• Korean journal of communication and information
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• v.48
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• pp.109-134
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• 2009

This study explores the political parody, which has become an active art form in order to express Korean Internet users' political practices, especially, during the politically turbulent periods from the presidential election of 2003 to the recent candlelight vigil protest of 2008. This study investigates the rise and fall of a parody culture by online users from the mid-2000s, and also examines aesthetical aspects of parodic artworks relying on amateurism culminated in 2004. Specifically, the current study questions an aesthetical lack shown in 'appropriation', by which most of the online users simply produce imitations of original image. This study rather notes 'photomontage' as an aesthetic prototype, the political aesthetics made by John Heartfield, through which this study intends to observe how his aesthetical legacy of political art could be realized in the contemporary form of political parodies produced by online users. The present paper concludes that online users' political participations in producing critical works of art could allow us to negate the dichotomy between the elite and the mass, professional artists and amateur parodists, and a radical politics and the politics of style.

• Cross-Cultural Studies
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• v.33
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• pp.171-192
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• 2013

The article is a research about the Belle Epoque era and Dadaism in the modern culture as a whole and separate. The years from 1890s to 1914, is known as the Belle Epoque era, in which the European continent including France had developed the climax of the modern culture after the Renaissance. At the same time, it was the period where the postmodern developments were being spread, leading to the present days. Moreover, the main ideologies in art that led to the cultural advancement of the time were impressionism, cubism, art nouveau, evolutionized painting category, symbolism and futurism. It was a literature category that was maintained to present Dadaism and surrealism. Dadaism began since the magazine, Bulletin Dada was published, originating in 1916 by Tristan Tzara of Zurich, Switzerland during the WWI. The extreme motto that the Dadaists supported was a contradiction, as they had to dissolve from their own art movements and expression techniques. However, until Andre Breton introduced 'Manifeste du Surrealisme' in 1924, the "Dada group" had a tremendous influence in France as an epicenter and rejected the modern cause and art that continued during the time, thus attempting its dissolution. First, they rejected the ideology, ethics and customs of rationalism from the previous system and demonstrate an anarchical and anti-bourgeoisie characteristic. They also reject the French lucid thoughts and the artistic techniques. They strongly emphasized on their motto "The idea is created from the mouth", while reframing from the philosophical ideology and at the same time, attempting to express the psychical unconsciousness. Second, the most important catchphrase that the Dadaists supported was the theory of negation. The question "Why do you write?" connotes the negative consciousness about the artistic value and the stereotyped method of the preexisting writing and drawing. Third, the Dadaists bring forward a radical query about all of the former esthetic and morals, and reveal an admirable resistance spirit. They emphasized on the slogan "Dada, means nothing" and insist on 'the anti-literal Dada, anti-artistic Dada, anti-musical Dada'. The Dadaist movement manifested their resistant spirit and the new artistic spirit through the publication of , , and most importantly through the magazine . Fourth, the Dadaists embodied the volume, density, and quality into an image through the auto-technical, cubistic writings and drawings. They ignored the fixed form of arrangements, verses, and rhymes of a poetic diction. The Dadaists utilized an unfamiliar and inversed expression method of applying the combination of the size of print, or capital letters and lowercase letters, even combining printed and handwritten writings. As presented, the auto-technical and cubistic characteristic of expressing the auto-psychical ideology into writing is called as the radical aesthetic and moral and can be considered as the most essential cause of the Dadaists' avant-garde features. As a conclusion, Dadaism demonstrated dual characteristics of consuming the nutritive elements of the modern culture through the most powerful resistance and liberation of the artistic movement of the Belle Epoque era, where at the same time, it deconstructed the modern art. By revolting against the former grounds and expression techniques, and dominating the era with the new artistic spirit, their resistant actions were artistic movements that symbolized the dissolution of the modern times. Moreover, the Dada's expressionism and resistance of saying "There's nothing" can be evaluated as postmodernity's initiative of outweighing the modern history and opening the door for new period of nowadays.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.171-176
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• 2022

This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.41 no.4
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• pp.489-495
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• 1996

Seedling emergences of four rice varieties (Dongjinbyeo, Dadajo, Galsaekggarak-sharebyeo, and Italiconaverneco) and three barnyardgrass species(Echjnochloa oryzjcola, E. crus-gali var. crus gali E. crus-gali var. praticola) were evaluated in relation to soil strength. Soil strength was varied by compressing the entire volume of soil with a hydraulic jack so as to be 0.5, 1, 2, 3, 6kg /$\textrm{cm}^2$. Soil strength was measured with a penetrometer (Yamanaka type) and soil covering above the seed was 4cm deep. Experiments were conducted at two air temperature conditions of 17 and $25^{\circ}C$. At a soil strength of up to 2kg/$\textrm{cm}^2$, little or no decrease in seedling emergence occurred in all rice varieties and barnyardgrasses tested. Above that value, seedling emergence decreased progressively as the soil strength increased. The degree of decrease was greatest in Dongjinbyeo and smallest in Dadajo among tested rice varieties, and greatest in Echinochloa oryzicola among barnyardgrasses, being greater in barnyardgrasses than rice. Seedling emergence was delayed almost linearly as the soil strength increased. The delay was greatest in Dongjinbyeo among rice varieties and in Echinochloa oryzicola among barnyardgrasses. Mesocotyl length increased as soil strength increased up to 2 to 3kg / $\textrm{cm}^2$ in Dongjinbyeo and Dadajo in 17$^{\circ}C$ and $25^{\circ}C$, and up to 6kg/$\textrm{cm}^2$ in Galsaekggaraksharebyeo and Italiconaverneco in $25^{\circ}C$. Dongjinbyeo showed the least elongation of mesocotyl among rice varieties in any soil strength. The total length of mesotyl, first internode and incomplete leaf showed little variation with soil strength. The total length was longer than the 4cm covering depth in other varieties except Dongjinbyeo. This might have caused the lower emergence rate in Dongjinbyeo than other varieties in higher soil strength.

• Korean Journal of Weed Science
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• v.16 no.2
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• pp.88-99
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• 1996

In recent years dry direct-seeding of rice has been encouraged by the government and increasingly practiced by farmers in Korea. This has been bringing up an increased occurrence of weedy rites. Some farmers in the southern region dare to sow the rice before winter after harvest, while most farmers wish to sow as early as possible in the spring to secure the growing period, and to disperse the intensive labor in early May. The purpose of this study was to determine the feasibility of moving the sowing of rice to an earlier date under dry direct-seeding, and to elucidate the nature of emergence of an old strain of rice, weedy rites, and barnyardgrasses tinder this farming practice and their adaptive competence over present cultivate. The presently recommended rice cultivar, Dongjinbyo and an old rice strain, Dadajo which prevailed in early 1900s, almost could not emerge from soil deeper than 6cm and could emerge to only 5.3% at best from 1cm deep loamy soil field when the seeds were sown on Nov. 28. However, two strains of weedy rites being weedy for over 200 years emerged by 17.0 to 63.0% from the loamy and sandy clay loam field 1 to 6cm deep. Emergence of the weedy rites was greater in the loamy soil and at a shallow depth, and negligible from the soil depth of 9cm. Barnyardgrasses sown on Nov. 28 emerged by 13.4 to 51 % from the 1 to 3cm deep loamy soil, and 8.6 to 46.7% from the 1cm deep sandy clay loam. Echinochloa crus-galli var. crus-galli emerged more than var. praticola, and var. oryzicola least. Most of the non-emerged barnyardgrasses seem to have entered secondary dormancy. Seeding rice a month earlier than the season lowered the emergence of Dongjinbyo by ca. 10, 18, and 26%, respectively at 1, 3, and 6cm soil depths, indicating that moving the seeding date a month earlier is impractical. The old strain, Dadajo sown in the soil at a depth of 6cm responded similarly. However, the strain has shown a significantly higher ability in emergence from 9cm deep soil. Weedy rices sown a month earlier A month earlier sown weedy rices have shown very similar emergence rates at various soil depths to those sown on May 1. Barnyardgrasses have also shown similar emergence rates when sown between April 3 and May 1. Like barnyardgrasses, the old strain and weedy rices apparantly posessed a greater adaptability to emerge under lower temperatures, and from deeper soil ; Dongjinbyo${\leq}$ Echinochloa species in that order. However, emergence- speed under lower temperature(sown on April 3) was faster in the order of weedy rice

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.150-169
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• 2020

Surveys of Buddhist ruins at Namsan in Gyeongju began in earnest during the Japanese colonial era, undertaken by Japanese scholars. These surveys of Buddhist remains in Namsan made during the colonial period should be seen as previous research which cannot be ignored in any in-depth study of Buddhist ruins in Gyeongju. Full-scale surveys of Buddhist ruins at Namsan began in the 1920s. Previous surveys conducted around the time of the Japanese annexation of Korea in 1910 are generally viewed as only representing preliminary investigations and, thus, have not received much attention. However, these early surveys are significant in that they led to the Buddhist ruins on Namsan becoming widely known in the 1910s and served as the foundations for later studies. The removal of the Seated Medicine Buddha from Samneung Valley in Gyeongju in 1915 and its subsequent exhibition at the Joseon Local Products Expo, which marked the fifth anniversary of the Japanese administration of Korea, was especially important in garnering attention for Namsan's wealth of Buddhist artifacts, as the statue was placed in the main hall of the art museum and attracted a great deal of interest from visitors. It is typically thought that this Seated Medicine Buddha was exhibited in 1915 because it was the most beautiful and well-preserved statue from Namsan. However, the removal of this statue was closely related to the proposed move of the Seokguram statue to Seoul around the time of Korea's annexation. The plan to move Seokguram to Seoul was primarily devised by Terauchi Masatake, and the plan, based on Ilseontongjo-ron ('日鮮同祖論'), a historical theory that prehistoric Korean and Japanese people were of the same blood, and Joseon Jeongcheasoeng-ron ('朝鮮停滯性論'), a historical theory arguing that development had stagnated in Korea, was intended to be a visual demonstration of a new era for Korea. This new era was to proceed under the rule of the Japanese Empire through the dissolution of Gyeongbokgung, the symbol of the Joseon Dynasty, which would be replaced with past glories as symbolized by the statue of Buddha. However, as the plan floundered, the replacement for Seokguram in Seoul ended up being none other than the Seated Medicine Buddha of Samneung Valley. Surveys of the Seated Medicine Buddha began in 1911, administered by Sekino Tadashi, but he likely learned of the statue's location from Moroga Hideo or Kodaira Ryozo, Japanese residents of Gyeongju. It is also probable that these Japanese residents received a request from the Japanese Government General of Korea to find a Buddha statue that was worthy of being displayed at exhibitions. In this way, we can say that the transfer of the Seated Medicine Buddha to Seoul was the result of close cooperation between the Government General, Sekino Tadashi, and Japanese residents of Gyeongju. This also had the effect of removing the magical veil which had shrouded the Buddhist ruins of Namsan. In other words, while the early surveys of Buddhist ruins on Namsan are significant, it is difficult to argue that the surveys were undertaken for purely academic purposes, as they were deeply related to the imperial ambitions of Governor-General Terauchi which encompassed the plans to move Seokguram to Seoul and the successful hosting of the 1915 Expo. It should also be pointed out that the failure of the plan to move Seokguram to Seoul and the preservation of the Seated Stone Buddha of Mireuggok at Namsan was in no small part due to resistance from Korean residents in Gyeongju. Although it is not described in detail in the paper, research is needed which shows that the Korean residents of Gyeongju were not simple bystanders, but agents of history.