• Cartoon and Animation Studies
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• s.38
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• pp.53-70
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• 2015

In industrialized societies throughout the 19th and 20th centuries, Over Produced and Mass consumption images were constantly shown to people via Mass-Media as means to provoke one's desire. Frank Mouris, the American independent animator, captured and showed the infinite nesting of industrialized image with his autobiographical story through his work (1973) and made it as an intense visual flow. This innovative art animation has broke the traditional form of narrative animation and won the Annecy Animation Festival Grand Prix and the Academy Awards in 1974. This was also selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant in 1996. This study explores and shows that how these a-half million images to express Franks Mouris's autobiographical story in could be analyzed by the concept of Walter Benjamin's 'dialectical images'. Typically, the term 'dialectic' need to be formed by contradiction or opposite concept in the basic principles, but a dialectical image of Benjamin could be formed without any opposite concept while maintaining the uniqueness of each new relationship of the past. Benjamin's dialectical images are no longer stay in the historical past, It always meets with the present when someone realizes the past in the present moment. I suggest three different aspect according to Benjamin's point of view to analyse this animated film such as 'Historical-dialectical imaging of private/collective memory', 'Reconfiguring of present through analysing the relationship between the image flows and its own time/space', and 'Old future over the existing fragment and the presence of fragment. has the great value not only to present the experimental and innovative aesthetics of animated film, but also to show an analysis of contemporary culture and social aspect in mid-20th century. This study is to explore the diversity of animation representation, aesthetics, and also to suggest a new aspect of animation studies.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.2
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• pp.105-113
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• 2015

The theory of landscape architecture applies environmental ethics in order to secure an ecological status. However, environmental ethics that focus on nature conservation excludes landscape architecture as artifacts. In the process, it is hard to identify what landscape architecture insists on as the middle position between humans and nature. Rather, landscape architecture pretends to be an 'agent of nature' and pushes the traditional moral values 'for people.' Therefore, the purpose of this study is to reestablish the anthropocentrism moral position of landscape architecture through critical analysis. Hargrove's weak anthropocentrism' of several environmental ethics branches accepts natural aesthetics(such as landscape architecture) as an ethical virtue. But environmental ethics makes landscape architecture a critical target. For that reason, this study looked into critical contents and objects that in a position to moral, aesthetic and landscape architecture. Critical details are as follows: First, nature is an absolute as an aesthetic and moral value, but landscape architecture is an imitation and takes a relaxed attitude about nature. Second, nature is full of aesthetic substance because it is self-creative, but landscape architecture is designed nature covered human flaws through imagination. Third, environmental management granting techniques in nature generate a moral nihilism. As an argument, environmental ethics overlooked the moral practices of landscape architecture beyond nature another moral aspect of creation and the imagination-and moral aspects of environmental management as 'care' because they rule out 'moral autonomy' and simplify what is considered 'good.' As a result, conservation cannot be the only virtue why the problem of nature in reality cannot be separated from human life. The moral position of landscape architecture based on a 'good life' is more appropriate under anthropocentrism than as a middle position.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.48-63
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• 2013

The results of the study on the space planning and landscape design of Unjoru(雲鳥樓) through the 'Jeolla Gurye Omidong Gado(全羅求禮五美洞家圖)' drawn using GyeHwa(界畵) technique are as follows. First, 'Omidong Gado' is believed to date back to the period when Unjoru(1776~1783) was established for the following reasons: (1) The founder, Yoo-IJu(柳爾?), sent the drawing for the house while he was serving as the governor of YongCheon county(龍川府史). (2) It shows the typical dwelling houses' space division and its location is in a good spot with mountain in the back and water in front(背山臨水) and there is every indication of scheme drawing. (3) Front gate was changed and remodeled to a lofty gate in 1804. Second, Nogodan & Hyeongjebong of Jiri Mountain sit at the back of Unjoru, and faces Obong mountain and Gyejok mountain. In addition, the Dongbang stream flowing to the east well illustrates the Pungsu theory of mountain in the back and water in the front. Third, the house is structured in the shape resembling the character 品, divided into 5 areas by hierarchical order in the cross line from all directions. The site, which includes the outdoor yard and the back garden, consists of 5 blocks, 6 yards and 2 gardens. Fourth, the outdoor yard with aesthetical value and anti-fire function, is an ecological garden influenced by Confucianism and Taoism with a pond (BangJiWonDo Type, 方池圓島形) at the center. Fifth, the Sarang yard(舍廊庭) is decorated with terrace garden and flower garden, and the landscaping components such as oddly shaped stone, crane, plum, pine tree, tamarisk tree and flowering plants were used to depict the ideal fairy land and centrally placed tree for metaphysical symbolism. The upper floor of Sarangchae commands distant and medium range view, as well as upwards and downwards. The natural landscape intrudes inside, and at the same time, connects with the outside. Sixth, pine forest over the northern wall and the intentionally developed low hill are one of the traditional landscaping techniques that promotes pleasant residential environment as well as the aesthetics of balanced fullness.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.

• Korea Science and Art Forum
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• v.19
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• pp.293-305
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• 2015

At the same time the unique cultural traits of each country are valued, it has become an essential element to establish the cultural identity of a country. This study is aimed at comparing the residence architectural cultures in East-Asia and thus identifying Korea's own unique traits by determining the application characteristics of traditional architectures of Korea, China and Japan through practical investigation of materials, a basic element of architectural shaping. Literature survey and field study were conducted in parallel for this study, and architectural buildings under investigation included Mucheomdang House in Korea, Prince Gong Mansion in China and Dokyudo Building in Japan. Construction materials in Korea, China and Japan include natural materials such as wood, stone and clay, and artificial materials such as metals, paper, roof tiles, plug and glass. and the buildings were constructed with the combination of these materials. This commonality can be often found in the architectural composition. However, in the interior composition, the choice and application of different materials were clear between three countries, which were shown to be different depending on climates, processing methods and living culture of each country. First of all, since each country selected materials under the influence of its own vegetation and climates, living environment of each country could be seen via its residence. Also, it could be seen that while Korea and Japan show a certain similarity such as the traits of standing-sitting culture and the finish of paper in the interior, China is clearly different. In particular, regarding the material processing, the artificial processing was minimized in Korea, which mainly gave rough and crude feelings while due to the use of straight timbers, the architectural representation with organized and refined feelings was made in Japan. China showed the highest percentage of artificial processing of materials among three countries, which was highly associated with the coloring culture of China. Also, it could be seen that technology related to fine architectural materials such as bricks and glass was greatly advanced in China. Thus, how immaterial elements such as natural characteristics, functionality and aesthetics were applied in relation to residence in Korea, Japan and China could be determined through the comparison of architectural materials.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.12
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• pp.1721-1732
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• 2007

This study identified types of information source, and explored a path model for consumer information search by shopping attributes in the context of online decision making. Participants completed self-administered questionnaires during regularly scheduled classes. A total of 219 usable questionnaires were obtained from respondents who enroll at universities in the southwestern region of the United States. For data analysis, factor analysis and path model estimation were used. Consumer information source was classified into three types for online clothing purchases: Online source, Offline retail source, and Mass media. Consumers were more likely to rely on offline retail source for online clothing purchases, than other sources. In consumer information search by shopping attributes, online sources were more likely to be related to transaction-related attributes(e.g., incentive service), whereas offline retail source(e.g., displays in stores, manufacturer's catalogs and pamphlets) were more likely to be related to product and market related attributes(e.g., aesthetics, price) when purchasing clothing online. Also, the path model emphasizes the effect of shopping attributes on traditional retailer search behavior, leading to online purchase intention for clothing. This study supports consumer information search by attributes, and discusses a managerial implication of multi-channel retailing for apparel.

• Science of Emotion and Sensibility
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• v.21 no.3
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• pp.115-128
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• 2018

Tibetans who live in the Tibetan highlands, the Roof of the World, have their own unique lifestyle wherein they conform to its long history, natural environment, and their own form of clothing culture. In their costumes, the use of colors, patterns and designs express religious meaning and represent the hopes and heart of life, which respects nature. This study aims to analyze the colors used in Tibetan costumes and examine the meaning of these colors. In addition, this study intends to understand the specificity of Tibetan culture through a consideration of the symbolism of the colors of ethnic costumes. By examining the literature and conducting case studies, colors of Tibetan costumes were analyzed through the I.R.I HUE-TONE system. We analyzed 96 photographs of the costumes photographed during the Tibet ceremony costume, photographs seen at the Qinghai Tibet Culture Museum and photographs from the Internet museum. The results revealed the following: First, the most important element of the costumes is connected to the five colors of JangOsaek, which gives meaning to each color. Red, navy blue, yellow, white and green symbolize fire, the sky, earth, clouds or snow, and grasslands, respectively. Second, Tibetan costumes are characterized by bold color contrasts such as red and green, black and white, red and yellow, and yellow and purple to achieve an intense harmony of colors. Third, these fancy costumes express the unique aesthetics of the Tibetan people. The primary colors follow general emotions, but they can also include their own emotion.

• The Journal of Korean Academy of Prosthodontics
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• v.58 no.2
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• pp.137-144
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• 2020

Implant-fixed prostheses and removable partial dentures are widely used as a traditional treatment method for partially edentulous patients who have lost multiple teeth. Recently, there has been increasing interest in implant-assisted removable partial denture (IARPD), which additionally obtains retention and support using a small number of implants. The IARPDs have higher retention, stability, and aesthetics than conventional removable dentures. It also has the effect of reducing the cost as well as the burden of surgery by placing a small number of implants at the edentulous site. In this case, the patient with a partial edentulous state that has multiple numbers of tooth loss in maxilla initially planned to be treated with implant fixed prosthesis. However, the treatment plan was changed to IARPD using Bar and Locator due to several factors. The clinical results were satisfactory on the aspect of esthetic and masticatory function.

• Journal of Digital Convergence
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• v.12 no.2
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• pp.151-162
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• 2014

One of the largest changes in retail business in Korea since the distribution market was opened in the mid 1990s is the appearance of foreign discount stores and the rapid growth of department stores. Discount stores and department stores have changed the structure of distribution business which has been primarily made up of traditional markets and supermarkets that have been the main retail markets in Korea. The retail business is changing from just a product purchasing place to a space where various values such as pleasure, happiness, etc. are provided. Therefore the purpose of this research is to grasp the effects that the shopping experience values at department stores have on the department brands, images, and awareness by means of theoretical and empirical research. Especially I classified the shopping experience values, an independent variable, into aesthetics, pleasures, consumers' interests, and services' excellence, and I verified whether they have a meaningful effects on the brand recognition and image, an endogenous variable, and the store royalty, a final various. A total of 235 questionnaires were used for analysis to test the research hypotheses. The positive analysis was done with SPSS 17.0K and AMOS 17.0 covariance structure analysis was performed. As a result, variables of the shopping experience values except consumers' interests seemed to have not only right influences on recognition and image, but also right influences on store royalty. Therefore this research shows that department store customers not only make use of department stores to buy products, but also visit department stores to get the values of pleasure and happiness, and that these aspects have a greater influence on the department store's image, recognition, or royalty in a sense.

• (The)Study of the Eastern Classic
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• no.41
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• pp.445-476
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• 2010

In this essay I aimed to analyze the concept of cultivation in east asian aesthetics. Most people regarded traditional asian paintings as an artwork that was obviously an artwork by artists. Moreover, they emphasized the cultivation of artists in their creation and used to accept the concept of cultivation which means cultivating one's mind. Generally speaking, to cultivate one's mind meant enlarging one's ethical behavior and he or she became a better person. And in creation, it meant considering all things more deeply. In this point of view, it was too vague to notice the meaning. What is an accurate meaning of cultivate artist's mind? What was the relation between creation and cultivation? In confucian philosophy, the concept of cultivation had two meanings. One was to enlarge one's ethical behavior and the other was to improve one's knowledge about things. The knowledge implied all of the one's experiences about things. Thus, the knowledge meant what he communicated with under his surroundings and created. In this perspective, to analyze the case of "Dohwaguenmungi" and "Limchungochi", cultivation was related to 'you(游)' and 'jing(精)'. It implied all of the artist's efforts to make communication with his objects deeper and wider, at last, he created his own meaning about object that he experienced. Therefore, I suggest that when we use the concept of cultivation in the context of creation, it should be used as the meaning related with improving one's knowledge about things.