• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.45-55
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• 2006

Korean blockbusters are the works finished by the dialectic of the meeting and collision of two cultures or H. Bhabha's cultural hybridization. They represent things Korean and Western, and yet their borders are demolished to create a new complicated mixture. Typical examples are Swiri, JSA Silmido Taegukgi Whinalimyu, containing a special Korean situation of division ideology and expressing an extremely Western style of production. This thesis will study the present status of Korean film aesthetics through the cultural hybridity.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.2
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• pp.208-219
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• 1999

The costume style of Turfan had changed three times which were the period of peculiar style the period of Kochang style the period of influence of T'ang's culture. Before the founding of Kochang country the costume style of Turfan was two piece style. It was a character of nomadic people's clothes. Tops were tunic and caftan. The method of adjust caftan were two types. The one is wrapping toward left so the right edge of the top covers the left. The other is wrapping toward right. Bottoms were pants and skirts. This period was characterized by the traditional style. I called in it the period of peculiar style After the founding of Kochang country style as Kochang style. In this period Silkroad was so activated that cultural exchanges between many people and materials passed through Turfan. Turfan's culture soaked up the products of civilization of chinese and western Turkestan. Chinese and western Turkestan's costume influencd under the direct control of T' ang dynasty. Such an aspects were reflected the Trufan's costume. The Trucan's costume had changed into the foreign style that was the T'ang's costume. It was the period of influence of T'ang culture.

• Korean Institute of Interior Design Journal
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• no.39
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• pp.3-11
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• 2003

The attempt to find the origin of Post-modern aesthetics from the Middle Ages is easy to perceive the thinking system of contemporary design. The Middle Ages showed that things and God's relation were symbolized all things were connected with analogical ideas as mysticism(alchemy, gnosticism), and God's world was represented with the metaphor. While the hybrid style of Post-modern architecture expressed that the rationalism was opposed to Ideology, partly, the idea of irrational with mysterious, also unscientific with analogical discourse . And the Symbolism of Post-Modern Design is means of popular Communication. Exactly, the common feature of ideology with pre-rationalism and anti-rationalism are against the dominated ideology in present. In conclusion, the relation of significancy effect In Chaos and In composition can be considered inspirational source historically.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.514-516
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• 2010

2000년대 한국영화는 97년의 정치적 격변 이후 본격적으로 산업적 성장과 조우한다. 특히 적극적으로 역사적 사건을 활용하려는 노력은 스펙타클을 중심으로 집약된다. 다만 문제는 역사적 사건에 대한 소비는 프레드릭 제임슨이 염려하던 주체의 죽음, 혼성모방 그리고 노스탤지어 모드라는 포스트모던 시대의 특징을 전형적으로 보여준다.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.47-60
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• 2010

The goal of this dissertation is to analyze various Romantic styles appearing in modern fashion based upon the 'Difference' theory developed by Gilles Deleuze. A new framework for analyzing the changes of dress style based upon the 'Difference' theory derived from Deleuze's theory and from his interpretations of paintings was developed. The characteristics that represent 'difference' in change of dress style are deformation and hybridization. They are derived from the Deleuze's interpretations of 'difference' represented in the paintings by Bacon. The aesthetic values of the Romantic style in the 19th century dress are subordination, sensuality, and maternity. And the formative characteristics of the Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The formative characteristics of the Romantic style that have appeared since 1980s is analyzed according to deformation and hybridization and the results are as follows: first, deformation caused by exaggeration or emphasis in the modern Romantic fashion creates changeability of the form, destruction of the 19th century style, volume, and ornamentation. Second, hybridization by combining heterogeneous characteristic between times and genders (for example, the 19th century and modern times or masculinity and femininity) frees body from the dress and changes the dress silhouettes and ornamentation. Thus totally new and different Romantic style is created. The Romantic style in modern fashion changed into the appropriate style to the modern society under various conditions such as designer's will, postmodernism, changes of femininity and technology. It can be said that this is an example of the Deleuze's 'becoming' theory.

• Journal of The Institute of Information and Telecommunication Facilities Engineering
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• v.1 no.2
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• pp.19-29
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• 2002

This paper deals with heterogeneous video transcoding, which is one of key technologies for the MPEG-21 digital item adaptation. It is noted that motion vector reuse Is necessarily required for computationally efficient implementation of the transcoder. But conventional transcoder employs the motion vector reuse methods only for P-pictures. In this paper, we propose two new motion vector reuse method for B-pictures. By using the proposed methods, we can produce the MPEG bitstream, which is encoded in a I/B/P picture mode. Computer simulation results show that the proposed methods can reduce the computational burden of the transcoder significantly, while allowing only a small amount of performance degradation.

• Journal of fish pathology
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• v.19 no.3
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• pp.267-276
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• 2006

Seventy-five streptococci were isolated from diseased olive flounder, Paralichthys olivaceus in Jeju. Their drug susceptibility and transferable multiple drug resistance were characterized. All isolates were resistant to flumequine (AR) and oxolinic acid (OA) and 26 isolates (34.7%) showed 4～6 multiple resistance of ampicillin (ABPC), AR, doxycycline (DOXY), erythromycin (EM), norfloxacin(NOR), OA and oxytetracycline (OTC) in various combinations. pST9 of a transferable R plasmid was detected from a multiple drug resistance strain, Streptococcus sp., ST9 originated from diseased flounder in Jeju, previously. We performed DNA hybridization to know the distribution of plasmid with the same DNA structure as pST9 in streptococci. Thirteen out of 60 isolates analyzed were positive in colony DNA hybridization and the part of bacteria isolated from raw meal was also hybridized with pST9. It suggested that raw meal is one of the origin of the resistance plasmid and R plasmid with DNA structure differing from pST9 is also involving in multiple drug resistance of the streptococci. In conjugation experiment, we found transferable R plasmid carrying OTC, DOXY and/or EM resistance determinant in the 13 resistance strains. all of the streptococci carrying the transferable R plasmid were similar in RAPD patterns. However, pST -type R plasmid was rare in S. iniae most frequently appearing in flounder farm.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.5
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• pp.71-86
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• 2017

This work explores the historical transformation of manual landscape architectural drawings in terms of hybridization to uncover their inherent creative aspect. Landscape architectural drawing has duel functions; namely, scientific instrumentality and artistic imagination, which are relative, interchangeable, and transformable. These characteristics have been embodied in the forms of particular types of drawing, projections, perspective views, and diagrams, which are not so much clearly distinguishable as rather mutually complementary and hybridized. In particular, the pictorial views of plants in the forms of a perspective view or elevation were frequently hybridized to projection drawings of grounds and architectural structures, which is called planometrics. Particular drawing types have often emerged as suitable and thereby dominant forms, depending on the particular historical styles of landscape design. Sixteenth-century Italian Renaissance gardens and seventeenth-century French formal gardens were generally visualized in the form of projections. Eighteenth-century and early nineteenth-century English landscape gardens were frequently represented in a pictorial perspective view. In nineteenth-century America, different drawing techniques such as competition drawing, photography, and map overlay were specialized depending on their respective functions. Twentieth-century American modernists began to explore the diagram to deploy design strategies. In such transformation, however, the planometric, which considers both the ground plane and plant's frontal identities simultaneously and thereby is suitable to landscape design, was frequently used as a hybridization technique. In the mid-nineteenth century, a top view of plants replaced the planometric, and then, in the twentieth century, plants were no longer represented artistically, instead reduced to the forms of standardized flat symbols. The use of instrumental visualizations thereby gradually increased rather than the use of an imaginative representation for landscape architectural drawings.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.345-346
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• 2013

Painting and Photography have been developed by exchanging the influence mutually as a new expressive form of art, and the medium and the genre in terms of formal experiments. Variety of artistic fields such as theater, film, art, photography, literature, dance, music abuse the idea of Interdisciplinary Art in the name of art via digital process based hybrid media arts.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.75-86
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• 2018

Desktop Documentary is a new documentary mode which uses a screen capture technology to complete the multitasking process of the creator who searches in the Internet Open Archive instead of shooting with a camera and remixes the selected multimedia contents using a computer interface. In this paper, we explore the desktop documentary that transforms potential archives into database narratives in the new media environment, converts cinematic mise-en-$sc{\grave{e}}ne$ into computational mise-en-interface, and transcends the boundaries between creation and criticism through creative mechanism as curation through stream of consciousness. We also examine the concept, type and characteristics of the desktop documentary which emerges since 2010s as an experimental attempt of new media art, a new hybrid genre of mainstream horror film, a new mode of fiction film, a new mockumentary style, and a new form of video essay and audiovisual critique.