• The Journal of Art Theory & Practice
• /
• no.1
• /
• pp.109-144
• /
• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Journal of Korean Society of Rural Planning
• /
• v.30 no.1
• /
• pp.15-31
• /
• 2024

The study primarily aims to examine the characteristics of the transition from natural landscape to modern agricultural landscape on the Daesan plain in Dong-myeon, Changwon-si, in the lower reaches of the Nakdong River. The periods covered in the transition include the late Joseon Dynasty, the early Japanese colonial period, and the late Japanese colonial period. The study concluded the following: It was found that the Daesan Plain used to function as a hydrophilic landscape before it formed into a rural landscape. This is characterized by the various water resources in the Plain, primarily by the Nakdong River, with its back marsh tributaries, the Junam Reservoir and Jucheon. To achieve its recent form, the Daesan Plain was subjected to human trial and error. Through installation of irrigation facilities such as embankments and sluices, the irregularly-shaped wetlands were transformed into large-scale farmlands while the same irrigation facilities underwent constant renovation to permanently stabilize the rural landscape. These processes of transformation were similarly a product of typical colonial expropriation. During the Japanese colonial period, Japanese capitalists initiated the construction of private farms which led to the national land development policy by the Governor-General of Korea. These landscape changes are indicative of resource capitalism depicted by the expansion of agricultural production value by the application of resource capital to undeveloped natural space for economic viability. As a result, the hierarchical structure was magnified resulting to the exacerbation of community and economic structural imbalances which presents an alternative yet related perspective to the evolution of landscapes during the Japanese colonial period. In addition, considering Daesan Plain's vulnerability to changing weather conditions, natural processes have also been a factor to its landscape transformation. Such occurrences endanger the sustainability of the area as when floods inundate cultivated lands and render them unstable, endangering residents, as well as the harvests. In conclusion, the Daesan Plain originally took the form of a hydrophilic landscape and started significantly evolving into a rural landscape since the Japanese colonial period. Human-induced land development and geophysical processes significantly impacted this transformation which also exemplifies the several ways of how undeveloped natural landscapes turn into mechanized and capitalized rural landscapes by colonial resource capitalism and development policies.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.34 no.2 s.115
• /
• pp.80-98
• /
• 2006

This study originated from following questions. What can we understand the conception of deconstruction, which has been the core idea of new discourses developed in various ways since modernism? How can this question be interpreted in landscape design? What is the conceptional frame of integration the prominent hybrid post-genre movements and phenomena? The frame can be epitomized with the deconstruction phenomenon. 'Deconstruction' is the core conception appeared in late or post-modern ages in the embodiment of modernity and can be viewed as an integrating or a hybrid phenomenon between areas or genres in formative arts. Therefore, the author regards the hybrid movements widely witnessed in the post contemporary formative arts as one of the most important indicators of de-constructive signs. It is safe to say that the phenomenon of this integration or hybridism, of course, does not threaten the identity of landscape design but serves as an opportunity to extend the areas of landscape design. One of the consequences of this integration or hybridism is the voluntary participation of users who have been alienated in the production of the meanings of design works and hybrid landscape design with the hybridization of genres that is characterized with transformation in forms. This view is based on the distinction between hybridization of interactions between the designer (the subject) and the user (the object), and hybridization of synesthesia. Generally speaking, this is an act of destroying boundaries of the daily life and arts. At the same time, it corresponds to vanishing of modern aesthetics and emerging of post-contemporary aesthetics which is a new aesthetic category like sublimeness. This types of landscape design tries to restore humans' sensibility and perceptions restrained by rationality and recognition in previous approach and to express non-materialistic characteristics with precaution against excessive materialism in the modern era. In light of these backgrounds, the study aims to suggest the hybrid concept and to explorer a new landscape design approach with this concept, in order to change the design structure from 'completed' or 'closed' toward 'opened' and to understand the characteristics of interactions between users and designs. This new approach is expected to create an open-space integrating complexity and dynamics of users. At the same time, it emphasizes senses of user' body with synesthesia and non-determination. The focus is placed on user participation and sublimity rather than on aesthetic beauty, which kind of experience is called simulacre. By attaching importance to user participation, the work got free from the material characteristics, and acceptance from the old practice of simple perception and contemplation. The boundaries between the subject and object and the beautiful and ordinary, from the perspective of this approach, are vanished. Now everything ordinary can become an artistic work. Western dichotomy and discrimination is not effective any more. And there is 'de-construction' where there is perfect equality between ordinary daily life and beautiful arts. Thus today's landscape design pays attention to the user and uses newly perceived sensitivity by pursing obscure and unfamiliar things rather than aesthetic beauty. Space is accordingly defined to take place accidentally as happening and event, not as volume of shape. It's the true way to express spatiality of landscape design. That's an attempt to reject conventional concepts about forms and space, which served as the basis for landscape design, and to search for new things.

• Journal of Science and Technology Studies
• /
• v.13 no.1
• /
• pp.41-76
• /
• 2013

Based on an analysis of the Japanese animation director Kamiyama Kenji's Ghost in the Shell: Stand Alone Complex series, this paper discusses two important subjects in modern technoscience-cyborg and old age. In fact, age has been an important social and political category in the modern world, along with gender, race, and class. However, age has not been a significant research topic for STS scholars. Even though many of these investigators have extensively explored the complex relationship between gender and technoscience, especially after the publication of Donna Haraway's "Cyborg Manifesto" (1991), few of them have been interested in how age is reconfigured by modern science and technology. If women, as Haraway has claimed, can have a different political and cultural outlook by becoming cyborgs, then, can we expect a similar socio-cultural transformation with regard to the interaction between cyborg and old age? Do the elderly experience lesser age discrimination through the growth of biomedicine and technoscience? Indeed, it is believed that seniors are increasingly becoming cyborgs with advancing age, since their declining bodily functions are consistently replaced and assisted by various biomedical technologies. Does this enable them to overcome ageism and age discrimination as well as their alleged physiological and mental limitations? As an answer to this question, Mike Featherstone has asserted that becoming a cyborg in old age could make the wrinkled skin a mere mask and create diverse new possibilities that were hitherto unavailable to an aging person. Based on my reading of Ghost in the Shell, however, I analyze a more complex set of problems when the senile cyborg is created through the encounter between the elderly and technoscience. I argue that while the senile cyborg could challenge traditional family ideology and nationalism it would leave ageism intact and define a new individualistic life form through a body controlled within the globalized internet and capitalist economy.

• The Journal of the Korea Contents Association
• /
• v.19 no.8
• /
• pp.23-34
• /
• 2019

The space before modern times is fixed and closed, then that after modern times is flexible and open. Based on the concept of space, the modern art exhibition hall gradually shifts from the interior space of a building to the outdoor space, giving birth to the concept of outdoor art pavilion. Based on this background, we analyzed and learned about the latest deformable art pavilions, focused on the investigation of its space performance characteristics and the case analysis, fully understood the design principles of deformable pavilions, and proposed the basic design directions and strategies for future research. Firstly, through learning the theories of transformable space, the characteristics and concept range of deformable space are understood. Secondly, based on the preliminary research and analysis of art pavilions, the performance characteristics are summarized. Thirdly, the pattern of deformable space and the method of reflecting the characteristics of deformable space are investigated based on cases. After summarizing the case analysis, we identified the differences of different art pavilions between deformable modes and space characteristics, and analyzed the causes. This work provides a basis for distinguishing the transformation patterns of the deformable space, and reveals the changes in space concepts and the expansion of space meaning in future architectural space design.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.2
• /
• pp.28-38
• /
• 2011

Dwelling reflects the continuance and change that, in general, expresses the era's cultural and social values. The yard of Korean traditional dwelling, although it is an exterior space, it is a companion space that is engaged with the main house. It operates many housing functions that were not achieved within the interior space. After the time of enlightenment, shape, function and the meaning of Korean traditional house yard along with the change of values and major living style has been changing. Therefore, to understand how the Chosun Dynasty's house yard is being used in modern days, this study is based on the research of 47 sites and conducted a study regarding the acculturation and division the house yards. Typical elements in the target garden site that are expressed in a way differentiated from the original form of the Korean traditional house yard were the materials and methods of planting, the use of garden ornaments, paving materials, the use of water, and changes in kitchen gardens. As the role of house yards changes, the modern division of the style of gardens occurred; the areas in a garden have been divided and the form of a garden has been differentiated according to the limit and initiative. The pursuit of ornamentality and practicality led to the differentiation of gardens' functions, while seeking after convenience resulted in the division of gardens' materials. The use of gardens has also been differentiated by adding commerciality and a concept of open garden in both symbolic and daily manners.

• International Journal of Computer Science & Network Security
• /
• v.22 no.7
• /
• pp.259-267
• /
• 2022

With the rapid development and introduction of digital technologies, both everyday human life and technological processes of any production are changing, which stimulates the transformation of the economy and education. Digital technologies are not only a tool, but also a living environment of modern human, which opens up new opportunities: learning at any convenient time, continuing education, the ability to form individual educational learning trajectories and more. However, the digital environment requires teachers to take a modern approach to the organization of the educational process, the formation of new skills and abilities to work in the digital educational environment. As a result of the study, it was found that the system of vocational education should provide training for masters of industrial training who have a high level of digital competence. The purpose of the article is to single out, theoretically substantiate and determine the level of formation of structural components of digital competence of future masters of agricultural training. The structure of digital competence of agricultural master was analyzed on the basis of domestic and foreign scientists researches. Systematized research results indicate that digital competence consists of four components: motivational-value (combination of internal and external motives for the use of digital technologies in future professional activities), cognitive (a set of theoretical knowledge, skills and abilities of future master of industrial training to effectively build educational process with the use of digital technologies), activity-professional (expansion and deepening of knowledge, skills, necessary skills for effective implementation of digital technologies in the educational process) and evaluative-reflexive (ability to analyze and self-analyze own activities and its results taking into account professional characteristics, self-realization in professional activities through the use of digital technologies). These components are comparable with the indicators that describe the knowledge, skills and abilities needed by the future master of industrial training to organize the modern educational process. A questionnaire was conducted to determine the levels of this competence formation, which allows us to conclude that it is necessary to increase the level of formation of all components of digital competence of future masters of industrial training in agriculture. The results of the study can be used as a basis for the development of disciplines that form the special competencies of masters of industrial training in agriculture and programs of advanced training of teachers.

• Journal of Digital Convergence
• /
• v.10 no.9
• /
• pp.263-270
• /
• 2012

Modern society, the era of convergence can be And mobile convergence era as the sudden transformation of a mobile communication terminal industry. Smartphone users increasingly rapidly and the new role and value of smart phones is increasing in all walks of life, the impact of knowledge and information society, to accelerate the more recent case of Korea, determined to become more. In this study, look to the Chinese and the characteristics of smartphone customer satisfaction, repurchase intentions affect the relationship between the foundation of marketing strategy in the future to become. The results of this study can be summarized smart phone's aesthetic characteristics, functional characteristics, and purchase characteristics that affect customer satisfaction was For smart phones as well as customer satisfaction has a positive effect on repurchase.

• Korean Journal of Computational Design and Engineering
• /
• v.20 no.3
• /
• pp.263-268
• /
• 2015

Due to an increased sitting time in work, lumbar disc disease is one of the most frequent diseases in modern days, and this occasionally requires surgery for treatment. Endoscopic disc surgery, one of the common disc surgeries, requires a process of inserting a guide needle to the target disc for which the insertion path is manually planned by drawing lines on the patient's skin while monitoring the fluoroscopic view of the lumbar. Such procedure inevitably exposes both surgeon and patient to the fluoroscopy radiation emitted from the c-arm for a long time. To reduce the radiation exposure time, this study proposes a computer assisted method of calculating the 3D guide needle path by using 2D c-arm images of the disc in 3 different angles. Additionally, a method of the guide robot control based on the 3D needle path was developed by implementing the Hand-eye Calibration method to calculate the transformation matrix between the c-arm and robot base coordinate systems. The proposed system was then tested for its accuracy.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.17 no.1
• /
• pp.83-92
• /
• 2015

The knots have been used practically and functionally in close relation to people's daily life, and it shows the beauty of its ornamental purpose. This study was to discover a new formativeness, such as the natural and symbolic beauty of knots, based on the interpretation of knots' basic image, recreating Korean beauty and characteristics within a modern sense. A bowknot is one of the beautiful Korean traditional knots and it is considered as a symbol of transformation. In this study, the formativeness of bowknots was shown and used, resulting in developing textile patterns that symbolize peace, love, joy, and hope. It was believed that the symbolism of bowknots could be suitable for a pattern of kindergarten uniforms which the children would experience for the first time. Considering the functional characteristics without discomfort while the children participate in various activities and movements, we made two pairs of boys' uniforms and two for girls.