• World Technopolis Review
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• v.4 no.3
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• pp.132-143
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• 2015

In the 21st Century, scientific discovery and technological development are fueled by unprecedented changes in knowledge, societal needs and wants, engineering designs, materials, and instrumentation. Such rapid global changes pose major opportunities and challenges for the innovation ecosystem-especially in developing countries. In particular, our models for human resource development and engagement must evolve so as to better prepare leaders in higher education institutions, research institutes, science cities and science parks, businesses and industries, and governments. Universities throughout the world must play a greater role in both the research and practice of human resource development and engagement for the knowledge-based and creative economies. This paper explores the current and potential talent development and talent engagement dimensions of universities in economic development, and research and practice in education and policy-with implications of such dimensions for science cities/science parks. The paper highlights the importance of a greater role for universities, in collaborating with business/industry and governments, in examining new economics-sensitive and values-sensitive models for education and human resource development so as to better understand and support innovation in global contexts.

• Journal of architectural history
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• v.1 no.1 s.1
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• pp.240-254
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• 1992

The purpose of this paper is to suggest new direction to the historical research society of Korean architecture by epistemological discussion. Korean architectural history at present, without question of history for what, for whom, and how, is regarded as 'history for the past' only 'to describe past' or 'to collect correct data' However, history is beyond that; history ought to suggest a direction of present and near future. Moreover, architecture is not pure but applied knowledge, that is, focused to 'how to build'. Therefore, past historical knowledge by research should influence to present design. In order to do that, history of mere data collection should change direction to the history of meaning by interpretation, and then, of finding design principle. The principle used in architectural community becomes theory in scientific research community, and finally is unified to 'theory of practice'. Creative history should be substituted for retrospective history reusing historical reservoir, at the specific situation of Korea; tradition has been discontinued drastically and Western method imported to the point of being culturally-colonized. Some expmples of altanative history are suggested at the end of this paper as conclusion.

• The Research Journal of the Costume Culture
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• v.31 no.1
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• pp.18-33
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• 2023

Zero-waste pattern cutting is a groundbreaking sustainable fashion practice. However, few brands and designers have pursued this method because it requires creative pattern design that diverges from the existing process of using pattern slopers. Therefore, application within the fashion industry is not sufficient. Therefore, in an attempt to highlight the key characteristics of zero-waste pattern design, this study classifies and analyzes cases in which similar designs employ zero-waste pattern-cutting techniques. We hope to make zero-waste pattern design more accessible by presenting realistic pattern-cutting guidelines. To this end, theoretical research on relevant literature, previous research, and online resources and an empirical analysis of cases involving zero-waste pattern cutting were conducted in parallel. As a result of the study, we were able to classify the factors of zero-waste pattern design in terms of fabric use, design, and composition. Regarding materials, our research revealed the importance of appropriate fabric width, understanding the difference between waste minimization and minimal fabric use, and easy reuse and recycling. In terms of design, the simultaneous progress of pattern and design work, adjustable loose silhouettes, and the use of surplus fabric for functional and decorative details emerged as key characteristics. For composition, we found that size adjustment limits, arrangement irregularity, and pattern shapes were crucial elements and that various arrangements revealed unlimited design potential.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.99-105
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• 2024

Runway released an updated version, Gen-2, in March 2023, which introduced new features that are different from Gen-1: it can convert text and images into videos, or convert text and images together into video images based on text instructions. This update will be officially open to the public in June 2023, so more people can enjoy and use their creativity. With this new feature, users can easily transform text and images into impressive video creations. However, as with all new technologies, comes the instability of AI, which also affects the results generated by Runway. This article verifies the feasibility of using Runway to generate the desired video from several aspects through personal practice. In practice, I discovered Runway generation problems and propose improvement methods to find ways to improve the accuracy of Runway generation. And found that although the instability of AI is a factor that needs attention, through careful adjustment and testing, users can still make full use of this feature and create stunning video works. This update marks the beginning of a more innovative and diverse future for the digital creative field.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.4
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• pp.118-130
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• 2017

During the landscape design process, landscape architects produce various forms of drawings to visualize the future designed landscape. This work thoroughly examines the process of the utilization of James Corner's theory and practice of representation. Since the early 1990s, Corner has explored the characteristics and functions of landscape architectural drawing theoretically. Specifically, Corner argued that the use of visual representation makes it difficult to achieve the full embodiment of all of the multisensory characteristics of a landscape. Thus, he explored new drawing techniques that alternatively visualize the landscape and generate creative ideas(i.e., imagination of drawing), rather than a realistic illustration of not-yet-actualized landscapes(i.e., instrumentality of drawing). Corner's theory has evolved throughout the mid and late-1990s as applied to landscape practice. Corner embraced ecology and implemented the theory and practice of Landscape Urbanism, thereby once again emphasizing the instrumentality of drawing. Whereas the early theory mainly explored a perspective view using collage and montage, Corner later began to stress the importance of the instrumentality again. For example, Corner employed a mapping technique based on the instrumental map and that simultaneously creatively transforms it. Corner's theory and practice of representation fully explored the identity of landscape architectural drawings and reflected the interaction between theory and practice. Thus, his design and theoretical works continue to have significant influence on present landscape practice and theory.

• 한국체육학회지인문사회과학편
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• v.55 no.4
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• pp.443-462
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• 2016

The purpose of this study was to suggest an extensive and evolved conceptual model of community dance reflecting new tendencies, practice, and various values. For the purpose, efforts were made to categorize common properties based on various cases using qualitative data collection about 10 community dance specialists. The Practice of Community theory of Wenger(1991) has contributed to conceptualization including the new perspective on community dance, which has been the theoretical framework. Firstly, 'a community' as a basic premise is self-organizing, interactive, regional and creative. Secondly, 'practice' in community dance means openness, focused on participants, improvisation and nmind-body centering, value-oriented processes and connectivity with daily lives. Thirdly, 'social learning' can be interpreted within the framework of joint enterprise and domain, quality and status of dacne, and dance literacy embodied as a shared repertoire. Lastly, identity of community dance has been expanding the concept area as 'dance for all' reflecting ongoing properties and future-oriented values in that it pursues healing arts and relationship, amateurism collaborating with dance artists, combination of democratic citizenship and civic creativity, cultural diversity and social integration, and types of sustainable development.

• The Journal of Art Theory & Practice
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• no.15
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• pp.31-49
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• 2013

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

• The KIPS Transactions:PartA
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• v.18A no.5
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• pp.165-176
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• 2011

In this paper, we show how a curriculum using LEGO MINDSTORMS NXT robot based ROBOTC for undergraduate students has been developed, and we analyze the educational effect of the curriculum. The curriculum is composed of basic knowledge learning, practice with basic robots, practice with advanced robots, and creative design and implementation of robots. During the three year period since 2009, educational achievement has been analyzed by surveys for 6 classes, 94 students. According to the analysis, the curriculum has highly motivated the students and made them to achieve effectively our educational and academic goals. Also, we observe that the curriculum helped the students to improve their creativity and the problem solving skill, and that the students were autonomously and deeply involved in the homework and the term projects, which made them be very cooperative. Finally, the intensive practice with ROBOTC programming is shown to help students to improve their programming ability of C language.

• Journal of The Korean Association of Information Education
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• v.24 no.6
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• pp.563-572
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• 2020

In this study, through a total of 73 lectures and practice for 14 days, preliminary coding instructors developed teaching materials for elementary and junior high school students and verified the effectiveness of the coding instructor training course. The coding instructor training course was hosted by the "◯◯ Creative Economy Innovation Center" for 25 preliminary coding instructors, and was conducted at the "◯◯ University", and 15 elementary and junior high school students who participated in the class were openly recruited. The teaching materials were developed according to the procedure of the ADDIE model based on the results of the pre-requirement analysis conducted with 20 incumbent elementary school teachers majoring in computer education. As a result of running a training course for coding instructors focusing on classroom practice, it was found that the creativity of pre-coding instructors improved.

• Journal of the Korean Institute of Landscape Architecture
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• v.52 no.3
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• pp.1-17
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• 2024

This study focuses on the landscape architect Jung YoungSun to examine Korean landscaping. To do so, the research focuses on the artist's thoughts, her and Seoan's works, and related discourse (landscape architects, landscape works, and landscape discourse) up to 2014. Research was conducted through interviews (with Jung and related people), a literature survey, and the analysis of design works. As a result, four inflection points of Jung's landscape architecture career emerged, from the time she was introduced to landscape architecture, trained in it, and entered into practice, to the time she operated an independent office, showing different design trends and the depth of design thinking. In this process, excluding the early learning period, Jung's landscapes were categorized into three categories: contemporary landscapes, gardens, and traditional landscapes. Through these three categories of landscaping activities, Jung's achievements include the importation and internalization of modern landscapes (modern landscape theory), the establishment of her own garden theory and its practice (garden theory), and overcoming of tradition complexes and creative succession (traditional landscape theory). In sum, Jung's landscapes can be summarized as the practice of regionalists and auteurist thinking.