• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.233-243
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• 2010

Thanks to the rapid advance of modern technology in industrial society, economic and material abundances have not only caused a variety of cultural industry to develop but also brought about the development of beauty treatment industry. Like this, the industry has continually expanded into the public rapidly by forming a new beauty trend along with the growth of mass media such as T.V, advertisement, vogue magazine, and film. And make-up is also broadening its artistic areas by utilizing various expression skills and consistently changing with beauty trends, which has influences on Make-up Illustration. As a result, it has been recognized as a new conception of 'art' expanding in interpretation of communicating with the masses under condition of modern culture and stressed in its part more and more. It is expected that Make-up Illustration playing an important role in the exchange of fashion trend information between beauty treatment industry and people will be studied in different-image-expression ways to raise its artistic value and be a useful material for research and creation activities in the foreseeable future by Make-up Illustration made of computer graphics.

• Journal of architectural history
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• v.15 no.2
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• pp.39-54
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• 2006

Focusing on the emergence of the basic course in American schools of architecture, in particular Gyorgy Kepes' courses at MIT, this paper studies the transformation of architectural pedagogy during the years after World War II. Kepes centered his architectural pedagogy on the picture plane, which was to function as the primary media for applying the principles of Gestalt psychology, that is the identification of the whole and its parts and the reciprocity between the internal human organism and the outside world. Kepes hence introduced a set of unconventional visual practices that were not readily assimilated to architectural conventions. Paralleling the establishment of the basic course, MIT also formulated a functionalist and spatial pedagogy with its two initial design studios, courses 4.721 and 4.722. These studios shared the notion that architectural design evolved from the inside toward the outside, an idea that took hold not just in the pragmatic environment of MIT's studios but also in conservative academic programs as well as in popular magazines, picture books, and exhibitions for the consumer public. The architectural surface became inseparable from the objects of art, furniture, and design, all of which were to be the generators of space. Hence, during the 1950s, the architectural surface provided a specific locus of intersection between the visual fundamentals of the basic course and the working principles of architectural design. Kepes, however, had by this time become disillusioned with architecture's potential as the medium of unity. Though he maintained the Gestalt logic of identity, he expanded it toward the goal of grander synthesis of society and consciousness freeing himself from the constraints of disciplinary instruction. In the case of Kepes, the mediating role of the picture plane was foregone in a regressive turn toward a primal, innocent, and direct experience.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.6
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• pp.21-28
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• 2008

This study deals with the participatory design process of renovating a children's park. The process should proceed with two major elements. Firstly, the children's park should be designed from the perspective of children. Secondly, it should be designed in consideration of the context of the community. This study is divided into two parts. First is the review of theory concerning the meaning and roles of the children's park as a community space, the importance of children's participation in the design and the participatory method of the children. The second is the case study. The site for the case study is Ssial Park in Nowon-Gu, Seoul. The entire process of the case study is with community participation, from identifying the park's problems to the actual construction. At every step, through the participatory programs, the community participates in the decision making. In addition, mutual understanding among participants is pursued through diverse means of communication. The following results of the case study were found. Firstly, diverse participatory programs and the active trial to enable the community to communicate contribute to the sense of ownership and responsibility concerning the park Secondly, the community can negotiate the differences in opinions without needing the help of experts. Of course, there are limits in the case study, such as the fact that the community organization, which is the core of communication and maintenance concerning the park, is not organized through the process of a case study. Another is that more diverse methods, which inform all community members of the participatory process, should have been used.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.184-193
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• 2021

Interactive documentary refers to a new style of documentary that is created and accepted through active interaction. It is attracting attention as a platform that forms a public sphere and mediates audiences to participate in social change. However, the possibilities was not systematically explored, and there was insufficient consideration on how to realize them. In this paper, discussions on the political aesthetics of Walter Benjamin are examined, and the media characteristics of interactive documentary are analyzed through text mining. Then, by connecting the two to each other, we draw a map of the political and aesthetic possibilities, and based on the map, we analyze the actual works. This study has the value of establishing a theoretical framework for the possibilities of interactive documentaries. In the follow-up study, we will consider the practical strategy of interactive documentary as a transmedia activism and develop a practical analysis and planning methodology.

• Journal of The Korean Association For Science Education
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• v.27 no.9
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• pp.796-808
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• 2007

There are various definitions of Science Culture nowadays. In this study we redefine Science Culture as a union between Science and Culture. We also develop the Framework of Science Culture Indicator (FSCI). which consists of five fields; History of Science, Philosophy of Science, Literature and Art of Science, Scientific Social Activity and Scientific Media. In this study we also investigated the level of the Science Culture of secondary school teachers, and compare them by teachers' majors: Science, Liberal Arts and Social Studies. To analyze the data, the Kruskal-Wallis Test is adopted. It is found that there are significant differences in the level of Science Culture by teachers' major, and the group of science teachers has the highest level of science culture.

• Cartoon and Animation Studies
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• s.46
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• pp.85-106
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• 2017

With the media's shift into the digital era in the 2000s, comic book publishers attempted a transition into the new medium by establishing a distribution structure using internet networks. But that effort shied from escaping the parallel-page reading structure of traditional comics. On the other hand, webtoons are showing divers changes by redesigning the structure of traditional sequential art media; they tend to separate and allot spaces according to the vertical scroll reading method of the internet browser and include animations, sound effects and background music. This trend is also in accordance with the preferences of modern readers. Modern society has complicated social structures with the development of various media; the public is therefore exposed to different stimuli and shows characteristics of differentiated perceptions. In other words, webtoons display more relevant and entertaining characteristics by inserting sounds and using moving texts and characters in specific frames, while traditional comics require an appreciation of withdrawal and immersion like other published media. Motions in webtoons are partially applied for dramatic tension or to create an effective expression of action. For example, hand-drawn animation is adopted to express motions by dividing motion images into many layers. Sounds are also utilized, such as background music with episode-related lyrics, melodies, ambient sounds and motion-related sound effects. In addition, webtoons provide readers with new amusement by giving tactile stimuli via the vibration of a smart phone. As stated above, the vertical direction, time-based nature of animation motions and tactile stimuli used in webtoons are differentiated from published comics. However, webtoons' utilization of innovative techniques hasn't yet reached its full potential. In addition to the fact that the software used for webtoon effects is operationally complex, this is a transitional phenomenon since there is still a lack of technical understanding of animation and sound application amongst the general public. For example, a sound might be programmed to play when a specific frame scrolls into view on the monitor, but the frame may be scrolled faster or slower than the author intended; in this case, sound can end before or after a reader sees the whole image. The motion of each frame is also programmed to start in a similar fashion. Therefore, a reader's scroll speed is related to the motion's speed. For this reason, motions might miss the intended timing and be unnatural because they are played out of context. Also, finished sound effects can disturb the concentration of readers. These problems come from a shortage of continuity; to solve these, naturally activated consecutive sounds or animations, like the simple rotation of joints when a character moves, is required.

• The Korean Journal of Archival Studies
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• no.74
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• pp.45-78
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• 2022

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government's indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa's past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa's official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people's memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.

• International journal of advanced smart convergence
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• v.9 no.1
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• pp.54-62
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• 2020

According to the Ministry of Health and Welfare, "Status of Registered Persons with Disabilities", the number of people with disabilities is 2,494,460 as of 2015. The lowest rates of children with disabilities were intellectual disabilities (23%) and mental disorders (33.3%). The highest rates of screening were blindness (97%), heart failure (94.4%), and hearing impairment (92.7%). 65.2% of visually impaired people who have already had a disability at the time of marriage, and the remaining 34.8% can be thought to be the cause of high incidence of disability after marriage. 'SID (Seed in the Dark)' project was designed to recapture the visually impaired parent's desire for attachment and the space difficulties of the blind who want to be a normal parent to their children through a visual impairment of a father with 7-year-old daughter. Using Gear VR(Virtual Reality), the general public was able to feel the surroundings as if they had no vision and focused on the hearing. Especially, We expressed the sound wave visually and added the hilarious game element which grasps the terrain of the maze by sound wave like a 'blind person who perceives the surroundings by sound' and catches up with daughter. People with disabilities who are far from mental illness often have a form of family with children. The fact that the rate of childbirth is high means that there is relatively little problem in daily life. It is wondered that the rate of blindness among the visually impaired, which accounts for 10% of the total disabled, is the highest at 97%. This is because, in the case of the visually impaired, the obstacle is often caused by aging, accidents, or diseases due to inherited causes rather than the visual disorder. In particular, However, the fact that there is an obstacle in vision that accounts for 83% of the body's sensory organs causes other difficulties in the nursing process of children who are non-disabled. Parents do not know the face of child when their visual impairment is severe. Parents are extremely anxious about worry that they will be lost or abducted if their children are not by their side. And that the child recognizes the disability of his or her parents other than the other parents easily and takes it as a deficiency. Since visually impaired parents are mentally mature parents with non-disabled people, they may want their children not to feel deprived of their disability. The number of people with visual impairments has been increasing since 2001, and people with impairments often become disabled. In addition, there is much research on the problem of nondisabled parents who have children with disabilities, while there is relatively little interest and research on the problem of nondisabled child rearing of parents with disabilities.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.1-16
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• 2020

Busking culture which is a element of Urban Amenities is spreading rapidly in the field of public art culture with the change of media environment. However, the lack of a proper institution and policy to manage the negative aspects of it continue to lower urban amenities and make the conflict among stakeholders. The study aims to increase the advantages from the domestic busking culture and derives suggestions to develop the institution and policy for the soft landing of the busking culture. Applied methods to achieve the research objectives are an in-depth interview and overseas case analysis. The result of analysis is as follows. Stakeholders related to the busking culture in South Korea has presented very strongly and concretely in aspect of policy or institutional improvement. In addition, based on the analysis of oversea cases, the researchers have proposed three ways for settling down a proper busking culture: the busking permit system, the management system for professional buskers, and the civil complaint management system through time and noise restrictions.

• Trans-
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• v.15
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• pp.81-104
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• 2023

This paper analyzes the danmu phenomenon with the concept of participatory culture proposed by Henry Jenkins. Unlike other comments, Danmu is a function that allows users to post anonymously while watching a video, and comments posted at that time are immediately displayed on the screen and can be viewed by other viewers. The service was first launched by Niconico. In this paper, the danmu phenomenon in the Chinese video platform Bilibili is analyzed by focusing on three aspects. First, in terms of creative sharing under collective intelligence, we explore how users create their own creations and share them with other users through danmu. Second, in the collaboration model under public participation, the method and meaning of collective cooperation through users' interaction is dealt with. Third, in terms of financial support of commercial capital, the influence of danmu videos to create commercial profits is analyzed as a case. In addition, the negative aspects and challenges of participatory culture in Bilibili are analyzed. Negative aspects such as participation gap, copyright infringement, excessive use of danmu and problems of anonymity were reviewed, and major challenges to realize the potential of danmu as a participatory culture were suggested. This paper comprehensively analyzes danmu using research methods such as literature review and case studies, and through this, tries to derive insights on how participatory culture and danmu interact and evolve in modern society. Danmu, as a participatory medium, is an important tool that promotes individual and collective creation and interaction, and is pioneering a new boundary between the media industry and its users.