• Archives of design research
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• v.17 no.2
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• pp.335-350
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• 2004

Design takes concrete form from the things which are not yet exist to the molded reality. Creation of value which is accompanied by the rational value could be possible only through the searching examination of the basic concept. All designs are under circumstances because the results and the character of the problems are different under the given conditions and circumstances which are the characteristic of the design. The aim of this study is searching for the differential design conce- pt which is the most appropriate and reasonable in the basic design process in which the phase of the analysis, synthesis and evaluation of the problem. First of all the pursuit value of the times and the change of the view point of value of the product design. How the pursuit value of times were searched and analyzed. Analyze the successful product design realization of the typical trend of the modern design which are 3-2. function-focused design, 3-3. emotion-centered design, 3-4. image communicative design through the metaphor, 3-5. environmental affinity design. On the base of the case analysis how to apply the differential design concept which is coming as a trend in the future society which are sustainable developing society was examined closely. The outcome through the analysis of the success cases are as follows, \circled1 the value of the spirit of the times should be emphasized as the design image, \circled2 environmental appropriateness should be taken into consideration as the first primary factor, \circled3 the realization of value of the fulfillment of differential consumer's needs, \circled4 lead to prolong the life cycle of the product, \circled5 promote the sustaining growth of enterprise, \circled6 user-centered product value should be the first consideration. \circled7 It is necessary to overcome the cultural andinguistic barriers and to reflect the metaphor which people remember well. \circled8 The application of human's true character should be decided beforehand. It is the commonness of values of times and customs. \circled9 The differentiated design concept which meets our mental satisfaction, not material one, will be required. In addition to this the creative and differentiated design concepts which are accompanied by the good design factor under the base of product could achieve the emotional consensus from the consumers. That is, the value of all designs should be estimated by the base of the humanism ' The human beings are the barometer of all things".ngs".uot;.

• Archives of design research
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• v.20
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• pp.279-291
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• 1997

The history of modern design begins with the arts and crafts movement(1860). The importance of the movement which decorated the outset gave birth to all the trends of thought which would occur under the circumstances within it, and is deemed that the ideas of the figures who played an active part in the movement might be ceaselessly continued through the works and ideas of their outstanding juniors or purpils as a doctrine of the philosophy of design. Therefore, it might be a prerequisite that the significance and spirit of the movement, and its developing process should be addressed in detail in the first place, but for the limited space of this paper, it was intended to desvribe only the part which can be interpreted in duplicate, linked with post-impressionism. The subject of this thesis is about a theory of art in which both ideas of the movement(1860) and the post-impressionism(1910) are comparatively reviewed. The genre, strictly speaking, is classified into the history of painting, and there is a gap fo about an half century between the issues which are comparatively discussed here. Both the movements began in a same environmental place of England, specially the movement at Milieu in England, and since there is a common point that the representative runners of each movement, William Morries(1834-1896) and Roger Fry(1866-1934), belong to a same race of Engol-Saxon, their ideas coincide with an aesthetic scholar, H. Tanie's aesthetic interpretation method and the more important is, as being elucidated in the comment and aesthetic theory for which Roger Fry gave effort and activity in his later life, that when he read intensively Ruskin's books, $\ulcorner$Modern Painters$\lrcorner$and$\ulcorner$Stones of Venice$\lrcorner$he had solidified his idea of post-impressionism while giving approval and criticism on them. After all, as in a co-painter, Windyham Lewis's reference of 'Roger Fry's Too Late Morris Movement', he, inspired by the actual activities of Morris, played activities similar to that of Morris in which exhibiting and selling some of his decorative art works signed by him and the works of post-impressionism through (1913-1920). Herein, that is wished to add a remark by this author is a point that the author of$\ulcorner$Vision and Design$\lrcorner$, Roger Fry, has not be made a subject of discussion specially in the Korean world of design. So, with this case of a thesis, it's wished that many latent awakened, design persons in korea give efforts to researching into Roger Fry so that their findings could be officially announced in the would. By the way, what is tried to describe in this paper from now on is to analyse and review the origin of post-impressionism which idea was first coined in the art world through the 1st and 2nd exhibitions of 'Manet and Post-impressionism' which were opened each at the Grafton Gallery in 1910 and 1913 by him. And also, it is intended to review it through the art journals and some references by critics of the day in which favorable criticism or severe criticism were ready to comment through the opinions and influences of the coworkers of Roger Fry, say, Clive Bell, Desmond Maccarthy, etc. and of himself as a main axis, on the art ideas of Gauguin, Gogh, Matisse, and Cezanne whose works were the typical ones participated and exhibited in those 1st and 2nd exhibitions.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.7
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• pp.162-174
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• 2017

This study is descriptive research conducted to determine the levels of depression, emotional intelligence, and psychological well-being of nurses employed in small-and medium-sized hospitals, as well as to identify the correlations of these variables, predict factors influencing nurses' psychological well-being, and finally, test the mediating effects of emotional intelligence in the relationship between depression and psychological well-being. The subjects of the study included 336 nurses employed in small-and medium-sized hospitals located in the Daegu-Gyeongbuk region. Using a structured questionnaire, a sample was taken from December 17, 2016 to January 8, 2017. The results that the nurses showed an average level of depression with a mean score of 1.55 points, while their mean scores of emotional intelligence and psychological well-being were above average (3.05 and 3.51 scores, respectively). Depression exhibited negative (-) correlations with emotional intelligence and psychological well-being, whereas emotional intelligence had a positive (+) correlation with psychological well-being. The significant predictors of psychological well-being were found to include sleep hours (${\beta}=0.111$), working department (${\beta}=0.236$), and depression (${\beta}=-0.245$). Moreover, evaluation of the mediating effects of emotional intelligence revealed significant relationships between depression and regulation of emotion (${\beta}=0.527$) and between depression and emotional utilization (${\beta}=0.167$). In conclusion, the work environment and depression were predicted to be major factors influencing psychological well-being, while emotional intelligence was found to be a partially mediating factor. Overall, these results demonstrate that easing depression and improving emotional intelligence can be very positive countermeasures in revitalizing the hospital organization, as well as in ensuring the happiness of individual nurses. Therefore, interventions aimed at improving work environments and easing depression are required to improve nurses' psychological well-being.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.1
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• pp.325-335
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• 2017

This study examined the effects of mothers' smartphone usage habits on young children's aggression and emotional intelligence. For this purpose, a total of 275 questionnaires from mothers in Jeonbuk Province with 3~5 year old young children, who had experiences in using smartphones, were analyzed, and the results are as follows. First, an analysis of the general trend of mother's smartphone usage habits showed that young children's aggression and emotional intelligence according to the general trend of mother's smartphone usage habits had a generally low rate and 'the tolerance and flow' had a high score among its sub-factors. The general trend of young children's aggression also showed a generally low rate, and 'status acquired aggression' had a high score among its sub-factors. The general trend of young children's emotional intelligence showed a moderate level, and a high score was observed in 'mother relation' among its sub-factors. Second, an analysis of the relationship between mother's smartphone usage habits, and young children's aggression and emotional intelligence showed that mother's smartphone usage habits had a positive correlation with the young children's aggression while it did not correlate with the young children's emotional intelligence. On the other hand, a negative correlation was observed between the virtual world orientation among the sub-factors of smartphone usage habits and the self-emotion awareness and expression among the sub-factors of emotional intelligence. Third, an analysis of the effects of mother's smartphone usage habits on children's aggression showed that all of mother's smartphone usage habits and its sub-factors had a negative effect on children's aggression. Fourth, an analysis of the effects of mother's smartphone usage habits on young children's emotional intelligence showed that none of mother's smartphone usage habits or its sub-factors had a significant effect.

• Journal of Science of Art and Design
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• v.12
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• pp.97-124
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• 2007

The paper examined whether the fine arts education needed concept of 'Yu' that was suggested by, 'Soyoyu' of Jangja, a representative philosopher of Doka. At first, the paper defined concept of 'Yu' of Jangja as well as background and needs of the fine arts education, and investigated values of 'Yu' of the Oriental painting in aesthetic way to examine whether today's Yu concept can be applied to modern Oriental fine arts education to express. Chapter 2 examined concept and thought of 'strolling (Yu)', and Chapter 3 did background and needs of the fine arts education. Chapter 4 examined an access to practical technique education of the Oriental painting through 'strolling (Yu)': At first, the chapter investigated 'Heosil' of space concept that was researched at Chapter 2, 'Pilmuk' of expression technique, and 'Saeui' of state of spiritual canvas of painters. The findings were as follow: Firstly, when relation between Yu and Oriental paintings was investigated based on formative idea, 'Heo' reminded appreciators of association of ideas, hint and imagination, etc by, 'Sil' that other objects disclosed intrinsic attributes so that it indicated border of positive forgetfulness expressed by artists to have same border between 'Heo' and 'Yu'. Therefore, both 'Heo' and 'Sil' could build up expression as well as appreciation ability by experiencing formative idea to develop creativity and to build emotion and to cognize needs of the fine arts education. Secondly, the artistic state of 'Shin', 'Ki (Simjae)', 'Jeonshin' and, Saeui', etc could be expressed with strength and weakness of both Yin and Yang of Pilmuk. Therefore, the Pilmuk were linked even with creation of both Hyeongsa and artistic form of Saeui. Therefore, freedom at border of spiritual 'strolling' could produce creative power being expressed by thinking, natural appreciation ability, and education that could judge values of aesthetic culture. Therefore, cultivation of aesthetic eye, development of creativity, build up of formative ability and education of human nature, etc could keep identity of the Oriental fine arts education at various modern fine arts.

• Journal of Korean Academy of Nursing
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• v.28 no.4
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• pp.958-969
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• 1998

In this study, we attempted to investigate the needs and problems of the terminal cancer patients and their family caregivers to provide them with nursing information to improve their quality of life and prepare for a peaceful death. Data was collected from August 1, 1995 to July 31, 1996 at the internal medicine unit of S hospital in Seoul area with the two groups of participants who were family members of terminal cancer patients seventy four of them were in-patients and 34 were out-patients who were discharged from the same hospital for home care. The research tool used in this study has been developed by selecting the questionnaires from various references, modifying them for our purpose and refining them based on the results of preliminary study. While general background information about the patients was obtained by reviewing their medical records, all other information was collected by interviewing the primary family caregivers of the patients using the questionnaire. The data collected were analyzed with the SPSS PC/sup +/ program. The results of this study are summarized as follows ; 1) Most frequently complained symptoms of the terminal cancer patients were in the order of pain(87%), weakness(86.1%), anorexia(83.3%) and fatigue (80.6%). 2) Main therapies for the terminal cancer patients were pain control (58.3%), hyperalimentation(47.2%) and antibiotics(21.3%). 3) Special medical devices that terminal cancer patients used most were oxygen device (11.1%), and feeding tube(5.6%). Other devices were used by less than 5% of the patients. 4) The mobility of 70.4% of the patients was worse than ECOG 3 level, they had to stay in bed more than 50% of a day. 5) Patients wanted their medical staffs to help relieve pain(45.4%), various physical symptoms(29.6%), and problems associated with their emotion(11.1%). 6) 16.7% of the family caregivers hoped for full recovery of the patients, refusing to admit the status of the patients. Also, 37% wished for the extension of the patient's life at least for 6 months. 7) Only 38.9% of the family members was preparing for the patient's funeral. 8) 45.4% of family caregivers prefer hospital as the place for the patient's death, 39.8% their own home, and 14.8% undetermined. 9) Caregivers of the patients were mostly close family members, i.e., spouse(62%), and sons and daughters or daughter-in-laws(21.3%). 10) 43.5% of the family caregivers were aware of hospice care. 46.8% of them learned about the hospice care from the mass media, 27.7% from health professionals, and the rest from books and other sources. 11) Caregivers were asked about the most difficult problems they encounter in home care, 41 of them pointed out the lack of health professionals they can contact, counsel and get help from in case of emergency, 17 identified the difficulty of finding appropriate transportation to hospital, and 13 stated the difficulty of admission in hospital as needed. 12) 93.6% of family caregivers demanded 24-hour hot line, 80% the visiting nurses and doctors, and 69.4% the volunteer's help. The above results indicate that terminal patients and their family caregivers demand help from qualified health professionals whenever necessary. Hospice care system led by well-trained medical and nursing staffs is one of the viable answers for such demands.

• Journal of Science of Art and Design
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• v.7
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• pp.5-63
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• 2005

Generally, the meanings of destruction are related in the meaning of demolition, breakdown, into fragments ... and so on, and the similar meanings are twist, crush, demolish, split, cut, into pieces , break up ... etc. Further, it has related in the cruelty and destructive heart which are linked with orgy, Sadism, Necrophilia and so on. The meanings are also expressed by the initial , which are deprivation, deface, defame, deform, degrade, delegitimize, denounce , deride, destroy, devalue, as well as debase, debunk, declaim, declassify, decry, delete, denigrate, deprecate, despise or detract ...and so on. Dario Gamboni has discussed the meaning in his book as two categories Iconoclasm and Vandalism. And the similar meanings could be found in the words which has the initial of , like abase, abate, abhor, abjure, abolish, abridge, abuse ...and so on. Even though the distinct meanings of Iconoclasm and Vandalism, it is not easy to distinguish clearly between the differences when the results are accomplished in contemporary paintings because of the similarity of the results. In korean vocabulary there are no similar words to distinguish between the meanings of destruction and deconstruction, and the deconstruction is not recorded in the general dictionaries. However the meaning of is diminishing, separation, contrast and so on. So the unification of the word as do-construction is not construct, minus construction, reverse construction. And Vincent Ditch explained that there are the meaning of destroy the text. From Jacques Derrida, the deconstruction strategy is to criticise the world of traditional metaphysics and logocentrism, and not to reconstruire the philosophical meaning of texts but $d\'{e}construire$ them. And Saussure emphasized that the signifers could have more meaning that there can be more signified in traditional texts in the art. as a result, deconstruction is explained that there are many signified meanings in a signifer. In this thesis , from using the meanings of destruction and deconstruction, to distinguish the expressive skills in contemporary art works are arising. Therefore, special methods which are linked in the destruction styles are selected. As a result, the two different purposes of destruction is arising, one is enmity destruction and the other is self destruction another word, auto destruction or destruction to create The enmity destruction can be distinguished by the two category Iconoclasm and Vandalism. They come from the moment of different historical aspect is arising and want to attack the Icon or masterpiece this concept is from the study of John Philips and especially iconoclasm is linked with religious and artistic heart, but Vandalism is come from the political attack. Sometime, this distinguish is not clearly arising, because the two aspects are co-related in the attack. As a result, firstly, the Iconoclastic controversy had arisen in the methods of Dadaism which has developed by Man Ray, Francis Picabia and Marcel Duchamp. They want to attack the pre-established master-pieces and painting spaces, and they had 'non-artistic attitude' not to be art. Since 1980, the German artist Anselm Kiefer adapted the methods and made them his special skills so he had tried to paint tough brush strokes and draw with hugh pallette image line and fire and water images , they can be the image attack as the Iconoclasm. secondly, the model of vandalism is to be done by hammer, drill, canon and so on. the method is to attack the content of painting. Further, the object of destruction is bound by cords and iron lings to demolish or to declare the authority of pre-statues; it symbolize the pre-authority is gone already. Self-destruction based paintings are clearly different in the purpose of approaching the art work. First of all, they can be auto-destruction, creative destruction and metamorphosis destruction, which is linked with the skill the material aspect and basic stature, and sign destruction or signifier destruction, which is link with the inner meaning destruction that is considered as the Semiotical destruction in post-modern paintings. Since 1960, the auto destruction is based on the method of firing, melting, grinding and similar skills, which is linked with Neo-Dada and reverse-assemblage. Metamorphosis destruction is strongly linked with the basic inner heart price and quality, so it can be resulted in the changedness of expectation and recognition. Tony Cragg has developed the skills to metamorphose the wood as stone or iron as cloth and stone as sponge and rubber and so on. The researcher has developed the same style in the series of since 2003. The other self-destructive methods are found in the skill of sign destruction. In the methods the meaning of the art is not fixed as one or two, but is developed multi-meaning and differ from original starting situation, so Jacques Derrida called the difference meaning in deconstruction. It is the destruction of textes. These methods are accomplished by David Salle, Francesco Clemente, and recently Tracy Emin, who has developed the attacking heart in the spectators' emotion. Sometime in the method of self-destruction, it is based on horror and shock, the method is explored by Demian Hirst and Jakes and Dinos Chapman. Their destructive styles stimulate ambivalent heart and destroy original sign of girl and animals.

• Journal of Science of Art and Design
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• v.8
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• pp.63-94
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• 2005

ChangSayng-Do in the late Chosun dynasty was a kind of traditional painting which sublimated the philosophy and emotion of everyday life into an aesthetic consciousness through a long history of Korean people . It would represent a human wish and desire to live a long and healthy life, which was implicated by way of Taoism. The major themes of ChangSayng-Do - mountains, the sun, cloud, water, rock, deer, tortoises, cranes, pine trees, bamboos, peaches, and herbs of eternal youth - were all symbols used. to wish for a long-life and immortality in real world. All or some of these items were represented in paintings, which resulted in the various kinds of ChangSayng-Do. The main concern of this thesis will be centered around the naturalistic subjects shown in ChangSayng-Do. This thesis consists of four chapters. The first chapter describes the purpose of and need for the research, and its method and scope. The second chapter deals with the origin and style of ChangSayng-Do, and the background of its formation. It is found out that the formative characteristic of ChangSayng-Do lies in the archetype, the unity of man and nature following the traditional view of nature. It is also found out that ChangSayng-Do implied the notions of Supernatural Being, Yin-Yang and Five Elements, Taoism, and Confucianism as well as Korean shamanism. Third chapter is largely about an analytic investigation into symbolic visualization of ChangSayng-Do. Firstly, the subject matters shown in ChangSayng-Do consist of items of wishful omen for long-life and good luck, and any motif in a picture implies a symbolism of eternal youth and long-life. Secondly, the view of colors shown in ChangSayng-Do is closely connected to Five Elements and Five Direction, a traditional oriental philosophy of universe, and these symbolic colors are based on shamanism and Yin/Yang-Five Elements. According to an iconological analysis, it is confirmed that these viewpoints are consistent with formative principles and expressive methods of ChangSayng-Do to some extent. The fourth chapter is one of the most important elements for visualization of ChangSayng-Do. The symbolic meaning of long life and good luck is the major source of its popularity inside the palace as well as among the people in general. The fact that ChangSayng-Do was used to ornament the palace was documented in $\lceil$UiGuey(documents about Chosun dynasty$\rfloor$. Also during the late period of Chosun dynasty, the appreciators of arts had begun to spread from high level class to lower level class, and many pictures represented in $\lceil$Hanyang-Ga$\rfloor$ were the ones produced and circulated for those increased consumers. As for the folk-artistic characteristics, the anonymity and arbitrary naturalness of ChangSayng-Do demonstrates that the folk-artistic elements were fully soaked into the life styles of people in general. ChangSayng-Do further shows that a human being is located in the center of the universe, and that all the natural phenomena and ecology are observed to happen around human beings, and that the results of those happenings are connected to man's course of life. It is discovered that the subject matters of ChangSayng-Do in the late Chosun dynasty imply another idea inside metaphors and symbols. With regard to the arrangement of time and space, the unity or oneness of oneself with the world is more highly regarded than one's individual subjectivity: there exist multiple times and spaces in a single picture This reveals a wholistic view of oneness which does not permit the division between phenomenon and substance. To conclude, this thesis inquired into ChangSayng-Do in the late Chosun dynasty focusing on the expression of archetype-symbols. And through the analysis and demonstration, this thesis re-established constructional principles and formative characteristics of ChangSayng-Do and then settled a new phase of ChangSayng-Do, with a deep under-standing of fundamental thoughts of Korean people underlying ChangSayng-Do.

• Archives of design research
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• v.18 no.3 s.61
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• pp.199-208
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• 2005

This study analysis if the concepts of kitsch and vernacular remains as cultural elements for product design. Because their function and aesthetic value have vivid possibilities for general product design fields. For the purpose, this study limits its range within post modernism, kitsch, and vernacular, and analyzes their relationships. Against functionalism, post modernism had cultural pluralisms to approach into popular styles, and some of them was amusing design. That post modernism designs stimulated human beings' emotion by decorations or some symbolic forms from specific objects is similar to the symbolism, regionalism, or pluralism of kitsch or vernacular. Kitsch is a free style that is not limited in any specific trends. It is a Meta culture that has influenced into various fields including design, so kitsch does not have a parallel position with a product or design. In product design, kitsch is the behavior and result of imitating existing objects' images. It could have amusement according to which objects are imitated. So if human beings feel amusement by kitsch, it could be same as the direction of post modernism. Kitsch is determined by design atmospheres. They cannot be specified abjectly, and can be different according to people. With symbolism and regionalism, kitsch and vernacular appeared according to people's needs. While kitsch is consumer's tastes-oriented, vernacular is cultural tradition-oriented. Kitsch has symbolism that specifies products' functions or design concepts, and it is a communication method between human being and products. Because vernacular is province-oriented, it has a lot of styles according to regional living environments and cultural differences. So vernacular design reflects continued traditional lifestyles. By restorative memory, regionalism, cultural pluralism, amusement, and symbolism, kitsch and vernacular could be understood the sub or parallel concepts of post modernism. They might be easily miss-understood mixed concepts that have western and national characters. But in kitsch and vernacular concept, modernizing pas by using the pluralism of post modernism should be considered positive. So, the range of the further study is also supposed to be focused on more widened fields to, to establish cultural identification in design.

• Archives of design research
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• v.18 no.3 s.61
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• pp.129-138
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• 2005

It has been assumed that the clarification of a message is a necessary element for successful communication. However, in the today's complicated and changing environment of business marketing media, it is shown that the clarification of the message of advertisement may inhibit the effectiveness of communication. This study was to examine what was effective communication in advertisement when the company, provoking the people's negative emotional response, needs to establish new identities such as the goals and the special fields of business. In particular, the study was to investigate what effect the advertising strategy of strategically emitting ambiguous messages makes on the consumer's recognition, emotional attitude, reliability, and attitude towards the company. It was hypothesized that an ambiguous message in an advertisement has an effect on the consumer's recognition, emotional attitude, reliability, and attitude towards the company. Three texts from the 'Imagination Praises' campaign of KT&G which has been in process since 2003 were systematically sampled and the survey was performed by the means of questionnaires made on the sample The results showed that the ambiguous message of advertising texts gained better responses on the consumer's attention, good impression, affirmation, memory, sympathy than the dear message and that the ambiguous message had an effect on the consumer's attitude towards the advertisement itself. Thus, it could be tentatively concluded that the ambiguous message could be more effective in recognition and recall to promote the changes of identities of the company having the people's unfavorable emotion. But there wasn't any evidence that an ambiguous message in an advertisement was more effective in terms of the consumer's emotional response, reliability, and attitude towards the company. From this, it could be inferred that the receiver had an uncomfortable, doubtful and negative attitude about the implicit expressive code contained in the message. In the future deeper qualitative studies can compensate for the limited explanation of this empirical study focused on statistical analyses.