• Journal of Science and Technology Studies
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• v.5 no.2 s.10
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• pp.69-95
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• 2005

Eunsa Memorial Science Museum is a political space to justify ruling colony. Japanese imperialism made use of science museum in ruling colony under the cloak of propagating science thoughts. The science museums made it natural to rule the inferior Joseon(Korea) by bring the concept of 'Great Science Empire' into relief. The exhibition, lecture, experiment and science movies propagated those colonial ruling ideology. This transplantation of the colonial science museumraised the following problems. First, the science museum was used as means for the propagation of political power. All the aspects of the architecture, exhibition, and operation of the colonial science museum propagated and supported the direction of political authority, and furthermore planted a rosy phantasm of 'Development' and 'Progression' into the colony. Second, The science technology of science museum was treated as 'Result' and 'Instrument'. Japanese imperialism denied that the science is a historical and cultural staple product; it instilled only the 'Instrumental Rationality' in the colony. Third, the science technology dealt in the colonial science museum was below the level. What they educated and set forth as domestic science was to cultivate the laborers people for the political power by internalizing modernistic discipline.

• Nuclear industry
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• v.37 no.8
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• pp.24-33
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• 2017

영화 '판도라'에 투입된 정도의 돈은 막대한 예산을 갖고 있는 국제 그린피스나 매년 전 세계 TV 광고에만 수천만 달러를 쏟아 붓는 천연가스 이익단체들의 예산에 비하면 조족지혈의 수준이다. 국제 그린피스의 연간 예산이 대략 4억 달러, EDF가 1억4천만 달러, 천연자원보호협회(NRDC)와 시에라클럽이 1억 달러가 넘고, 이들 단체가 예금이나 주식에 투자한 돈만 해도 수억 달러나 된다. 시에라클럽이나 NRDC, EDF는 블로그에 원자력을 화석연료로 대체하는 것에 반대하는 글을 올리면서 다른 한편으로는 뉴욕에 있는 Indian Point, 캘리포니아에 있는 Diablo Canyon, 그리고 오하이오에 있는 여러 원전들을 천연가스로 대체해야 한다고 주장하는 기만책을 쓰고 있다. 자연과의 조화를 위해서라도 신재생에너지를 사용해야 한다는 그들 주장의 베일 뒤에는 더 큰 어두운 그림자가 깔려 있다. 가난한 나라는 계속해서 가난하도록 해야 '과잉 인구'와 '과소비'를 막을 수 있다는 반인륜적인 멜더스(Malthusian) 이론과 그들이 주장하는 반핵의 오랜 역사는 서로 그 맥을 같이하고 있기 때문이다. 탈원전이 추진되면 전기요금도 올라가고 실업률도 증가한다는 사실, 그리고 환경 오염도 더 심해지고 그로 인해 조기 사망자 수도 증가한다는 사실을 보여주는 데 반드시 어려운 경제 모델이나 환경 모델이 필요한 것은 아니다. 원자력을 천연가스로 대체하면 그에 따른 비용 상승이 연간 최소 110억 달러나 된다. 물론 신재생에너지로 대체하게 되면 그 상승폭은 더욱 커지게 된다. 그리고 한 경제 분석 전문기관의 연구에 따르면 전기요금이 상승되면 한국의 경제는 저성장에서 벗어나지 못하게 된다. 결국 지금 우리에게 가장 필요한 것은 원자력 휴머니즘, 즉 원자력 에너지가 갖고 있는 훌륭한 도덕적인 목적을 다시 한 번 상기하면서, 우리 인류가 가지고 있는 가장 중요한 환경 기술을 반인륜적인 집단으로부터 구해내기 위한 풀뿌리 시민사회의 가열찬 노력이라고 할 수 있다. 우리와 같은 원자력 휴머니스트들에게는 그린피스나 기타 여러 반인륜적 집단들이 갖고 있는 풍부한 자원이 없다. 그러나 우리에게는 그런 종류의 자원이 필요한 것이 아니다. 우리에게는 그것보다 훨씬 더 중요한 진실이라는 자원이 있다는 사실을 결코 잊어서는 안될 것이다.

• Cartoon and Animation Studies
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• s.43
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• pp.285-320
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• 2016

Cartoons and Animation are convergent arts created with a composite application of language arts described in the form of literary texts and sounds, plastic arts visualized in the form of artistic paintings, and film arts produced in the form of moving pictures. An academic university major in cartoons and animation studies established in late 20th century however, did not satisfactorily meet the needs in academic research and development and the free expression of artistic creation was limited. In order to systematize the major in cartoons and animation studies, an convergent approach to establish and clarify following are in demand : the terms and definitions, the historical developments, the research areas and methods, the major education and related jobs and start-ups. New culture and arts industries including cartoons, animation, moving images, and games contents are not yet listed in the industries listing service jointly provided online by the portal site Naver.com and Hyung-Seol publishing company. Above all, cartoons and animation are inseparably related to each other that even if one uses the term separately and independently, the meaning may not be complete. So a new combined term "Animatoon" can be established for the major in cartoons and animation studies and also used for its degree with concentrations of cartoons, animation, moving images, games, and etc. In the Introduction, a new combined term Animatoon is defined and explained the use of this term as the name of the major and degree in cartoons and animation studies. In the body, first, the Historical Developments classified Animatoon in the ancient times, the medieval times, and the modern times and they are analyzed with the help of esthetics and arts using examples of mural frescos, animal painting, religion cartoons, caricatures, cartoons, satire cartoons, comics, animation, 2 or 3 dimensional webtoons, and K-toons. Second, the Research Areas of Animatoon reviewed the theories, genres, artworks, and artists and the Research Methods of Animatoon presented the curriculum that integrated the courses in humanities, science technologies, culture and arts, and etc. Third, the Major Education considered Animatoon education in children, young adults, students of the major and the Related Jobs and Start-Ups explored various jobs relating to personal creation of artwork and collective production of business-oriented artwork. In the Conclusion, the current challenges of Animatoon considered personalization of the artists, specialization of the contents, diversification of the types, and liberalization of the art creation. And the direction of improvement advocated Animatoon to be an academic field of study, to be an art, to be a culture, and to be an industry. The importance of cartoons and animation along with videos and games rose in the 21st century. In order for cartoons and animation to take a leading role, make efforts in studying Animatoon academically and also in developing Animatoon as good contents in the cultural industries.

• (The) Research of the performance art and culture
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• no.39
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• pp.457-507
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• 2019

The purpose of this study is to explore the formal and content features of the material for the Changgeuk album , which was produced and released in 1971. Changgeuk album was produced and published as a headword for "Changgeuk". However, it differs from the style of Changgeuk which is treated as a stage drama in that the narrative is developed around the commentary and dialogue in the formal aspect and the Pansori is only partially used. The styles of Changgeuk, implemented through gramophone record, radio broadcasts and television broadcasts, varied widely, unlike those of Changgeuk established in the 1930s. Pansori music wasn't the only center, and traditional performers weren't even the main members of the play. The characteristic form of the Changgeuk album is an experiment of Changgeuk that emerged naturally with radio reading and the advent of radio dramas in the 1950s and 1960s. So it is necessary to pay attention to the Changgeuk album in that it shows diverse forms of experiments conducted by Changgeuk in the newly introduced culture and media in the middle and late 20th century As for the contents of the Changgeuk album , the work embraces Lee Jong ik 's novel (1957), but develops the narrative centering on the life of Saint Sa-myung(四溟大師). And it is faithfully portraying the life of a Buddhist monk and the national salvation hero who pursued the original work. This content composition can be understood in the will of singer Lee Yong bae, the soundman who produced the album, and in the flow of historical dramas that summon the historical hero of the old country of the time to the stage. Singer Lee Yong bae reflects on his life in the past when he was full of greed and conceit through his life as a monk of Saint Sa-myung(四溟大師) and is greatly impressed by the personal aspect of Saint Sa-myung(四溟大師), and these emotions encouraged his creative will. Also, the Changgeuk record is meaningful in that it is one of the specific materials that embodies the national hero as a record and a traditional play under the discourse of the people, the nation in the 1970s.

• Archives of design research
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• v.16 no.4
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• pp.163-172
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• 2003

Nowadays calligraphy technique is widely utilized in diverse areas throughout the world. It is adopted in the visual environment of modern people comprehending from graphic design areas such as advertisement, package, symbol marks, logotypes, and movie posters to modern abstract paintings. It is because its dynamic and suggestive power of expression as symbolic and kinetic representation has been appreciated anew. In response to modern people's aversion from the mechanical and artificial digital environment as well as from the uniform, official, and modernistic trend, calligraphy technique is attracting people's attention as a new expressive style with oriental mysticism and emotional intimacy. Therefore, this study aims at illuminating the history of calligraphy, understanding its characteristics, searching for the expanded value of modern paintings and graphic designs, and ultimately contributing to the propagation of visual languages and expressive styles. In addition, this study attempted to establish the concept of Calli-Illust, which combines oriental painting techniques and materials and calligraphy techniques, and to explore for its potential uses in order to expand the area of illustration. According to the results of this study, calligraphy technique is a painting style of abstract expressionism, contributing to the expansion of the territory of a new formative area. Furthermore, this study proved that it is necessary to develop new expressive styles to overcome the limitation of design styles based on western rational, logical, and geometric functionalism, which have been received uncritically in the design environment of diversity. What is more, the concept and definition of calli-illust, which has been understood as a part of the concept of calligraphy so far, were clarified Research on calli-illust is just in its beginning stage. The present researcher expects that deeper and more extensive studies will be carried out in the future, so that calli-illust can be applied to communication design in various ways.

• Cartoon and Animation Studies
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• s.16
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• pp.125-140
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• 2009

In the1970's, Korean movie industry was down because of widely supplied Television. During the time, directed by Kim Cheong-ki was Big hit at the box-office that is bring Korean feature animation industry back to life. In 80's, when new military regime started, SF animation was prohibited to be on air by government because that assumed have bad influences on children, and korean animation industry was faced with recession, such as various imported foreign animations which were on color TV and wildly provided video recorders. At that time, director KIM Cheong-ki try to overcome the recession of animation industry by producing, < David and Goliath>, which was based on the Bible. The Bible, was based on the historical facts and had written by the time flow, that made few changes while it was transformed to a feature animation. Animation does not only reproduce the reality as it is, but also analyzing the story to create a new reliable world, by changing characters, creating new supporting characters, and expanding and reducing of narrative. Despite of such an effort, didn't achieve it's goal at the box office and not satisfied audience either because it was excessive reproduction of the Bible, not standing on the basis of those days social and cultural environment and popularity. This study is aimed at confirming changed narrative shown Kim Cheong-Ki's, and compare it with two other animated, directed by others, so that suggest the new direction of the religious feature animation production.

• Cartoon and Animation Studies
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• s.45
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• pp.367-396
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• 2016

As an animation educator at Mahidol University International College, Bangkok, for eight years I have been in a privileged position to be educating a small section of a new generation of Thai animators. Thailand has had little animation experimentation of their own and pre-internet had limited access to such diversity so I have attempted to bring some of the wealth of animation history, in particular British and European, as this is my background, into the classroom. In particular my teaching aim has been to introduce various possibilities to the choices of medium, styles and textual narratives that early (and current) experimental and independent animators have explored. Since the release of the first commercial feature film, Khun Kluay 2006, the Thai animation industry has gone through various highs and lows in the commercial sector, building a skilled workforce, many of whom trained and worked abroad then returned. Now there is strong evidence of an independent animation starting to emerge. In a continuation to my research on Thai Animation this paper will analyze selected independent works in more detail, exploring the themes, style and technology used. Whilst also acknowledging the possible mis- interpretation as that this is coming from the perspective of an outsider whose cultural language and interpretation may transcend the creators' given experiences and add alternative interpretation. The aim will be to contextualize the content, ideas and cultural perspective and bring more Thai works into the gaze of animation studies academics

• Trans-
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• v.4
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• pp.1-36
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• 2018

This paper summarizes some of the contents of the 7th International Symposium "Classical Art and Digital" of the Transmedia Institute(TMI), held on October 31, 2017. The purpose of this year's International Symposium was to look back on the genre and the aesthetic history of classical art and to create a place for discourse about the recognition of classical art in the modern digital era. In the first part of the discussion about the duplication of the original and virtual imitation, three presentations on "Visual Image Art and Digital" were introduced. The conclusion of this first discussion is summarized by urging the movement of viewpoint as 'systematic change of the routine aesthetic process'. In the second part on "Performing Arts and Digital", we realize that we need to definitize the 'new directive term system' necessary for the era of digital convergence and performance. In this process we can refer to the need for the emergence of a new aesthetic basis. Two papers in the second part of the paper will introduce the study of 'dance' performance. Some of these studies are reintroduced at the conclusion. The theme of this year's International Symposium can be expected to provide a foothold for the forthcoming second 'Laocoon sculpture argue'. In short, behind the various controversies in the history of aesthetics, this year's conference is concluded with a call for the need to flexibly read the enormous flow of 'art' and 'mental heritage left by art'. It is said that this year's international conferences are presenting the basis of practical and systematic theories for the upcoming fusion media era.

• Review of Culture and Economy
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• v.20 no.1
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• pp.21-50
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• 2017

The rise of Hallyu (Korean Wave) has generated a treasury of historiographic and cultural inquiries into the phenomenal success of South Korea's media entertainment industry. Whereas the majority of such studies focus on TV dramas and popular music, there is a medium, or rather a hybrid sub-genre within the medium category of short films, that must be reexamined and thus appreciated as the archetypal predecessor of popular Hallyu contents: music videos. The rapidly changing social, political, and economic climate in the mid- to late 1990s called for content that would grasp the attention of a younger, increasingly mobile population with diversified interests and routines that no longer guaranteed fixed-time viewership. Meanwhile, the advent of cable TV channels and high-speed internet service ensured greater temporal and infrastructural accessibility. The media entertainment industry's response to the new opportunities and challenges arising from these sudden growths in the scale, range, connectivity, and mobility of consumer demographics was synergetic cross-sector collaboration in the form of dramatized blockbuster music videos, which combined two popular and lucrative genres: trendy dramas and ballad music. In this essay, by relocating Hallyu's archetypal medium/genre, I claim that increasing upward and sideways mobility across sectors not only inspired new production but also reconfigured the very concept, form, and impact of media-driven cultural imaginary in South Korea.

• Journal of Korean Philosophical Society
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• v.139
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• pp.213-238
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• 2016

This paper examines how Dasan Jeong Yak-yong developed self-healing and his perspective of happiness during the hardest point of his political and social career. Just after the death of King Jeongjo (正祖, reign. 1766-1800) the arrest and persecution of those who accepted Christian knowledge from the West began. Among them were Jeong's family members and friends. Jeong, who had learned but had not accepted Christianity as a religious belief, was exiled to Ganggin 康津 in southern Jeolla Province where he was to spend the next 18 years. The two things that helped Jeong through his exile were the Book of Changes 易經 and his commitment to the study of Confucian thought, political, and social reforms. His life-long commitment to writing and his progressive understanding of the principle of changes of the universe in the Book of Changes, represented processes of self-healing and cultivation, depriving Jeong of self-pity and enabling him to attain the highest level in self-realization. According to Jeong, there are two kinds of happiness; "secular happiness" (yeolbok 熱福) related to power and wealth, and "pure happiness" (cheongbok 淸福), a free and idyllic life. For Jeong, the latter was more valuable than the former. Jeong believed that life pursing ethical virtues only could bring authentic joy to people. Furthermore, his devotion to the issues of systematic, social reforms was out of his desire to bring the public happiness by "practical learning", silhak 實學.