• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.27 no.1
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• pp.59-69
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• 2017

Objectives: The objective of this study is to evaluate the exposure of VOCs and effects of the chemicals on the nail technicians whose works in a nail shop. Methods: For four month from May to August in 2016, we measured twenty-two kinds of VOCs in ten nail shops and carried out health examinations on thirty-four workers in there. Results: The TVOC concentration in indoor air of nail shops is $0.487mg/m^3$ at a minimum and $33.236mg/m^3$ at a maximum where it consists of 70.5% of Ketones, 25.4% of Alcohols, 2.6% of Esters, 0.8% of Aldehydes and 0.7% of Aromatics. The VOCs concentration during nail art works shows an increase in average ratio 1.8 compared to the concentration of indoor air quality and also the concentration of Isopropanol rose with 3.2 of the highest ratio. The results of Spearman correlation between TVOC concentration in indoor air and environmental factor was like that has significance level of correlation(${\rho}$<0.05, r=0.682) in case of number of customers per day, but the other factors were not meaningful in correlation. Correlation between VOCs and medical check-up items was like that has positive significance level(${\rho}$<0.01, r=0.638) between isopropanol and GPT, but the others have not meaningful. The exposure level of VOCs was not exceed the criteria exposure level 1 of working environment measuring method which announced by labor ministry in all ten nail shop indoor air quality. Conclusions: In this study although it was not significant correlation between harmful substances and medical check-up items in the nail shop indoor air quality, it is necessary to do more ventilation and to install exhaust facilities because of existing high VOCs concentration in the nail shop indoor air.

• Journal of Legislation Research
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• no.44
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• pp.539-569
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• 2013

Article 1 of the Korea Copyright Act stipulates that the purpose of this Act is to protect the rights of authors and the rights neighboring on them and to promote fair use of works in order to contribute to the improvement and development of culture. Hence, the improvement and development of culture is the final goal of the Copyright Act and should be the essential standard of the interpretation and application of the law. However, most of Korean copyright scholars do not explain the meaning of it and they even assume that protection of the copyright and promotion of fair use themselves are deemed as it. The meaning of the improvement and development of culture should be derived from the Constitution and there is a principle of the nation of culture as one of the basic constitutional principles. Pursuant to the principle of the nation of culture, the improvement and development of culture means maximization of the right of enjoyment from culture by the building of the ecology for the sustainable production and consumption of the works. This should be not only the legislative purpose of the Copyright Act but also the goal of culture policy.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.9 no.11
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• pp.501-512
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• 2019

The purpose of this study is to explore the necessity and method of the development of modern digital image contents using the story of the literary work 'Guunmong'' by Kim Man-joong. Collective intelligence technique is one of the most recommended. Today, most cultural content development is achieved through the application of digital technology through collaboration of various people from the planning stage to the completion stage. Most prototypes of local cultural contents are developed based on the literary works of artists from the region or background of the region on the works. These local cultural resources can be developed into experiential tourism products and used for the development of local cultural industry. This study first examines the availability of collective intelligence method as a way to effectively develop local cultural contents, and proposes application of image-telling technique and using web-toon characters in digital image contents development. In order to prove the practical applicability of the proposed method, we present an example of cultural contents development of 'Guunmong'. Finally, we propose a new business model based on collective intelligence to develop a system of creation and distribution of the cultural contents through the continuous collaboration.

• The Journal of the Korea Contents Association
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• v.19 no.5
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• pp.163-177
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• 2019

This study is concerned with "fiction" as a new form of writing over the limits of the post-modernist theater/arts. Fiction is not something illusory that demands the audience's empathy but something that unveils form's disinterest in content. Thus, in this paper, I examine a fiction as the opposition of any representational norm and words' old mimesis. Rebutting the crisis of post-modern art and the end of images, philosopher Jacque $Ranci{\grave{e}}re$ mentions the possibility of appropriating similarity in an imitative way by twisting Platonic mimesis. The image of this similarity wanders alongside the loss of signification, unmasking the form's indifference to content. These wandering words represent their own truth "in a way fossils or grooved stones encapsulate histories" as hieroglyphics. This "fiction" as an alternative of post-modernist plays is not any confrontation of reality but the "movement of thinking" that allows the human spirit to play in a way of shaping "some substantiality." In this sense, I examines works by two French writers, $Jo{\ddot{e}}l$ Pommerat (1963~) and Jean-Claude Grumberg (1939~ ) who have carried out their writing practices of appropriating similarity that dissolves any simple "immediate reflection" for non-intermediate relations between the producing and the produced. Their writing is a cross of literary creation and "le politique" as a new aesthetic practice of writing and reveals the movement of thinking, departing from the preexisting concept of fiction.

• The Korean Journal of Archival Studies
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• no.73
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• pp.47-79
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• 2022

NFT is literally a 'non-fungible token', a digital file that records specific virtual assets on a blockchain. Events such as ownership of the asset and transaction history are recorded on the blockchain through the token transaction, so counterfeiting and falsification are impossible. Therefore, NFT is used as a tool that can uniquely represent a specific virtual asset. The main purpose of this paper is to examine the characteristics of NFT from a records management point of view and to find ways to use them, and focuses on digital records that have the characteristics of assets as digital works. For this purpose, we first examine the basic concept of NFT and the principle of ownership and proof of value as an asset for digital works. In addition, it was confirmed how the advantages of NFT were applied through NFT use cases in various fields, and in particular, areas related to audio-visual records such as art, music, sports, and fashion were focused on. Furthermore, by comparing the characteristics of digital records with those of NFT, factors applicable to electronic records were identified. Finally, the types of digital records that are expected to be effective in the application of NFT were identified, and the possibility of their use and discussion points for introduction in records management are presented.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.221-247
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• 2020

This paper examines the meaning of Pyeongsari, the main stage of the novel 'Toji (Land )' and the original experience space engraved in the lives of the characters and suggests the direction of Pyeongsari as a 'Toji (Land )' content platform. Pyeongsa-ri, an imaginary space in the novel, starts from the background of the original work and turns into a representative tourist space for Ha Dong-gun. However, it is necessary to provide cultural experience-type contents that visitors can experience in person. In the original work, Pyeongsari is an ideal community and a symbol of the Korean modern history of suffering and pioneering. Therefore, taking advantage of this meaning, it is necessary to prepare a cultural experience space that shows Confucian culture, women's labor culture, and shamanic culture to draw on visitors' experiences. In addition, the app should be developed in connection with transformed works that have been the driving force behind the reorganization of Pyeongsari, and education and experience spaces using augmented reality are provided on the web. This interaction between digital and reality makes the meaning of the original or transformed works contemporaneous, while contributing to the visitor's own experience. In addition, through this, Pyeongsari can evolve into a cultural experience content platform that reflects the meaning of Korean culture and life. This paper is significant in that it suggests the direction of Pyeongsari's space planning for the 'geography of meaningful places'. In addition, while showing how the imaginary space of the original literary work has reorganized the space of reality, there are implications for the media content of the literary work and the terrain of the culture and arts industry.

• Journal of the Korean Society of Floral Art and Design
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• no.45
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• pp.47-56
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• 2021

It was applied by making the models such as the prior learning (e-learning), modeling by manual, learner's practice, 1:1 teaching coaching, self evaluation, coaching behavior assessment(primary, secondary), and self-directed practice. First, the cognitive practice education through the prior learning is very essential in the practice of floral design. Second, the practice class of floral design is a class where the professor generally set an example first, and the learners followed. Third, this study was to prepare the checklist, reflect it through the self evaluation, and prepare the evaluation form in accordance with the element, principle, and technical parts of floral design about the finished works. Fourth, contrary to the existing class completing within the class hour, the practice class is a process of trying to do self-directed practice, returning to home. Fifth, this study was to evaluate the works the learner made once again through the sketching and photographing by placing the work process of portfolio at the last step. To conclude, this study has found that such series of process through six steps on the practice form by the learner only would be excellent teaching learning model to improving the basic capacity of floral design. Accordingly, the development of teaching materials related to this and adaptation in the field in the future is considered as it will be very helpful to the learners' self-directed learning.

• Smart Media Journal
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• v.11 no.6
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• pp.37-50
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• 2022

This proposes a direction to build and provide an exhibition space based on the metaverse platform so that artists can independently open their own exhibitions in an online environment. Although many artists are produced every year, offline exhibitions are becoming difficult due to not many art galleries, and offline exhibitions are becoming impossible due to Corona, which began at the end of 2019, and online exhibitions are emerging as an alternative. We analyze cases of existing online exhibition methods and visit online exhibition methods such as web, video, and virtual reality and metaverse environment then present a plan for individual exhibitions in consideration of the recent metaverse environment. The proposed metaverse-based personal exhibition method is structured so that artists can construct a space on the metaverse and place their works, and then viewers can freely take a look on it from a remote location. Based on the proposed exhibition direction, the representative metaverse platform was applied to confirm the characteristics and possibilities of exhibition space and composition of works and users' exhibition experience. In the face of the rise of online exhibitions, space can be constructed in the direction the artist pursues in online exhibitions as well as offline exhibitions, but also online exhibitions, and hopes that online exhibitions will become another genre of exhibitions rather than incidental after the end of Covid-19.

• Journal of the Korean Society of Floral Art and Design
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• no.40
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• pp.77-96
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• 2019

This study was conducted to grasp distribution of native plants in flower market and uses of native plants in floral decoration. This study was investigated native plants sold in flower market(2017.01-2017.12) and their monthly sales. Also, this study analyzed the use of native plants, frequency of native plants classified by form and color of native plants used for floral decoration in flower magazines 'Fleur' and 'The Flower'. Among 172 species distributed cut-flower, native plants in Korea flower market are only 24 species(14.0%). Number of filler flower(15 species) is more than other forms. Native plants used in 'Fleur' and 'The Flower' were 14 species(10.2%) and 17 species(9.6%), it is meaning that native plants were less used than foreign plants. The number of filler flower was the highest in both magazines, but form flower(299 works) in 'Fleur' and mass flower(571 works) in 'The Flower' are used most frequently. According to color analysis of native plants used for floral decoration, P(purple), PB(navy) and RP(reddish purple) were 57% of the total. It can be increased native plants uses in flower decoration with developing form and mass flower considering color preference.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.323-331
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• 2024

The concept of 'Han' is a psychological characteristic formed by Koreans through long-lasting national hardships. It has deeply influenced every Korean as a form of collective unconscious and has merged with various forms of art over time. Director Bong Joon-ho's works, rich in social consciousness, symbolically visualize sensitive issues like social class, presenting harsh satire on class oppression. His movies continuously emphasize human desires, the homogeneity of good and evil, insurmountable class barriers, and moral decay caused by desires. They produce a wealth of symbols filled with layers and power dynamics. Bong Joon-ho dramatically portrays and directs various forms of symbols. The metaphorical symbols in his movies provide a unique research value for delving into the deeper meanings of the films.This study examines the theme of 'class Han' in six of Bong Joon-ho's films, exploring the 'Han culture' of Korea. It applies semiotic concepts by categorizing into character and non-character symbols for an in-depth analysis of the films. The representative works from the late 1990s to the late 2010s articulate the class layers of the 'visible' and the 'invisible' through a blend of realism and surrealism. The study analyzes Bong Joon-ho's films in the sequence of 'satire-exposure-hope', examining the culturally critical nature of 'Han culture' on class and its psychological and cultural impact on the general public.