• Archives of design research
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• v.16 no.3
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• pp.111-122
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• 2003

We must not consider a culture as means of economy. Specially, it is not possible that is supposed to incorporate a cultural identity in a shape of product, but also international competitiveness can not be raised by it. Because an identify is based on the system of symbol such as language, it can be understood only in a same cultural area. While, the value-in-use of technology can be accepted universally as a formative language of international style. Therefore, the competitiveness of design will say as a special quality that can be acquired in connection with technology. For instance, that Korean mobile telephone could be recognized worldwide is not because it has the Koreanized shape but has a high technology. The public have only a superficial understanding about design. Because that is limited in the visual aspect of product, so called 'the pretty design', which exclude the value-in-use and the organic correlation of form and function in general, it may be a cause of socio-ethical dysfunction. It is providing an elbowroom for making a mistake that can regard the product design as an artistic experiment and try to raise the international competitiveness simply with the visual aspect. And the distorted understanding about design has been diffused rapidly owing to spread of black box products because the over-designed shape is known to the public as a proper result of designing. That reorganize the design category will do as a starting point that can get rid of such a misunderstanding, and do to achieve an ideological role of design for human and society. And it will be a warning to the moral slackening that is due to regarding a style as means of competitiveness and the blindness due to thinking culture as means of economy, and we may expect to offer a basic understanding about design which can prevent products from being visualized.

• Archives of design research
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• v.19 no.5 s.67
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• pp.313-322
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• 2006

Among many modelling factors which consist of a screen, a form brings a child's psychological response, according to its being drawn and expressed shape, and would be defined as a visual descriptive method which transmits the relation between the subject and background by a story content and the circumstance and emotion of characters in the story. In this study, to analyze how an expressed form on a screen works to a child visually and psychologically, I, first have examined how differently a child's perception development and its experience to the form is come out by the age of a child, and have found that it influences on a child's originality and creativity development, visual and psychological thinking development, and the stimulation on dream and imagination. And I have examined each characteristic by discriminating the expressive style of the form into a reproductive, a simplified, an exaggerated and a distorted form expression, and by utilizing it as substantiative data through the 1st and 2nd stage, have analyzed responses and preferences according to a style of a child's expression form. In conclusion, I have considered that the analysis result through the substantiative study would be a help not only to the form expression which is based on an illustrator's personality and creativity, and also would be utilized in the effective expression method study and experiment of students who learns the illustration.

• Journal of Korean Ophthalmic Optics Society
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• v.9 no.1
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• pp.19-27
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• 2004

The purpose of this study is to survey spectacle wearers's way of thinking through the questionaire and to investigate their wearing conditions through fitting conditions, the pantascopic angle, vertex distance, the coincidence of vertical and horizontal distance between optical center of the lens and pupillary distance of the eye in random selected 150 ametropic corrective wearers in the age of 17 to 19. The results are as follows : 1. The most popular causes of physical complaints in the ex-wearing spectacle are frame pressure(34.0%), slipping forward(30.0%) and most popular visual complaints are blur vision(30.0%) and asthenopia(20.0%). 2. The most common physical or visual complaints in the present wearing spectacle are slipping forward(30.0%), pressure (50.0%), color(10.0%). 3. Myopic glasses wearers accounted for 56.7% of the subjects, the others were compound myopic astigmatism. In 60% of the subjects' binocular diopter did not coincide. 4. In the pantascopic angle of the both eyes coincide in 66.7% of the subjects. The average of pantascopic angle is $10.07^{\circ}$. 5. In the vertex distance of the both eyes coincided in 65.3% of the subjects. the he average of vertex distance is 13.6 mm. 6. Among 150 eyes with monocular, the vertical distance between optical center of the lens and pupillary distance of the eye is within the RAL-RG 915 that is tolerance of ophthalmic dispensing in German Standards in 82 eyes (54.6%). 7. Among 150 eyes with monocular, the horizontal distance between optical center of the lens and pupillary distance of the eye is within the RAL-RG915 that is tolerance of ophthalmic dispensing in German Standards in 86 eyes(57.3 %).

• Journal of Oriental Neuropsychiatry
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• v.23 no.1
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• pp.1-15
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• 2012

Objectives : The objective of this study is the Basic research for mind and body cure protocol construction through the Sim(心) study at Buddhism Medicine, Constitutional Medicine, and Oriental Medicine. Methods : 1. The Sim(心) in Buddhism is a target of spiritual culture and subjective awareness of An ascetic person in interior psychology. In this research, the Sim(心) has been modified within a concept of Early Buddhism and You-sic in order to have medical logicality. 2. Since the study deep into Sim(心) within Confucianism has various aspects, each Confucian's theory argument or era. We limited the significance of the Sim(心) to be associated with the category of the Sim(心) in Sasang Constitutional Medicine which is a product of practical Confucianism. 3. The criteria of debate for the Sim(心) is based on the "Hwang-je-nae-gyoung", because "Hwang-je-nae-gyoung" is founded to definite the term regarding spirit or mind in Oriental medicine Results : 1. "Hwang-je-nae-gyoung" which came from thought of You-Sic, thought of Taoism, and Early Buddhism becomes the theoretical basis for the Sim(心) in Buddhism Medicine, Sasang Constitutional Medicine, and Oriental Medicine. 2. The Sim(心) in the mind psychology of Buddhism Medicine, Sasang Constitutional Medicine, and Oriental Medicine has active aspects. but the visual thing // There are visual aspects being contrasted with 'Sim(心)' of mind psychology and aspects of activity in Buddhism medicine, Sasang constitutional Medicine and Oriental Medicine; which are 'Hrd', 'Hrdaya', 'four-large' 'five base', 'chin, chest, navel and abdomen', 'head, shoulder, waist and buttocks' consisting 'the body', and the heart and 'four interorgans' from the study of symbolical interorgans). In Buddhism Medicine, Sim(心)'s Epistemology is the most extensively understood fact about 'Sim(心)', and for Sasang Constitutional Medicine and Oriental Medicine. 'Sim(心)' is limited as an 'Element' that comprises the body. 3. The Functional area of the Sim(心) in the Buddhism Medicine, Sasang Constitutional Medicine, Oriental Medicine is composed with 'consciousness(意識)' 'manas-vij_na(末那識)', '_aya-vij_na(阿賴耶識)', 'mind greed(心欲)', 'Li(理)' and 'Sin(神)', about the interpretive area of 'Sim(心)', 'Sin(神)' of Oriental medicine is the most comprehensive concept, and on the side of the depth of 'thinking' and 'consciousness', '_aya-vij_na(阿賴耶識)' from Buddhism Medicine in the key point. 4. The Sim(心) in the Buddhism Medicine, Sasang Constitutional Medicine, has the positive and negative aspects, such as the 'Dukkha(煩惱)' and A merciful heart or Human Sim(心) and Taoism Sim(心).

• Journal of Hospice and Palliative Care
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• v.11 no.2
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• pp.91-98
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• 2008

Purpose: This study was undertaken to compare perceived stress and coping patterns, and their effects on depression between cancer patients and healthy adults. Methods: A descriptive design was used with 278 subjects, consisting of 139 cancer patients and 139 health adults, living in an urban area. All participants completed the following prerequisites; Stress Visual Analog Scale, Ways of Coping Checklist (W.C.C.L), Depression Index (CES-D), and Demography and Disease Data Questionnaire. Results: Perceived stress and depression were significantly higher, while wishful thinking was lower among cancer patients than healthy adults, after adjusting for education and family income which were not homogeneous between the groups. Among cancer patients, 20.2% of depression was mainly due to seeking support (10.7%), perceived stress and education, while 30.7% of depression in healthy adults was due to perceived stress, problem solving, and seeking support. Conclusion: These findings suggest that interventions to manage depression in cancer patients should include strategies to best foster positive coping patterns and reduce perceived stress.

• The Journal of Art Theory & Practice
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• no.7
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.6
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• pp.171-184
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• 2017

The designers pursue the thoughtful and wide thinking through the accumulation of knowledge and cultivation of insights for making use of high-level design philosophy and language. The purpose of this study is to investigate characteristics of concept figuration types based on designer's 'memory' in landscape design. The results of this study are as follows. First, the design idea starts to be based on the language and image memory of the designer. The figuration types are composed of the verbal and visual view which are representative communication means. Second, the verbal concept figuration of landscape design consists of two types. The symbolic language of the title as a design theme can be a 'phrase', and it should have a hierarchial balance between the master and the sub. 'Descriptive shape of conceptual scenario' is a text that expresses the concept narratively in order that the reader virtually experiences designed landscapes. Third, visual concept figuration of landscape design is divided into three types. 'Simple visualization of a diagram' is easily embodied through a simple graphic using symbols, comments, images and key words. 'Concept sketch and shape of core idea' is useful to grasp the core of the idea such as physical element, form attribute of space and spatial relation at the initial phase of the concept. 'A collage and montage that create a new shape with a combination of images' are a collection of materials and images that provide a new perspective. These are tools to depict them in a compressed way after recording landscapes phenomenon.

• Journal of Digital Convergence
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• v.19 no.1
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• pp.315-325
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• 2021

The value and importance of Gamification has intensified as the way Gamification is applied to social networking applications has added to users' interest and involvement to the product. Gamification entails the adoption of gaming techniques and modes of thinking in non-gaming domains to elicit user engagement. To this end, the paper draws on Gamification's analytical model, Octalysis, with the aim of identifying user loyalty of the three major Chinese social networking applications and extracting their characteristics. In this regard, the first task in the advancement of the study is to establish an understanding of the components and characteristics of Gamification within the context of available examples. Next, a questionnaire survey covering China's three dominant social applications, WeChat, QQ, and Xiaohongshu, is administered and their user loyalty is examined through Octalysis's eight analytical frameworks. By virtue of analysis, the results demonstrate that the three elements of game mechanics, Point, Badge, and Leadboard, which are external to the game, fail to sustain the user loyalty, but are merely a means to an end. Only by including a combination of social application features, contents and user needs can Gamification considerations be maximized to ensure that users are subjectively engaged with the product.

• Journal of the Korean Home Economics Association
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• v.50 no.7
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• pp.67-79
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• 2012

This study analyzed the characteristics of morphing in fashion design through the documentaries on morphing and fashion. The characteristics of morphing in fine art, media, and design area were categorized as reversible metamorphosis, sequential dissolve and blurring of interpolation boundaries. The results were as follow in fashion design. Reversible metamorphosis showed an automatic silhouette transformation by remote control, the metamorphosis of folding method by wearer's own movements and the automatic silhouette transformation by the air pressurizing method. It represented the thoughts of omnipotence as in the feeling of the magical world, the human desire for control in life, the rationalization of magical thinking and imaginative power, the creation of a new dress space and the extension of dress function. Sequential dissolve showed juxtaposition in the same area by the time order, juxtaposition in virtual space through the computer graphics, the series of fashion photography by steel cut of the dress making process and the blending of digital film and fashion design. It represented the approach for the storytelling of fashion show, implication of creative fashion design process and the creation of organic forms and the feeling of fantasy through artificial technology. The blurring of interpolation boundary showed an overlay of different fabrics with transparent boundaries, an overlay of different patterns with transparent boundaries and the blending of fabrics through the visual mixing of color. It represented the obfuscation of the object, the connotation of the space order, the connotation of the extensive and various meanings and the integrative property of objects.

• Archives of design research
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• v.12 no.3
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• pp.43-52
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• 1999

For Bauhaus, the vaious typography experiments developed around the printing workshops, and it was only in the later Weimar Period that L. Moooly-Nagy, who came to be in charge of the rxinting workshops, approached it from the functional way of thinking and demanded print type reforms Using this as the basis, a new form of typograph called "typophoto" was developed by combining images and characters together using photography techniques and Bauhaus Unification Chaacter producyion. Harbert Bayer, striving at molds based on the ideologies of L. Moody-Nagy, prepared the framework for modern informational advertisements by producing a variety of advertisements based on several law of psychology and physiology. Bayer's successor, Joost Schmidt focused on lettering based on functionalism and typographic training and practice, while pioneering in the new area of display design wiwh efficient usage of space for exhibitions a1d dsplays. Thus, despite being carried doWl by the same leader in the sane era, the series of typographic experiments undertaken by the artists Bauhaus present guidelines to the direction modern visual communication must take through creativity and insight into the upcoming future that is not contained within the boundaries of traditions and customs.and customs.