• Journal of Korea Technology Innovation Society
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• v.14 no.2
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• pp.177-204
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• 2011

Recently the government expands its investment in basic research to overcome the limit of technology catch-up strategy. At this point, Korea's R&D supporting system needs to be evaluated whether it is appropriate to support creative basic research. Therefore, this study approaches to analyze the cases of basic research supporting system about the characteristics of basic research and necessary systematic requirements. This research discussed the necessity for introducing the paradigm of policy management system of basic research. Also it found that the performance of basic research is very important element for the effectiveness of research itself as well as continuous appropriacy of the system.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.127-139
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• 2021

This study is intended to review the poetic directing created by the aesthetics of silence of Claude Régy, a French director who carries out playwriting in silence, departing from conventions through the concept of "potentiality" proposed by Giorgio Agamben, an italian philosopher. Claude Régy stated, "What's fundamentally important is not to say what you want to say." Thus he tries to create the stage of "silence" rendered in overly slow, excessively segmented dialogues while selecting restrained minimal means. Agamben makes Bartleby who "prefers not to" as a cardinal model of his perfect potentiality, asserting that the nature of potentiality is revealed in the pause of actuality. As in Agamben's philosophy, Claude Régy's directing is also the "pause" of words and actions. This silence is not a return to actuality but a creation of the moment at which "the invisible" become visible. The silence of words or the silence of an empty stage with dim lighting is viewed by Agamben as potentiality that has "underlying passivity" and is "hospitable to non-existnece". In this light, this study is to create another direction for the theater arts of our time and the 21^st century and to extend the horizon of new directional modes. It aldo reviews the concept of Agamben's "potentiality" that provides critical viewpoints to "the artist without content", works directed by Claude Régy who has created his own distinctive styles of direction with the aesthetics of "slowness" and "silence", L'intérieur by Maurice Maeterlinck and Quel'un va venir By Jon Fosse.

• The Journal of Korean Philosophical History
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• no.56
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• pp.209-238
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• 2018

The purpose of this research is to analyze characteristics of the method of education or learning reflected in the teacher-student relationship in On Haeng Lok By Toe-gye and explore their relevance to modern education. By writing various works and conversing with his students, Toe-gye devoted himself in the education of the traditional Confucian principles. Specially, he taught his students based on two Confucian educative principles, namely Shim Deuk(心得) and Goong Haeng(躬行). Judging from this, Toe-gye can be seen as someone who tries to fulfill the role of teacher as dictated in the educative principles of the Confucianism. In Confucianism, teacher is responsible for forming a well-rounded view on life in student, rather than simply transmitting knowledge. As such, the teacher was supposed to find a harmonious way to create something new based on what was inherited from the past generation and try to do his best in learning new things himself and teaching his students. These Toe-gye managed to do successfully, earning his students' trust and respect. Being moved and inspired by their teacher, the students continued their intellectual pursuit. This relationship between Toe-gye and his students can be analyzed from the perspective of education method and discussed in terms of cognitive learning and adult learning. In terms of cognitive learning, the education method reflected in the relationship is similar to potential learning, insight learning, and imitation learning. In terms of adult learning, it is similar to self-directed learning and communicative learning.!

• Korean journal of communication and information
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• v.74
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• pp.197-224
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• 2015

This paper critically investigates the cultural phenomenon surrounding the news mobile phone app in which 'curation', relying on the news editing and adaption, has become much more significant than making the news directly. This study affirms the fact that a copying culture which is basically a combinative effect of duplication (alias) and imitation(mimesis) enables us enrich the human beings' creative activities. However, we need to warn the regressive aspects of copying culture challenging the journalistic principles. This study exemplifies a case of Pikicast, which has become the most rapid growing news content mobile app in Korea. By doing a case study, this paper suggests that 'social gift' should be given to the online users as a whole. The communal and social gift would be an alternative way to the unpaid crawling of the news resources from the digital commons by the news content curating corporation such as Pikicast.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.188-192
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• 2007

Today, the most pivotal issue in the national research and development, and national scientific and technical policy is to overcome uncertainties in the environment of technology development. The social and economic environment around us is at restricted uncertainty (complex system) where order and disorder coexist. Furthermore, the environment of technology development is more complicated. In order to bring about creativity in practices of technology development, we need a paradigm shift towards a new framework for the construction of the national scientific and technical information infrastructure, which entails a shift to creativity, self-organization and dynamic capability. The paradigm shift will lead the present scientific and technical information infrastructure which centers on information sharing, to move towards one that enables information coherence through self-organization. Thus, it is expected that the new Web 3.0 will provide a client-flexible analysis information system that will make information coherence and feedback possible. Through this system, the policy for the construction of a new scientific and technical infrastructure will evolve, which will bring about co-evolution of individual's knowledge through sharing of self-organizaed knowhow.

• Journal of Digital Convergence
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• v.14 no.11
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• pp.507-512
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• 2016

As the characteristics, attributes, and accepted way of media have been changing with newly emerging media, human recognition and the communication structure have also been changing. Media are not isolated from the others and emerge in the cultural context; With the drive to juxtapose the old and the new to be in diversified forms, the old media are utilized and improved. In this rapidly changing circumstance by the media, we attempt to theoretically explore the concept and characteristics of visual communication and the media related to augmented reality. Augmented reality does not create something out of nothing but renew the expression; Thus, it reforms the structure of communication. Therefore, there is a significance to look into theories of W.Benjamin, M.McLuhan, Norbert Bolz, and Jean Baudrillard who linked the past to the present in accordance with the new era of communication for us to find out the meaning of augmented reality in the current cultural context.

• Journal of Fashion Business
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• v.5 no.4
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• pp.14-26
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• 2001

A lot of designers are adopting a mixed imitation as techniques of cretion because cultural boundary and structure of meaning in the era of post-modernism are collapsed and dissolved. I raise up a question mark to how can genuine and creative designers can be identified at this epoch when we are today familiar with the trend of informationalization, opening and globalization. Characterisitics of multi-culturalism and compromising blending are meshed with appearance of a theory of disorganization and consumer-driven economic activity of multi-national enterprises in the age of post capitalism. Accordingly it can be said that designers are leaning upon public and consumeroriented pattern rather than pursuing a creative cultural production. With mass media in rapid advancement and public culture in father dissemination, mass production and mass re-production became a natural cultural phenomenon strengthen ing its root. Creative designers somewhat slow and limitative in pace of adaption to rapid changing society amid such social backgrounds and flooded information are coming to dead-end of wall. A mixed imitation as techniques of creation is a result of borrowing, duplicating or re-combining of existing things because the mixed imitation is equivalent to borrowing, copying, compilation and recombination of well-known artworks, motive, diverse people's cultural features, image, techniques and the likes. It is too delicate thing for one to definitely distinguish such cultural phenomenon from either one as creative work or a plagiarized work. Looking into the facts as they are, we should recognize the designers limitation in their creative works by means of the mixed imitation. thus we can have a view upon them from a criticizing standpoint against the designers creation and imitation. On the other hand, when we look at things how the mixed imitation appears in the fashion as a piece of culture, we can understand something of the contemporary designers. I try to find a significance in seeking out a method of approaching to creative fashion designers direction in future times.

• The Journal of Sustainable Design and Educational Environment Research
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• v.14 no.2
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• pp.12-25
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• 2015

This study is currently presenting a creative education policy through the new 2015 revised curriculum and the Free semester system of Middle School as part of the education policy reform in the government-led, high freedom grade in each regional school board first, emotional schools, friendly school, campus type schools, etc. with creative thinking and improve students' autonomous judgment with the psychological and political reasons meant to provide amusement and certainty of their career choice. This creates space for creative education through the theoretical understanding of the educational philosophical thinking on creativity was to identify the appropriate means of educational space. The purpose of this study was to extract the linkage to produce creative educational environment that is generated through the philosophical thinking of the historical and psychological analysis of creativity with a human being. Future school construction has a future-oriented task should create a creative learning space in the center of the member schools. This creates space for creative education through the theoretical understanding of the educational philosophical thinking on creativity was to identify the appropriate means of educational space. Therefore Philosophical Thinking Creative School of members through the grounds centric collaboration focused on convergence enemy curriculum and school creative autonomy of operation which is central educational environment, that is diversified assistance as an attribute of the environment, space, space, flexible outdoor space, linking enemy center space, different types and sizes of the space case situation, the open space and spatial fusion can be seen the configuration doeeojim with different training space element.

• Journal of the Korean Home Economics Association
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• v.38 no.12
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• pp.257-269
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• 2000

예술작품은 의상디자인에 영감 혹은 영향을 줌으로써 상업적 의상으로 재생산된다. 오늘날까지도 60년대의 많은 팝 아티스트 작품들이 그대로 T셔츠 등에 프린트되는 것을 쉽게 볼 수 있다. 이러한 직접적 영향에는 자주 맹목적 표절이라는 논란을 불러 일으켰으나 긍정적이든 부정적이든 예술작품과 의상 디자인은 20세기초부터 밀접한 관계를 가져왔다. Sonia Delaunay는 예술을 대중과 결합시키는 가장 좋은 방법은 의상을 통해서라고 생각하였다. 그녀는 "만일 예술작품을 생활 속에 들어가게 하려면 그건 여성들 자신이 입고 다니는 방법뿐이다". 라고 말하였다. 결국 이러한 예술의 대중화에 대한 이론은 60년대에 와서 팝 아트 패션의 출현으로 그 결실을 보게 된다. 상류층을 대상으로 한 의상이 대중화되는 과정에서 60년대 경제호황으로 인한 젊은이들의 소비자층 형성과 미술양식에서의 팝아트의 출현은 자연스러운 시대적 조류로 나타났다. 이러한 상황은 팝 아트가 이 시대의 미술 양식에 혁신적일 뿐 아니라, 사회 전반에 팝 아트의 특성(소비 문화적, 대중 문화적, 재현적, 통속적, 기계적, 획일적)을 유행시키고, 대중에게 순수 예술과 복식에 참여 할 수 있는 기회를 부여했다고 볼 수 있다. 따라서 본 연구에서는 가장 혁명적이고도 대중적이라고 할 수 있는 팝 아트 이미지의 작품 제작과 분석을 통하여 현재 논의되고 있는 전시회나 패션쇼에서만 볼 수 있다는 다소 아방가르드 적인 의상 작품들의 대중화 방안에 대한 해결책을 모색하고자 하였다. 실제 의상 디자인 창작에 초점을 맞추었으며, 제작을 위해서 팝 아트에서 주요 소재로 삼았고 대중적 이미지의 심볼이라고도 할 수 있는 Coca Cola label을 표현 모티브로 삼아 개성적이고도 독창적인 의상 디자인을 한 후 분석하였다. 또한 독특한 의상 표현의 개발을 위하여 표현 기법으로는 현대 미술에서 새로운 재료와 여러 가지 재료를 화면에 도입시키는 표현 방법으로서 사용된 콜라주 기법을 사용하였다. 본 연구를 통하여 의상 창작에 있어 조형예술과 연결하여 대중적인 이미지를 도입함으로써 착용자가 예술에 대한 친근하고 익숙한 느낌을 갖게 하며, 예술과 상품 그 자체에 대한 상업적 홍보 목적으로도 사용할 수 있으며, 대중적인 이미지를 표현함에 있어 콜라주 기법은 염색 기법을 사용하지 않고서도 작가가 원하는 표현 효과를 낼 수 있다는 측면을 발견할 수 있었다. 즉 사용된 대중적 상표 이미지는 주인에서 흔히 볼 수 있는 현대 도시의 인공적 환경들로, 의상을 독특하고 개성 있게 표현할 수 있는 모티브의 역할을 하면서 또한 그 예가 무한하여 다양한 디자인 창출의 가능성을 갖고 있으며, 의상을 통해 예술과 대중을 융합시켰다는 예술의 대중화, 민주화라는 중요한 역할을 하였다. 전시회나 패션쇼에서 만 볼 수 있는 예술적 성격을 띠는 아방가르드 작품의 대중 확산 방법으로 제시될 수 있는 이상적인 방법으로는 예술성이 짙은 도저히 입을 수 없다고 생각되어지는 아방가르드한 의상을 일반 대중 브랜드들이 단순한 모방이 아닌 새로운 패러디 작업으로 일반화시켜 상업성을 띤 의상으로 재조정되어 여성들의 몸에 걸치게 하는 것이다. 이와 같은 순환으로써, 조형예술 작품은 의상 디자인 참작에 영향, 영감을 주면서 여러 번의 형태 변화를 거치는 패러디를 통해 각 계층의 누구나가 좋아하고 접할 수 있는 또 다른 창조를 맞아 대중의 손까지 갈 수 있는 것이다.

• Cartoon and Animation Studies
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• s.34
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• pp.129-165
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• 2014

K-pop performances are in the center of the contemporary popular arts and cultural industry, and implicitly reveal the way that our society views the body and the time-space. This paper explores the motif of automaton in the K-pop idol group ShiNee's stage performance of 'Everybody' and the song's music video. At the same time, the paper relates the motif with the automaton of the digital era-that is, the sense of time-space in digital animations. The motif of the automaton has its origins in the mythical forms related to the animation, and is related to the human desire to create humanlike forms. Also, this motif is closely linked to the aesthetical meaning of the animation, being played in different variations since the beginning of the animation. This paper explores the tradition of automaton motif in culture and the arts, and look into the cases in which the history of the relationship between the media and body performance harboring the automaton motif has been displayed in 19th century ballet or modern body expressional arts. In addition, this paper will compare and analyze representative contemporary works that reveal digital viewpoint and the choreography of 'Everybody', and compare other works that stand in similar aesthetic tradition, investigating the influence of digital animation reflected in the K-pop idol and its aesthetic and social undertones.