• Trans-
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• v.13
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• pp.35-58
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• 2022

This study predicts the paradigm shift that the development of artificial intelligence technology will bring to the production of music content, and suggests that works created through collaboration between artificial intelligence and humans can have artistic value as finished products. Anyone can easily produce music content using artificial intelligence composition programs, and it has become an opportunity to inspire artists with various attempts and creative ideas. Although artificial intelligence technology provides convenience in human life and benefits a lot in the efficient aspect of work, it is difficult to escape the perception of data-based pattern music in the art field so far. Pattern music with many quantitative elements is not recognized as a complete creation due to the absence of abstract symbolism or meaning pursued by art. However, it predicts that if qualitative elements such as emotions and creativity are given to artificial intelligence music through human collaboration, it can be recognized as a complete work of art. The development of artificial intelligence technology increases access to culture and art from the public, and it can be expected that anyone can enjoy it as well as aesthetic experiences. In addition, various contents can be produced by improving individual digital literacy, and it is an opportunity to share and communicate with others. As such, artificial intelligence technology serves as a medium connecting the public with culture and art, and is narrowing the gap between humans and technology through art activities. Along with this cultural phenomenon, we predict the possibility of research on the production of artificial intelligence music contents with artistic value and the development of various convergence and complex art contents using artificial intelligence technology in the future.

• 지역과문화
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• v.7 no.4
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• pp.49-68
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• 2020

The study of complementary medicine for the mental illness of modern people has been made up of academic fields. Psychotherapy, art therapy, literary therapy and dance therapy are among them, but these non-integrated studies are extremely limited to apply to reality. Collaboration with the medical community seeking supplementary measures after drug treatment is also a problem, and it is even more difficult to institutionalize them in a policy way. In response, the study suggested a shift to a space-oriented treatment paradigm by studying the value of space that most treatment programs value. Based on the theory of integrated literature therapy developed in Germany and introduced into Korea, the Tetra system was applied to one of Korea's cultural heritages. And I presented a sample of how to program the characteristics of the old house space. Kwon Seong-baek old house in Andong was considered a representative space and analyzed. As a similar case, we looked at the Healian Sun Village, the Knife Village in Germany, and the Temple Stay of Bongeunsa Temple to find out the actual conditions of space utilization. Accordingly, space treatment programs such as walking, writing poems, reading poems, and writing letters were presented by analyzing old houses with a Tetra system. This is significant as the first study to incorporate spatialization and placeability into the program.

• Journal of Ethics
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• no.82
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• pp.73-125
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• 2011

This article aims to search for moral educational implication of J. D. Greene's recent neuro-scientific approaches to deontological ethics. Recently new technique in neuroscience such as fMRI is applied to moral and social psychological concepts or terms, and 'affective primacy' and 'automaticity' principles are highlighted as basic concepts of the new paradigm. When these principles are introduced to ethical theories, it makes rooms of new and different interpretations of them. J. D. Greene et al. claim that deontological moral judgments or theories are just a kind of post hoc rationalization for intuitions or emotions by ways of neuroscientific findings and evolutionary interpretation. For example, Kant's categorical imperative in which a maxim should be universalizable to be as a principle, might be a product of moral intuition. Firstly this article tries to search for intellectual backgrounds of the social intuitionalism where Greens' thought originates. Secondly, this article tries to collect and summarize his arguments about moral dilemma responses, personal-impersonal dilemma catergorizing hypothesis, fMRI data interpretations by ways of evolutionary theory, cultural and social psychological theories, application to deontological and consequential theories, and his suggestion that deontological ethics shoud be rejected as a normative ethical thought and consequentialism be a promising theory etc. Thirdly, this tries to analyse and critically exam those aspects and argumentation, especially from viewpoints of the ethicists whose various strategies seek to defeat Greene's claims. Fourthly, this article criticizes that his arguments make a few critical mistakes in methodology and data interpretation. Last, this article seeks to find its implications for moral education in korea, in which in spite of incomplete argumentation of his neuroscientific approach to morality, neuroethics needs to be introduced as a new approach and educational content, and critical materials as well.

• Korean Journal of Culture and Social Issue
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• v.18 no.2
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• pp.235-260
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• 2012

This study was aimed at looking into and understanding child-rearing experience of mothers from multicultural families based on the grounded theory, one of the qualitative research methods. For this, twelve mothers from multicultural families were selected and data were collected through in-depth interviews with them and then analyzed through the open coding, axial coding and selective coding. The analysis suggested that main phenomena mothers from multicultural families experienced are the conflict of child-rearing and educational crisis, and the confused identity of parenting. These main phenomena had much to do with contextual factors such as economic hardship, lower level of the Korean language, cultural differences, prejudices and ignorance. The severeness of conflict and crisis of child-rearing and the intensity of identity confusion for parenting depended on arbitral conditions such as family bonds, positive expectation for the future of their children, and the help of supportive systems. Mothers were dealing with difficulties of child-rearing through action and interaction of resignation and denial, introspection and the intention to overcome difficulties, and the capacity building. As a result, mothers from multicultural families acknowledged that there is a limit to their position and roles they can play and tried to change in order to resolve problems related to their children, positioning themselves for more active lives in Korean society. Through discussion based on the findings of the study, this study can help better understand child-rearing experience of mothers from multicultural families and suggest several directions for future researches on multicultural families.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.18 no.3
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• pp.61-79
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• 2023

This study is a case study of overseas banana farms as a global agricultural startup that has hardly been attempted so far in terms of paradigm shift in the industry, beyond regional limitations. It was researched for the purpose of revealing the success factors of 'global agricultural startup' in terms of business process, entrepreneurship, and management dimensions learned through direct participation and observation at the local level. In order to study global agricultural startups, this study also conducted a comparative analysis of global startups (global startups) and global agricultural startups(global agricultural startups). In fact, the analysis consists of 'definition', 'components', and 'success factors', and we want to confirm the difference between the two concepts that can be distinguished. The case analysis tried to maximize the advantages of 'participatory action research' by directly observing and experiencing banana farms. In the case of banana farm cases, by dividing them into preparation process for farm development and farm development and management process, various variables considered in farm management were explained through the whole process of farm management. Through the process of overcoming and responding to specific failure cases, we tried to secure the reliability and validity of the research, and the case studies related to entrepreneurship, management, and organization analyzed by applying them by subdividing them into theoretical areas belonging to components and management that were theorized in existing preceding studies. This study is almost the first study on the process of creating a local entry business by directly moving the head office overseas rather than entering overseas agriculture as a subsidiary, joint venture or overseas corporation. In particular, it is a unique case that corresponds to agriculture in terms of region(Africa), scale(startup), and industry that have not been introduced so far as a global agricultural startup. In terms of entrepreneurship, it also concretely exemplified how entrepreneurship components such as innovativeness, risk-taking propensity, proactiveness, vision sharing, social contribution, leadership, etc., which have not been attempted so far in agricultural cases, are manifested and effective. The management and cultural aspects also went beyond the argument that only cultural aspects are important in overseas business, and also confirmed individual failure cases and their responses in recruitment, job, wage, retirement, development, organizational structure management, etc. As a result, there is significance and implications of this study in that it provides theoretical confirmation as well as practical and responsive basis for 'entrepreneurship', 'farming management', and 'management' aspects in overseas agricultural startup business operation.

• Journal of Global Scholars of Marketing Science
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• v.19 no.2
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• pp.27-39
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• 2009

Compulsive consumption is regarded as a global phenomenon that can adversely affect consumer well-being. Although the topic has been studied in different cultural settings, we have seen relatively little theory development and explanations of compulsive behavior Nearly all previous empirical studies attempt to explain this behavior by correlating measures of compulsive behavior with independent variables taken within the same time frame. However, recent developments in social sciences suggest that such a phenomenon may best understood in the context of the person's earlier-in-life experiences. Using the life course paradigm as an overarching framework, the present research extends previous work on this topic. Following hypotheses were drawn from literature review: H1: The earlier in childhood and adolescence a person experiences family dislocation, the greater his or her likelihood of exhibiting compulsive behaviors in adulthood. H2: The earlier in life the young person experienced family dislocation, the greater the number of family disruption events the young person experienced prior entering adulthood years. H3: Family dislocation leads to (a) increased frequency of socio.oriented family communications and (b) decreased frequency of concept-oriented family communication. H4: Young adults who were raised in families characterized by a strong socio-oriented communication structure are more likely to exhibit compulsive consumption tendencies than those who were raised in families characterized by a weak socio-oriented family communication structure. H5: Young adults who were raised in families characterized by a strong concept-oriented communication structure are less likely to exhibit compulsive consumption tendencies than those who were raised in families characterized by a week concept-oriented family communication structure. H6: The relationship between family disruption events experienced during adolescence and perceived stressfulness of these events is moderated by (a) global family support, (b) emotional family support, and (c) material family support. Those reporting higher levels of family support as teenagers are less likely to report experiencing stress due to family disruption events. H7: Perceived stressfulness of family disruption events experienced during adolescent years are associated with compulsive consumption tendencies in early adulthood. H8: The greater the number of family disruption events young adults experienced during their adolescent years the more frequent was their communication about consumption with their peers. H9: The more frequent was the young persons' communication with their peers about consumption during their adolescent years, the more likely they are to report compulsive buying tendencies as young adults. We use a sample of 120 Thai undergraduate students attending classes taught in English as part of a four-year international program. Product-moment correlations, hierarchical regression analysis and partial correlation were used to analyze data. Results of testing hypotheses showed that hypothesis 2, 4, 7 and 9 were supported and hypothesis 1, 3, 5, 6 and 8 were not supported. Our study did not find a significant relationship between the age when a person experienced family dislocation and their compulsive behavior tendencies expressed as young adults. We did not find a significant relationship between family dislocation and family communication structures. But we found a significant positive relationship between socio-oriented communication structure and compulsive buying and a significant relationship between our peer communication and compulsive buying measures. Also we found perceived stressfulness due to the disruptive events to have a significant positive relationship between the perceived stressfulness and compulsive buying. Implications from these findings, limitations of this research and future research suggestions were discussed.

• Cartoon and Animation Studies
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• s.35
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• pp.29-65
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• 2014

Visual culture art education (VCAE) seems to be the new paradigm for art education after postmodernism. Getting beyond the traditional art education, VCAE has expanded its scope of interest to include the visual environment that surrounds our life, thus pushing the boundary of art education beyond the traditional fine arts to cover pop culture and visual art. VCAE shares the issues as well as a lot of elements of culture and art education and in fact serves as a major theoretic background for culture and art education, in that it pays attention to the sociocultural context of images and emphasizes visual literacy and constructionist learning. In this paper, I have reviewed the theoretical background and related issues of VCAE with a view to presenting a direction for animation education, which is gaining in importance coming into the Age of Digital Media. VCAE was born in the progressive cultural atmosphere from the 1970s and thereafter, and its gist consists in figuring out visual artifacts and their action in order to improve individual and social life. Yet, VCAE continues with its development according to the changing aspects of visual culture, and currently, it is expanding its scope of interest to cover the esthetic, experiential education in visual culture and construction of meaning through digital story-telling. In the visual environment of the Digital Age, animation is establishing itself as the center of the visual culture, being a form that goes beyond an art genre or technology to realize images throughout the visual culture. Also, VCAE, which has so far emphasized visual communication and critical reading of culture, would need to reflect the new aspects of the visual culture in digital animation across the entire gamut from experiencing to understanding and appreciating art education. In this paper, I emphasize on Cross-Curricula, social reconstruction, the expansion of animation education, interests in animation as a digital media, and animation literacy. A study of animation education from the perspective of VCAE will not only provide a theoretical basis for establishing animation education, but also enrich the content of VCAE, traditionally focused on critical text reading, and promote its contemporary and futuristic orientation.

• Journal of Korean Philosophical Society
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• v.137
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• pp.57-79
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• 2016

The purpose of this paper is to explain MacIntyre's critique of moral pluralism of modern society and reveal the limits of his critique of liberalism. It is a distinctive feature of the social and cultural order that we inhabit that disagreements over central moral issues are peculiarly unsettleable. Debates concerned with the value of human life such as those over abortion and euthanasia, or about distributive justice and property rights, or about war and peace degenerate into confrontations of assertion and counter-assertion because the protagonists of rival positions invoke incommensurable forms of moral assertion against each other. We usually call this situation 'modern moral pluralism' and concede as the natural outcome of the activities of human reason under free institution. But in After Virtue, MacIntyre vigorously criticizes modern moral pluralism. The main cause he took which brought about this state of affairs was the failure of 'the Enlightenment project'. According to MacIntyre, the Enlightenment project which has dominated philosophy for the past three hundred years promised a conception of rationality independent of historical and social context, and independent of any specific understanding of man's nature or purpose. But not only has that promise in fact been unfulfilled, the project is itself fundamentally flawed and the promise could never be fulfilled. In consequence, modern moral and political thought are in a state of disarray from which they can be rescued only if we revert to an Aristotelian paradigm, with its essential commitment, and construct an account of practical reason premised on that commitment. But one of the deepest difficulties with the argument of After Virtue is that the very extent of its critique of the modern world seems to cast doubt on the possibility of any realistic revival under the conditions of modernity of the Aristotelianism which MacIntyre advocates. Especially when we consider we are not only the characters found in our narratives but also we ourselves are the author of our own narratives. Moral pluralism is not seen as disaster but rather as the natural outcome of the activities of human reason under enduring free institutions.

• 기호학연구
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• no.54
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• pp.119-145
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• 2018

This paper attempts to divide the narrative into three levels and review the approach methodology to understand Princess Bari as a narrative. If the stratification of the narrative, the analysis of each levels, and the integrated approach to them are made, this can contribute to suggesting new directions and ways to understand and study Princess Bari. The story level of Princess Bari, the surface structure, is shaped by the space movement and the chronological sequential structure of the life task that started from the birth of the main character. This story shows how a woman who was denied her existence by her father as soon as she was born finds an ontological transformation and identities through a process. Especially, the journey of finding identity is mainly formed through the events that occur through the relationship with family members. This structure, which can be found in the narrative level, forms a deep structure with the oppositional paradigm of family members' conflict and reconciliation, life and death. The thought structure revealed in this story is the problem of life is the problem of family composition, and the problem of death is also the same. In response to how to look at the unified world of coexistence of life and death, this tradition group of myths makes a relationship with man and God. This story is mainly communicated in the Korean shamanistic ritual(Gut) that sent the dead to the afterlife. Although the shaman is the sender and the participants in the ritual are the receivers, the story is well known a message that does not have new information repeated in certain situations. In gut, the patrons and participants do not simply accept the narrative as a message, but accept themselves as codes for reconstructing their lives and behavior through autocommunication. By accepting the characters and events of as a homeomorphism relationship with their lives, people accept the everyday life as an integrated view of life and death, disjunction and communication, conflict and reconciliation, and the present viewpoint. It can not change the real world, but it changes the attitude of 'I' about life. And it is a change and transformation that can be achieved through personal communication like the transformation of Princess Bari into god in myth. Thus, Princess Bari shows that each meaning and function in the story level, composition level, and communication level is related to each other. In addition, the structure revealed by this narrative on three levels is also effective in revealing the collective consciousness and cultural system of the transmission group.