• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.133-140
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• 2023

The origin of texts we refer to as literary or artistic may be imagination, but many are based on experiences. In fact, experiences can be the source of artistic imagination since imagination often builds upon experiences. Therefore, the act of verbalizing human experiences using them as raw material can become a great form of art. Transforming past experiences into stories and infusing them with vitality inevitably requires a creative process of reconstruction, which is essentially a literary process. As such, 'Personal Narrative' holds significance as a literary process that weaves facts into stories and shapes them into forms. Individual experiences are stored as personal memories, and these 'personal memories' continuously generate stories. Collections of individual stories are stored as multiple memories, which gradually form 'collective memories' with distinct social and cultural inclinations through the passage of time and invisible yet potent societal and cultural censorship. The problem lies in the fact that individuals may tend to align their own memories with the inclinations of collective memory rather than simply recalling what they personally experienced. In the context of actual history, personal memories and collective memories communicate with each other, producing non-fictional content close to reality and sometimes manifesting as fiction content enriched with imagination. 'Personal Narrative' holds a significant genre as one genre of non-fiction content within our culture.

• Journal of Food Hygiene and Safety
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• v.39 no.2
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• pp.171-179
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• 2024

In previous Cost-of-Illness (COI) studies, the economic impact of lost leisure time of patients has been mostly underexplored. Furthermore, few studies have focused on chronic or severe diseases, thereby inadequately addressing the segment of self-care patients who do not fall into the categories of inpatients or outpatients. In the present study, we used a comprehensive approach to calculate the annual cost of leisure loss, incorporating factors such as employment status, self-care options, and total period of leisure activity disruption. This required analyzing data from various sources, including health and labor statistics, and applying methods to accurately assess the leisure time lost due to food poisoning. The findings showed that the annual cost of leisure loss for South Korean patients with food poisoning is significant, amounting to approximately 784.5 billion KRW (702.8 million USD, USD/KRW : 1128.34). This study revealed that overlooking self-care patients and not accounting for the affected time in addition to treatment time and employment status significantly underestimated these costs. This study highlights the importance of considering a wider range of factors, including self-care, employment status, as well as the entire affected period, in assessing the societal impact of diseases such as food poisoning. These findings provide valuable insights for policymakers and healthcare professionals to understand the broader economic implications of illness and allocate healthcare resources more effectively.

• Korean Journal of Heritage: History & Science
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• v.57 no.3
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• pp.184-199
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• 2024

This study was conducted in response to the global trend of emphasizing the importance of "everyday landscapes", focusing on the perspective of those who have returned to rural life. With a focus on the case of Gokseong-gun in Jeollanam-do, 460 diaries written by these individuals were collected and analyzed using text mining techniques such as "frequency analysis", "topic modeling", and "sentiment analysis". The analysis of noun morphemes was interpreted from a cognitive aspect, while adjective morphemes were interpreted from an emotional aspect. In particular, this study applied semantic network analysis to overcome the limitations of existing sentiment analysis, and extracted a word network list and examined the content of nouns connected to adjectives that express emotions to identify the targets and contents of sentiments. This method represents a differentiated approach that is not commonly found in existing research. One of the intriguing findings is that the urban-to-rural migrants identified everyday landscapes such as "flowers on neighborhood walking paths", "harvest of a garden", "neighborhood events", and "cozy cafe spaces" as important. These elements all contain visual and enjoyable aspects of everyday landscapes. Currently, many rural villages are attempting to add visual elements to their everyday landscapes by unifying roof colors or painting murals on walls. However, such artificial measures do not necessarily leave a lasting impression on people. A critical review of current policies and systems is necessary. This research is significant because it is the first to study everyday landscapes from the perspective of urban-to-rural migration using diaries and text mining. With a lack of domestic research on everyday landscapes, this study hopes to contribute to the activation of related research in Korea.

• Journal of the Korea Computer Graphics Society
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• v.30 no.3
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• pp.149-158
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• 2024

Photo booths have traditionally provided a fun and easy way to capture and print photos to cherish memories. These booths allow individuals to capture their desired poses and props, sharing memories with friends and family. To enable diverse expressions, generative AI-powered photo booths have emerged. However, existing AI photo booths face challenges such as difficulty in taking group photos, inability to accurately reflect user's poses, and the challenge of applying different concepts to individual subjects. To tackle these issues, we present CINEMAPIC, a photo booth system that allows users to freely choose poses, positions, and concepts for their photos. The system workflow includes three main steps: pre-processing, generation, and post-processing to apply individualized concepts. To produce high-quality group photos, the system generates a transparent image for each character and enhances the backdrop-composited image through a small number of denoising steps. The workflow is accelerated by applying an optimized diffusion model and GPU parallelization. The system was implemented as a prototype, and its effectiveness was validated through a user study and a large-scale pilot operation involving approximately 400 users. The results showed a significant preference for the proposed system over existing methods, confirming its potential for real-world photo booth applications. The proposed CINEMAPIC photo booth is expected to lead the way in a more creative and differentiated market, with potential for widespread application in various fields.

• Archives of design research
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• v.2 no.1
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• pp.63-97
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• 1989

There is nothing more important than the form and function in design, because every design product can be done on the basis of them. Form and Function are already existed before the word of design has been appeared and all the natural and man-made things' basic organization is based on their organic relations. The organic relations is the source of vitality which identifies the subsistance of all the objects and the evolution of living creatures has been changed their appearances by the natural law and order. Design is no exception. Design is a man-made organic thing which is developed its own way according to the purposed aim and given situations. If so, what is the ultimate goal of design. It is without saying that the goal is to make every effort to contribute to the -human beings most desirable life by the designer who is devoting himself to their convenience and well-being. Therefore, the designer can be called the man of rich life practitioner. This word implies a lot of meanings since the essence of design is improving the guality of life by the man-made things which are created by the designer. Also, the things are existed through the relations between form and function, and the things can keep their value when they are answered to the right purpose. In design, thus, it is to be a main concern how to create valuable things and to use them in the right way, and the subject of study is focused on the designer's outlook of value and uk relations between form and function. Christopher Alexander mentioned the importance of form as follows. The ultimate object of design is form. Every design problem begins with an effort to achieve fittness between the form and its context. The form is the solution to the problem: the context defmes the problem. In other words, when we speak of design, the real object of discussion is not form alone, but the ensemble comprising the form and its context. Good fit is a desirable property of this ensemble which relates to some particular division of the ensemble into form and context. Max Bill mainatined how important form is in design. Form represents a self-contained concept, and its embodiment in an object results in that object becoming a work of art. Futhermore, this explains why we use form so freguently in a comparative sense for determining whether one thing is less or more beautiful than another, and why the ideal of absolute beauty is always the standard by which we appraise form, and through form, art itself. Hence form has became synonymous with beauty. On the other hand, Laszlo Moholy-Nagy stated the importance of function as follows. Function means the task an object is designed to fulfill the task instrument is shaping the form. Unfortunately, this principle was not appreciated at the same time but through the endeavors of Frank Lloyd Wright and of the Bauhaus group and its many collegues in Europe, the idea of functionalism became the keynote of the twenites. Functionalism soon became a cheap slogan, however, and its original meaning blurred. It is neccessary to reexamine it in the light of present circumstances. Charles William Eliot expressed his idea on the relations between function and beauty. Beauty often results chiefly from fittness: indeed it is easy to manitain that nothing is fair except what is fit its uses or functions. If the function of the product of a machine be useful and valuable, an the machine be eminently fit for its function, it conspicuously has the beauty of fittness. A locomotive or a steamship has the same sort of beauty, derived from the supreme fittness for its function. As functions vary, so will those beauty..vary. However, it is impossible to study form and function in separate beings. Function can't be existed without form, and without function, form is nothing. In other words, form is a function's container, and function is content in form. It can be said that, therefore, the form and function are indispensable and commensal individuals which have coetemal relations. From the different point of view, sometimes, one is more emphasized than the other, but in this case, the logic is only accepted on the assumption of recognizing the importance of the other's entity. The fact can be proved what Frank Hoyd wright said that form and function are one. In spite of that, the form and function should be considered as independent indivisuals, because they are too important to be treated just as the simple single one. Form and function have flexible properties to the context. In other words, the context plays a role as the barometer to define the form and function, also which implies every meaning of surroun'||'&'||'not;dings. Thus, design is formed under the influence of situations. Situations are dynamic, like the design process itself, in which fixed focus can be cripping. Moreover, situations control over making the good design. Judging from the respect, I defined the good design in my thesis An Analytic Research on Desigh Ethic, "good design is to solve the problem by the most proper way in the situations." Situations are changeable, and so is design. There is no progress without change, but change is not neccessarily progress. It is highly desirable that there changes be beneficial to mankind. Our main problem is to be able to discriminate between that which should be discarded and that which should be kept, built upon, and improved. Form and Function are no exception. The practical function gives birth to the inevitable form and the $$\mu$ti-classified function is delivered to the varieties of form. All of these are depended upon changeable situations. That is precisely the situations of "situation de'||'&'||'not;sign", the concept of moving from the design of things to the design of the circumstances in which things are used. From this point of view, the core of form and function is depended upon how the designer can manage it efficiently in given situations. That is to say that the creativity designer plays an important role to fulfill the purpose. Generally speaking, creativity is the organization of a concept in response to a human need-a solution that is both satisfying and innovative. In order to meet human needs, creative design activities require a special intuitive insight which is set into motion by purposeful imagination. Therefore, creativity is the most essential quality of every designer. In addition, designers share with other creative people a compulsive ingenuity and a passion for imaginative solutions which will meet their criteria for excellence. Ultimately, it is said that the form and function is the matter which belongs to the desire of creative designers who constantly try to bring new thing into being to create new things. In accordance with that the main puppose of this thesis is to catch every meaning of the form and function and to close analyze their relations for the promotion of understanding and devising practical application to gradual progression in design. The thesis is composed of four parts: Introduction, Form, Function and Conclusion. Introduction, the purpose and background of the research are presented. In Chapter I, orgin of form, perception of form, and classification of form are studied. In Chapter II, generation of function, development of function, and diversification of function are considered. Conclusion, some concluding words are mentioned.ioned.

• Cartoon and Animation Studies
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• s.34
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• pp.317-344
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• 2014

Perspectives on the basis of arts and cultural management, this study intends to suggest improvements in core curriculums that are required in order for South Korea, a country that has initiated into the animation industry through outsourcing from big-budget animation production countries such as America and Japan, to develop its own strong base in creative animation industry. The perspectives of arts management in this context means an integration nexus between human studies, social science and management, and suggestions are as follow: First, it is crucial to understand the current trend of animation industry structure across the globe, as well as to develop the ability of co-production. Animation industry often requires technical skills, capital strength and human resources, each having equal importance. Therefore, thorough analysis of the three components in worldwide animation industry must be preceded for animation production services. To do so, collaboration with major animation creation countries is the best option and is highly encouraged, so that the national animation curriculum shall be enhanced to meet such demands and hence develop various abilities. The second is a good understanding of new-media and new-platforms. Not only the traditional distributor of animation such as television and theater, the distribution system expands its scope to a variety of online sources including pod-casts and the Internet. Under these circumstances, a deep understanding towards animation distribution system and an analysis of the new consumer channel are also of paramount importance for animation production. Third, a possibility of animation supply chain through diversified routes and media have paved the way for a possible animation production services and distribution without a mega-budget. Thus, new curriculum shall need to reinforce marketing and management aspects that will in turn help individuals to establish a self-employed creative business. Last but not least, this study further includes illustration of current curriculum of animation studies in national universities, followed by detailed suggestions for the curriculum improvements based on the above mentioned three factors. It was observed that the current curriculums have been solely focused on practical works and technical skills of animation and art studies; a four-year-course colleges that provide animation courses usually lack components of human studies, social science and management. Thus, this study proposes essential contexts of management studies that are needed for individual business and also curriculum improvements that are derived from the analysis of the current industry and the new media.

• The Korean Journal of Archival Studies
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• no.35
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• pp.161-206
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• 2013

'Maeul' is a concept connoting a community. As a place where ordinary people's lives are planned and realized, Maeul is the foundation of their daily lives as well as a place where they work, rest and enjoy pastime activities. In Korea, however, most Maeul communities are dismantled while going though the modern period representing colonization and developmental dictatorship. Growth-oriented industrialization and urbanization turned into such adverse effects as individualization, a sense of loss and a sense of alienation. Recently, through innovations from below, Maeuls are restored, and through Maeul communities restored this way, every Maeul and many researchers carry out activities to build a healthy civil society. This study was conducted on such a background. For a healthy restoration of Maeul communities and a sustainable operation of those communities, it is necessary to establish archives where record the trace of Maeul members' daily lives and relations between those members. The archive of Maeul communities is a place that contains each Maeul's local characteristics as well as human relations as well. It is because this place can be space where Maeul members can record their history, communicate with each other and make a better future. The archive of Maeul communities can be made into various different models, which can be operated by reflecting the identity of a community such as main agents and characteristics, objectives and orientation of objects recorded. Rather than when Maeul communities exist as individuals, they can display more important functions and better effect when they form a network. Therefore, it is needed to provide various and creative methodologies different from the existing government-led record management. Not only on the form of archives, but also all over their functions, such as collection, arrangement, classification, evaluation, management and utilization, Maeul and Maeul residents' norms, orientation and realistic conditions should be thoroughly reflected. Starting from a chance to look back at individuals' lives, the archive of Maeul communities will be a new chapter to restore and build a healthy community in our society and overcome social contradictions from below. Moreover, the archive of Maeul communities has a great significance that it will broaden its prospect creatively with a new paradigm, not only mechanically turning the existing public sector-centered record management into a non-governmental sector.

• Journal of Global Scholars of Marketing Science
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• v.20 no.1
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• pp.4-14
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• 2010

Collaboration strategies entail information sharing and other varied forms of cooperation that are mutually beneficial to the company and stakeholder groups. This study addresses the specific types of collaboration used in the fashion industry while also examining strategies that have been most successful for fashion companies and perceived benefits of collaboration from the customer perspective. In the present study we define fashion companies and brands as collaborators and their partners or stakeholders as collaboratees. We define collaboration as a cooperative relationship where more than two companies, brands or individuals provide customers with beneficial outcomes utilizing their own competitive advantages on an equal basis. Collaboration strategies entail information sharing and other varied forms of cooperation that are mutually beneficial to the company and stakeholder groups. Through collaboration, fashion companies have pursued both tangible differentiation, such as design and technology applications, and intangible differentiation such as emotional and psychological benefits to customers. As a result, collaboration within the fashion industry has become an important, value creating concept. This qualitative study utilized case studies and in-depth interview methodologies to examine customers' attitudes concerning collaboration in the fashion industry. A total of 173 collaboration cases were identified in Korean and international markets from 1998 through December 2008, focusing on fashion companies. Cases were collected from documented data including websites and industry data bases and top ranked portal search sites such as: Rankey.com; Naver, Daum, and Nate; and representative fashion information websites, Samsungdesignnet and Firstviewkorea. Cases were collected between November 2008 and February 2009. Cases were selected for the analysis where one or more partners were associated with the production of fashion products (excluding textile production), retail fashion products, or designer services. Additional collaboration case information was obtained from news articles, periodicals, internet portal sites and fashion information sites as conducted in prior studies (Jeong and Kim 2008; Park and Park 2004; Yoon 2005). In total, 173 cases were selected for analysis that clearly exhibited the benefits and outcomes of collaboration efforts and strategies between fashion companies and stakeholders. Findings show that the overall results show that for both partners (collaborator and collaboratee) participating in collaboration, that the major benefits are reduction of costs and risks by sharing resource such as design power, image, costs, technology and targets, and creation of synergy. Regarding types of collaboration outcomes, product/design was most important (55%), followed by promotion (21%), price (20%), and place (4%). This result shows that collaboration plays an important role in giving life to products and designs, particularly in the fashion industry which seeks for creative and newness. To be successful in collaboration efforts, results of the depth interviews in this study confirm that fashion companies should have a clear objective on why they are doing the collaboration. After setting the objective, they should select collaboratees that match their brand image and target market, make quality co-products that have definite concepts and differentiating factors, and also pay attention to increasing brand awareness. Based on depth interviews with customers, customer benefits were categorized into six factors: pursuit for individual character; pursuit for brand; pursuit for scarcity; pursuit for fashion; pursuit for economic efficiency; and pursuit for sociality. Customers also placed more importance on image, reputation, and trust of brands regarding the cases shown in the interviews. They also commented that strong branding should come first before other marketing strategies. However, success factors recognized by experts and customers in this study showed different results by subcategories. Thus, target customers and target market should be studied from various dimensions to develop appropriate strategies for successful collaboration.

• Asia pacific journal of information systems
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• v.22 no.4
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• pp.75-99
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• 2012

Innovation can come from inside or outside organizations. Recently, organizations have begun turning to external knowledge more often, through various forms of collective intelligence (CI) as collaborative platform to solve complex problems. Several factors facilitate this CI utilization phenomenon. First, with the rapid development of Internet and social media, numerous web applications have become available to millions of the Internet users over the past few decades. Web 2.0 and social media have become innovative web applications that provide an environment for human social interaction and collaboration. Second, the diffusion of simple and easy-to-use technologies that enable users to interact and design web applications without programming skills have led to vast, previously unknown amounts of user-generated content. Finally, the Internet has enabled communities to connect and collaborate, creating a virtual world of CI. In this study, web enabled CI is defined as a composed ability of individuals who are acting as a single cognitive unit to achieve common goals, think reasonably, solve problems, make decisions, carry out complex tasks, and develop creative ideas collectively through participation and collaboration on the web. Although CI plays a critical role in organizational innovation and collaboration, the dubious quality of CI is still problem that is difficult to solve. In general, the quality level of content collected from the crowd is lower than that from professionals. Thus, it is important to identify determinants of CI quality and to analyze the relationship between CI quality and its usefulness. However, there is a lack of empirical study on the quality factors of web-enabled CI. There exist a variety of web enabled CI sites such as Threadless, iStockphoto or InnoCentive, Wikipedia, and Youtube. One of the most successful forms of web-enabled CI is the Wikipedia online encyclopedia, accessible all over the world. Another one example is Naver KnowledgeiN, a typical and popular CI site offering question and answer (Q&A) services. It is necessary to study whether or not different types of CI have a different effect on CI quality and its usefulness. Thus, the purpose of this paper is to answer to following research questions: ${\bullet}$ What determinants are important to CI quality? ${\bullet}$ What is the relationship between CI quality factors and the usefulness of web-enabled CI? ${\bullet}$ Does CI type have a moderating effect on the relationship between CI quality, its determinants, and CI usefulness? Online survey using Google Docs with email and Kakao Talk was conducted for collecting data from Wikipedia and Naver KnowledgeiN users. A totoal of 490 valid responses were collected, where users of Wikipedia were 220 while users of Naver KnowledgeiN were 270. Expertise of contributors, community size, and diversity of contributors were identified as core determinants of perceived CI quality. Perceived CI quality has significantly influenced perceived CI usefulness from a user's perspective. For improving CI quality, it is believed that organizations should ensure proper crowd size, facilitate CI contributors' diversity and attract as many expert contributors as possible. Hypotheses that CI type plays a role of moderator were partially supported. First, the relationship between expertise of contributors and perceived CI quality was different according to CI type. The expertise of contributors played a more important role in CI quality in the case of Q&A services such as Knowledge iN compared to wiki services such as Wikipedia. This implies that Q&A service requires more expertise and experiences in particular areas rather than the case of Wiki service to improve service quality. Second, the relationship between community size and perceived CI quality was different according to CI type. The community size has a greater effect on CI quality in case of Wiki service than that of Q&A service. The number of contributors in Wikipeda is important because Wiki is an encyclopedia service which is edited and revised repeatedly from many contributors while the answer given in Naver Knowledge iN can not be corrected by others. Finally, CI quality has a greater effect on its usefulness in case of Wiki service rather than Q&A service. In this paper, we suggested implications for practitioners and theorists. Organizations offering services based on collective intelligence try to improve expertise of contributeros, to increase the number of contributors, and to facilitate participation of various contributors.

• The Journal of Art Theory & Practice
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• no.8
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• pp.59-87
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• 2009

This thesis started from the attempt to make it clear that 80's American artist Keith Haring(1958-1990) had conducted social intervention of criticism, resistance, and participation through his works, and so pursued public value. Haring of graffiti fame left popular and familiar cartoon style pictures on the street wall, the billboards, the posters and so on. Popular and playful works was explained as his unique characteristics, but Haring's creative way at the field has more value than just being grasped as artist's personal characteristics. Haring's work pieces became everyday art by joining with people's life, and are working as a social speaking place. So I think that these Haring's art works possess characteristics of 'the public sphere'. 'The Public Sphere' means that is independent and free from the government or partisan economic forces, so that is not connected with the interested relations, and that is the sphere of rational argumentation without 'disguise' or 'fabrication', and that is the sphere where general public can participate in and is inspected by them. The public sphere between the sphere of public authority such a nation and a market and the private sphere of free individual, it is mutually connected with them and works as the space forming public opinion. Private individuals communicate with this public sphere and perform a role of direct and indirect check, balance, and social criticism way off from power. Openness that should include the voice of not only leading power but also the socially weak such as citizens, women, homosexuals, minority races, and so on, and alienated class, is an index of the public characteristics. The public sphere is not working just with speech and mass media. Many artists as well as Haring open their mouth and act through an art at the center of society, and create another public sphere by an art. I understood that the real participatory and practical characteristics on the Haring's work is a phenomenon and current of a part of the art world including Haring. Such current started from 1960s is the in-depth effort to be connected with the life more closely, to communicate with people, and to improve problems of life. And it has pursued public value on the different way from the nation or public power. Artists have intervened in the society with strategic and positive ways in order to raise pushed-out value and sinked rights as the public agenda, and labored to accept the value of variety and difference at the society. The aspect of such social intervention is the notable features, findable on the Haring's works and process. Haring's works include art historical meanings and are expressed with familiar and plastic language, so they were able to communicate with various classes. And he secured various customers at the field and the street. This communicative and public approach factor raised the possibility much for his works to work as the public sphere. Haring presented critical and resistant speech toward society with his works based on this factor. He asserted his position and justice of gender identity as a sexual minority. And his such work continued to movement for alienated class and social week over his own rights. His speech and message on the wall painting, poster, T-shirts, billboard of the subway, and so on worked as a spectacle and pressed concern with social issues and consciousness shift. And he's been trying to protect and care people who is injured by HIV and drug and to realize social justice through social week protection. Haring's works planned to meet many people as much as possible performed its role of intervening in society through criticism, resistance, speech, and participation, and controlling and checking social issues. These things considered, Haring's works show his consciousness about public attributes of art, and obviously include public value seeking. And also we can find the meaning of such his work as that an art is working as the public sphere and shows the possibility to discuss and practice public issues.