• Journal of Agricultural Extension & Community Development
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• v.8 no.2
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• pp.285-298
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• 2001

Rural youth welfare was defined to provide the preventive services as well as the protective and curative services such as education, job training, youth activity, delinquency prevention, etc. for rural youth who live in rural society, including who go out to metropolitan city for study. Based on this concept, the rural youth related facilities and problems were investigated in the area of education, culture and leisure, career, and problematic behavior. The results were identified that the efforts of government and rural related institutions were in sufficient to establish and improve the facilities for rural youth, and the gap between rural and urban youth facilities was extended increasingly, in spite of seriousness of those rural youth problems. Some of policies and programs were proposed in order to improve rural youth welfare; 1) To establish at least one activity facility in every Eup ; 2) To convert the public culture facilities such as museums, fine art museums, exhibition facilities, etc. into the culture and art facilities for rural youth; 3) To establish rural youth job information center in the agricultural technology and extension center; 4) To convert school to rural youth education and cultural center; 5) To establish the comprehensive welfare facilities for rural youth in metropolitan city.

• Journal of The Korean Association of Information Education
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• v.9 no.2
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• pp.221-228
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• 2005

The art appreciation education is emphasized to develope independent thought and upright value decision in the flood of various image medium. A experience of beauty and a express part related with the sentimental field is focused on directing in the seventh arts curriculum, too. Although the art appreciation education is emphasized, just expressive and functional art texture is still taught in the education spot up to now. Also a appreciative activity is limited simply to describe own feeling intuitionally ; time shortage, difficulty of analysis product, difficulty of guiding appreciation. In this paper I refer that analyze figurative factors of a art product, modify it by applying other program, compare with it and then I develope web base art appreciation system and apply it. As a result I get educational effect. When checking line, form, light and darkness, color, feeling, space and composition of external some factors in a product, formative sense and analytical appreciation is improved.

• Journal of Science of Art and Design
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• v.2
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• pp.222-238
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• 2000

The attempts to explain the criterion of art criticism can be divided into three directions. The first is that there is a universal criterion of criticism. The second is that criticism is a subjective impression of each critic. Therefore, there is no universal criterion beyond a subjective impression. The third is that denies both claims. It tries to and the objective criterion which is neither universal nor subjective. In this paper, I will see how John Dewey criticizes the first two theories and holds the third theory. Dewey's denial of the first theory can be seen in his view of the judical criticism. The judical criticism claims that art criticism can be made on the universal criterion, as judical decision can be made on the general rule supposed to be applicable to all cases. But Dewey claims that the judical criticism cannot explain what makes the artist the 'masters'. Defining art as an experience, Dewey claims that art is a process of doing and undergoing, and that art is essentially an interactive activity between men and his environment As environment changes, the experience of the environment also changes. So art should accept the possibility of new experience. But, since the judical criticism advocates of the universal criterion which cannot allow the changeability, Dewey denies it. On the other hand, Dewey's denial of the second theory can be seen in his view of the impressionist criticism. The impressionist criticism claims that criticism is to clarify the impression which is consisted of feeling and imagery the art object evokes. To this claim, Dewey replies that to clarify an impression is to analyze it, and analysis can proceed only by going beyond the impression to the judgement. As we have seen so far, Dewey has denied the judical criticism that there is a universal criterion supposed to be applicable to all criticism. He has also denied the impressionist criticism that there are only subjective responses to the art object, and hence that there is no criterion of criticism at all. For Dewey, these two criticism are based on the same false assumption of the criterion, although their conclusions are different from each other. Both the judical and impressionist criticism failed to realize the difference between the meaning of the criterion as applied in measurement and as used in criticism. Criticizing of these two views of criticism, Dewey claims that there is an objective criterion which is neither universal nor subjective. Art criticism is objective in tv#o senses, i. e., in the first sense that it can be judged by the properties of the art object and in the second sense that it can be verified by the communities of the critics.

• (The) Research of the performance art and culture
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• no.33
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• pp.195-222
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• 2016

This study says that giving a life through the mixed power of motions which can not be fixed. It is a fundamental activity of the art of dance. In the fact, the art of dance is defined as the most instinctive and intuitive arts show that dance is a harmony of emotion on the body, thus, this view wants to discuss the relations between "sense and body". This view doesn't focus on the mere motions of dancing form, but characterizes dance as an art of another vitality through the mixture and combination of these motions. In other words, this study emphasizes that dance transcends time and space on stages, and that dance, as an expression of identity, is an art which shows a sense from inside of human. Therefore, when we want to understand the true meaning of the art of dance, we should attend what attributes of dance define it as an art and show its creative. This study, thus, seeing those attributes as the life-giving function of dance, aims to help understand the principle meaning of the art of dance that realizes creation as well as the attitudes of audience who appreciate the art of dance. And by doing so, this study contemplates how we should see the creative idea of choreography, forming sympathy and the art of dance.

• Culinary science and hospitality research
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• v.13 no.4
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• pp.178-185
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• 2007

The antioxidant activities of the bread made from waxy black rice flour(WBRF) and wheat flour were investigated. The waxy black rice bread was manufactured with 10, 20, 30, or 40% waxy black rice flour(w/w). As the additive amount of WBRF were increased, DPPH(1,1-diphenyl-2-picryl-hydrazyl) radical scavenging activity and TEAC(trolox equivalent antioxidant capacity) were also increased. WBRF group showed the higher activity than the control group in DPPH radical scavenging activity and TEAC. The group with 10% WBRF added was not significantly different from the control group in metal chelating activity, but over 20% of addition, it had the higher metal chelating activity than that of the control group.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.70-80
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• 2013

This study aims to discover characteristics of interaction through media artistic space, a field of media investigation, for understanding interaction which represents the age of new media and a view on development of interaction which plays a bigger role in it. To achieve this, a research infrastructure was prepared by having access to expression components of which media are applied in a context of art history on media art. Further, physical interaction, perceptual interaction, and mediational interaction were derived by presenting interaction discussed in the existing various areas from an integrated perspective. Subsequently, in order to understand the contents of interaction and its activity, cases were analyzed through analytic frames consisting of interaction elements of subordinate concepts which each interaction has. For results derived from the research, interaction characteristics of media serve as a leading role in space as they are actively used as a potential tool. Therefore, although interaction has been variously represented, it forms a relationship focused on participants, and in order to build a closer relationship with the participants and further interaction, it will be possibly developed in a manner of thinking.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.1 s.41
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• pp.123-136
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• 1992

The art which has been beginning and existing with the origin of human civilization had originated from human's play impulse, so called instincts incidentally and inevitably. The highly developed material civilization resulted in human alienations, and by turn to the primitive in order to overcome human alienationsalso they obtained creative inspiration from this activity and, in the result, created various animated arts. In this respect, the purpose of the study is to identify the primitivism in Lacroix fashion and the relationship between the modern art and in his design regarding the external plasticity and internal symbolism. For this purpose, 1 analyze the factors of primitivism in Lacroix fashion, and demonstrates the affinity between the primitivism, which is represented in his dress and the modern painting through the comparision and analysis of works, and dresses of Lacroix. Finally, Ican find out the guie close analogy of primitivism between the modern painting and the Lacroix's dress. That is, even the Lacroix fashion and modern painting are in different genre, they pursued the same way in the same category of art, we have a reperception of that fashion can be positioned in line with the art, as its one genre.

• Journal of The Korean Association For Science Education
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• v.28 no.7
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• pp.724-729
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• 2008

Well-integrated science instruction with art often motivates students to more engage in science learning and to freely express their thoughts and feelings on what they have learned in science classes. This study, therefore, attempted to explore Korean children's imaginary science drawings. Ninety elementary students ($3^{rd}-6^{th}$ graders) in Seoul, South Korea, participated in this study. The guiding research questions were 1) what overall characteristics of students' imaginary science drawings are and how these characteristics represent children's image of science, and 2) what educational value of children's imaginary science drawing activity as a case of science-art integration is. Data sources included a set of children's drawings and individual interviews with selected students. From the drawings, it was found that most of the subjects that children drew tended to be limited to the space. In addition, the children tended to assimilate science into technology that makes our life more convenient. We also found imaginary science drawing can be a good science-art integrated instruction method. Imaginary science drawing has educational benefits; one is a tool to investigate children's thoughts and knowledge of science while the other is method that motivate children to learn science effectively.

• Journal of Life Science
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• v.18 no.2
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• pp.273-278
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• 2008

Various biological resources from plants, animals, mushrooms, microorganisms, and foods were tested for the inhibitory activity against squalene synthase (SQS). Among 32 samples, more than one fourths (9 samples) exhibited significant SQS inhibitory activity. Interestingly, SQS inhibitory activity was detected in the samples such as green tea, fermented soybean paste, and plum juice. The SQS inhibitory activity of green tea was not only high but also stable. Its SQS inhibitors were supposed to be catechin derivatives, which have been known to be main bioactive components in green tea. The galloyl catechins showed higher SQS inhibitory activity compared to the nongalloyl catechins. Especially, (-)-epigallocatechin gallate appeared to be strongest inhibitor against squalene synthase ($IC_{50}=90{\mu}M$).

• The Journal of Art Theory & Practice
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• no.16
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• pp.107-137
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• 2013

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.