• Journal of Fashion Business
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• v.22 no.4
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• pp.20-29
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• 2018

Today, visitors of art galleries like to share their life in their communities than interacting with artwork. Meantime, image sharing of an exhibition on social media has become more important than actual watching of the artwork. Accordingly, most of the galleries have started paying more attention in organizing an exhibition environment for proof-shots to attract more visitors. We initially conducted research about the internet environment from the late 1990s to the recent years and analyzed the changing watching patterns of the exhibition since the advent of social media. Secondly, for empirical case analysis, we selected 'Plastic Fantastic' held in D-Museum as the target of analysis. The analysis targeted 500 recent postings that were discovered on Instagram on March 4, 2018, as 'Plastic-Fantastic'(in Korean). The methods of analysis included classification types of image, hashtag, and text on Instagram and were arranged in an order of relation to the exhibits. Based on the image analysis, 44.2% of the images involved exhibition displays; the others included a person or other goods. Based on the results of the text and hashtag analysis, only 3.6% of posting included information about the exhibition and 56.4% had non-related inflow hashtags only with image. The behavior of these shares is likely to gradually lose the inherent meaning of the exhibition and to the value rather than imparting the artistic thrill that viewers derive from art. Exhibition should try to seek deep interaction between the display, audience, and social media users, rather than encouraging the visitors to take proof-shots.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.2
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• pp.63-69
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• 2002

The Second Namsan Tunnel required renovation. The landscape design was conducted as part of the comprehensive programs for renovation. The landscape design covered site analysis, design development, a working drawing and a maintenance plan. In May of 2001, the Second Namsan Tunnel was renovated and reopened to traffic. The tunnel was recreated as a new type of tunnel with function and beauty. The entrance and retaining wall of the tunnel has public character. Users are greatly affected by the entrance and retaining walls along roads. The landscape architect had to find new materials and methods to improve the environment and to combine artwork with the entrance and walls of the tunnel. The surface of the tunnel entrance and retaining walls are artistically treated with ceramic tiles and paint. Various regional characteristics and cultural meaning are symbolically expressed. Or the tunnel entrance from the Joong-gu side, entitled "Glory of the Future", the hibiscus symbolizes the bright and glorious future of Korea. On the retaining walls, entitled "Hope", the promising Joong-gu is symbolized through image of Korean magpies, mountains, rocks, roses, winds and nature. As for the tunnel entrance from the Yongsan-gu side, entitled "Vivid Spirit", pine trees symbolize the Koreans′strong will and an enterprising spirit. On the retaining walls, entitled "Lively Motions", Yongsan-gu is symbolized through image of pigeons, mountains, rocks, roses, winds and clear skys. The entrance and retaining wall of the Second Namsan Tunnel, whose surfaces are treated with tiles and paint with artistic value, would create an atmosphere using large-scale wall paintings. In this artwork, users would perceive a unique sense of place through the symbolic images of the vertical planes of the tunnel.

• Journal of Korean Academy of Nursing
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• v.47 no.1
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• pp.71-85
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• 2017

Purpose: The purpose of this study was to develop a deeper understanding of the experience of mothers caring for children with epilepsy. Methods: Data were collected through individual in-depth interviews and observation from 12 mothers of children with epilepsy. Data were collected from December, 2014 to February, 2015 and analyzed using van Manen's hermeneutic phenomenological methodology to identify essential themes of their experience. Results: The essential themes that fit into the context of the 4-existential grounds of time, body, other people, and space were: Lived time-ongoing influence of the past, living in insecure present, fearful future with no answer; Lived body-bonded body, burned out state; Lived other-burden but also support, shrunken down; Lived space-narrowed range of activity, widened horizon. Conclusion: The findings in this study show in-depth understanding of the hardships of mothers who are caring for children with epilepsy. The beauty and greatness of these mothers are revealed through the analysis of various phenomenological materials such as literary and artistic work reflecting socio-cultural context, as well as vivid care experiences of mothers of children with epilepsy. This will be helpful in increasing understanding of the nature of caregivers' experience for medical professionals dealing with patients and caregivers. Also it helps to improve the understanding of the disease among the general public, followed by a more warming and caring attitude towards patients and family members. Finally, it will enhance psychological well-being and overall quality of life of the epileptic children and their families.

• Journal of Forest and Environmental Science
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• v.36 no.1
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• pp.47-54
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• 2020

A "Scenic Site" is an official heritage category legally defined as a "scenic site of outstanding artistic value with excellent scenic views." However, the subjective interpretation of the term causes several problems. This study suggested a systematic, organized process of designating a listed area as a scenic site after careful and detailed quantitative and qualitative analysis. Indicators were identified for each of the two analyses, and then scored and weighted. Quantitative indicators were distributed within 5 points for each indicator. Water, which is a natural indicator, based on distance from river boundaries. Forest landscapes were assigned in consideration of forest physiognomy and age class. Land use was allocated in consideration of land cover type and, in case of development site, '-' score was assigned. Cultural heritage conservation area, which is historical and cultural indicator, was distributed by distance within a maximum of 500 meters. Visibility, an indicator of landscape value, was assigned according to the frequency of visibility. The weight of each indicator was calculated by considering the value of each item. The weight of distribution of cultural resources is relatively high, while other items were set the same. In case of land use, however, '-' score was given according to the grade. Qualitative indicators, on the other hand, were considered terrain, landscape zone, ownership, intellectual boundary, and land category. The applicability of the proposed process and method was examined by applying the existing methods and criteria used for designating scenic spots. Opinions of subject-matter experts were incorporated in the identification of the indicators and in the result review stage. In the future, it is necessary to apply this method while designating scenic sites so as to establish an objective, scientific designation process.

• Journal of the Korean Society of Costume
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• v.19
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• pp.29-40
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• 1992

The aesthetic of traditional Korean costume has been used as one of the design themes in the field of Korean contemporary fashion design for western style clothing. Using the Korean aesthetic comes from the idea that such ethnic beauty could gain an international reputation. The beauty of the Korean costume is rooted in the particular aesthetic consciousness of the Korean people : the aesthetics of nature, personality, the evil's eye. and tradition. From an artistic viewpoint, the formative elements are analyzed into the following categories: form including line and shape, color, pattern, materials and ornaments. The aesthetic elements of the costume are transformed into present fashion design through the formative elements of the fashion ; form including line, color, pattern, materials and ornamentation. To express Korean atmosphere, adapting traditional elements such as, needle cases, hinges of furnitures, closing function of big gate are active, As a conclusion, the actual fashion design of adapting Korean beauty are so confined to the original form of Korean Dress that the results of design are tend towards ethnocentric atmosphere. Therefore, to understand and express traditional Korean beauty in contemporary fashion design, one has to keep in mind the aesthetic of the traditional Korean costume. Then one must develop and pursue one's own methods of adapting Korean beauty. The sophistication and refinement of fashion design could be accomplished only through the deep appreciation of the Korean culture. The second, the sense of International perspective is needed to be understanded and obtaining public sympathy from an international society. The third, Critics and scholars are the most concerned with promoting Korean fashion at an international level. Korean fashion at an international level. Korean fashion design will only mature with the support of scholars and the theoretical understanding they bring with them. The last, public support including government level is needed to enhence the standand of Korea fashion today.

• Journal of the Korean Society of Costume
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• v.29
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• pp.143-158
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• 1996

It was the year of 1903 when avantgarde artists in Vienna gave a birth to the Wiener Werkstaette under the influence of Aesthetic Movement and Guild of Handicraft from England. This study is on the backgrounds of the birth of the Wiener Werkstaette its artis-tic motto and world-wide echo it provoked. This thesis goes back to the time when the decadent Wiener Secession shaped up refiewing the Reform Movement It also covers characteristics works of major members of the Wiener Werkstaette which were produced on the basis of the concept of Gesmtkunstwerk, The conclusion of this study is that : 1. Without losing its own specifc features various fields of formative arts were combinded together coherently and succeeded to realize the idealistic art that is the com-posite are 2. The Wiener Werkstaette was strongly opposed to the ready-made clothes which be-came popular as the society was Industrialized and commercialized. unlike those ready-to-wear clathes those members of the Wiener Werkstaette preferred to make each clothes with different mateirals and printed their own unique pattern designs. 3.As a results of close relationships between the Wiener Werkstaette and paul poiret 'Stu-dio Martine' was established in paris and new pattern deslhns were introduced by Raoul Dufy. 4. After the break-out of World War One cultural exchanges with other foreign countries were vuirtually cut off and the Wiener Werkstaette was disconnected from the influence of Parisl That was the motive for Wiener Werkstaette to start building up its unique artistic style with peculiar materials techniques and methods of productionl Those brisk and creative activities of the Wiener Werkstaette brought forth "the Golden perlod of 1920s" 5. Its historic design and ornamental pattern were assessed as a prelude to the Post-mod-ernism Since the late 1970s with the redis-covery of the culture of vienna in 1900s. the Art to wear which was created by the 'Wiener Werkstaette' but unfortunately tucked away by the Greate Depression and nationalism has been revaluated and studied. In Korea it was since 1985 when 'the art to wear' began to gain attention widely. It is urged that the theory of the 'Gesamtkunstwerk' should be also ac-cepted and shared earnestly.

• The Research Journal of the Costume Culture
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• v.24 no.6
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• pp.839-853
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• 2016

This study proposes that Malevich's 1913 performance "Victory Over the Sun" was not just Cubo Futurism, but that it produced Suprematism in the early 20th century. "Victory Over the Sun" did away with traditional set and costume design and a call to the Russian avant garde. Therefore, this study analyzes the characteristics of set and the costume design in "Victory Over the Sun", and considers how it impacted twenty-first century fashion designers like Margiela. The results of the study are as follows: first, Margiela reinterpreted the characteristics of the costumes featured on "Victory Over the Sun" from a cubist perspective and represented geometric spatial structures and mechanical human images through changes in methods and materials. second, he designed costumes by applying to the set and costumes expressed black & white images on "Victory Over the Sun". and third, Margiela reinterpreted the warrior image using geometric forms and colors in a creative way. Contemporary fashion designers, including Margiela, express their artistic creativity through various representational and materials choices. They want to convey their subjective personality and emotional sensibility to the public by mixing and deforming existing arts like painting, sculpture, and crafts to create new images. Thus, the creative intentions of the latest fashion designers have expanded art of costume design, exemplifying the process by which art is evolves and is made new.

• Journal of Oral Medicine and Pain
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• v.42 no.1
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• pp.8-15
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• 2017

Purpose: The purpose of this study was to assess the association of vocational interest and personality with temporomandibular disorders (TMD). Methods: Four hundred and fourteen college students in Gyeonggi-do completed Vocational Preference Inventory L form and a questionnaire and collected data were analyzed by R program. Results: The percentage of subjects who responded that they had at least one contributing factor for TMD was significantly different among 27 two-letter Holland codes (p<0.05). The two-letter Holland codes of which the first-letter was social (S) (S artistic [A], S investigative [I], S realistic [R], S conventional [C], S enterprising [E]) or C (CE, CS, CA, CI) had tendency of having the relatively higher prevalence of symptoms and contributing factors for TMD. Among 6 one-letter Holland codes, the prevalence of a symptom of frequent fatigue in the jaw and a habit of gum chewing showed the significant difference (p<0.05). E code seemed to have lower prevalence of a symptom of frequent fatigue in the jaw than other codes. S code appeared to use chewing gum more frequently than other codes. High scorers on emotional instability showed the significantly higher prevalence of TMD symptoms (p<0.05) and contributing factors for TMD (p<0.001) than low scorers. Furthermore, high scorers on emotional instability had significantly higher mean scales of the number of positive answers of TMD symptoms (p<0.01) and of contributing factors for TMD (p<0.001) than low scorers. Conclusions: Symptoms and contributing factors for TMD were related to emotional instability. Vocational Preference Inventory L form might be utilized in assessing emotional factors of persons with TMD symptoms.

• Journal of Digital Convergence
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• v.16 no.1
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• pp.337-342
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• 2018

This study was started to study the artistic aesthetic value of the antique artwork which is gradually declining in the field of metal crafts. The aesthetic interpretation of the lines and faces that have been identified through previous researches has been defined as a vitality and repetitive beauty. The researchers here have tried to express the formative works which can be repeated and change. As a result, it was found that the object of inquiry which can express the aesthetic beauty felt in the simple change of the line and the face is possible without the advanced technique of the difficult technique or the molding method through the natural and gradual change of the line and the face rather than the regular repetition. Through this study, it was found that the use of future lines and surfaces could be utilized as a variety of aesthetic expression methods as molding elements.

• Journal of Science of Art and Design
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• v.2
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• pp.5-41
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• 2000

The purpose of this thesis is to study about destructive method in late twentieth Century Paintings. To do this we will consider the examples of Frank Stella and Anselm Kiefer's expressive methods. And this thesis is designed to investigate the change of the two Modes. The centering change is in the destructive manner of them, and they are traced systematically. In these chapters we will study the procedure of the destruction and specification of the Modes; the subject which contains the special element, the relation between it and the artist's willful meaning, morphological specification, symbol system formative language, subject, material and coloring way. etc. The origin of the methodology is systematically studied and the procedures of the content applicated are considered. In the special characteristics of the methodology, the special feactures it contains will be considered. The basis of the deconstructive idea from Nietsche, Derrida, Saussire, Andrew Benjamin and others will be applied to understand the two Modes of artistic methodology, and whether or not they can be tools of explaining the methodology of our time is distinguished. Next, the methodologically founded contents and concepts from Chapter#2 are related and intertwined together. The outer destructive aspect and inner destructive specification are centrally uncovered by the Interpretation. The resulting background of the Mode, the factor of destruction and central concept, along with the works, applied ideas, and pre-scholar's writings, are conjoined and explained. The characteristics of S Mode are revealed as being similar to those of Vandalic Destruction and Baroque formalistic Style, while K Mode is closely related to Iconoclastic Destruction and Neoclassical Antiformal Style.