• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2009.11a
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• pp.167-170
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• 2009

기업 CI 디자인은 시각적 요소의 차별성뿐만 아니라 기업 소비자에서 제공하는 제품과 제품에 수반되는 모든 것이 경쟁기업과 차별되게 인식되는 기업의 통합적 이미지 및 가치이다. 오늘날 브랜드 전략과 맞물려 기업아이덴티티 전략으로 그 중요성이 날로 강화되고 있는 상황이다. 본 논문의 목적은 중국과 한국의 기업 CI 에 대한 시대별 비교 분석을 통해 어떤 시대감성이 CI 디자인에 반영되었으며 CI 디자인에 있어 글로벌 커뮤니케이션 못지않게 전통 문화적 요소가 중요함을 밝히고자하는 데 있다.

• The Science & Technology
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• v.29 no.2 s.321
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• pp.14-16
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• 1996

전자신문시대가 열리고 있다. 신문지면에 구애받지 않고 많은 양의 정보를 받을 수 있으며 편집ㆍ인쇄과정을 거치지 않아 속보성이 앞서고 또 편집자와 대화도 가능한 전자신문. 미국과 일본 등 선진국에서는 70년대 이미 초기형태의 전자신문이 실용화되었고 우리나라도 91년부터 개발에 착수했다. 앞으로 20년 후 2015년까지는 우리나라도 정보고속도로망을 완성, 본격적 전자신문시대를 열 것이다.

• Proceedings of the Korean Information Science Society Conference
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• 2005.07a
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• pp.742-744
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• 2005

최근에 들어와 언제, 어디서나, 무엇이든, 누구라도 하나의 단말로 연결되는 유비쿼터스 시대가 본격적으로 도래하고 있다. 유비쿼터스 시대의 개막은 교육 환경에서도 적용되는데 언제 어디서나 수월성, 보편성, 보충 교육 등 다양한 학습 서비스를 학습자 스스로 선택해 참여함으로써 교육 부문의 유비쿼터스 서비스 모델을 도출하고 극복해야 할 과제를 분석하여 유비쿼터스 시대의 교육환경에서의 바람직한 대응방안을 제시하고자 한다.

• Cement
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• s.67
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• pp.4-8
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• 1977

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.159-169
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• 2012

Seokgasan(石假山) is originated in Goryeo, is a Korean traditional technique handed down to Joseon and Seokgasan is the Korean creative culture of gardening by artificial stones, which replicates small artificial mountain of natural landscape in the garden. The object of this study is Seokgasan made by Seong-im(成任), who was a civil minister in Joseon and lived from 1421 to 1484, in his residence located in Inwang Mountain, Hanyang and the purpose of this study is to investigate the historical meaning and symbol of Seokgasan made by Seong-im on the base of the relative old literatures and embody its shape and structure. According to the result of this study on Seokgasan of Seong-im, it can find out some facts as follows; Seokgasan of Seong-im in the early Joseon succeeded to the structural form of Seokgasan of the artificial rock mountain type connected pond, which was made-up firstly in the garden of the Palace of Manwoldae in the Middle Goryeo, and it was called firstly as 'Seokgasan' in the garden of Seong-im's house. Seong-im's Seokgasan in the early Joseon had more concentrated philosophical meanings, including the idea of taoist immortal, than those in the Goryeo dynasty and was be emblematic of an imaginative space. Also there were lots of gardens modeled on the famous mountains and famous lakes in China much the same as the Goryeo dynasty. In addition, there was an exceptional purpose for building Seokgasan which could not be found in the Goryeo dynasty. That was practicality for emotional stability and cure. Seong-im's Seokgasan is record-relics with high value of landscape architecture history, which can identify its historical meanings, shapes and structural frames succeeded from the Goryeo dynasty.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.27-41
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• 2008

This article aims to develop various cultural contents from Sam-guk Sokakgasa(korean folksongs in ancient times) through analyzing features of it with narrative structures and discourse forms of Seymour Chatman. Rhythms and rhymes of the Sam-guk Sokakgasa hardly exist, only brief stories about the origins of songs are present. However, with interactions of current cultual contents, a brandnew cultural content can be developed from Sam-guk Sokakgasa through creative modification. In this view, narrative structures of Sam-guk Sokakgasa was analyzed using Seymour Chatman's method. Through this analysis, it can be concluded that Sam-guk Sokakgasa has complete narrative structures, thus can be developed into new cultural contents by media interaction. And it can be also said that in cases which Sam-guk Sokakgasa has weak narrative structure, if its narrative structure has enough universality, it also can be developed as cultural contents.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.1
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• pp.47-55
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• 2023

In this study, the following conclusions were drawn by analyzing the size, proportion, shape, angle, distribution, etc. of stones in order to identify the principles of facade molding of stonework of the 5th to 7th centuries of the Silla Dynasty. First, the uniformity of the size of the stones of the stone foundations of the Silla Dynasty was low at -0.8 to 4.1. This means that stones of various sizes were used, from small stones to large stones. In addition, the distribution of large stones in stonework of the Silla Dynasty appeared evenly regardless of height. This was common in the stonework of the Silla Dynasty, regardless of structural classification such as wells and mountain fortresses. It is thought that the Silla people did not only pursue practicality and efficiency in stone construction, but also considered design elements. Second, the proportional deviation of the stones of the stone walls of the Silla Dynasty was high, ranging from 0.861 to 1.515. This means that the stonework of the Silla Dynasty did not use only long flagstone-shaped stones, but used a mixture of long and short stones. Third, the shape average of the stones of the stonework of the Silla Dynasty was low at 0.45, and the shape deviation was high at the maximum of 0.15. This means that the stones as a whole have irregular shapes, and each stone has a high difference in shape. Fourth, the angle deviation of the stones of the Silla Dynasty was 4.3 to 16.2, and the average angle was 2. This means that the angle of each stone on the stone axis of the Silla Dynasty is tilted to the left and right. Fifth, there was no correlation between stone size, slenderness ratio, shape, and angle in the stone axes of the Silla Dynasty. In the case of stone axes in the Joseon Dynasty, there was a positive correlation between stone size and slenderness, and a negative correlation between stone size and shape. It can be said that the stones of the Joseon Dynasty were relatively standardized, but the Silla Dynasty showed the beauty of moderation by keeping the nature of the material and becoming one with the material.

• 한국벤처창업학회:학술대회논문집
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• 2019.11a
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• pp.107-112
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• 2019

21세기 4차 산업혁명 시대에 급변하는 산업과 기술 발전으로 인해 기존의 직업과 일자리의 위협과 변화가 커짐에 따라 청소년의 진로에 대한 준비는 더욱 절실해졌다. 청소년들은 급격한 기술 발전과 시장의 변화로 인한 기존 직업 소멸, 일생에서의 직업 활동기간의 비약적인 증가가 맞물려서 평생 한 번은 창직이나 창업을 해야만 하는 시대를 살고 있다. 이에 대비하기 위해 진로 및 직업활동에 대한 기회를 발견하고, 급변하는 시대와 시장의 다양한 문제들을 창의적으로 해결하고, 남들과 다르게 자신만의 방법으로 다방면의 경험과 지식을 쌓기 위한 자기주도적 학습력이 필수가 되었다. 본 연구는 그동안 다루어지지 않았던 청소년의 기회발견, 창의성 역량, 자기주도 학습력이 진로결정 자기효능감에 미치는 영향에 대해 청소년 진로교육 사례를 중심의 연구이다. 청소년에게 기회발견, 창의성 역량, 자기주도 학습력이 기업가정신의 매개로 하여 진로결정 자기효능감에 어떠한 영향을 미치는지에 대한 것이 주요 연구목적이다. 분석결과, 첫째로 기회발견, 창의성 역량, 자기주도 학습력은 진로결정 자기효능감에 유의한 영향을 미치는 것으로 나타났다. 둘째, 기업가정신의 향상 정도에 따라 진로결정 자기효능감에 매개 역할을 부분적으로 하고 있음이 확인되었다. 이와 같은 결과는 앞으로 청소년의 진로 및 기업가정신 교육에 중요한 자료가 될 것이며, 향후 청소년 진로 및 기업가정신 교육 프로그램의 연구개발을 위해 관련 연구가 확대 되어야 할 것이다.

• Journal of Korea Game Society
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• v.21 no.3
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• pp.79-90
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• 2021

Currently, for teenagers, the metaverse is becoming an important space for communication and experience. Due to the development of AI technology, experiences in the metaverse space are diversifying, which means that experiences in the virtual world can affect the real self. Therefore, this study attempted to examine the necessity of establishing a new concept of empathy across the metaverse for the AI era. In accordance with literature studies related to empathy, one was confirmed that the concept of empathy has been changing according to social ideas in times. In addition, with the result of the analysis of recent research trends, it was considered that the current study of empathy is generally taking a view as a measure of 'upright sociality.' In the end, this study suggest the necessity of redefined empathy in order to cultivate upright sociality in the metaverse.

• Trans-
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• v.6
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• pp.1-15
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• 2019

Performing arts is an intangible arts that disappears immediately at the moment it is presented and remains only in the memory of the performer's body and audience. The same repetition, restoration and reproduction of the disappeared performance is impossible, but artists of all times and places have tried various recording methodology to leave their performances in the tangible form. The performing arts archive is where performing arts are recorded, preserved, and utilized. In the fourth industrial Revolution era, library institutions in developed countries are turning into institutions that support creative activity by not only artists but also the general public. Korea's performing arts archives should also shift from the role of an old archive to a platform to create new cultural contents. This paper summarizes the changes in the Korean performing arts archive and presents the creative application of the performing arts archive in response to the fourth industrial revolution.