• Archives of design research
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• v.15 no.4
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• pp.67-76
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• 2002

This study is mainly based on the introduction process of formative art education method of Korean Bauhaus which was brought in this CQuntry through Japan. The introduction routes into Korea of Bauhaus education method by way of the United States through Germany have been disclosed since 1945, including Korean students studying in the United States as well as Scandinavian countries. Those introduction of Bauhaus method by Korean students into Korea had influenced the domestic university education. However, it was worth notice that Park Hui-rak pointed out through his writing that Bauhaus education method had already existed in the CQuntry before 1945 when korea was liberated from 35 years of Japanese colonial rule. Park hinted in his book of "Korean Design History,199B" that the curriculum of primary school, then affiliated with Taegu Education College had been possibly influenced from Composition Education" idealogy led by Japanese Kawakita Rensichiro. In Japan, Bauhaus education method had been independently introduced by civilians like primary school teachers of Kawakita. However, the possible introduction of the informative art education in the country by way of Japan leaves a lot of things to be considered. Because, the introduction was carried out by Choson governor-General which took charge of colonial rule of korea. Accordingly, the purpose of this study is to make full explanation on the introduction of formative art education and on the types. For that purpose, examinations on various materials and information released by many educational institutes as well as by choson Governor-General were included. As the result, it was possible to find out a trace of "Composition Education : Japanese Bauhaus Formative Art Education" in 1937, one year earlier pointed out. And it was remarkable that two interested books were found out, which mainly dealt with Spanung of Composition and Dynamic sense. Finally, through examinations in many aspects, five drawing education books written in 1930s, such as Drawing Guide Details and indication, were proved to be equal to Bauhaus Composition Education in terms of terminology and contents. Moreover, it has been made clear that Composition education Choson was made mostly under the control and management of Choson Governor-General in the of books on education systems in then education college.

• The Journal of Art Theory & Practice
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• no.4
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• pp.33-56
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• 2006

The cultural debates between conservatives and liberals at the end of the 1980s and in the early 1990s were termed as "culture wars." The "culture wars" involved a diverse range of controversial issues, such as the introduction of multicultural curricula in educational institutions, prayers in schools, whether to allow gays to serve openly in the military, and whether abortion should be permitted. The most heated debates of the "culture wars" regarding art raged over the NEA and the question of whether Andres Serrano's works should have been publicly funded, in addition to the exhibition "Robert Mapplethorpe: The Perfect Moment" which were charged as projecting "obscene" or "blasphemous" images. This paper examines the development of culture wars in art and focuses on several issues invoked by the NEA debates. However, it is not a detailed chronological investigation. Rather it pays attention to the several phases of the debates, analyzing and criticizing the clashes of the political and esthetical points of views between conservatives and liberals. How could NEA funding, a mere fraction of the federal budget, have become so critical for both sides(conservative and liberal), for politicians and artists' groups, and for academics and the general public? The art community was astounded by this chain of events; artists personally reviled, exhibitions withdrawn and under attack, the NEA budget threatened, all because of a few images. For conservative politicians, the NEA debate was not only a battle over the public funding of art, but a war over a larger social agenda, a war for "American values and cultures"based on the family, Christianity, the English language, and patriarchy. Conservative politicians argued the question was not one of "censorship" but of "sponsorship," since the NEA charter committed it to "helping museums better serve the citizens of the United States."Liberals and art communities argued that the attempt to restrict NEA funding violated the First Amendment rights of artists, namely "free speeches." "No matter how divided individuals are on matters of taste," Arthur C. Danto wrote, "freedom is in the interest of every citizen." The interesting phase is that both sides are actually borrowing one another's point of view when they are accompanied by art criticism. Kramer, representative of conservative art critic, objected the invasion of political contents or values in art, and struggled to keep art's own realm by promoting pure aesthetic values such as quality and beauty. But, when he talked about Mapplethorpe's works, he advocated political and ethical values. By contrast, art experts who argued for Mapplethorpe's works in the Cincinnati trial defended his work, ironically by ignoring its manifest sexual metaphor or content although they believed that the issues of AIDS and homosexuality in his work were to be freely expressed in the art form. They adopted a formalistic approach, for example, by comparing a child nude with putti, a traditional child-angel icon. For a while, NEA debates made art institutions, whether consciously or unconsciously, exert self-censorship, yet at the same time they were also producing positive aspects. To the majority of people, art was still regarded as belonging to the pure aesthetic realm away from political, economical, and social ones. These debates, however, were expanding the very perspective on the notion of what is art and of how art is produced, raising questions on art appreciation, representation, and power. The interesting fact remains: had the works not been swiped in NEA debates, could the Serrano's or Mapplethorpe's images gain the extent of power and acceptance that it has today?

• Cartoon and Animation Studies
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• s.30
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• pp.263-291
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• 2013

In this article, I analyze Korean Dong-in culture and its relationship with Yaoi, focusing on the changes in the 1990s. While Korean Dong-in culture has developed under the influence of Japanese Dojin culture, it is not well-known that Korean Dong-in culture has its own characteristics, reflecting the unique situations surrounding the Korean society. The reason that I pay attention to the changes in the 1990s is that they have created the foundation of the current Korean dong-in culture through changes such as the import and reception of Yaoi, the creation of 'virtual community' in PC telecommunication, the enforcement of Juvenile Protection Law, and the inauguration of 'Comic World,' Among them, the import and reception of Yaoi, a genre characterized by homosexuality including sexual relationship and fanwork, played a decisive role in the change of dong-in culture from manwha circle by highly motivated amatuer artists to fandom. The circumstances that original manhwa dong-in by manwha circle and Yaoi by manhwa fandom coexisted by the mid-1990s, the enforcement of Juvenile Protection Law and the lift of ban on Japanese popular culture rapidly weakened original manhwa dong-in. Also, the popularity of Comic World as a new type of dong-in events reflected the spread of fanwork as a new trend of Korean dong-in. In summary, the import and reception of Yaoi should be considered as one of the important changes in the 1990s Korean Dong-in culture, because 1) Korean women considered Yaoi as a liberating subculture by its powerful contents-homosexuality with sexual relationship, and 2) Yaoi succeeded in attracting new population favoring fanwork as a major trend in Korean Dong-in, differentiated from original manhwa circle population.

• Cartoon and Animation Studies
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• s.47
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• pp.81-101
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• 2017

The present study argues that film director Lee Ae-rim animation works depict the world of the grotesque and not only are important sociocultural phenomena but also hold the significance of humor and subversion. The grotesque exhibits the intriguing characteristics of expressing a perspective critical of the existing society through the sensibilities of minorities and is used broadly as a term not only in the aesthetic sense but also designating sociocultural phenomena. Although discussed separately in terms of Mikhail Bakhtin's carnival grotesque and Mary Russo's uncanny grotesque, the grotesque fundamentally rejects existing order and conventions and is externalized through unique expressions, thus opening up a rich possibility for rejection, humor, satire, transformation, and deconstruction of and regarding the authority of the mainstream. Although they constitute a fictional medium, animation films are social products as well so that they are affected by society, culture, and history and stand as important texts that must be interpreted in terms of the relationships between humans' instinctive desires and society and between the overall culture and artistic media. However, the rarity of grotesque portrayals in South Korean animation films also proves that it is a society where even problems that are in themselves sensitive must be manifested ingeniously on a conventional level. South Korean society has a unique history of colonialism and national division and is simultaneously in the unique situation of a society that has undergone growth at a nearly unprecedented rate. Consequently, the society exhibits closed yet dynamic particularity where everyday tension and rigidity, wariness of others and extreme competition are intertwined in a complex manner. Intensively analyzed in the present discussions, director Lee's animation films and are characterized mainly by grotesque images, nonlinear narratives, and vivid depictions. In such a context, these works not only are artistic products of South Korean society but also rejections of a rigid society and share the significance of the aesthetics of the carnival grotesque, which consists of subversive expressions directed at a new world.

• Korean Journal of Cognitive Science
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• v.21 no.1
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• pp.95-126
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• 2010

This study proposes a bottom-up and inductive manual mapping methodology for integrating two heterogenous fine-grained ontologies which were built by a top-down and deductive methodology, namely the Sejong semantic classes (SJSC) and the upper nodes in KorLexNoun 1.5 (KLN), for HLP applications. It also discusses various problematics in the mapping processes of two language resources caused by their heterogeneity and proposes the solutions. The mapping methodology of heterogeneous fine-grained ontologies uses terminal nodes of SJSC and Least Upper Bounds (LUB) of KLN as basic mapping units. Mapping procedures are as follows: first, the mapping candidate groups are decided by the lexfollocorrelation between the synsets of KLN and the noun senses of Sejong Noun Dfotionaeci(SJND) which are classified according to SJSC. Secondly, the meanings of the candidate groups are precisely disambiguated by linguistic information provided by the two ontologies, i.e. the hierarchicllostructures, the definitions, and the exae les. Thirdly, the level of LUB is determined by applying the appropriate predicates and definitions of SJSC to the upper-lower and sister nodes of the candidate LUB. Fourthly, the mapping possibility ic inthe terminal node of SJSC is judged by che aring hierarchicllorelations of the two ontologies. Finally, the ituorrect synsets of KLN and terminologiollocandidate groups are excluded in the mapping. This study positively uses various language information described in each ontology for establishing the mapping criteria, and it is indeed the advantage of the fine-grained manual mapping. The result using the proposed methodology shows that 6,487 LUBs are mapped with 474 terminal and non-terminal nodes of SJSC, excluding the multiple mapped nodes, and that 88,255 nodes of KLN are mapped including all lower-level nodes of the mapped LUBs. The total mapping coverage is 97.91% of KLN synsets. This result can be applied in many elaborate syntactic and semantic analyses for Korean language processing.

• Journal of the korean academy of Pediatric Dentistry
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• v.31 no.1
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• pp.11-18
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• 2004

The eruption of permanent teeth represents the movement in the alveolar bone before appearance in oral cavity, to the occlusal plane after appearance in oral cavity, and additive movement after reaching th the occlusal plane. Tooth eruption is mostly controlled by genetic signals. The eruption stage is divided to preeruptive alveolar stage, alveolar bone stage, mucosal stage according to the process of growth and development. If the disturbance is occured in any stage of eruption, tooth does not erupt. The cause of eruption disturbance are ectopic position of the tooth germ, obstruction of the eruption path and defects in the follicle or PDL. In the treatment of eruption disturbance, surgical procedures are commonly used. There are three kind of surgical procedure ; surgical exposure, surgical repositioning, surgical exposure and traction Surgical exposure is basic procedure. This involves removal of mucosa, bone, lesion that are surrounding the teeth, dental sac when necessary to maintain a patent channel between the crown and the normal eruptive path into the oral cavity. To ensure this patency, many techniques including cementation of a celluloid crown, packing with gutta-percha or zinc oxide-eugenol, or a surgical pack, are used. When surgical exposure is conducted, operators should not expose any part of cervical root cement and not injure periodontium or root of adjunct tooth. After surgical exposure, tooth should be surrounded by keratinized gingiva. There is direct relationship between the extent of development of pathophysiologic aberrations and the intensity of the manipulative injury inflicted on the tooth by surgical treatment, so operator should consider this thing. In these cases, surgical exposure is conducted on Maxillary 1st milars that have a eruption disturbance and improve the eruption disturbance effectively.

• Journal of The Korean Association For Science Education
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• v.19 no.3
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• pp.428-440
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• 1999

The colorful overhead projector films, named as Bio-cosmos II, including photographs, pictures, concept maps, and diagrams, were developed and manufactured as audio-visual teaching aids and teaching resources for students' biology learning in high school, and the CD-ROM and web sites for their application to the school were also constructed. The content of the films was organized based upon the analysis of seven different biology textbooks approved by the Ministry of Education. The films were designated based on various instructional strategies and manufactured using multimedia with various educational softwares. The CD-ROM was composed of the scenes as logo, initial main, chapters list, contents, and quit. Initial main scene indicated various chapters according to the texts of biology areas in General Science, Biology I, and II. Each chapters linked with the scenes for detailed concept maps, the downstream real subjects, and contents. The subject screens were composed of various types of summarized diagrams including lesson contents, figures, pictures, photographs, and their explanation, experimental procedures and results, tables for summarized contents, and additional animation with video captures, explanations, glossary, etc. Most files were manufactured in software Adobe Photoshop by scanning the pictures, figures and photographs, and then the explanation, modification, storing with PICT or PSD files, and transformation with JPG files, were processed in the aspect of high quality in terms of instructional strategies and graphic skills on gracefulness, clearness, colorfulness, brightness, and distinctness. A 14 films for biology areas in General Science, 80 for Biology I, and 142 for Biology II were manufactured and loaded to the CD-ROM and web site, and the files had been attempted to opened with an internet home-page of http://gic.kyungpook.ac.kr/biocosmos.

• Korean Journal of Cognitive Science
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• v.19 no.4
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• pp.331-367
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• 2008

This study aims to validate a web-based neuropsychological testing tool developed by Kwak(2007) and to suggest solutions to potential problems that can deteriorate its validity. When it targets a wider range of subjects, a web-based neuropsychological testing tool is challenged by high drop-out rates, lack of motivation, lack of interactivity with the experimenter, fear of computer, etc. As a possible solution to these threats, this study aims to redesign the user interface of a web-based attention testing tool through three phases of study. In Study 1, an extensive analysis of Kwak's(2007) attention testing tool was conducted to identify potential usability problems. The Heuristic Walkthrough(HW) method was used by three usability experts to review various design features. As a result, many problems were found throughout the tool. The findings concluded that the design of instructions, user information survey forms, task screen, results screen, etc. did not conform to the needs of users and their tasks. In Study 2, 11 guidelines for the design of web-based attention testing tools were established based on the findings from Study 1. The guidelines were used to optimize the design and organization of the tool so that it fits to the user and task needs. The resulting new design alternative was then implemented as a working prototype using the JAVA programming language. In Study 3, a comparative study was conducted to demonstrate the excellence of the new design of attention testing tool(named graphic style tool) over the existing design(named text style tool). A total of 60 subjects participated in user testing sessions where their error frequency, error patterns, and subjective satisfaction were measured through performance observation and questionnaires. Through the task performance measurement, a number of user errors in various types were observed in the existing text style tool. The questionnaire results were also in support of the new graphic style tool, users rated the new graphic style tool higher than the existing text style tool in terms of overall satisfaction, screen design, terms and system information, ease of learning, and system performance.

• Cartoon and Animation Studies
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• s.43
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• pp.151-184
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• 2016

In order to develop the animation industry, it is essential to encourage other related areas because all related industries can create synergy effects through exchanging their business. The magazine industry dealing with animation is one of them since the animation magazine plays an critical role in providing information and knowledge as well as analyzing market and industry from the practical viewpoint. But, there is only one magazine working in Korea, and it has never been researched so far even though over 20 years has passed since its first publication in 1995. It is Animatoon that is published by the company of Akom Production Co. who produced animation from the mid-1980s and Nelson Shin, the CEO of Akom, has worked as the Chief Editor. This research deals with Animatoon from the first issue till vol. 115 which was published in 2015, and tries to explore the characteristics. The result is as follows. First, Animatoon provides items to understand every article easily. Second, it provides original English articles written by foreign correspondents. Third, it provides different type of articles such as terminology explanation, production pipeline related knowledge, information about newly-released animation DVDs and so on. In addition, it is found out that Animatoon has small amount of advertisements. These characteristics shows that Animatoon helps subscribers to judge the contents of articles easier, tries to focus on the global trend, and provides basic and critical information. Therefore it can be said that Animatoon has enough features to be judged as the specialized magazine. First, Animatoon has its own specialized area, which is animation. Second, considering the type of articles, Animatoon tries to have all the parties concerned as its subscribers. Although, the amount of ads in Animatoon is small, only animation related ads are run through the whole issues.

• 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.