• Convergence Security Journal
• /
• v.13 no.3
• /
• pp.3-8
• /
• 2013

Recently, the technology and services make progress in IT sector to facilitate the rehabilitation, as well as the exercise that aims to promote the health. To provide the opportunity for new services, various challenges have to be fulfilled, including the blurring boundaries among industries, spread of new technologies, and various demands. Seizing on this opportunity, the fusion and convergence have been accelerated. The trends towards the fusion and convergence are inherent in content industry and spreading to other sectors, which makes the cultural desire of customers fulfilled in a more diverse manner. In particular, the research has been conducted, using the game, in the new technology cultural contents which have shown noticeable fusion and convergence between IT and exercise rehabilitation areas. Such games can be classified into the motion-based game, serious game, and virtual reality game. Those game contents are forming the market fast based on the contents for education, sports, exercise rehabilitation, healthcare, etc., and have very great potential for growth. This study is intended to analyze the fusion and convergence system of exercise rehabilitation through those games and present a direction for future development.

• Journal of the Korean Society of Costume
• /
• v.51 no.5
• /
• pp.157-173
• /
• 2001

In fashion, there are various cultural aspects that exist in complexity, where according to the era, even fashion items newly develop and prevail into various designs in the organic function with reality of related cultural phenomenon and aesthetic aim. Among the fashion items, the shoe is historically considered as the shield from lust and also the provision of praise against the most emotional incitement. Mankind has started wearing shoes out of the functional purpose of protection since the ancient Egyptian times. Thereafter humankind has been creating shoes artistically in respect to shape, color, and quality of material, etc, as an expression of aesthetical awareness and introspective desire for beauty. As modern fashion increasingly regards the total fashion image much more important than each items consisting the whole outfit, the role of shoe became essential more than ever. Contrary to its relative importance, little academic attention was given to this area yet, while prestigious museums and galleries in Europe and the USA have held exhibitions of shoes in view of both historical and artistic aspects. This study aims to make a historical inquiry of western shoes. through which their aesthetic values can be drawn. Literature on this subject including aesthetics, history of costume and arts were referred. Fashion magazines and catalogues were investigated for additional information. The process and results of this study are meant to be a suggestion not only to further studies but also to artistic and creative shoe design. Originated for the functional purpose, shoes have evolved in various shapes with different meanings attached to it. When the technological development made the satisfaction for functional needs possible, the intrinsic attribute, the aesthetic value was pursued. The historical contemplations of shoes from Egyptian times to the 1990's led to the results that the intrinsic aesthetic value of shoes can be summarized as follows: 1) protection and extension of body, 2) need for decoration, 3) erotic expression, 4) symbol of dignity and class, 5) fashion.

• Fashion & Textile Research Journal
• /
• v.8 no.2
• /
• pp.183-190
• /
• 2006

The purpose of this study was to analyze social, economic and cultural phenomena of the luxury brand in the viewpoint that the consumption system of the modern society stood for the sign consumption and the industrial production of difference as Baudrillard mentioned in the Consumer Society. The result was divided into the two subjects popularization and differentiation of luxury brand. Firstly the meaning of luxury brand was that the personal effects of consumption of king or aristocratic class who did not exist in the modern and were made into the selection and consumption-possible things of exchange value. The popularization of this sign was accelerated through TV drama. Secondly as differentiation strategy of luxury brand, was made by giving meaning to the life style concept of the upper class with advertisement and design, and also the logo of design was used as sign differentiated from people. Also the reason why the producer of the luxury brand gave meaning to such life style was that the awareness of the brand which people have consistently makes them consume more products. The consumption system of the modern society stood for the sign consumption, difference sign mark value which was the desire on a social meaning basis, not the consumption of things as used value. And the consumer could express his personality by selecting and consuming the product of luxury brand model made with this sign. Accordingly the distribution, purchase, sales and acquisition of the things with this difference sign were our verbal activity and linguistic code today, and it was the essential feature of the society, culture and economy of the consumer society.

• Journal of the Korean Society of Costume
• /
• v.50 no.3
• /
• pp.13-30
• /
• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.34 no.5
• /
• pp.740-753
• /
• 2010

This study analyzes the motives of Korean women for choosing breast augmentation in a cultural and relational context; in addition, it investigates their evaluations after surgery. Data was collected through in-depth interviews with 10 Korean women in their 20s and 30s who have received cosmetic breast augmentation. Enlarged and made-up breasts are a form of clothing that symbolizes the socio-economic status of women. In the vertical and individualized Korean society, the desire of women for a fashionable body invigorated the appearance management market. Fashion consumers have passively internalized the ideal body trends as the concept of the ideal body-image, which has been constructed by the social structure, markets, and the media. The analysis was rooted in post-modern feminist perspectives on the female body. The ideal body-image internalization process through the social interactions of participants was the main cultural factor to choose breast surgery. The self-image and conformity/individuality of participant were categorized as relational factors for the motivation to undergo breast surgery. The result showed that after surgery the participants achieved positive feedback from their social relationships. They expressed or hid their socio-economic statuses through their purchased fashion bodies. They also showed higher self-esteem and feelings of satisfaction by pursuing individuality and conformity as a member of society. Moreover, they achieved wider fashion options and greater controls over their public/private/secret clothing choices for certain occasions. Cosmetic breast surgery positively empowered individual women while reinforcing the socially manipulated body ideals that oppress women at the same time. Participants internalized socially constructed values and justified their surgery choices.

• Journal of Fashion Business
• /
• v.11 no.6
• /
• pp.125-138
• /
• 2007

The modern fashion contains the religious factors or theories out of numerous cultural traits. Shamanism is a product of the very complicated combination of diversified cultural phenomena and whose traits are depicted as spiritual and artistic forms, reflecting on the materialism culture, social relations, customs, and religious faith. The Shamanism that lies in the life of humans gives much impact on their clothing life up to date, consciously or nonconsciously as well. The Shamanism clothing studied as yet has been focused on the costumes that a Shamanism priest and a shaman, the principal Shamanism performer wears and on the symbolic meaning or formativeness of the traditional shaman clothing that is only confined to certain local regions. The Shamanism in the modern costume influences not only on the traditional clothing unique to shaman but also on the other apparels in a widely extended sense. Nevertheless, the research on the modern costumes related to Shamanism is yet to be progressed. In this context, it is believed that the examination of Shamanism interrelated with a contemporary clothing expression is needed. This work would take a look specifically at how the Shamanism is given in the modern clothing fashion and review the inherent aesthetic characteristics. A fact was driven through this study that the shamanism shown in fashion is not only expressed in the modern style of shaman clothing but also unconsciously absorbed in the fashion on the whole. A finding was also revealed that the geometrical and abstract expression, the implication of animistic components, and the application of inherent shaman's costume on to design in regard to clothing are related to a view point of studying about shamanism. The meaning in each expressive method is focused on the superhumanistic desire of shamanism.

• Archives of design research
• /
• v.11 no.1
• /
• pp.259-268
• /
• 1998

Ideals of beauty has expressed variously through the centuries and in different cultures. Each traditional 'togu' has it's own morphology (in the meaning of nonverval linguistic) as using various type of language in each cultural erea. Korean aesthetics on 'dogu'philosophy introduces a whole new set of basic concepts outside western aesthetic framework of beauty Most distinctive is the insistence on overcoming dichotomies, especially between cognition and emotion, (momism)body and mind, self and other, and individual and group. Several topics are particularly illuminating within aesthetics: furniture, calligraphy, traditional garments pose interesting challenging to the art/nature, inside/outside, ethics/desire dichotomies so crucial to moral and cultural context. aesthetics are equally deserving of philosophical scrutiny: the ways in which philosophy of 'dogu'and aesthetics are integrated with daily life, the emphasis on process or understanding context rather than product itself or product 'form'. Dogu did not separate daily life and aesthetics from understanding social context. Language of 'togu' also has own vocabulary and grammar. But we often cannot gain our persnol experience truthful beauty of togu until understand context of understanding. it would be immpossible to explain ,or to analize different way of thinkings and behaivor precisly without understanding same codes of language.

• The Research Journal of the Costume Culture
• /
• v.18 no.5
• /
• pp.1031-1047
• /
• 2010

This study examines the conceptual characteristics of fantasy movies. It also studies the process of socio-cultural changes of the mythical images such as heroes, goddesses and the devil that have often become the centre of fantasy movie characters. This study further examines the features of each character that correspond to specific mythical images. The purpose of this research is to suggest the conceptual and aesthetic characteristics of fantasy reflected in the characters and the costumes of fantasy movies, which were released since the year 2000. The followings are the results of the research: The conceptual characteristics of fantasy reflected in the characters and the costumes of fantasy movies are summarized as representation of reality, allegory and symbols, horror, desire, deconstruction and metamorphosis, otherness and counter-cultural sentiments. The aesthetic characteristics of the costumes of fantasy movies are defined as typicality and symbolism, grotesqueness, sensuality, hybridization, and otherness. These characteristics are very interconnected. The costumes of heroic characters appearing in fantasy movies show strong side of standard while the costumes of the evil characters revealed the limit of dualistic point of worldview centered on West. Heroic characters show realistic and human side that reflects the ethos of the time. Negative characters such as the devil or witches, which were created in human imagination and emotion, become the dynamic force of fantasy movies through their deviant actions. Their clothes, with variety and hybridization, become the source of creativity expected in present society.

• Proceedings of the KSR Conference
• /
• 2004.10a
• /
• pp.1718-1724
• /
• 2004

A station is not only the public space where socially diverse classes get together and cultural interchanges occur but also the personal and emotional space where the meeting and parting occur for each individual. Thus, it is necessity to consider this dual point from the beginning of the plan to make the simple, comfortable, intuitive and friendly environment for the users in the station. Also, it should be capable of active life style of moderner according to the change of the city environment. Furthermore, as a station is not just a single-purpose space anymore but the versatile space where fulfills the user's needs for the multi-function and the desire for diversity. As the station in these days opened 24 hours for users with the modern, commercial and cultural facilities, the interior design for a station needs to be designed to be easy to use, functional and able to vitalize the environment. In order to make a desirable interior environment in a station, first of all, it is required to grasp the characteristic of the space by analyzing the phenomena of an individual or a group act in a existing space formed by the interrelation between the human and the environment. To reduce the resistance against the new environment from the user, in other words, to increase the satisfaction, it is necessity to induce the behavior of the users to the desirable way toward to the new environment. Consequently, positive methodology with recognitive approach through cognitive psychology, spatial behavior research is required.

• Journal of the Korea Furniture Society
• /
• v.23 no.4
• /
• pp.364-371
• /
• 2012

I designed a dietary life kitchen utensils which is focused by the shape of split bamboo that has meaning of health and safety and the shaman who is the religion and incantation performer, and who solve problems, which are impossible to solve in common methods, by borrowing the power and granting the meaning which is connected with transcendent existence and principal. Having closest relation with human being's diet culture is being changed with adding beauty instead of the part of simple practical aspect in our normal life. I tried to show incantation effect with keeping the characteristic of kitchen utensils by granting the symbolic meaning of shamanism which is the shelter that is projected the desire of human beings. the materials were produced of an ebony and steel and varnished with lacquer for coloring. For hand shape, which is hard to treat in irregular forms, the religious image of shamanism was formed by casting which expresses the touch of an ebony and the cold characteristic of metal. an overall design doesn't detail excessively distort or largely transform the form of dietary utensils, keeps its individuality, and emphasizes the image by figuring a grip part which a human can see and a body can approach. in addition, I try to show a point that shamanism has affected human life for long time and symbolic meaning of bamboo-shape shows health and safety. And these things vest with each dietary life tools and should be the role of enzyme about the effect of human life.