• Journal of the Korean Society of Food Culture
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• v.29 no.3
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• pp.240-249
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• 2014

In terms of awareness of Korean traditional food, elementary students are most affected by their parents. The objective of this study was to analyze upper grade elementary students' parental awareness and preference of Korean traditional foods in the Chungnam Area. In a survey of 126 parents, 58% of subjects were interested in Korean traditional foods, but there was no significant difference according to age. About 87% of parents thought that inheritance of knowledge on Korean traditional foods was needed. The reasons for inheritance of knowledge on Korean traditional foods were 'To stick to style of Korean traditional foods' (68.2%), 'Palatable' (21.8%), 'Education for children' (6.4%), and 'Beautiful and fine custom' (3.6%). The awareness point of 'Korean traditional foods are easy for cooking' increased with increasing age (p<0.01). In all age groups, subjects highly recognized that Korean traditional foods are good for health. There were significant correlations between overall preferences for Tteok and Hankwa (r=0.351, p=0.001), Hankwa and Korean traditional drink (r=0.374, p=0.001), and Korean traditional drink and Tteok (r=0.406, p=0.001). As a result, preferences for other items also increased when preference for one of the three traditional foods increased. Therefore, education on Korean traditional foods is necessary in order to satisfy parental preferences.

• Journal of the Korea Furniture Society
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• v.20 no.5
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• pp.467-479
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• 2009

The high-tech computer technology developments have greatly affected the area of design education. Starting from the mid 80s, innovations in visual presentation methods have heightened with 2D computer graphic programs, CAD & 3D modeling, and Rapid Prototype that allows dimensional generation. The specialty and quality in design studio education have advanced due to the development in presentation methods such as Power Point and Keynote. But there are many problems with the current method of presenting the visual outcome in a data format using beam projectors, which is a vertical presenting method compared to the old studio study method of conducting discussions and reviews based on the substantial outcome. The essence of studio study that allows for comparisons and analysis by horizontally opening up the various work outcomes is being offset. Also the requirement for manual idea sketching work that plays an important role in the initial design phase continuing to decrease due to the digital working process dependence and cumbersome procedures in the presentation. In order to resolve this problem, the CALM system (Class Applied LCD Modular System) has been developed that replaces the method of attaching the sketches or renderings on the wall with a digital multi-display system. In a nutshell, individuals will upload the outcomes online and display them on the CALM system studio that is composed of 32 LCD (Columns: 4 $\times$ Rows: 8) monitors that are 19 inches in size so that various personnel can openly study the design outcomes. Also the central 42 inch PDP monitor that offers touch pad capability allows each design outcome to be described and examined by expanding. The concept phase of this development process has elevated to the production of an operating prototype that is being reviewed of its practicality. It is considered that the development of this system will decrease the extreme tendency of depending on digital operation but achieve revitalization of a more realistic and opened studio study environment compared to the individual consulting method of the old study approach.

• Journal of agriculture & life science
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• v.45 no.6
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• pp.21-32
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• 2011

This research is intended to study literatures relating to western rocking chairs style in early 20th century in order to provide basic data of designs for rockers of today in Korea and investigate characteristics of rocking chair from academic, formative and pragmatic perspectives. During the first half of 20th century, western rocking chairs (1925~1945) embodied actively the simple functionalism concept that furniture design must follow functionality considerations. Therefore, bare wood rocking chairs were without any surface decoration and tubular steel frame rocking chairs often included black leather upholstery in a bold attempt to express exposed structure. And the fact that tubular steel produced such lightweight furniture was crucial importance. Many Modernist designer created curvaceous lines of new pattern changes in their furniture. The structure of Modern rocking chair became all-important, for stylistic as well as functional reasons. Designers equated exposed structure of tubular steel and wooden frame with integrity and rationality and create an equalitarian style of design. Especially, designers in the early 20th century did use various brilliantly colored upholstery and wooden frame with simple forms of modern characteristics.

• Journal of Digital Convergence
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• v.17 no.8
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• pp.367-372
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• 2019

Today we are living in a capitalist society where competition is prevalent and natural phenomenon. We compare ourselves to others in overheated competition, concerning the views of others. We comfort many assessments of other that causes in anxiety and controls our behaviors unconsciously. We hypothesize that such anxiety originate from eyes of others, and studied anxiety in general and anxiety about other's gaze. Specifically, the study of ornament was conducted with emphasis on the eye and intense colors from the anxiety of competition in famous movie "Black Swan". We used color in the art work as a tool to reflect the authors inner phycology, and tried to deliver author's emotion and message simultaneously. Moreover, we tried to share and express the anxiety of modern people through the from of "eye".

• Journal of Communication Design
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• v.62
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• pp.96-104
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• 2018

Jinling University during the Republic of China (1912-1949) is the most representative academic institution in film education and filmscience, film production, film distribution and many other aspects. Although Jinling University had not yet formed an independent animation discipline, the opening of its animation curriculum, theoretical research, and the practice and production of animation have played an important historical role in the development of Chinese animation and are the beginning of China's animation education. This study investigates Jinling University comprehensively and systematically reviews the forms of animation education. At the same time, macroscopical education and microcosmic education concepts are used to analyze the social context of the Republic of China of discipline construction and external education concept at that time. It sketches the historical clues of the development of animation education in Jinling University in the Republic of China, and lays the foundation for further studying animation education in the Republic of China in theory.

• (The)Study of the Eastern Classic
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• no.72
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• pp.329-363
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• 2018

The Manual for Buddhist Rituals (1935) is the manual of Buddhist rituals which has a pivotal position in terms of the modernization of Korean Buddhist rituals. The text has been established through the contents and systems of the two texts, The Manual for Practising Rituals (作法龜鑑, 1827) and the Compulsory Manual for Buddhists (佛子必覽, 1931). These three manuals include the examples for practising the Manuals. The analysis of the examples for the practices of the three texts is as follows: The Manual for Practising Rituals tries to include the Sounds of the Music for the Buddhist Rituals through the Four Sounds (四聲) and the Twin words (儷語); the marks of the sounds are excluded after the compulsory Manual for Buddhists. The Manual for Buddhist Rituals has replaced the rituals for repentance (三寶通請) with the rituals for revering (四聖禮): and this text has made it easier that people participate in Buddhist rituals with the text which is written in bilingual format in Korean and Classic Chinese. The text has been popularized through above-mentioned changes against the previous two texts but it has ended up excluding the practices for the music of Korean Buddhism such as the music for Buddhist rituals (梵唄) and reciting the name of Buddhas (念佛).

• Journal of Digital Convergence
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• v.18 no.12
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• pp.549-563
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• 2020

Based on Deleuze's body aesthetics and from the perspective of 'deterritoraliazation', this study makes an in-depth discussion on the modern fashion design modeling by four visual characteristics: hysteria, visualization, body segmentation and becoming animals. First, hysteria embodies the strong visual effect brought by the deformation and exaggeration of clothing. Second, visualization in fashion shows the elimination or ambiguity of faces, representing the weakening of identity and the prominence of clothing and body. Third, body segmentation represents the deconstruction and reorganization of clothing, and a new way of thinking, as well. Fourth, becoming-animals are manifested in the physical mutation caused by the heterogeneous connection between humans and animals, which brings about the possibility of rethinking the body.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.297-302
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• 2022

Contemporary viewers familiar with the digital space show their desire for self-expression and use voice, text and gestures as tools for expression. The purpose of this study is to create interactive art that expresses the narrative uttered by the viewer in the form of a collage using the viewer's figure, and reproduces and expands the story by the viewer's movement. The proposed interactive art visualizes audio and video information acquired from the viewer in a text collage, and uses gesture information and a natural user interface to easily and conveniently interact in real time and express personalized emotions. The three pieces of information obtained from the viewer are connected to each other to express the viewer's current temporary emotions. The rigid narrative of the text has some degree of freedom through the viewer's portrait images and gestures, and at the same time produces and expands the structure of the story close to reality. The artwork space created in this way is an experience space where the viewer's narrative is reflected, updated, and created in real time, and it is a reflection of oneself. It also induces active appreciation through the active intervention and action of the viewer.

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.184-191
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• 2022

Unity Painting is a concept that the researcher put forward to locate his own creative style in his creation. Unity Painting, with a clue of reflecting the characteristics of contemporary oriental visual culture, combines the contemporary painting features of a variety of western painting languages. It aims to link the painting system formed in the context of oriental culture with the world's contemporary art and try to present a new contemporary painting with oriental genes. According to the Chinese literature, the researcher sorted out the five main colors (五正色), ten colors for Heavenly Stems (十天干色彩), five intermediate colors (五间色), and five colors as the expression of the Chi of Thriving and Fading and the Chi of Birth and Death, and deduced the summary and stipulation of the color of yin-yang and five elements under the concept of Unity Painting. Based on this, the researcher drew the color-phase and its variation stipulation diagram of ten colors for Heavenly Stems, the orientation of Heavenly Stems (天干方位), color-phase variation diagram (色相变化图), as well as the stipulation system diagram of the five elements (五行), Heavenly Stems and Earthly Branches (干支), energy, time and colors. Through the research and collation of the literature, the researcher took the stipulated five elements color (五行色彩) as the basis of the color concept of creation to complete the work. This paper discusses how to find the starting point of contemporary art creation in the context of traditional oriental culture, sorts out the practical creation logic, and provides ideas for subsequent researchers, with a view to better establishing the identity of the creator and providing research significance and value in the context of the study of oriental art.

• Journal of the Korean Recycled Construction Resources Institute
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• v.9 no.4
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• pp.413-418
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• 2021

In this study, as a basic study to use recycled limestone powder as a secondary product mixture for concrete, it was found that the compressive and flexural strengths were equal to or slightly improved compared to Plain up to 10% and 20% of the RLP mixing ratio, but the strength was rather decreased at 30% mixing. As a result of the heat of hydration experiment, as the RLP mixing rate increased, the heat of hydration decreased, and the elapsed time of the maximum heat was also delayed. As a result of the drying shrinkage test, as the fine powder RLP filled the internal pores of the cement mortar, the drying shrinkage decreased as the mixing rate increased. The compressive strength, water absorption rate, and compressive strength after freezing and thawing of the concrete block mixed with RLP 20% all satisfied the group standard criteria of the Korea Concrete Industry Cooperative Federation, confirming the possibility of use as a mixed material.