• Archives of design research
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• v.17 no.4
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• pp.353-364
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• 2004

In this thesis, I will look into how contemporary Korean Design has changed and been alienated from tradition as well as distorted history (chapter 2, 3); point out what the problem is in finding out the cultural identity of the field of design(chapter 4); and finally, I will present a new starting point for independent discussion regarding the direction of Korean design (chapter 5). The purpose of this thesis is to present an opportunity to reconsider the numerous irrationalities caused by an industrial view of design as an outdated paradigm and a cultural identity distorted by the leading policies of the contemporary political authority. In addition, by proposing a new direction to the following discussion on Korean design, it is my desire to examine a realistic plan for cultural discourse which is essential for Korean design in an information-oriented age.

• KIPS Transactions on Software and Data Engineering
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• v.9 no.9
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• pp.267-280
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• 2020

Mirror is a physical reflective surface, typically of glass coated with a metal amalgam, and it is to reflect an image clearly. They are available everywhere anytime and become an essential tool for us to observe our faces and appearances. With the advent of modern software technology, we are motivated to enhance the reflection capability of mirrors with the convenience and intelligence of realtime processing, microservices, and machine learning. In this paper, we present a development of Digital Mirror System that provides the realtime reflection functionality as mirror while providing additional convenience and intelligence including personal information retrieval, public information retrieval, appearance age detection, and emotion detection. Moreover, it provides a multi-model user interface of touch-based, voice-based, and gesture-based. We present our design and discuss how it can be implemented with current technology to deliver the realtime mirror reflection while providing useful information and machine learning intelligence.

• Cross-Cultural Studies
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• v.41
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• pp.381-413
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• 2015

This article aims to trace a historical trajectory of "Humanism" as a Modern scientific concept in the light of Michel Foucault's genealogy. Generally, we believe that Humanism is a natural and eternal idea for mankind, because no one doubts that he or she is not included in the category of a "Human Being." On the contrary, according to French philosopher Foucault, the Idea of Humanism, or anthropocentrism, appeared only in the Modern Age, from the 16th century downward. Before the Renaissance, human beings did not occupy the most important status in Nature, and only existed as natural beings. As soon as mankind was liberated from the superstitious of fear and religious dogma, the concept of "Human Being" is supplied with new meanings and values. The famous maxim, such as, "Man is the lord of creation" constitutes modern human science as an inviolable category of modernity. However, Foucault tried to illuminate the hidden sides of humanism, and gave us the strict warning on the end of the human beings, which turned out to be an object of Modern knowledge. If there would be no reason to maintain a knowledge system of Modernity, in other words, Modernity as knowledge would lose its validity and we could give up Humanism as a heavy burden. Moreover, it is very clear that we are confronted with the critical moments of radical skepticism on the meaning and value for Humanity. That means that we need to think about the new transformations of Human Beings, which will probably appear in the forms of "Non-Humans," "Machines (Deleuze & Guattari)," or "Post-Humans" etc. At the present time, we cannot know if it will be positive, or negative for mankind. We should look back at the history of Humanism from a genealogical perspective, which is why we have to investigate the conceptual trajectory of Humanism in this moment.

• The Journal of the Korea Contents Association
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• v.11 no.7
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• pp.168-178
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• 2011

Experiencing the vortex of postmodernism, modern graphic design has evolved radically from simple aesthetically-motivated style following modernism. Concurrently, Typography has transmuted into International Typography Style from Grid Standard, which was an outcome of modernism. Edward Fella is one of the most internationally prestigious figures practicing the contemporary graphic design style. He is currently pursuing his career as an educator by teaching graphic design and typography at Cal Arts. For a long time, Fella has devoted himself to yielding products of de-constructive presentations and constructing design identity based on aesthetics. This paper looks into aesthetic criteria which has affected modern graphic design, referring to graphism of Fella, an international graphic design and typography educator whose theoretical origins lie in French modern philosophy and aesthetics. Fella has created graphic works by making use of graphic motives residing in the unconscious and the subconscious. Therefore, his graphic style is viewed and investigated as de-constructive aesthetics in the paper. Drifting around toward the end of postmodernism, the present day defines itself as the age free of formality approaching uncertain future; however, Fella's typography graphically guides us to understand comprehensively not only how international graphic design flows from the present to the future, but its realizations in design works.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.1-17
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• 2006

This study purposed to examine Korean people's white clothes custom historically and to explain the aesthetic consciousness latent in the custom. Korean people preferred white clothes, even up to foreigners called them White-clad folk. Not only as in old historical literatures, but also in Soo-suh, Shin-Dang-suh including Sam-Kuk-Ji in China, white clothes were a real symbol to Korean people, ranging chronically far back to the age of ancient tribal countries, Sam-Kuk Period through Koryo Dynasty and even to modern age near the end of Chosun Dynasty, wearing with pleasure regardless of age, sex or social position. Even King himself in Koryo Dynasty is said to have worn white clothes when he was out of official hours. During the Koryo and Chosun Dynasty, white clothes were sometimes prohibited for various reasons including conflicts with the theories of yin-yang and the five elements but such regulations were not effective. To Korean people, white clothes were ordinary people's everyday dress as well as noble people's plain suits, saints' uniforms with religious meanings, ceremonial costumes, funeral garments, etc. The various uses show that white clothes have been worn by many people. The unique custom that a People have worn white clothes consistently for such a long time may contain very deep symbolic meanings representing the people's sentiments and spirits. The present study understood that the meanings come from religious sacredness, magical wish for brightness, the pursuit of purity originating from the people's national traits, assimilation with nature and the will to attain whole ascetic personality. Aesthetic attitudes based on aesthetic values summed up as sacredness, brightness, purity, assimilation with nature, asceticism, etc. are the aesthetic consciousness pursued by Koreans through their white clothes. For Koreans, white color is the origin of their color sense coming from primitive religions such as worshipping the sun and the heaven. In this way, Korean people's preference for white clothes began with primitive religions, was mixed with various social, cultural and religious influences and finally was settled as their durable spirit, symbol and beauty.

• Journal of the Korean Society for Library and Information Science
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• v.45 no.4
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• pp.271-286
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• 2011

The role of information in knowledge society has changed. Library refers to information centre, which is actively involved information collection and promoting use of for the development of individual and society. Modern libraries are the centres of interaction for all interested in accessing information and in participating in the marathon of the present competitive age. Information and a conducive environment of its free flow is a vital tool in all forms of human endeavour. It is the link pin of national development. For a nation to develop it needs to have and provide relevant, updated and adequate information on food security, health, democracy, population, education, family planning, youth empowerment, gender quality, environment etc. The information intermediaries are the persons to modulate these complexities and find match between the information sources and users needs to satisfaction of Ranganathan's law: Books are for use; Every reader his/her book; Every book its reader; Save the time of the reader; Library is a growing organism. The relative importance of these norms in modern context has been evident from experience, study, observations, discussions, etc., and only by scientists and technologists, but also by managers, planners, and policy makers. They recognize the usefulness of information in the performance of their needs information needs. Libraries are therefore proper management, provision and dissemination of such information. It is clearly visible in the contemporary context, that the libraries in the knowledge society are much more than the book depositories This article looks at the theory/practice divide in library and information science and particularly Ranganathan's contributions, basic statements remain as valid in substance if not in expression as -to-day as when they were promulgated, concisely representing the ideal service and organizational philosophy of libraries today.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.965-981
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• 2007

Since the latter half of 20 century, in Korea, there are many discussions on the identity of Korean itself in several divisions, in which the discussion on the identity in the part of the costume or the part of the art reflecting the life, is the subject which must not fail to be noticed. So, we try to study the common structure manifested in the Korean painting and the costume as a part of basic recognition of problems and the way of problem-solving for the research on the Koran formative characteristics. The method and the process of this study is first, to consider the characteristics of the plastic and style of the Oriental arts and the Occidental arts by discourse implicate the difference between Oriental and Occidental view and the recognition of the body in the two worlds. And in the study we try to apprehend the dynamic modern artistic value of Korean style through assimilation between the Korean style and Baroque style according to the theory of $W\ddot{o}lfflin$ about the classical style and Baroque style. We will describe the Korean identity by analyzing the Korean plasticity with the Occidental style of dress and paintings reflecting the Occidental culture and thought and the Oriental things, and modern paintings and dress in the present age. As a result, we can try to recherche the way of use of new design for the identity of Korean style, in the concept of the ellipsis, repetition of the retrait, obscur silhouette, and superimposition.

• Korean Journal of Oriental Medicine
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• v.2 no.1
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• pp.146-176
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• 1996

Through the study of successive literatures from the Han-dynasty(漢代) when ${\\ll}$Keumkweyeuliak(金궤要略)${\gg}$ was written to modern age, we inspected many types of Onkyuatgtang(溫經湯) and prescriptions including the term of 'Okywg(溫湯)' or 'Chokyung(調經), and look into their composition and symptoms respond to administration of this medicine, The results of this study were as follows; 1. The medicine which makes up Onkyuatgtang was 38kinds from the Han-dynasty to the Ching-dynasty(淸代), and up to the present it summed into 43kinds. 2. Onkywgtang which was composed of different kinds of medicine was 10types from the Hun-dynasty to the Chung-dynasty and added 11types in modern days. Therefore it sumed up into 21types. 3. No Onkyuatgtang is seen more common than that of the same composition as in ${\\ll}$Keumkweyeuliak${\gg}$ in successive literature. The next is the same constituents as in ${\\ll}$Buinyangbangdaejeun(婦人良方大全)${\gg}$ Others were rare. 4. Onkywgtang in ${\\ll}$Keumkweyeuliak${\gg}$ was used to treat cold syndrome of the penetration and conception vessles or uterus of deficiency type(衛任 胞宮의 虛寒) and that in Buinyangbangdaejeun was for cold syndrome of the penetration and conception vessels or uterus of excess type(衛任 胞宮의 虛寒). 5. Other names of Ohylmgtang in ${\\ll}$Keumkweyeuliak${\gg}$ were Daeonrkyungtang(大溫經湯), Chokyungsan(調經散), Chokyungtang(調經湯), Chunkeumchokyungtang(千金調經湯), Chunkeumchokyungsan(千金調經散) and Soonkyungtang(小溫經湯), And the prescription in the same constitution was also called Chokyungonkyungtang(仲景溫經湯), Keumkweonkyungtang(千궤溫經湯) and Sibbionkyunghwan(十二溫經丸). 6. Onkywgtang in ${\\ll}$Buinyangbongdaejeun${\gg}$ of Yangbangonkyungtang(良方溫經湯), Jimionkyungtang(指迷溫經湯), Kyunkwionkyungtang(穹歸溫經湯) and Jinssionkyungtang(陣氏溫經湯).

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.3
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• pp.544-559
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• 2018

Korea's traditional aesthetic criterion changed with a new makeup culture that followed the social change caused by modernization. Such transitional features are well seen in the cosmetic advertisements of the 1920's and 1930's. To investigate the cultural characteristics and aesthetic-criteria changes of makeup culture at this period, this thesis analyzes cosmetic advertisements carried in newspaper media of the 1920's and 1930's from an aesthetic perspective. This study found that after the late 1920's, more diverse tones were used for face-powder makeup, collapsing the visual, powder-focused makeup which had been considered criteria for beauty, in combination with smelling and tactile senses such as scent or touch. Domestic makeup had the highest value attached to basic skincare in terms of the aesthetic effect via powder makeup; however, Japanese makeup still stressed the importance of color. Besides, particular facts were found as to social significance of makeup acts such as powder users' age group, safety, superiority and rivals of products, and appeal for makeup popularization. This thesis demonstrates how traditional female beauty appears in powder advertisements in the modern period and how it is related to present-day female beauty.

• Journal of architectural history
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• v.16 no.6
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• pp.7-26
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• 2007

This article is about restoring the wooden pagoda which located in Silsangsa Temple after historical research. The process of this study, first of all, the theoretical study was considered about similar examples of wooden pagoda and gilt-bronze pagoda in Gorye period and wooden pagoda in contemporary period. After that, the study was established by the present condition of Silsangsa wooden pagoda site, the characteristic of Silsangsa wooden pagoda, the form of arrangement, the scale and height. Finally, considering those studies, the wooden pagoda designed in detail. This restoring design tried to follow the inference in that time. Moreover, the design tried to involve the elements of characteristic of region and Silsangsa wooden pagoda. Therefore, the research establish period of Silsangsa wooden pagoda in Gorye period. Locally, it considered both elements of Silla and Baeckje. The arrange form of restoring wooden pagoda was freestyle arrangement that had two main building of a temple and one middle pagoda. The idea of structure was to establish of double Core system. This system inferred from the system of building structure in ancient wooden pagoda and middle and modern age of multistory wooden construction. According to measurement of foundation stone, the scale of restoring wooden pagoda followed the skill of Tang-scale. The connection structure of each floor followed laminated structure which was the general form of log frame in that time. After study of foundation's condition, the present writer deseeded to have restoring the wooden pagoda 9 stories tall. The final aim was to depend on the structural intuition of the present writer, the writer tried to restore beautiful wooden pagoda according to in those days which is solution for contradiction of unclear point. So, it could be make out a plane of restoring wooden pagoda.