• (The) Research of the performance art and culture
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• no.18
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• pp.171-199
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• 2009

This paper started with my effort to find connections between Empty Hands, which was put on the stage at the Mime House in Chuncheon, Gangwon Province, and Jindo Ssitgimgut. The mimist Yu Jin-gyu(58) adopted so many elements from Jindo Ssitgimgut for his performance that I felt that it was the pantomime version of Jindo Ssitgimgut. Of course, the pantomime took the form of gut based on shamanism in terms of story. Watching the pantomime, I once again saw the possibility of developing Korea's cultural archetypes into cultural contents. Helen Lannaghan, the art director of London International Mime Festival of 2005, saw his performance at the conference of Chuncheon International Mime Festival and invited it to the London International Mime Festival praising that it's full of Korean elements, minimalist, and modern at the same time. In fact, Empty Hands, which boasts great harmony among the Korean objet, Oriental thoughts, Samulnori, and Western contemporary mime, was invited to many foreign festivals including the Mimos International Mime Festival in 2000, Polish International Mime Festival in 2001, Mongol's International Mime Festival in 2002, and Belgium's International Mime Festival in 2003. In addition, it's recognized for its artistic values and had a chance to shine in another international setting at the London International Mime Festival whose reputations have been worldwide. All those achievements are the result of Yu's constant effort to reflect Korean elements through his movements. What I saw in his pantomime was the possibility that plays based on Korea's cultural archetypes such as Jindo Ssitgimgut could play an important role as a global content of performance culture. Pursuing the possibility further, I analyzed the factors that brought the worldwide recognition to Empty Hands and searched for the ways to create solid storytelling with Jindo Ssitgimgut and make a huge hit on the international stage. It should be noted once more that the pantomime Empty Hands launched Korea's unique performance culture to the world stage by making great use of the traditional Korean cultural contents.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.6
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• pp.1-15
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• 2015

Changgyeongwon emerged as pleasure grounds following the creation of a museum, zoo and botanical garden in Changgyeonggung Palace during the Japanese colonial period. Pleasure grounds offer space for entertainment and have maintained the image of a paradise apart from reality. This study examined the creation process of pleasure grounds within a royal palace and the following spatial changes. By analyzing the image of Changgyeongwon as an artificial paradise, this study explored its landscape and cultural aspects. Literature reviews on the intention and process showed that the Changgyeongwon pleasure grounds were created as a 'royal garden' for the amusement of Sunjong, as well as 'public pleasure grounds' in the process of colonization. It was one of the first public spaces open to everyone who could afford the entrance fee. The layout of Changgyeongwon was studied by a comparison and analyzation of modern plans and photographs. It was composed of the central museum zone, northern botanical garden zone, and southern zoological garden zone. A conservatory and greenhouse to exhibit and maintain tropical plants were intensively built in the botanical garden zone while an aviary was created on the zoo pond. In the vicinity of the aviary a vivarium was constructed. Museum exhibition facilities included a main building as well as existing buildings, and a western flower garden was created between the buildings. Space for children including a playground and horse-riding course were created in the 1930's. The paradisiacal image and pleasure grounds culture of Changgyeongwon were studied as follows. Firstly, it shows that Changgyeongwon's paradisiacal image where rare animals and exotic plants were open to the public was promoted by the zoo and botanical garden. This led to the creation of new popular leisure activities such as flower appreciation and animal watching. Secondly, Changgyeongwon offered an urban leisure space, symbolizing the 'non-urban nature within the city' where the urban residents could escape from the daily routine. Thirdly, Changgyeongwon was known for its 'fantastic night landscape' by its night opening during the cherry blossom season. This cherry blossom viewing at night sadly degenerated by various shows and drinking, and as a result, an image of a deviant paradise was given to Changgyeongwon. Changgyeongwon contributed to creating a new space with its diverse facilities, and the public embraced the urban culture through experiences of pleasure and entertainment.

• Journal of Families and Better Life
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• v.24 no.1 s.79
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• pp.159-179
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• 2006

Each ethnic group has different cultural backgrounds and each culture has developed with its own traditions. The interaction between different cultures is getting more active through acculturation and cultural contacts. The purpose of this study was to compare domestic living of Korean immigrants with Australians in the form of a Cross-Cultural study. For this, usage of domestic space and seating style of 52 Korean households and 53 Australian households in Melbourne were analyzed. Ethnographic research with questionnaire was used. The results of the research were as follows. 1. The most popular type of Living-Dining-Kitchen arrangement was L+ K. D for Koreans and L. D . K for Australians. 2. A laundry room was indispensable for both and they all wanted to do ironing in there as well as dry. Both were satisfied with the type which toilet was separated from the bathroom Drain hole on the floor of the bathroom was not indispensable for most Koreans and Australians. 3. Koreans and Australians were doing various activities in living area and both were getting together around kitchen(dining) area. The particular thing of Koreans was that they were using the main bedroom with multiple purpose. 4. The seating style of Koreans and Australians belong to chair-seating style generally. But Koreans were using floor seating style in making bed for the guest and making Kimchi. Koreans and Australians were using mixed style of floor seating and chair-seating in relaxing time with watching TV, treating guest or so. 5. Koreans were not satisfied with using carpet cause of dust but Australians were satisfied with the carpet cause of warmness. 6. Most Koreans and Australians were take off shoes inside of the house. Koreans were organize shoes around the front door of the house usually and Australians were organize shoes in bedroom usually. 7. The most popular heating system was ducted heating for both. The level of satisfaction about ducted heating was low for Koreans because they though that it could contaminate air. Australians were satisfied with ducted heating because they though that this one was fit on the weather of this area. 8. Living room was the most important one for Koreans and Australians and they also thought it should be decorated well for entertaining guests. Most Koreans were estimate that the brightness of the light of the house was not enough but it was estimated to moderate for Australians on the contrary.

• Journal of Internet Computing and Services
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• v.18 no.4
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• pp.43-50
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• 2017

Embedded System includes touch, GPS, motion, and acceleration sensor, and can communicate with neighbor devices using wireless communication. Because Arduino with embedded system provides good environment for development and application, developers, engineers, designers, as well as artists, students have a great interest. They utilize Arduino in the robot, home appliances, fashion, culture and so on. In this paper, we design and implement a game using Arduino with embedded system which recognizes the human movement by moving away from one-dimensional game of the existing touch method. Implemented embedded system game measures gyro-sensor to recognize human movement and detects the attack success of the opponent by using touch sensor. Moreover, health of the game player is updated in the real time through the android phone-based database. In this paper, implemented embedded system-based game provides GUI screen of android phone. It is possible to select watching mode and competition mode. Also, it has low energy consumption and easy to expand because it send and receive data packet through recent Bluetooth communication.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.4
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• pp.51-61
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• 2012

Kyong-Eui Railway used to be one of the major cross-country railways connecting Busan and Shineuiju. Being the central axis of logistics and transportation in Korea, it also signifies a symbolic meaning of the people's desire for the unification of divided Korean peninsula. A steam locomotive that had stopped in Jangdan Station was bombed out during the Korean War. The locomotive has been neglected and covered with rust in DMZ over a half century, and now is becoming a historic reminder of divided Korea. The initial design approach was based on the three main perspectives of the relocation plan of the steam locomotive in Jangdan Station which is designated as the registered cultural asset no. 78: historical significance, role of a monumental space, and influence on and from the local culture and tourism. Three design subjects were especially highlighted which would represent the identity of the cultural asset, the stream locomotive. First, a vertical watching deck was installed to provide various view points toward the locomotive while ensuring the security of visitors as well as the cultural asset. Second, the Dokgae bride area has good design potentials being on the railway. However, the site is too narrow. Thus, a new ramp and a stairway were placed responding to the existing topography so that the pedestrian environment could be secured last, to respect the local context where the locomotive was originally located, mulberry trees in the locomotive were transplanted as well. Flowering plants were planted around the display area for better ventilation to minimize the negative impact on the locomotive.

• The Journal of Art Theory & Practice
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• no.13
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• pp.35-71
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• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• The Journal of Fisheries Business Administration
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• v.49 no.1
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• pp.51-66
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• 2018

During the Joseon period, the East Sea would be called 'Gyeonghae' due to a large number of whales. In the Republic of Korea, whaling was locally permitted in 1946. However, the number drastically dropped because the hunting of the marine mammal had already been carried out in Russia, the U.S. and Japan since 1800s. Before a moratorium on commercial whaling was introduced by the International Whaling Commission(IWC) in 1986, whale populations in the East Sea had plunged. Furthermore, Korean gray whales and fin whales weren't found anymore in that area. With the suspension, whale hunting was banned in Korea as well. Even so, accidentally caught whales have been allowed to be distributed on the market with respect for local food culture. With the establishment of Whale Museum and hosting of the 57th Annual Meeting of the International Whaling Commission(IWC) at Jangsaengpo in 2005, whale tourism was facilitated in earnest. This whale tourism has been operated by Nam-gu Office and Nam-gu City Management Corporation in Ulsan. However, the popularity of whale tourism has increased a demand for whale meat. At the same time, there has been concern over decrease in whale populations because of illegal whaling. In addition, a conflict between the use and protection of whales has caused confusion in tourism identity. Actually, there is a serious doubt on the sustainability of whale tourism due to the decade-long deficit and excessive investments. This study attempts to define a concept of whale tourism and propose a future direction for the sustainable growth and development of Korea's whale tourism industry after developing such comprehensive assessment indicators as a basic research for the introduction of sustainable whale tourism. To achieve the aim of this study, AHP(Analytic Hierarchy Process) was chosen as a main research tool and the factors were ranked by a comprehensive analysis of principal factors and detail factors. The current study showed the following results. First, ecological environment(0.430) was indicated the most important factor of whale tourism assessment indicators. Moreover, Population(0.1302), Action for Cetacean protection(0.1031), Governance(0.0898) were critical factors. On the other hand, Accommodations(0.0085), Whale meat(0.0088) were unimportant factors than others.

• Journal of Digital Contents Society
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• v.9 no.3
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• pp.399-412
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• 2008

The 21st century has been changed into a knowledge-oriented society, which means our society is more dependent on information and moves toward information. The mixing of broadcasting and co mmunication prevails and it makes possible a new type of broadcasting service. Depending on that, a broadcasting is being changed into a consumer-oriented service to satisfy the demands of consum ers in a new media age. It makes us attain to the personal media age to be possible interactive com munication unlike existing one-way transmission. As a result, new complex media are commercialize d and the instance is DMB. DMB is said 'my own TV' or 'TV in my own hands'. But it has limit t o retransmit existing broadcast programs. So hereafter, DMB broadcasting must be produced with co ntents suited its properties out of retransmitting existing contents. It is necessary to analyze exactly properties and service fields of DMB media to make an establish production direction of contents for DMB. This paper intends to suggest overall optimized image-contents production direction including appropriate program developments, a proper running time, visual expressions such as a camera angle and walking etc... DMB contents suited with its properties will give more familiarities to DMB users. Besides, DMB is expected to be a new culture watching broadcasting.

• Archives of design research
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• v.17 no.3
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• pp.343-352
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• 2004

Under the production system of a free market economy, the modern consumers'goods that feature current trends reveal diverse aspects of the whole society and culture. This phenomenon is progressing at such a rapid speed that theories can barely keep up to explain it dearly. It is believed that the reason for the lag in academic theories is the formation of pluralistic values in human lifestyles due to the development of science and information communication. The pluralism of values in contemporary society is being studied in many academic fields, and the design among these fields often sees such a phenomenon as one of the post-modernism concepts, where post-modernism suggests a diversification and dismantling of modernism. In other words, the current design is closely watching products that are totally different from existing products, from complex and conceptual outcomes in the field of design to products that reflect various trends. Thus, it is true that package design, which proactively reflects current trends, freely traverses among specific domains of various fields that have been determined tacitly. It is also believed that other fields are also reflecting the same developments. Such a phenomenon is strikingly revealed with so-called 'fancy products', while other products 'parody' package design. This study sees the phenomenon as dismantling the border between product design and package design. The examined package design reflects the broader characteristics of the times, based on current concepts and meanings, after reviewing design examples.

• Journal of the Korea Convergence Society
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• v.12 no.5
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• pp.267-274
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• 2021

This study was designed to investigate the variables affecting Chinese university students' selection factors for Korean drama. Participants in this study were 379 university students from Hunan Province, China. An online survey program(www.wjx.cn) was used to collect data for this study. The tool of this study was 'a tool for measuring the selection factors of Korean Dramas', and it was composed of two areas: completeness of work and recognition. The results of this study are as follows: First, the completeness of work factor are higher than the recognition of Korean dramas by Chinese university students. Second, there are differences in the factors for selection Korean dramas according to the gender, grade, age, major, and Korean Drama watching frequency of Chinese university students. Third, when Chinese university students select Korean Dramas, their preferred genre influences the selection factors for the level of work completion and recognition. Finally, it was discussed according to the results of this study, and suggested for the qualitative re-leap of Korean Dramas in the global era. In order to expand the Korean Wave market in China, cultural contents must be developed to embrace the sentiment of Chinese university students, a propagation strategy that reflects the latest consumption trends of Chinese youth must be established, and the sophisticated visual beauty of Korean Dramas must be realized.