• Journal of architectural history
• /
• v.26 no.1
• /
• pp.71-82
• /
• 2017

Pavilions, follies, and installations provide a place with a new experience beyond that of simple garden architecture. From this point of view, this study tried to analyze the constructs in the Glass House site, which Philip Johnson has built for 50 years. After Chapter 1 Introduction, which summarized the background of the study, Chapter 2 investigated the design background of the landscape and the types of the constructs there. It also, studying literature on pavilions, follies, and installations, defined the basic meanings of them. Chapter 3 identified the features of each construct through the case studies of it, analyzing Johnson's intentions on it. These features are such as the applications of classical follies, the quotations of architectural history, fusion with art, architectural experiments, and the monuments of personal history. In conclusion, this study, finding the site specificity as a common feature of pavilions, follies, and installations, referred to two aspects of this, which are not only physical placeness but also cultural media.

• Microbiology and Biotechnology Letters
• /
• v.25 no.2
• /
• pp.121-128
• /
• 1997

A lactic acid bacterium was isolated from kimchi. The isolated strain was identified as the genus Lactobacillus through its morphological, cultural, and physiological characteristics and named as Lactobacillus sp. JC-7. The optimum conditions for the electrofusion between streptomycin (2.5 mg/ml) resistant mutant of Lactobacillus acidophilus 88 and kanamycin (600 $\mu$g/ml) resistant mutant of Lactobacillus sp. JC-7 were evaluated. The highest number of fusants were obtained at a capacitance value of 120 msec (1670 $\mu$F), a field strength of 100 V/cm, and a pulse controller setting of 72$\Omega$. The optimum pH of electroporation buffer was 7.5 and the concentration of divalent cation was 1 mM Mg$^{2+}. Electrofusants were efficiently obtained by addition 20% polyethylene glycol to elec- troporation buffer. The yield of fusion was better than that of using polyethylene glycol mediated chemical induction.

• Journal of the Korean Society of Costume
• /
• v.56 no.3 s.102
• /
• pp.57-72
• /
• 2006

Culture speaks for the characters of the period, so it is presented by the mutual actions of many factors affecting culture. Foreign culture, introduced by cultural exchange, was modified and accepted into a new form and value system. In the beginning, only foreigners danced these dances, but Chinese started to dance them gradually. Thus, the dancing costume showed the complete fusion of Chinese and exotic styles. Especially, in the Tang dynasty, Chinese accepted foreign culture very actively and with open hearts. They accepted foreign culture based on their traditional culture, and fused them completely. In these costumes, not one culture was prominent, but many cultures from Gandhara to East and West Turkistan and even to Persian and Hellenism were synthesized together. Chinese, in the Tang dynasty, retained on their traditional culture and modified new foreign culture into Chinese style.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.1
• /
• pp.119-128
• /
• 2015

The purpose of this study was to look at the Jungeun-sasang(中隱思想) and garden of Bai Juyi in the perspective of landscape architecture and inquiry the meaning of Bai Juyi's construction activities, thought shown in his gardens, and how his construction method influenced later and the result is as follows. First, the 'Jungeun-sasang(中隱思想)' of Bai Juyi improved the Eunil-sasang(隱逸思想) and the birth of 'Jungeun-sasang(中隱思想)' became a clue to be developed up to the garden art. In addition, different from before that built gardens hiding in mountains, it prepared the turning point to build gardens in cities. Second, the space principle of 'paradise' shown in the garden of Bai Juyi was a means and principle to absorb the nature such as positioning rocks, formation of mounds, and positioning of flowers in the limited and small spaces different from previous gardens of splendid and magnificent. The garden became not only outer scene but also the 'Simwon(心園) that reflected the inside world. 12) Third, the gardening act and thought appeared in the poem of Bai Juyi were expressed in pictures and his own gardens as his poem was borrowed and quoted. As a result, Bai Juyi's literary view on the art and thought prepared the base in the popularity of literary gardens and forming of characteristic styles through practical activities that he managed his own gardens. Forth, Bai Juyi's level of Confucianism realization and delicate aesthetical consciousness gave meanings to the scene of gardens through the discovery of the fusion of mountains and creeks, ways of adding, and the aesthetical consciousness of Taihushi(太湖石)and influenced in the forming of garden culture later on.

• Journal of Digital Convergence
• /
• v.15 no.11
• /
• pp.455-461
• /
• 2017

This study aims to clarify how the graffiti arts used in urban regeneration projects have come to possess the place specificity as public arts. For the research, the theoretical background of the place specificity of graffiti art was explored with the understanding of the concept of place specificity of public art, before comparing the difference of graffiti arts as public art applied to the urban regeneration projects, depending on their installation location and artist. In addition, the specificity of the place where graffiti artwork was installed and its significance in the context of urban regeneration project were explored. The case study is limited to graffiti arts installed in Bosan-dong, Dongducheon-si, where several urban regeneration projects have been pushed for since 2015. It was found from the analysis that the place specificity of individual art works is maximized when they are merged with cultural contents reflecting the history and place specificity of target cities, such as design, crafts, music and festivals, rather than with the place specificity of the works of individual artists. The result of this study suggests that when graffiti arts are fused with urban cultural contents as fusion design elements, their place specificity is maximized enough to elevate them to the level of public arts, and enable them to function as the media of urban regeneration.

• The Journal of the Convergence on Culture Technology
• /
• v.10 no.5
• /
• pp.585-592
• /
• 2024

Recent Chinese animations emphasize the harmony between content and form, as well as the fusion of reality, emotion, and aesthetic ideals, through character designs that blend traditional cultural elements with modern aesthetic sensibilities. We have observed that this fusion has significantly contributed to the development of the Chinese animation industry. In particular, "Nezha: Birth of the Demon Child" stands out as an important example, where traditional character images are reinterpreted in a modern way, showcasing a unique artistic direction. In this study, we have conducted an in-depth analysis of the major characters in "Nezha: Birth of the Demon Child", focusing on their form, acting, and movement elements based on the theoretical foundation of traditional Chinese aesthetics.We explored how traditional Chinese costumes, totems, and painting styles were utilized in the design of the characters' forms, and discovered that these elements imparted a distinctive artistic quality. Furthermore, we found that the acting and movement elements were influenced by Chinese cultural practices, traditional theater, and martial arts, enriching the characters' motions and expressions. Through this research, we aim to highlight how Chinese animation integrates tradition and modernity, creating new artistic value, and establishing a unique competitive edge in the global animation market.

• Molecules and Cells
• /
• v.24 no.3
• /
• pp.316-322
• /
• 2007

Glutaredoxins (Grxs), also known as thioltransferases (TTases), are thiol oxidoreductases that regulate cellular redox state in a variety of organisms. In the budding yeast Saccharomyces cerevisiae, Grx1 and 2 are cytosolic dithiol Grxs, while Grx3, 4 and 5 are monothiol Grxs. A gene encoding a new monothiol Grx, Grx6, was cloned from the genomic DNA of S. cerevisiae by PCR. Its DNA sequence contains 1,080 bp, and encodes a putative protein of 203 amino acid residues containing Cys-Phe-Tyr-Ser at the active site. Grx6 is similar to other monothiol Grxs in the same organism and to Grx3 in the fission yeast Schizosaccharomyces pombe. and its predicted three-dimensional structure resembles that of S. pombe Grx3. S. pombe cells harboring plasmid pFGRX6 containing the Grx6 gene had about 1.3-fold elevated Grx activity in the exponential phase, and grew better than the control cells under some stressful conditions. Synthesis of ${\beta}$-galactosidase from a Grx6-lacZ fusion gene in S. pombe was enhanced by potassium chloride, aluminum chloride and heat ($37^{\circ}C$) treatment. S. pombe cells harboring plasmid pFGRX6 had elevated ROS levels whereas S. pombe cells harboring extra copies of Grx3 had reduced ROS levels.

• Journal of the Korea Institute of Information and Communication Engineering
• /
• v.19 no.6
• /
• pp.1353-1358
• /
• 2015

The creative economy is the industrialization era, the information age, knowledge-based economy, linking the new economic paradigm. The core words of the creative economy are stand for creativity, innovation, consumer protection and utilization of intellectual property. Creative ideas are combined with software technology will make innovative ecosystem-based structured market such as Apple, Google, Facebook. Intangible assets attributable to creativity than ever before in human history that is important as the economic value. In addition, innovative ideas, creativity and economic growth beyond the knowledge and information society is required. Because the core has a fusion of science and technology, industry, culture and industry convergence, various genres of creative activity support, and cultural and high-tech fusion industries, such as content creation and job creation through economic traction is needed. In this study, we analyze the case of the US Smithsonian Institution proposes the direction of Science Museum in creative workforce.

• Archives of design research
• /
• v.17 no.4
• /
• pp.251-258
• /
• 2004

Today we seem to be flooded with digital culture as the age of information has reached its peak. As fusion culture has been generalized, in which the arts and culture of the East and the West are in harmony, and quality of life has been improved, people are enjoying more abundant cultural benefits than ever. In such a situation, we may lose the origin of our culture and disregard our traditional culture due to the mixture of cultures. In addition, it is necessary at this point to distinguish pure culture from mixed one and to re-illuminate the value of our original culture for the next generation. Therefore, the author took interested in Dongraeyaryu, a large-scale festival in Busan, which has been designated as an important intangible cultural property, and carried out a research for its continuous instruction and activation. among contents such as music, costume, dancing and stage properties that compose intangible cultural property, this study selected costume, which has significant visual effects and large differences in shape between old one and contemporary one, for development. By proposing modernized design of costume preferred by the new generation and in harmony with the masks, this study wished to narrow the generation gap, to direct young people's attention to the learning of tradition and to propose motives that activate the culture of local festival.

• Proceedings of the Korea Contents Association Conference
• /
• 2008.05a
• /
• pp.262-269
• /
• 2008

This research, to find the cultural identity of taekwondo, presents the historical origin of taekwondo in lights of Choi-centric theory, kwan-centric theory, karate inflow theory, and successive traditional martial arts theory. Then it investigates taekwondo's inner identity as a Korean traditional martial art according to presence, popularity, and independence, three factors of identity suggested by Tak, S. S.(2000).As a result, it reached these conclusions: First, taekwondo was formed after going through fusion of Hong Hi Choi, karate income in period of cultural severance during Japanese occupation, the first kwan leaders and Korean traditional martial arts, process of disorder and cultural reproduction. Second, taekwondo has essentially inherited and developed Korean barehanded martial arts' movements that lay stress on foot skills, and this distinguishes it from hand-skill-based Japan's karate and China's Wushu Furthermore, trunk/groin protectors and headgears are blended remarkably with taeguk patterns and traditional Colors of Five Directions. All terms rendered into pure Korean words shows the essence of Korean localization. It is therefore concluded that Koreans should, along with trying to overcome exclusive nationalism as a country of origin, build a new paradigm of establishing an identity as a global martial art sport.