• 한국실내디자인학회논문집
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• 제17권1호
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• pp.84-92
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• 2008

In the Relationship between exhibition space and art work in museum, new paradigm has being presented from 1990' s as a turning point. Even if the formal exhibition space that emphasizes itself as a background has currently being continued, the informal exhibition space is coming to the new art museums, especially after 1990's. This study is to understand how the advent of informal form of space in an exhibition of art museum makes a new paradigm in the relation between the exhibition space and art work in conjunction with public's perception after 1990' s that is identified to the time of Pluralism. To do this, the study raised a question on how the public perceive the relation between space and art work through photographs that contain the information on relation between space and art work. And the questionnaire performed through the curators who are working for art museum, students who studies fine art, students who studies design and public who comes to art museum. After survey through this questionnaire, it is made clear that the informal form of space simply has played a role of background since the beginning of art museum. In other hands, the informal form of space that is mainly presented after 1990' s begins to interrupt the public's perception of art work, changing it's meaning through a spatiality.

• 한국임상약학회지
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• 제17권1호
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• pp.46-51
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• 2007

This study was aimed to provide the controlled terminology for adverse drug reactions by selecting an appropriate internationally standardized classifications (WHO-ART or MedDRA). We collected the relevant information on ADR terminology systems including WHO-ART and MedDRA by online searching and visiting pharmaceutical companies and WHO UMC (Uppsala Monitoring Centre, Uppsala, Sweden). For MedDRA, project leader directly communicated with the officer of MSSO (Maintenance and Support Services Organization). Collecting all the pertinent information, two possible terminology classifications or systems (WHO-ART and MedDRA) were compared in the views of acceptability, cost-effectiveness and international feasibility and reviewed by the consultation committee and finally WHO-ART was selected.

• 한국학교보건학회지
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• 제23권2호
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• pp.143-150
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• 2010

Purpose: This study aims to examine what can be seen in children's paintings, their common characteristics, and what role art therapy plays in diagnosing the post-traumatic stress disorder in children who experienced trauma, through an art therapy program among elementary school students that witnessed the death of parents from a fire drill accident. Methods: A program of three times of art therapy was progressed among 34 children who witnessed a fire accident. Revised Children's Manifest Anxiety Scale (RCMAS) was used for comparative analysis of art therapy results. Results and Conclusion: First, children who had the possibility to develop post-traumatic stress disorder were found through art therapy. Second, an opportunity to express themselves were given to children who refused psychological tests or treatment through art therapy.

• 패션비즈니스
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• 제25권6호
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• pp.70-80
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• 2021

The purpose of this study is to compare and analyze the identities and roles so that they can grasp their social roles and directions. Artists show a change in identity from the deification of modern artists with freedom and genius to artists who challenge the cognitive aspect of art and redefine the scope and concept of artists by expanding their social role. Artists dreaming of an ideal art utopia, in which art, society, politics, and daily life are coordinated, are constantly presenting the social role and direction of art through the combination and challenge of new ways of art and craft, beauty and function, creative imagination, and public service. Fashion designers act as contemporary genius artists, creators who express the appearance of the times, practitioners who advocate social values and changes, members of business in the fashion system, celebrities who are spotlighted by the public at the center of the fashion industry, or fashion influencers. Thus, fashion designers are complex or selective in their role depending on the fashion philosophy of individual designers or location given within the fashion system. They are becoming the subject of creating the culture of the times by expressing social ideology or playing a role in practicing art in life that leads social culture so as to raise the value of fashion in their development and satisfy cultural enjoyment of fashion consumers who consume art in everyday life.

• Journal of Preventive Medicine and Public Health
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• 제57권3호
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• pp.252-259
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• 2024

Objectives: This study investigated factors associated with the retention of people living with human immunodeficiency virus (HIV) on antiretroviral therapy (ART) during the first 3 years of treatment. Methods: A retrospective study using electronic health records was conducted at a tertiary hospital in Jakarta, Indonesia. Adult HIV-positive patients who started ART from 2010 until 2020 were included. A binary logistic regression model was used to identify factors associated with ART retention in the first 3 years. Results: In total, 535 respondents were included in the analysis. The ART retention rates for the first, second, and third years were 83.7%, 79.1%, and 77.2%, respectively. The multivariate analysis revealed a negative association between CD4 count when starting ART and retention. Patients with CD4 counts >200 cells/mL were 0.65 times less likely to have good retention than those with CD4 counts ≤200 cells/mL. The year of starting ART was also significantly associated with retention. Patients who started ART in 2010-2013 or 2014-2016 were less likely to have good retention than those who started ART in 2017-2020, with adjusted odds ratios of 0.52 and 0.40, respectively. Patients who received efavirenz-based therapy were 1.69 times more likely to have good retention than those who received nevirapine (95% confidence interval, 1.05 to 2.72). Conclusions: Our study revealed a decline in ART retention in the third year. The CD4 count, year of enrollment, and an efavirenz-based regimen were significantly associated with retention. Patient engagement has long been a priority in HIV programs, with interventions being implemented to address this issue.

• 예술경영연구
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• 제60호
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• pp.155-191
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• 2021

본 연구의 목적은 문화예술 인식에 따른 문화예술 경험이 문화예술 소비성향에 미치는 영향을 분석하고자 함이다. 이에 문화예술 소비자의 경험을 통해 나타나는 소비성향은 문화예술 마케팅 전략을 효율적으로 전달하는 것이라고 정의하였으며, 문화예술을 향유하는 소비자의 행동을 측정하였다. 분석방법은 다음과 같다. 먼저, 문화예술 소비자의 경험과 소비성향을 설문조사하였으며, 연구자료는 판단표본추출법을 이용하여 분석하였으며, 사회적 거리두기로 인해 온라인 설문조사를 통해 분석하였다. 분석결과, 행동, 감성, 관계요인이 쾌락적 요인에 유의한 영향을 미치고 있었으며, 행동, 감성, 감각, 관계 요인이 과시 요인에 유의한 영향을 미치고 있고, 행동, 감성적 요인은 계획적 요인에 유의한 영향을 미치고 있었다. 이를 통한 시사점은 첫째, 관계요인이 전반적인 소비성향에 부(-)의 영향을 나타내고 있는데, 이는 사회적 거리두기로 인해 문화예술을 향유할 때 소비자의 불안감이 표출되었음을 시사한다. 둘째, 문화예술을 제공하는 아티스트에게 양질의 컨텐츠를 제작할 수 있도록 기업 및 소비자로부터 후원이 필요할 것으로 사료된다. 향후에는 문화예술을 향유하는 소비자 뿐 아니라, 문화예술을 제공하는 공급자, 아티스트간의 관계를 고려하여 연구한다면 문화예술 생태계를 보다 심도 깊게 이해할 수 있을 것이라고 사료된다.

• 미술이론과 현장
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• 제14호
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• pp.87-124
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• 2012

This paper focuses on the social implication of new media art, which has evolved with the advance of technology. To understand the notion of human-computer interactivity in media art, it examines the meaning of "cybernetics" theory invented by Norbert Wiener just after WWII, who provided "control and communication" as central components of his theory of messages. It goes on to investigate the application of cybernetics theory onto art since the 1960s, to which Roy Ascott made a significant contribution by developing telematic art, utilizing the network of telecommunication. This paper underlines the significance of the relationship between human and machine, art and technology in transforming the work of art as a site of communication and experience. The interactivity in new media art transforms the viewer into the user of the work, who is now provided free will to make decisions on his or her action with the work. The artist is no longer a godlike figure who determines the meaning of the work, yet becomes another user of his or her own work, with which to interact. This paper believes that the interaction between man and machine, art and technology can lead to various ways of interaction between humans, thereby restoring a sense of community while liberating humans from conventional limitations on their creativity. This paper considers the development of new media art more than a mere invention of new aesthetic styles employing advanced technology. Rather, new media art provides a critical shift in subverting the modernist autonomy that advocates the medium specificity. New media art envisions a new art, which would embrace impurity into art, allowing the coexistence of autonomy and heteronomy, embracing a technological other, thereby expanding human relations. By enabling the birth of the user in experiencing the work, interactive new media art produces an open arena, in which the user can create the work while communicating with the work and other users. The user now has freedom to visit the work, to take a journey on his or her own, and to make decisions on what to choose and what to do with the work. This paper contends that there is a significant parallel between new media artists' interest in creating new experiences of the art and Jacques Ranci$\grave{e}$re's concept of the aesthetic regime of art. In his argument for eliminating hierarchy in art and for embracing impurity, Ranci$\grave{e}$re provides a vision for art, which is related to life and ultimately reshapes life. Ranci$\grave{e}$re's critique of both formalist modernism and Jean-Francois Lyotard's postmodern view underlines the social implication of new media art practices, which seek to form "the common of a community."

• 대한가정학회지
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• 제46권6호
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• pp.61-73
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• 2008

The purpose of this study was to examine the effects of group art therapy on maternal parenting stress and self-efficacy. The subjects of the study included 16 parents of elementary school students who participated in a group art therapy program offered at B Education Center, Pusan. Eight parents who wanted to receive parental education were allocated into an experimental group, While the other eight parents were regarded as the control group. Mothers in the experimental group participated in the group art therapy program which discussed parent education theories. This Program was composed of 17 sessions, performed once a week for one and a half hours. Research tools employed included parent stress test and parent self-efficacy test. The following results were obtained: Group art therapy was found to bring about a statistically significant decrease in parenting stress. Group art therapy was also found to bring about a statistically significant increase in parent self-efficacy. These results suggest that a program which integrates various parents education theories, within a group art therapy setting, can become an effective parent education tool which decreases maternal parenting stress and increases parent self efficacy.

• 셀메드
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• 제9권2호
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• pp.5.1-5.2
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• 2019

Which will have a greater impact on life, love or art? We will focus on Hyang-ryun An, a genius singer. There was a genius singer who was recognized by many people in the world of Korean music. It is said that genius is short-lived, and so is the case of Hyang-ryun An. However, it is a pity that her short life was not caused by artistic anguish and conflict, but by her miserable love. For the poor artist, the patron was a force to sustain her artistic career, but for her, love with the person who fit her will was more important. Although poor and troubled, she wanted a fiery love that shared her temperament. Therefore, in the case of Hyang-ryun An, art was long, but love had a terribly short and deadly power. In the end, a love that goes astray drops a genius artist, dangerous love became the triumph of permanent immutable art.

• 미술이론과 현장
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• 제6호
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.