• 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.

• Health Policy and Management
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• v.21 no.3
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• pp.457-492
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• 2011

The primary goal of our study was to investigate the vast transformations of the healthcare sector in Korea during the past half century. Official data reported in the Korean statistical yearbooks and secondary data suggested by previous studies were used for institutional analysis of healthcare environment. Information on hospital released by the Korean Hospital Association was also used for ecological analysis. Institutional analysis: We identified three distinctive eras based primarily on changes in institutional logics, institutional actors, and governance structures : 'professional dominance (1952-1976)', 'government involvement (1977-1999)', and 'coexistence of competing institutional logics (2000-present)'. During the first era, physician association supported by Korean government comprised the primary governance regime. During the second era, the government became a major actor as a regulator and purchaser in health care sector, introducing of the 'mandatory national health insurance'. During the third era, making healthcare system sustainable and providing health care efficiently was overarching goals although it was hard to find a single central logic dominating this period. Ecological analysis: Evidence from the analysis of hospital population suggested that the expansion of the bed capacity was made from different processes, shifting from the ecological process in 1980s to the adaptive process in 1990s. And Korean hospitals had changed following both 'directional process' and 'stabilizing process' over time. Based on our results, we concluded that more studies to compare more organizational populations other than hospitals and to empirically test the effects of institutional changes on organizational changes and vice-versa, need to be conducted.

• Journal of architectural history
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• v.15 no.3
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• Journal of the Korean Operations Research and Management Science Society
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• v.34 no.4
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• pp.185-204
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• 2009

The USIM(universal subscriber identity module)-unlock introducing in July 1, 2008 might be led to a significant change that mobile service provider's dominance is considerably dispersed to the handset manufacturer and distributor. Under USIM-unlock environment, mobile service provider, handset manufacturer, and distributor have to make their decisions on their handset distribution channel strategies: the closed distribution channel strategy or the open distribution channel strategy. The change of distribution channel strategy between members in distribution channel can be understood as a matter of strategy choice, and we have developed a theoretical model and analyzed how to make a decision for the member's optimal distribution strategy based on 3-person game model between members of mobile phone distribution channel, under both of '1 subscriber-1 handset' and '1 subscriber-multiple handset' assumptions. Under '1 subscriber-1 handset' assumption, the closed strategy controlled by mobile service provider is all players' optimal solution because the maximum size of the mobile phone market is limited by subscribers. But, as total expected profit by the handset and distribution subsides is a deficit, mobile service provider have to choose the open strategy and consider the conversion to MNO(mobile network operator). Under '1 subscriber-multiple handset' assumption, mobile service provider is trying to find the way how to lock-in its service and mobile phone and how to maximize ARPU(average revenue per unit), while handset manufacturer and distributor have to look for the way how to maximize the mobile phone market using their own marketing efforts, because it is expected that total mobile handset demand for the open market is bigger than demand for the closed market under '1 subscriber-multiple handset' assumption.

• Korea and Global Affairs
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• v.2 no.1
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• pp.137-162
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• 2018

This paper covers the issues including geopolitical effects of sea power on sea space in East Asia and its nature in a perspective of the past and the present. This paper analyzes the significance of Sea Power which is emphasized in Mahan's Theory of Insular Dominance and grasps the geopolitical nature of Sea Power. Along with this awareness, it deals with the problem of designated strategic phenomenon that is spreading to the Pacific Ocean with the concept of the Island Chain in China in the 21st century. Around the turn of 20th century, Japan materialized the policy of Greater East Asia Co-prosperity Sphere which was planned to expand power sphere in sea space in the East Asia based on sea power and China took shape of the concept of Island Chain in the 21st century, which has divided sea space in East Asia. Under the circumstance that China's policy of island chain faced the resistance from countries in the East Asia as well as the USA, the question about whether Korea's policy of depending on sea power is valuable even in the 21st century has been raised.

• The Korean Society of Law and Medicine
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• v.23 no.1
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• pp.81-119
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• 2022

Medical device market is strongly related with health care market. Public regulation in medical device market tends to be more lenient than health care market. In this market, competition law, administrative law and intellectual property law are intertwined, and thereby a variety of legal issues could be developed. Recently, dominant undertaking's abuse case was dealt with KFTC(Korea Fair Trade Commission) and Seoul High Court. The issues were whether dominant undertaking discriminated trading partners and this discrimination was anticompetitive. In this case, Seoul High Court revoked the KFTC's decision, holding that the undertaking did not harm competition, though it has dominant power in the relevant medical device market. This decision would be a meaningful precedent, not only that there have been small numbers of dominance abuse cases in Korea, but also that this case happened in medical device market. This case dealt with various issues like market definition, market power, alleged abuse and its anticompetitive effect. The court held that medical device markets are distinguished from medical device repairing market. However, the court did not clarify that medical device repairing market is a single branded market only for repairing the plaintiff's medical devices. Second, plaintiff's dominance is based on the lock-in effect, which means that hospitals could not switch devices like CT or MRI from plaintiff to other competitors. This could be supplemented from the fact that medical devices are expensive and the using period are significantly long. However market definition based on single branded market theory could be applied in rare and exceptional cases. Therefore the general application of single branded market theory might result in overestimate of market power. This type of abuse pattern requires improper condition contrary to resonable trade practice. KFTC asserted free charge for plaintiff's copy right. However, it is not clear whether the cases for free charge are general or not. Even if so, the intention and motive of providers for free charge should be proved. The main issue of anticompetitive effect was whether plaintiff raised rival's cost. Competitor's cost was increased due to plaintiff's copy right and its license fee. However the charge for license could be within the scope of fair and legal exercise of copy right. If competitors are excluded due to legal exercise of copy right or efficiency, the exclusionary abuse could not be proved.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.135-150
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• 2016

This study aims to investigate how perceived interactivity between the mobile messenger application and its user gives rise to user's enjoyment and continuous usage intention. Perceived interactivity was assumed to be formed by the combination of control, share, and responsiveness in light of the previous studies. The relations between perceived interactivity, enjoyment, and usage intention are hypothesized on the basis of the pleasure-arousal-dominance emotional state model, the theory of reasoned action, and the theory of planned behavior. Survey data were collected from 481 mobile messenger users in Korea and China. In order to test hypotheses, structural equation modeling analyses were conducted. As a result, perceived interactivity concerning connectedness and responsiveness not only positively affected enjoyment, but also had a significant effect on usage intention. However, while control positively influenced usage intention, it was not significantly related to enjoyment. In addition, there was a positive relation between enjoyment and usage intention. Incidentally, multi-group analysis was conducted to explore the differences between Korean and Chinese users. The findings would provide managerial implications for mobile messenger corporations on causal effects of perceived interactivity and the differences of the path coefficients between in Korea and China.

• Journal of the Korean Geographical Society
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• v.49 no.2
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• pp.139-159
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• 2014

This study problematizes the dominance of developmental state theory and its negative influences in the field of Korean studies, in particular, dealing with the industrialization during the developmental era, 1960s~70s. As is generally known, the theory has been in a position of unchallenged authority on the industrialization experience of East Asian countries, including South Korea. However, at the same time, it has also misled us into overlooking strategic relations that had articulated the state forms at multiple scales. This study aims to reconstruct the historical contexts by the theorizing prompted by recent work on state space. I shed light on the multiscalar strategic relations that had shaped the Ulsan refinery plant as a representative state space of the South Korean industrialization during two decades after liberation. Specifically, the study illustrates the features and roles of Cold War networks and multiscalar agnets such as Nam Goong-Yeon. By identifying the plant as a result of sequential articulations between Ulsan and other scales, this study concludes by suggesting to reframing the strategic relational spaces, beyond the view of methodological nationalism, in the perspective of multiscalar approach.

• Culinary science and hospitality research
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• v.22 no.2
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• pp.206-221
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• 2016

This study presented the need to research into 'emotional response' and 'willingness to use apps', perceived by consumers using food delivery apps amidst the spread of smartphones and surge in use of food delivery apps. This study was also intended to present 'service quality' of food delivery apps, along with 'arousal' and 'pleasure' which represented the 2 types of emotional dimension of Pleasure-Arousal-Dominance(PAD), as variables that could strengthen the willingness to use food delivery apps and examine their roles. On the basis of results of such analysis, we intended to provide basic data necessary for development and operation of food delivery app contents. For subjects and spatial scope of this study, we selected domestic male and female residents nationwide who were aged 20 or older and had experience of using food delivery apps over the last 3 months. Among the subjects of this study, we surveyed foodservice consumers who had experienced of ordering food via food delivery apps such as Baedal Minjok, Yogiyo, and Baedaltong. Based on results of this study, it was found that design and sympathy related to food delivery app service quality had a positive effect on arousal while design and reliability had a positive effect on pleasure. Both informativity and mobility of food delivery app service quality were found to have a positive effect on the willingness to use apps. The pleasure from PAD had a positive effect on willingness to use apps, while arousal did not have any effect on willingness to use apps. The results of this study suggested that design and reliability, informativity, mobility were very important factors in inducing foodservice consumers to use food delivery apps continuously.

• The Journal of Art Theory & Practice
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• no.4
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• pp.181-202
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• 2006

"When it comes to art, nationalism is a goodticket to ride with", says the title of a report in the Indian Express (Mumbai, 29 Oct 2000). The newspaper report goes on to say that since Indian art was kept "ethnic" by colonialism, national liberation meant opening up to the world on India's own terms. Advocacy, at the tail end of the 20th century, would contrast dramatically with the call by Rabindranath Tagore, the founder of the academy at Santiniketan in 1901, to guard against the fetish of nationalism. "The colourless vagueness of cosmopolitanism," Tagore pronounced, "nor thefierce self-idolatry of nation-worship, is the goal of human history" (Nationalism, 1917). This contrast is significant on two counts. First is the positive aspect of "nation" as a frame in art production or circulation, at the current point of globalization when massive expansion of cultural consumers may be realized through prevailing communication networks and technology. The organization of the information market, most vividly demonstrated through the recent FIFA World Cup when one out of every five living human beings on earth watched the finals, is predicated on nations as categories. An extension of the Indian Express argument would be that tagging of artworks along the category of nation would help ensure greatest reception, and would in turn open up the reified category of "art," so as to consider new impetus from aesthetic traditions from all parts of the world many of which hereto fore regarded as "ethnic," so as to liberate art from any hegemony of "international standards." Secondly, the critique of nationalism points to a transnational civic sphere, be it Tagore's notion of people-not-nation, or the much mo re recent "transnational constellation" of Jurgen Habermas (2001), a vision for the European Union w here civil sphere beyond confines of nation opens up new possibilities, and may serve as a model for a liberated sphere on global scale. There are other levels of collectivity which art may address, for instance the Indonesian example of local communities headed by Ketua Rukun Tetangga, the neighbourhood headmen, in which community matters of culture and the arts are organically woven into the communal fabric. Art and collectivity at the national-transnational level yield a contrasting situation of, on the idealized end, the dual inputs of local culture and tradition through "nation" as necessary frame, and the concurrent development of a transnational, culturally and aesthetically vibrant civic sphere that will ensure a cosmopolitanism that is not a "colourless vagueness." In art historical studies, this is seen, for instance, in the recent discussion on "cosmopolitan modernisms." Conversely, we may see a dual tyranny of a nationalism that is a closure (sometimes stated as "ethno-nationalism" which is disputable), and an internationalism that is evolved through restrictive understanding of historical development within privileged expressions. In art historical terms, where there is a lack of investigation into the reality of multiple modernisms, the possibility of a democratic cosmopolitanism in art is severely curtailed. The advocacy of a liberal cosmopolitanism without a democratic foundation returns art to dominance of historical privileged category. A local community with lack of transnational inputs may sometimes place emphasis on neo-traditionalism which is also a double edged sword, as re kindling with traditions is both liberating and restrictive, which in turn interplays with the push and pull of the collective matrix.