• The Journal of Art Theory & Practice
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• no.2
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• pp.49-74
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• 2004

It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or 'visual Culture Studies' insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered 'tradition-less'. It does not mean that a work of art stands aloof from the past attainments, hut modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, an historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should he reexamined now. Because artists' concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.

• International Journal of Knowledge Content Development & Technology
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• v.12 no.3
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• pp.7-17
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• 2022

Media improvisation among lecturers in colleges is inevitable because of insufficient media resources for utilization. The study investigated media improvisation in the state -owned colleges of education in the South-West, Nigeria. The study is anchored on Media Richness Theory. Stratified sampling technique was adopted to select 812 lecturers. Media improvisation scale (r = .71) was used for data collection and T-test statistical method was adopted for data analysis. The result showed that there was no significant differences between media improvisation of Art/Social Science and Science lecturers (Crit - t = 1.96, Cal. t = 821, df = 278, p>.05) and that of lecturers in the School of Art/Social Sciences and Vocational/Technical Education (Crit. t = 1.96, Cal. t = .136, df = 276, p>.05). Significant difference did not exit between that of the Schools of Languages and Education (Crit. t = 1.96, Cal. t = 1.946, dif. = 288 p<.05) . It is recommended that media improvisation of lecturers in schools should be encouraged and improved upon.

• Journal of Institute of Control, Robotics and Systems
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• v.20 no.3
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• pp.372-379
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• 2014

This paper surveys past and state-of-the-art SLAM technologies. The standard methods for solving the SLAM problem are the Kalman filter, particle filter, graph, and bundle adjustment-based methods. Kalman filters such as EKF (Extended Kalman Filter) and UKF (Unscented Kalman Filter) have provided successful results for estimating the state of nonlinear systems and integrating various sensor information. However, traditional EKF-based methods suffer from the increase of computation burden as the number of features increases. To cope with this problem, particle filter-based SLAM approaches such as FastSLAM have been widely used. While particle filter-based methods can deal with a large number of features, the computation time still increases as the map grows. Graph-based SLAM methods have recently received considerable attention, and they can provide successful real-time SLAM results in large urban environments.

• Journal of Oriental Neuropsychiatry
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• v.17 no.3
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• pp.77-85
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• 2006

The Mandala art therapy is used as a clinical method for helping patients to perceive their internal existence and to maintain harmonious between body and mind. Despite the fact that Mandala is congruous with the oriental philosophy, there are few studies that approach Mandala from the view point of the oriental medicine. Method : This study looks into the Maudala art therapy from the perspective of Yin-Yang Wuxiug(陰陽五行) and examines the possibility of using Mandala art therapy in the oriental medical practice. Results : In Analyzing the symbols of Mandala, the lines can be interpreted in terms of Yin and Yang, and the preferences for colors and the style of expression can be interpreted in terms of the body organs associated with colors and emotions in Wuxing. In addition, the clinical effects of Mandala, such as body-mind harmony and self-examination, are congruous with the Suncbeondo(先天圖) of the oriental medicine primer. Conclusion : The Mandala art therapy bas a potential to be used for medical diagnosis and treatment in the oriental medicine. Therefore, it is necessary to research and develop various Mandala art programs and assess their effectiveness through applications to medical cases.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.4
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• pp.623-630
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• 2017

This paper surveys the state-of-the-art in korean commercial Internet of Things(IoT) services for deriving the core elements of a curriculum for major courses of IoT using RaspberryPi3. First, we survey the state-of-the-art of IoT researches and commercial services in three korean major telecommunication corporations such as Korean Telecommunications (KT), LGU+ Telecommunication (LGT), and SK Telecommunication(SKT). Second, we consider the components and advantages of the RaspberryPi3 which is popular as a representative educational tool. Concludingly, this paper derives the core elements of curriculum for major courses of IoT using RaspberryPi3 from above both processes. The corresponding elements consist of platforms, hardwares, softwares, and big-data network. Based on the important design elements of the IoT curriculum using Raspberry Pie 3, we taught embedded system course to junior students for one semester. It was successfully completed and more than 90% students were satisfied with its contents and amounts.

• The Journal of Art Theory & Practice
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• no.4
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• pp.7-32
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• 2006

This study is about the cultural policy related to fine art under the U. S. Military Government in Korea(USAMGIK), from September 8, 1945, to August 15, 1948. Drawing on the previous studies of Korean art history in the 'Liberation Period', this study especially concentrates on intention, attitude and activities of the USAMGIK. Particularly the historical documents, stored at the National Archives at the College Park, Maryland, U.S.A., were valuable to do research on the cultural policy of USAMGIK. The cultural policy was subordinated to the political objectives of occupation that can be summarized to building a stronghold of anti-communism in South Korea. Under the U.S. Military government control, cultural matters were assigned to the Cultural Section, the Bureau of Education, which later turns into the Bureau of Culture, the Department of Education. The Bureau of Culture dealt with matters of the ancient Korean art treasures and of the Korean contemporary art. USAMGIK reopened the Korean National Museum which had been closed by the Japanese since the World War II period. After that, U.S. Department of State sent arts & monuments specialists to South Korea for investigating ancient Korean art and culture. Although some of the destructed art treasures were restored during the occupation, th ere were many negative cases including intentional destruction of historic sites or loot of art treasures by U.S. army. In contrast to their interest in the Korean antiquities, USAMGIK payed little attention to promoting the Korean contemporary artists and their arts. USAMGIK distrusted and suppressed the artists of leftism, while they kept good relations with the pro-American artists and the right-wing artists. In conclusion, the visual-cultural policy of USAMGK was mainly planned and carried out in order to preserve the national interest of the United States. This period produced long-term effects on the fine art and visual culture of South Korea, in terms of institution, policy, and reorganization of art community based on anti-cummunism.

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.1
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• pp.89-101
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• 1993

The Russian revolution and the successive "art into production" atmosphere provided a unique model of a strict inter-relation between social process and innovative process in the taste. Influenced by CUBISM, RAYONISM and SUPREMATISM emerged in Russia around the time of Russian revolution and gave way to CONSTRUCTIVISM, based on Tatlin's theory, which played a vital role to combine art with social committment. One of the first question to be established after the revolution was the function of art within the new society. First, it should be propagandistic and empahsise the benefit of the new state. Secondly, art could take on an affirmatory role putting foward ideal views of the society as example to be disscussed and followed. Thirdly, the Constructivists' view, "Death to Art" was their slogan. Their view was that the artists' work in the new society was to be based on the material value and beauty in fuction as this alone could be consistent with the aesthetics of Marx and Lenin. It sould be pointed out that among the various applied arts, textiles and clothing design were considered one of the most important role in propaganda and in support of the new socialst ideas. Traditionl handicrafts provided a repository of popular images and folk art continued to assert an influence on the textiles and clothing design after the revolution. Constructivists, such as Stepanova and Popova, went to the factory as direct answer to the invitation for the art-industry rapport. Thematic or propagandistic designs were directly connected to the daily life and national transformation.

• Journal of Fashion Business
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• v.3 no.1
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• pp.159-175
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• 1999

In literature, a description of costume represents an individual's characteristics when the object is an individual. If the literary object is a certain group in a certain region, it would play an important role in representing the culture of time. It clearly shows that aesthetic consciousness of Hyo-Suk Lee who had accepted the western dandyism was well expressed in his literary works. Hyo-Suk has been unique in describing life-styles such as beauty of costume, art-for-art's sake, and leisure activities, and color imagery in his works. The color and the style of the costume show us the mental state of the wearer. They also affect the emotional states of other people. Hyo-Suk's "Pollen(화분)" and "Byukongmuhan(벽공무한)" confirm the fact that the mentality of the people can be hinted through the description of costume. They also ascertain that the color imagery retained by a special color can be altered by different circumstances and settings. Hyo-Suk applies in his works the effect of vivid color contrast, which newly appeared in Fauvism, to the description of costume. In consequence, he reflects the color aesthetics of Modern Art in which the fine art has an effect on the applied art.

• The Journal of the Korea Contents Association
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• v.20 no.11
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• pp.314-322
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• 2020

The purpose of this study is to investigate the state projects related to psychological sentiment for child and youth in Korea, examine the current status of art treatment-related projects for child and youth, and seek ways to improve them, focusing on projects supported by the Ministry of Health and Welfare, the Ministry of Gender Equality and Family, and the Ministry of Culture, Sports and Tourism. The results examined through this study were firstly, mental health promotion projects conducted in the public sector in Korea are mainly carried out on consignment to affiliated organizations, and are promoted not only for diagnosis, mediation, and therapeutic intervention but also for care and prevention. Second, psychological and emotional support projects are being attempted with various approaches such as reading, playing, gardening, and art, and art therapy is actively used as a part of art programs. In addition, it is suggested that the government should provide efficient welfare and utilize it as a common goal through linkage and cooperation with other ministries for the continuous and stable implementation of state-led psychological support projects. In addition, it is hoped that this research will be used as a research material to explore specific strategies for effectiveness of national policy projects on the overall psychological sentiment of child and youth.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.59-67
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• 2012

Eugenio D'Ors, the writer of 'Lo Barroco' called Baroque in the 17th century as the ultimate nostalgia of humanity we can see anywhere, and when our exclusive mental state, classic consciousness, is weakened, countless things within self get to be expressed without limitation. He defines this as Baroque ego. In other words, the abyss of a being is expressed within self, and it gets to come into the abyss of art and be settled in it. Thereupon, this study focuses on the characteristics of such effects of abyss expressed in Baroque art to amplify the depth of space in art and architecture and also its productive effects and considers in what types the abyss gets to be expressed in art and architecture. As a result, it shows nonlinear characteristics whose outline of the model and structural body is invisible, depth resulted from overlapping, unity from formal repetition, and temporal continuity from movement. In other words, formative elements which extend the unit area of space conceptually can be summed up by nonlinearity, overlapping, unity, and movement. Also, in art and architecture, this accelerates men's emotional functions and at the same time, has productive effects to extend space visually. Baroque abyss can be seen as a proper solution to overcome problems which modern architecture implies ultimately, that is, the limitations of area definition.