the myth, and the ideology emerged as a result of what mythology has to do with existing powers. Disney and Dream Works use the mythology and combine their own values into ideology. Disney and Dream Works choose conflicting ideologies in a different growth background. If Disney is recognized as an educational animation by the ruling class, Dream Works are supported by the public for their actions against Disney. Disney has conservative and patriotic personality, Dream Works is more liberal and progressive. Disney's structure came out first, and Dream Works parodied it. So we can compare Disney and Dream Works with similar myths to create a storytelling structure that embodies ideology. As a result, Disney and Dream Works have been choosing the 9 stages the key of Ideology form the 17 stages of the mythology and reduced them to the introduction, growth and completion. In the first units of the introduction, Disney dealt with the subject of social leaders who sacrificed to the ruling class and Dream Works hinted at the overthrow of the ruling class through the irony. If Disney had deployed colored races in the main characters, Dream Works used a variety of races from the main characters to others. In the second units of growth, Disney organized the process of accepting the value of the ruling class, and Dream Works showed the individual values, not the values of society. In the third units completion, Disney showed the main character who live in the world of the ruling class rebuilded, and Dream Works removed the ruling class and went back to the Individual life. Through the structure of Disney and DreamWorks, we learned how to utilize the mythical structures that transform according to ideologies. The right way to organize works will require the strategic approach to storytelling.

• Cross-Cultural Studies
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• v.48
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• pp.31-66
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• 2017

This study examines ways of recognizing and aspects of describing Korean modern literature revealed by each literary history from the viewpoint of 'transculturation', focusing on Lim Jeon-Hye's "History of Korean Literature in Japan until 1945", Shirakawa Yutaka's "Footsteps of Korean Modern Literature", and Saegusa Toshikatsu's "Taste of Korean Literature" from the history of Korean literature written in Japan. First, Lim Jeon-Hye periodically examines Korean literature written in Japan, focusing on literary activities of Korean students in Japan and the proletarian literature movement, and addresses points of active cultural negotiation, mutual understanding and political solidarity between Korea and Japan. Shirakawa Yutaka focuses on the concurrency and connection of Korea, China, and Japan in the process of modern literary formation, covering Japanese language literature and pro-Japanese literature with great care, and describes the middle-layer position as a mediating researcher in the conflicting boundaries between Korea and Japan. Saegusa Toshikatsu provides interesting transcultural momentum in exploring internal logic and denotation of Korean literature via comparative literature review encompassing East Asia, implementation of literary forms and themes connecting tradition and modernity, and an out-of-boundary point of view to overlook 'pro-Japanese literature', etc. Transcultural aspects in this literary history to examine are as follow. First, the history of Korean modern literature based on 'national literature history' is catabolized in the magnetic field of the 'colonial experience' and 'national nationalism' and considered in multifaceted context. Second, they provide the possibility of three-dimensional and micro-narrative description of literature that complement the narrative aspect of existing Korean literature history. Third, they provide an opportunity to expand and open the description of literature history through acceptance of comparative literary perspectives encompassing East Asia. Fourth, through discovery of Korean-Japanese literature and Japanese language literature, they contribute to broadening the history of Korean modern literature and enriching foundations.