• Journal of The Korean Association For Science Education
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• v.35 no.2
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• pp.217-229
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• 2015

In this study, we explored the development of scientific model through the social-construction process on "combustion." Students were 8th graders from one middle school class. Each student engaged in small group discussions three times and made a group model on combustion. Discourses between peers and teacher were videotaped, audiotaped, and transcribed. The results show that the small groups constructed an initial concept: 'Conditions of combustion', which they then evaluated and revised the initial concept through combustion experiment. Following the discussions, some small groups evaluated their model and made a revised model. Then, the small groups compared various models and constructed a scientific model through consensus within the small group and as a whole class. Finally, students kept revising their model to 'Burning needs oxygen.' This tells us that the social construction process of scientific model made a meaningful role to build scientific model through diverse discussion between the students and their teacher, although they have had some difficult process to reach the final consensus. The data also showed some group features: the members were open to other's ideas. They analyzed the differences between their own ideas from others and revised their model after the whole class discussion. Lastly, they showed the tendency to make a good use of teacher's guidance. This study implies the importance of having social interaction process for students to understand the scientific model and learn the nature of scientific inquiry in class.

• Journal of The Korean Association For Science Education
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• v.36 no.4
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• pp.591-606
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• 2016

The purpose of this study is to develop the argumentation program to build scientific concepts on natural selection for science-gifted elementary students and to know how to implement this program. For this study, nine key concepts about natural selection such as the overproduction of offspring, limited resources, population stability, competition, variation, heredity of variation, differential survival, change of the population and speciation were selected through the literature study. The programs were developed by learning cycle instructional model. Argument writings and discourses have been collected, analyzed and compared before and after the program. Two questionnaires to compare pre and post concept change consist of multiple choice questionnaire and open-ended response question were developed and applied to 19 science-gifted elementary students. Sufficiency of the explanation and conceptual quality of the explanation were used to assess the quality of their arguments before and after the program. Discourse and visual models collected from the highest and lowest group about score improvement were compared. The scores of the gifted statistically improved significantly in multiple choice questionnaire. Students' alternative conceptions about natural selection at the beginning of the program decreased and changed scientifically after the program. Visual models drawn by the students supported the results as well. This study asserts that elementary science-gifted students are able to explain evolutionary perspectives about organism change and use the key concepts of natural selection. The study means that evolutionary perspective is possible to be reflected in elementary science curriculum for the gifted.

• Korean journal of communication and information
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• v.33
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• pp.115-167
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• 2006

The purpose of this study was to investigate coverage patterns of the Korean internet news media on 'US-Iraq War' and its meaning and discourse structure. The internet news media was recently established and become a popular news media to compete with old news media in Korea. The author selected the 'Oh My News' as a representative internet news media for his analysis, and collected its news items from Mar. 20, 2003 to Dec. 17, 2003. on the basis of 4 different phases of the war. He analysed the whole of news items with various semiotic and discourse analytic methods, especially applying for Bell's concepts of time and discourse structure. As a result of this study, first of all, it was found that the 'Oh My News' tended to cover this war so different ways as the old news media did. It did not pay attention to the procedure of war, especially, battlefields, fighting between US and Iraq, damages and casualties. But, instead, it paid attention to many doubts about intention of US government and the President, Bush, dichotomous shift between pro-America and anti-America, rightness of dispatching Korean army into Iraq, etc. Secondly, it functioned as a kind of alternative media to speak up different voices comparing with those of old media. It tended to suggest different perspectives and opinions, while the old media tended to follow American perspectives and opinions. Thirdly, it became as a kind of new media setting agendas for this war in Korean society. It played a very important role for setting agendas for various issues related with this war. In conclusion, the internet news media has recently become a kind of new news media for suggesting alternative or different opinions, setting agendas, initiating discourses, etc., even though it still has may problems of becoming so called orthodox news media.

• Korean journal of communication and information
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• v.57
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• pp.33-48
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• 2012

Over the last decades, the issue of work or labor has played a critical role in prevailing discourses to represent the changed economic reality. Aesthetic labor, cultural work, network labor, team-work and alike, have played a dazzling role to represent the emerging economic order, employing the word of labor. Certainly, it is not less than a part of a wide range of shifts in order to make capital work with more effect by making up a workable and governable subject. In this article, I try to examine shifts around the media work which has contributed to expand the new discourse of 'labor.' I will say that it is quite crucial for accounting for the reality of media work to shed light on moves to represent media work, and, among others, one to transform the subjectivity involved in it among others. Furthermore, it would be necessary to take a close look at the subjectivity of media work and its modification to deal with and eliminate the precariousness of media work. Saying about media work without paying any attention to heterogenous and various practices to compose a media work, one is forced to regard media work as the matter of economic and legal interests. In addition, it would bring about that the cultural political concerns of media work will be detached from critical sight of the media cultural studies. Referring to major studies around media work in critical media studies, cultural studies and political economy of communication, this article will briefly look into the arrangement of contentions around subjectivity of media work in South Korea. And it will try to suggest what cultural-political strategy we need to investigate, fighting against the hegemonic power to generate and regulate media work and its workers in precarious conditions. It does not intend to search the media work and its complicated realities in detail in South Korea. I wish that it would make a preliminary step to propose and elaborate the critical analysis of media work and its form of subjectivities.

• Journal of Digital Convergence
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• v.9 no.3
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• pp.69-79
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• 2011

This study is the text discourse of agenda setting through media policy on the three communities. The materials of subjects are the 71 text discourses that appeared in the columns, the special manuscripts, and the comments on the contemporary topics in 33 media. The subjects focuses on the metaphor, metonymy, and binary transposition. This kind of connotation tends to be imploded into people through media, so that it produces hyperreality. This process produces the regulation and strengthens the reality through the circuit of culture. Thus this research tries to develop the theoretical foundation for analysing the text discourse produced by the media. Also it focuses on widening the research scope to study the effects that the circuit of culture provides on the politics, society, and economics. Therefore The first, the objective meanings(denotation)which the referents of the community as T'PALACE, I'PARK, and STARCITY are 'larger scale', 'high and skyscraper', 'the rich people and the plutocrats who have very high academic career' and ' the residence place for the famous stars and successful CEOs', etc. and the subjective meanings, connotations which the referents of the community are 'The first street' transposes '1%' 'their own space' into the characteristics of the wealth of Gangnam district or Korean wealth', the additional significations which the metaphors such as 'the noble community', 'the sample for the high -level residential space', and 'the greed of 1%'. Conclusion, The significations of the symbols became imploded into the population and circulated along with the cultural streams through the media. The referents are recreated and consumed among the other communities such as the named 'PALACE', 'I'PARK', 'STARCITY' in the other areas. This kind of ideology tends to create the myths such as 'the 1% rich people of Gangnam', 'the first street of Korean wealth', and create the regulation such as 'the compound taxes for the real-estates', 'the policy of reducing the taxes for the rich', 'the policy of reducing the taxes for the 1% of the rich'. Also these regulations make the politicians operate new policies and are being utilized as 'slogan' for the politicians.

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.

• Journal of Distribution Science
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• v.9 no.3
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• pp.83-94
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• 2011

Most domestic companies, with the exclusion of major firms, are reluctant to implement a supply chain management (SCM) network into their operations. Most small- and medium-sized enterprises are not even aware of SCM. Due to the inherent total-systems efficiency of SCM, it coordinates domestic manufacturers, subcontractors, distributors, and physical distributors and cuts down on cost of inventory control, as well as demand management. Furthermore, a lack of SCM causes a decrease in competitiveness for domestic companies. The reason lies in the fundamentality of SCM, which is the characteristic of information sharing, process innovation throughout SCM, and the vast range of problems the SCM management tool is able to address. This study suggests the contemplation and reformation of the current SCM situation by analyzing the SCM strategic plan, discourses and logical discussions on the topic, and a successful case for adapting SCM; hence, the study plans to productively "process" SCM. First, it is necessary to contemplate the theoretical background of SCM before discussing how to successfully process SCM. I will describe the concept and background of SCM in Chapter 2, with a definition of SCM, types of SCM promotional activities, fields of SCM, necessity of applying SCM, and the effects of SCM. All of the defects in currently processing SCM will be introduced in Chapter 3. Discussion items include the following: the Bullwhip Effect; the breakdown in supply chain and sales networks due to e-business; the issue that even though the key to a successful SCM is cooperation between the production and distribution company, during the process of SCM, the companies, many times, put their profits first, resulting in a possible defect in demands estimation. Furthermore, the problems of processing SCM in a domestic distribution-production company concern Information Technology; for example, the new system introduced to the company is not compatible with the pre-existing document architecture. Second, for effective management, distribution and production companies should cooperate and enhance their partnership in the aspect of the corporation; however, in reality, this seldom occurs. Third, in the aspect of the work process, introducing SCM could provoke corporations during the integration of the distribution-production process. Fourth, to increase the achievement of the SCM strategy process, they need to set up a cross-functional team; however, many times, business partners lack the cooperation and business-information sharing tools necessary to effect the transition to SCM. Chapter 4 will address an SCM strategic plan and a case study of LG Electronics. The purpose of the strategic plan, strategic plans for types of business, adopting SCM in a distribution company, and the global supply chain process of LG Electronics will be introduced. The conclusion of the study is located in Chapter 5, which addresses the issue of the fierce competition that companies currently face in the global market environment and their increased investment in SCM, in order to better cope with short product life cycle and high customer expectations. The SCM management system has evolved through the adaptation of improved information, communication, and transportation technologies; now, it demands the utilization of various strategic resources. The introduction of SCM provides benefits to the management of a network of interconnected businesses by securing customer loyalty with cost and time savings, derived through the consolidation of many distribution systems; additionally, SCM helps enterprises form a wide range of marketing strategies. Thus, we could conclude that not only the distributors but all types of businesses should adopt the systems approach to supply chain strategies. SCM deals with the basic stream of distribution and increases the value of a company by replacing physical distribution with information. By the company obtaining and sharing ready information, it is able to create customer satisfaction at the end point of delivery to the consumer.

• The Journal of Art Theory & Practice
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• no.5
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• Journal of Korean Philosophical Society
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• v.137
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• pp.151-191
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• 2016

Kant and Lacan strongly criticized the epistemological premise of formal logic. However, Lacan was opposed to Kant in terms of subject, object, knowledge and truth. From the viewpoint of Kant's transcendental logic, formal logic does not have the ability to represent the nature of truth. On the other hand, from the viewpoint of Lacan's psychoanalytic logic, Kant's transcendental logic misunderstands or only partially represents the state of things. But I would like to try to criticize the epistemological premise of the two forms of logic. Transcendental logic takes the evident and new function in that it has studied the necessary condition of content rather than the form of thinking which formal logic considers as his object of study. Transcendental logic evidently studies the categories which dominate our way of thinking. Can we say that the 12 categories which Kant provided are sufficient in explaining the necessity of thinking? Lacan's psychoanalytic logics tells us that Kant's categories are only a kind of metaphor related with hypothesis that tries to explain the possibility of synthetical judge a priori. Is Lacan's psychoanalytic logic sufficient in explaining the possibility of science? It is not sufficient in explaining the objectivity and strictness of science, for it depends on metaphor and metonymy which are useful to literature and unconsciousness. I would like to try to synthesize Kant's transcendental and Lacan's psychoanalytic logic in terms of structure-constructivism which combines both formal and dialectical logic, which is consistent with the ideal of human science, and not blinkered science. My conclusion is that Kant's ethical and esthetical theory should be modified though Lacan's psychoanalytic logic, and Lacan's theory of the unconsciousness revised by Kant's transcendental logic.

• Journal of Broadcast Engineering
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• v.24 no.5
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• pp.836-848
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• 2019

This paper aims at providing a critical view over the cybernetics theory especially of first generation on which the artificial intelligence heavily depends nowadays. There has been a commonly accepted thought that the conception of artificial intelligence could not has been possible without being influenced by N. Wiener's cybernetic feedback based information system. Despite the founder of contemporary cybernetics' ethical concerns in order to avoid an increasing entropy phenomena(social violence, economic misery, wars) produced through a negative dynamics of the western modernity regarded as the most advanced form of humanism. In this civilizationally changing atmosphere, the newly born cybernetic technology was thus firmly believed as an antidote to these vices deeply rooted in humanism itself. But cybernetics has been turned out to be a self-organizing, self-controlling mechanical system that entails the possibility of telegraphing human brain (which are transformed into patterns) through the uploading of human brain neurons digitalized by the artificial intelligence embedded into computing technology. On this background emerges posthuman (or posthumanism) movement of which concepts have been theorized mainly by its ardent apostles like N. K. Hayles, Neil Bedington, Laurent Alexandre, Donna J. Haraway. The converging of NBIC Technologies leading to the opening of a much more digitalizing society has served as a catalyst to promote the posthuman representations and different narratives especially in the contemporary visual arts as well as in the study of humanities including philosophy and fictional literature. Once Bruno Latour wrote "Modernity is often defined in terms of humanism, either as a way of saluting the birth of 'man' or as a way of announcing his death. But this habit is itself modern, because it remains asymmetrical. It overlooks the simultaneous birth of 'nonhumaniy' - things, or objects, or beasts, - and the equally strange beginning of a crossed-out God, relegated to the sidelines."4) These highly suggestive ideas enable us to better understand what kind of human beings would emerge following the dazzlingly accelerating advancement of artificial intelligence technology. We wonder whether or not this newly born humankind would become essentially Homo Artificialis as a neuronal man stripping off his biological apparatus. However due to this unprecedented situation humans should deal with enormous challenges involving ethical, metaphysical, existential implications on their life.