• Cross-Cultural Studies
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• v.25
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• pp.7-33
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• 2011

In this paper we attempt to read a film by Haejoon LEE entitled 'Castaway on the moon' from the Bauman's modernity perspective that draws our attention to uncomfortable problems relative to wastes and wasted lifes in the global consumer society we all live in. The so-called consumer society is a post-modern society designed according to the following two criteria: on the one hand, beauty and ugliness and on the other hand, competence and incompetence. Classified as ugly as well as incompetent in this society, the two heros in this film are condemned to live their lifes isolated. Miss Kim is confined to her small room while Mr. Kim is exiled to an uninhabited island called 'Bamsum' in the Han River. In these spaces, neither inside nor outside, they perform what we would like to call 'surplus act', using wastes at their disposal. In this paper we ask ourselves whether or not this act is able to challenge the two criteria and the solidarity of the two wasted lifes can bring about change in the consumer oriented society. As well as Bauman, Agamben will help us approach this question from a theoretical point of view.

• Journal of Service Research and Studies
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• v.11 no.3
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• pp.31-42
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• 2021

This study is a study on theoretical considerations on industrial design data in the era of data economy. This study aims to illuminate the value of industrial design data, interpret the meaning of the transition from design management to the design data era, and highlight the importance of literacy to interpret data for designers. The scope of research approaches the R&D capability dimension of a company to explore the industrial value of design. It limits the scope of research from an industrial point of view rather than the humanistic basis and aesthetic value of design. As a result of the study, it was found that the value of industrial design data is not in ex post evaluation, but in customer-oriented market prediction, and that the design industry data-led strategy is important. The key point is that the industrial design data issues of large companies and SMEs are different, the direction of industrial design data should be to support customer-centered decision making in the product/service development of companies, and the core competency is the amount of data or tools and technologies to handle it. No, it should be in data literals. Lastly, if the use of industrial design data is to be strengthened, management of the public level rather than the personal level of data management should be preceded.

• International journal of advanced smart convergence
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• v.6 no.4
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• pp.88-95
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• 2017

The conventional scan methods are based on a laser scanner and a depth camera, which requires high cost and complicated post-processing. Whereas in photometric scanning method, the 3D modeling data is acquired through multi-view images. This is advantageous compared to the other methods. The quality of a photometric 3D model depends on the environmental conditions or the object characteristics, but the quality is lower as compared to other methods. Therefore, various methods for improving the quality of photometric scanning are being studied. In this paper, we aim to investigate the effect of illumination conditions on the quality of photometric scanning data. To do this, 'Moai' statue is 3D printed with a size of $600(H){\times}1,000(V){\times}600(D)$. The printed object is photographed under the hard light and soft light environments. We obtained the modeling data by photometric scanning method and compared it with the ground truth of 'Moai'. The 'Point-to-Point' method used to analyseanalyze the modeling data using open source tool 'CloudCompare'. As a result of comparison, it is confirmed that the standard deviation value of the 3D model generated under the soft light is 0.090686 and the standard deviation value of the 3D model generated under the hard light is 0.039954. This proves that the higher quality 3D modeling data can be obtained in a hard light environment. The results of this paper are expected to be applied for the acquisition of high-quality data.

• The Journal of the Korea Contents Association
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• v.9 no.1
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• pp.205-214
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• 2009

There has been a change in the production of the movie and techniques of the expression in the digital technology which has been used universally since 2000. As the focus of the production system of the movie has moved from the production procedure centering around filming to the procedure centering around editing used by the digital tools. The flows and boundaries of the production system which is consist of pre-production, production and post-production are getting indistinct. In the point of view of aesthetics and technology, this kind of change expands the creativity and originality for the screenwriters and provides the reality and vitality which haven't been found in previous films for the audience. It also elevates the quality of the movie. However, this ‘illusionary spectacle' has a vulnerable point that shows the aura and details of the movie soundly for the audience.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.181-186
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• 1997

If you compare recent works in small commercial places along with the terms such as Post-Modernism, Late-Modernism, and Dismantling, to those of 60's and 70's, you will discover for sure that recent works try to model individually with 'surface'. Expressing the responses to the multilateral cultural desires is available through the organization of surface, so are the re-presentationsof classic notions by adding decorations to the vertical walls, which are different from modern constructions that have persisted on only space itself as a main point. These trends are various organizing techniques with forms, decorations, materials, color etc. and made the surface modeling develop. What a 'surface element' means as a concrete notion in a design process in a commercial place is enormous. So, it implies lots of notions and logic, and can be a strong message-conveying means as well as an expressional language. At this point of view, the research was limited to Facade, which is treated as a creational object to a designer all the time in order to study what kind of system the surface organization has in a small commercial place. This is to find out what kind of system the designer uses to make the spatial images, orders and forms through surface, but ultimately it is to discover the designer's basic tecniques that he or she uses when planning. To sum up, we have studied the meanings of the composition and the changes of the organization of Facade to analyze the organizing techniques in Pasad in a small commercial construction which designers planned as material. We have also investigated the organizing techniques of surface by examining and analyzing the elements of Facade organizing techniques, i.e. its form, decoration, material, pattern and color.

• Journal of Science of Art and Design
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• v.1
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• pp.189-226
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• 1999

The purpose of this paper is to examine the common characteristics of late 20th century interior design style and the post-modern thinking system. A period has its own predominant spirit which determine the tendency of art, and the ubiquitous power in the spirit decides the period's pattern of art. Therefore the interior design style belongs to general art sphere that has its own individual character derived from the dominant power of the controlling system. Paying special attention to this understanding, the auther has processed this paper by combining the post-modem thinking with special characteristics of each of the 20th century interior design style. Until now, researches have been focused on the individual style of post-modern design; however, a general research comprising the whole characteristics of expression has not been made. Accordingly, the rationale of emphasizing the general point of view is establshed. Also, this study suggests a model applicable to studies concerning other art area. This type of methodology is receving more attention as an approach investigating new art ideology for researching post-modern thinking and late 20th century art styles. The conclusions are as follows: First, the distinctive expressions of postmodernism appear to be characteristic of illusion, metaphor, pluralism, decoration, and symmetry, Those of late modernism appear to be the characteristic of complicated simplicity and symplified complexity, passiveness of symbolism and harmony, indeterminacy of form and space, and unintentional decorativeness. And the characteristics of deconstructionism are spatial difference and temporal defferal, and un-reductive and non formal abstractiveness of the space, unfinishness, chance, and secretiveness of individual style. Second, the disinctive expression seems to share common characteristics with postmodern thinking. The best examples are pluralism, non-formalism, populism, and historicism, originating from the deconstruction of 'meta-narrative'. Third, based on the second conclusion, general distinctive expression could be simplified as chacteristics of plurality, hybridity, and indeterminacy. These expressive chacteristics appear to be automatically connected with general postmodern thinking. Last, in consideration of the above conclusion, the extreme generality could be distinctively clarified as 'textural co-exsistence'. Accordingly, the author might confirm that 'textural co-existence' originated from the text that comes from postmodern thinking. In conclusion, design expression of late 20th century interior design accepts the ?universal theme of ubiquitous postmodern thinking. And universal expressions and supreme generality can be common analysis tools for understanding and studying complicated late 20th century interior design.

• Archives of design research
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• v.13 no.4
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• pp.233-242
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• 2000

The traditional image of hydraulic excavator started to change in two ways since 1990. First, post-heavy equipment's visual image was new waves to traditional image of heavy, strong, and wild. They are the negative aspect that excavators have. Another movement of getting rid of its negative image can be found in late-heavy equipment, which was intended to adapt traditional and positive, but off negative images. In 1990s, the design trend is moving from warm/hard to warm/soft, and KOBELCO can be exceptional example that went even further, gone up to cool-soft image. KOBELCO specially aimed 'post- excavator image' strategy, which has been successful. Image of cabin as a human space changed little bit further than outside image. Each company tried to differentiate the design of cabin focusing on its safety. Following paragraphs show specific trend of image change in form, colour, texture, and the composition. Major visual image change in form tries to follow the image of cars and home appliances which are showing the movement from tough and hard image to soft one. Structural change on local image shows the movement from angular edge to edgeless and the movement of cabin's pillar C placed to back of the equipment with gentle inclination. All of these movements are the result of effort to improve traditional excavator's negative image, that top structure is assembled separately, to positive ones. Today's tendency about its color becomes important to apply two different colour styles. Each style has brightness and tone comparison. As an enormous power convey system, it was in common that its brightness comparison was useful because of the alarm of its damage possibility. However, as its colour control and its design have been emphasized gradually, the tone comparison takes a part in an important role, too. As an example, there is an occasion that these comparisons are compromised simultaneously. In the respect of its image creation, its texture treatments make the tendency of being the same as passenger cars. It is caused from its development of the manufacture techniques of from the fabrication method in small business to the press method in big firm. Further, it is also because of its improvement of painting & coating skills. It may prohibit the reflection effect from solar rays. In the point of view of its visual images, it is recognized the prominent tendency that its composition has been gradually decreased. Lots of windows and the frames tends dark-colour as a whole. It is more preferred to have one colour image, but except KOBELCO and HITACHI. As well, there is another high-tendency to improve its standard treatments, especially for its corner and texture treatments.

• Journal of Christian Education in Korea
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• v.70
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• pp.141-173
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• 2022

The purpose of this study is to illuminate depersonalization in the flow of technological revolution and to present a Christian SARAMDAUM education that aims for a new human image. It represents the Christian SARAMDAUM education that adapts to, mediates, and offers alternatives to the technological and human evolutionary flow of the machine age. The purpose of education for this purpose is to aim for 'Homo Creators', creative human beings presented as a new human image in the age of technological revolution. The educational goal is to nurture creative human beings through creative interpretation, creative integration between disciplines, and personal dialogue in the post-mechanical/ post-conventional paradigm. The content of the education is a conversation with the SARAMDAUM that consiliences the characteristics of post-machine and post-convention. The educational method utilizes Edu-Tech and AIED(Artificial Intelligence in Education) to realize systemic thinking and SARAMDAUM dialogue of technology. In addition, the composition of teachers and learners, educational environment and educational evaluation is presented. The significance of this study is that from the point of view of Christian education, the identity of human beings in the era of the technological revolution has been identified, and research on the creative image of the human being is newly attempted, and the direction of Christian SARAMDAUM education aimed at this is presented. This can be said to be a Christian education that emphasizes the essential characteristics of human beings while accommodating the era of technological revolution.

• The Journal of Korean Philosophical History
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• no.43
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• pp.55-80
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• 2014

Park, Se-dang criticized or accepted Zhuxi's annotation with his own way of understanding Confucian classics. His way of understanding Zhuxi can explain through the motive of writing his book, sabyeonrok and his basic view of scripture interpretation in the book. He thought one can achieve learning from lower to upper level. That means it is good for one to study from text easy to reach and attain, grasp. But if one begin to study from text or contents hard to understand, that will make to lose the proper way or province to the value of learning. This is what Park, Se-dang's basic point of interpreting Confucian classics, called 'learning from lower to upper level.' Park, Se-dang gave high praise Cheng Hao and Cheng Yi and Zhuxi who recreated confucianism into world from darkness. He thought Cheng-Zhu school corrected confucian's ways of learning went wrong from Chinese Han. So we need to reconsider the assessment of his view as anti?post-Zhuxi. He also thought there were a lot of way to understand Confucian classics. He insisted Zhuxi's way of annotating Confucian classics was one of them, and so as his. He understood Zhuxi's thought in this way of thinking and his academic method of 'learning from lower to upper level.' Therefore to interpretate Confucian classics new way he criticised or accepted Zhuxi's way of annotating scripture though his own way of understanding Confucian classics and academic method of 'learning from lower to upper level.'

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.3
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• pp.39-50
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• 2011

This study furnishes basis data for plan foundation and proper valuation of view by presenting objective and concrete selection standards and ways of Landscape Control Point(LCP) on valuation of development projects. To sum up the results of study, it establishes the prospect, publicity and direction of view as a selection standard LCP on precedent studies. The prospect, which includes visual range, direction of view, geographical features, and visibility, sets up as a valuation basis picking out the available places which have alterations according to direction and distance in practice. In the case of publicity, to select the place as there presentative area where public activities often happen than others, thirteen evaluation indexes including administration facilities, educational facilities, commercial facilities and so on. And variation of landscape is set up as an assessment index to know how much the land has changed from the beginning to the end of development. To apply the selection standards to sample places, the preliminary LCP is founded by analyzing both the prospect and published; a series of courses for selecting the final LCP is founded by analyzing the preliminary LCP and variableness of landscape on a basic of placed which have many alterations of view. At last, in the case of a selection system for LCP, the preliminary LCP is founded by analyzing both the prospect and publicity; a series of courses for selecting the final LCP is found by analyzing the preliminary LCP and variableness of landscape. Applying selection standards and the assessment index to the Sam-deok 3 residence improvement area, in the case of prospect, the southern distant view area has the largest extent. Next, the results of the assessment using the system of publicity show that a five-lane road is taking up the largest area. Hence, a total of 48 preliminary LCPs are set up by analyzing both the prospect and publicity. The results of analyzing landscape variation, one of the valuation indexes, show that Sam-deok dong around the post office has the highest rate of variation at 28.07%. Finally, three LCPs in each part, which are close range, middle range and distance view, are selected; thus, a total of nine LCPs are selected. The selected LCPs that go through a series of practical courses like a GIS program have a lot of professional opinions and are expected to secure objectivity of landscape assessment.