• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.803-808
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• 2024

As a service that creates graphic work images with AI, DALL-E2, Midjourney, Stable Diffusion, BING image generator, and Playground AI are widely used. It is that graphic also enables learner-led customized education. With this, it is worth studying detailed design customized learning materials and methods for designing efficient design in future 2D graphic work, and it is necessary to explore the areas of application. The current situation is that it is necessary to develop a design education system that can indicate the lack of AI technology through text security and questions. In this study, a successful proposal for a process that is produced through a process of creating AI design work through proxy work can be presented as a conclusion. Design, advertisement, and visual content companies are already using and adapting, and the trend is to reflect the AI graphic utilization ability and results in the portfolio along with interviews when hiring new employees. In line with this, detailed consideration and research on visual and design production methods for AI convergence between instructors and learners are currently needed. In this paper, proposals and methods for image quality production were considered in the main body and conclusions, and conclusive directions were proposed for five alternatives and methods for future applications.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.743-749
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• 2024

Recently, the use of generative AI has become more active in university education, but jewelry design education and research using generative AI are still insufficient. Accordingly, we would like to discuss the possibilities and limitations of visualization of jewelry design ideation and expression using generative AI in the jewelry design development education and ideation stage, as well as the experience and application of generative AI by college students. To analyze the impact of generative AI on the learning experience, it was analyzed from the perspectives of 'usability', 'usefulness', 'reliability', and 'satisfaction'. As a result, generative AI confirmed positive results in terms of usability and usefulness to trainees, and confirmed the potential for effects using personalized education and collective intelligence. The combination of jewelry design education and generative AI is part of convergence education, and the significance of this study is to lay the foundation for effective use in jewelry design education by analyzing learners' experiences and perceptions of using generative AI. This kind of education reflects the trends of the times for nurturing future society's talents and will contribute to the promotion of learners' broad creative thinking.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.827-832
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• 2024

The AI program Sora is a video production model that can be used innovatively and is the starting point of a major paradigm shift in video planning and production in the future. In this paper, through consideration of the characteristics, application, and process of the AI video production program, the characteristics of the AI design video production method were understood, and the production algorithm was considered. The detailed consideration and characteristics of the work creation process for the video graphic AI video generation program that will be intensified every year were examined. Next, the method of generating a customized video with a text prompt and the process of innovative production results different from the previous production method were considered. In addition, the design direction through the generation of AI images was studied through the review of the strengths and weaknesses of the image details of the recently announced AI music video results. By considering the security of the AI generation video Sora and looking at the internal process of the actual AI process, it will be possible to present indicators for the future direction of AI video model production and education along with the direction of the design designer and education system. In the text and conclusion, we analyzed the strengths and weaknesses and future status of OpenAI Sora image, concluded how to apply the Sora model's capabilities, limitations, quality, and human creativity, and presented problems and alternatives through examples of the Sora model's capabilities and limitations to increase human creativity.

• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.1-12
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• 2019

A bridge is a structure constructed on water or in the air for convenient passage. Compared to other buildings, the building materials and structures of bridge required unique functions to cross the space. It depends on the productivity of the building, the level of science and technology, and the ecological environment of the building site. Also, it has important relationship with functions such as politics, military, economy, and life. Most of the academic research on bridges is focused on research in the field of bridge-building technology, so the study on the landscape aesthetics and history of bridges is lacking. Against this backdrop, the study will be valuable as a accumulation of both countries' understanding of bridge types, history and culture, as well as technical and aesthetic data, by analyzing the bridges located within the palaces of Korea and China. The research method is to analyze the bridge through field survey and literature analysis.. First, the bridges of royal palace of Korea and China are to be classified quantitatively as physical shapes, landscapes, and decorations by comparing the materials, forms, landscapes, and decorative culture of bridges. Second, characteristics, common points, and differences are extracted by classifying bridges of both countries. Also, the results are discussed based on the physical environment or cultural background. This would be worth cross-referencing in the building technology and aesthetics of the two countries. For the first important characteristics of result, main materials of Korean and Chinese palaces are stone. However, the bridge in China's royal palaces is also focused on wood. Second, in terms of form, the bridges in the royal gardens of Korea and China are all based on the beam bridge. However, the specific form, ratio, style of the beam bridge, and airspace of arched bridge are very different. Third, most of the connection methods are focused on the over bridge. It values the convergence with the surrounding landscape. Due to the difference in the area and location of water, the bridge in the Korean palace is more focused on the convergence of the surrounding buildings and plants, while the bridge in the Chinese palace is more concerned about the harmony of hydration. Fourth, the decoration places importance on the artistry and aesthetics of both the bridges in Korea and China. There is a difference in style in the same type of decoration due to culture.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.8 no.3
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• pp.85-96
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• 2013

Entrepreneurship courses and programs in Korean universities tend to increase steadily but seem to have some limitations. They are usually recognized as another domain of Business Administration. Entrepreneurship program is practical like Business Administration but should be much more interdisciplinary than that. Because Korean Entrepreneurship programs are in the early stage, they must be reinforced with factors such as education culture, faculties, curriculum and relationships with communities. This study aims to get some implications from Entrepreneurship programs have been run by universities in America in order to facilitate Entrepreneurship program in Korean universities. Based on 11 success factors found by our case universities' Entrepreneurship programs and Kauffman Campus, this study has drawn implications of critical success factors of Entrepreneurship programs as follow. First of all, because Entrepreneurship programs should focus on Entrepreneurship mind sets such as innovative idea generation and courage to overcome risk, it is more desirable that Entrepreneurship programs are introduced in all departments of universities such as Arts, Science and Engineering. These programs also need to take interdisciplinary approach and required to be opened from liberal arts course. In order to be sustained during all their academic careers, vision, mission and strategy for Entrepreneurship programs should be based on strong leadership and support of top leaders. Entrepreneurship culture of each university is also one of the most important success factors. Entrepreneurship programs not only as major programs but also as specific Entrepreneurship minors designed for departments such as Arts, Science and Engineering could be considered according to each university's situation. This study also suggest to make a motivation system for Entrepreneurship faculties, Ph d. programs for Entrepreneurship, communication network for Entrepreneurship programs and mentor system in community. To begin Entrepreneurship programs, it also needs to develop good education contents as many as possible. When it concerned with teaching method, project based 4 year program can be suggested to be effective and efficient. To introduce project based program that should be consistent till participants' graduation, university must prepare regulations to support team teaching, mentor and interdisciplinary cooperation. To dissipate the concept that Entrepreneurship is another version of management, this study support the idea that Entrepreneurship programs should be designed and run by independent and central-focused governance system, Entrepreneurship education center.

• Journal of Korean Classical Literature and Education
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• no.35
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• pp.153-193
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• 2017

This study explores the creation and enjoyment of Kuwoonmong (九雲夢) using a reference system called the cultural imagination, which is related to the Yin-Yang (陰陽) and Wu Xing (五行). When Kim Manjung wrote Guwoonmong, he may have composed figures and events based on this imagination. In particular, when he designed the eight seonnyeo (팔선녀), he set the order such as Gap (甲), Eul (乙), Byeong (병), Jeong (丁), etc. and characterized them according to the celestial stem (天干). Thus it was easy to avoid overlapping of characters and to construct various stories and relationships between them. The table below shows the characters of Kuwoonmong corresponding to the celestial stem. In not only the individual person but also the narrative world, Kuwoonmon demonstrates Yin-Yang and Wu Xing's imagination. In this respect, Kuwoonmon can be considered a large symbol encompassing the abstract theory of Yin-Yang and Wu Xing. Of course, the writer, Kim, Manjung would not have tried to symbolize the principle intentionally. However, he was also present in the environment of the cultural imagination that has been formed over the years. The same is true for the contemporary recipients of Guwunmong. They would have had a pleasant experience applying the cultural imagination and strengthening their familiar world view and human view.

• Trans-
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• v.9
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• pp.17-36
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• 2020

This study is aimed at discussing the possibility of content production, utilization and expansion, focusing on the exhibition case of Danwon Art Museum run by Ansan Cultural Foundation. In 1991, the Ministry of Culture, Sports and Tourism named Ansan as the City of Danwon since it is believed to be the hometown of Danwon Kim Hong-do (1745~?), a painter of the late Joseon Dynasty and a well-known master of genre painting. As a result, Ansan is making various efforts to utilize Danwon Kim Hong-do for its unique resource through internal and external business such as the creation of Danwon Sculpture Park, the operation of Danwon Art Museum, and the planning of Danwon Kim Hong-do Festival. However, the biggest problem with Ansan is that there are not many collections of Kim Hong-do. Ansan has owned a total of six works as of May this year: a deer and a boy, flowers and a bird, A view of clouds on the water, Daegwallyeong, Yeodongbin, A way to Singwangsa. Accordingly, Danwon Contents Center has set up a vision to systematically collect, preserve, and display various visual and artistic materials related to Kim Hong-do, offering high-quality information based on digital data. In other words, it is a complex cultural information agency of One-Source Multi-Use, which combines the functions of libraries, archives and art galleries so that visitors' desire is satisfied. It reflects the contemporary trend of overcoming the limitations of the ancient paintings and satisfying the role and function of the art museum. From the opening of the Danwon Contents Hall, the original work of Kim Hong-do has been interpreted and produced as media contents or recreated as a new form of art by modern artists. Exhibition using technologies such as touch screen and 'deep zoom' helps visitors to heighten their experience of the archives and get inside the world of the genius painter.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.12-31
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• 2016

Gangwon Provincial Office, which is Historical Landmark No. 439, existed from 1395 to 1895. It played a significant role of provincial administration. Gangwon Provincial Office was rebuilt in the $17^{th}$ Century when governors' additional job system began. It had 50 buildings and 670 sections. During the Japanese colonial era and the Korean War, most of the buildings were demolished, and in 2005 partially restored. Currently, after the old Wonju City Post Office was demolished, the back garden facilities of the Provincial Office are being restored. The back garden of Gangwon Provincial Office was completely destroyed when the Japanese army base at Wonju made it a playing field during the Japanese colonial era. After demolishing the old post office in the back garden, excavation and investigation were made. A pond and building relics were found, but they were too damaged to be restored. However, this thesis found that there were Bongraekak, Yeongjusa(Kwanpungkak), Cheyako, Joojeong Rainbow Bridge after studying literature and paintings. There were also Hwansunjeong and Bangjangdae outside the pond. The names of the back garden and how they were made are related to hsien. In the pond, they made 3 islands signifying Mt. Samshin(immortal world) in the legend and built pavilions on that. The pavilions of the back garden were named Bongrae, Yeongju, and Bangjang, and the titles of other pavilions also had the names of hsien. The back garden of Gangwon Provincial Office was made like an immortal world, befitting its role of governing Mt. Bongrae(Mt. Geumgang.) The governors of Gangwon Province often went to the back garden and enjoyed becoming a hsien. They regarded themselves as the owners of Bongrae, i.e., the immortal world. Gangwon Provincial Office has a unique historical significance because it implemented an immortal world, making use of the characteristic of Gangwon Province.

• (The) Research of the performance art and culture
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• no.33
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• pp.129-163
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• 2016

This study examines processes of cultural introductions and transformations among Korea, China and Japan via focuses on the formative characteristics of nasori(納曾利) masks belonging to komagaku (高麗樂), part of bugaku (舞樂), a Japanese court dance and music. Previous studies of traditional masks in East Asia focus on their dramatic characters and entertaining aspects. On the contrary, it approaches to their origins through the formative characteristics of komagaku nasori masks. Prince of Lanling, the representative togaku passed to Japan, and komagaku nasori perform a pair of toubu (答舞). One formative characteristic between Prince of Lanling and nasori masks is a dangling jaw (吊り顎). Masks having 'he' (へ)-shaped eyes like Japan's okina (翁) masks are characterized by a division (切顎) between the face and jaw, which is as same as the Korean masks. Other common grounds between Prince of Lanling and nasori masks are grotesque ghost faces and concentric double-circled eyes with their outlines painted gold. Concentric double-circled eyes prove that they spread to broader areas before the age of togaku and developed into a variety of divine-animal mask patterns. That Korean masks and nasori masks both have concentric double-circled eyes and dangling jaws is a significant starting point in studying the origin of traditional performing art in East Asia. Japan's bugaku has been passed down in shrines as part of folk religion. However, there exist in Korea no records or examples related to komagaku nasori masks introduced to Japan. This study provides some clues to comparison between Korean masks and komagaku nasori masks by focusing on the formative characteristics of the latter. The researcher suggests a new perspective to nasori mask dance by re-examining earlier Korean studies of the introduction of Daemyeonmu of Prince of Lanling to Japan through Shilla and the assumption of Nasori as Shilla music.