• The Korean Journal of Elementary Counseling
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• v.4 no.1
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• pp.85-98
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• 2005

This study aimed at examining an effect of a group art treatment program on isolated children's self-concept and adaptation to the school life in an elementary school. To achieve this goal, the two hypotheses were made. Hypothesis 1. Children in the experimental group that participated in the group art treatment program will show more improvement in self-concept than those in the control group. Hypothesis 2. Children in the experimental group that participated in the group art treatment program will show more improvement in the ability to adapt themselves to the school life than those in the control group. To test the hypotheses, the socio-emotional isolation test developed by Heo Seung-hi (1993) was carried out with 120 third-graders at K elementary school in Busan; then, 24 isolated children (12 boys and 12 girls) at the upper 25 percent level were randomly sampled and assigned to each of experimental and control groups. The five-stage art treatment program as a reconstruction of the prior study to meet the goal of this study was provided to children in the experimental group at the researcher's classroom after school for 13 sessions, two sessions per week. The self-concept test manufactured by Song In-seop (1996), the school life adaptation test developed by Lee Yeong-seon (1997), and the experimental group's school life drawing (KSD) were used to test an effect of the program. For data analysis, two methods, a quantitative analysis of two tests and a qualitative analysis of KSD, were used. The findings were as follows: After implementing the art treatment program with the experimental group, there was significant improvement in all areas. This study concluded that if a group art treatment program is applied to elementary school practice, it will help isolated children improve their self-concept and ability to adapt themselves to the school life.

• Journal of Korea Game Society
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• v.20 no.1
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• pp.3-12
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• 2020

This paper proposes a structure based on a production method of concept art focused on the player's experience through a module by using the game aesthetics of the MDA framework. And also a partially automated process established in concept art production by using the 'Adobe Color image color extraction' as a tool in the work production process. This paper proposed a work process of not just a personal expression but a systematic molding expression to use, and this could see as the various possibilities of game concept art productions.

• The Journal of the Korea Contents Association
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• v.12 no.8
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• pp.178-186
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• 2012

This study examined the concept-forming process of Design-Art and based on it, drew the significance of Design-Art. Design-Art is generated by the policy cultivating star artists and star designers so as to pioneer new art-market in 1990s in the foundation of anti-area formed by Postmodernism in 1960s. It started to be vitalized while designers were born as author. At the same time, because of the information's popularity by internet's propagation, users started to manufacture and propagate contents volunteerly. Meanwhile, designers accepted artistic value so as to guarantee independent position, so the area of Design-Art became more strengthened. Therefore, Design-Art means 'design as an art' and Design-Artist obtained general meaning, 'designer as an author'. In 2000s, it secured variety because of the acceptance of existing art galleries' Design-Art works and forming of new Design-Art market such as Design-Art fair, and vitalization of the market played its own roles with the movement to create new-concept of design in design ecology. Based on the contents, this paper analyzed Design-Art works by Design-Artists working actively in actual field and examined the possibility of future development of Design-Art.

• Korean Institute of Interior Design Journal
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• no.26
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• pp.104-111
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• 2001

This study deals with the expressive characteristics of Installation Art and their applicability to environmental design, and as such, aims to specify a artistic methods from the contemporary art. What Installation Art is search of in their works is "the state of relationships" which is "to replace the concept of form with that of structure, and the concept of space with that of the environment" that is, the terms of relations in the overall environment of time and space. Installation Art essentially relies on a multiplicity of forms and attitudes leading to projects which positively make use of "spatial-temporal process" to reaffirm and "problematise" their open-endedness manifest in complex contextuality and shifting temporality. This study presents a new interpretation of spatial-temporal dimension, site-specificity, and intermedia art that we find in Installation Art and tries to combine that new artistic insight a with environmental design to provide a basis for integrated art. This study places a great emphasis on the interdisciplinary approaches to the environment we inhabit, which I hope will contribute to generating a greater number of creative possibilities for environmental design.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
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• v.39
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• pp.27-55
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• 2008

The concept of non-conformity is stipulated at Art. 35, CISG. According to the Art. 35, there is no directly stipulated concept of non-conformity. But Art. 35 said that the Seller must deliver goods which are of the quantity, quality and description required by the contract and which are contained or packaged in the manner required by the contract. Accordingly, the concept of non-conformity contains the conformity of quality, quantity, description, delivery of different goods and documents. Art. 39 does not specify the form of notice required. So parties can require a particular form by agreement. If there is no agreed form of notice, buyer' s notice must be sent by means appropriate in the circumstances. And Art. 39 states that the required notice of lack of conformity must be given to the seller. Notice of defects conveyed by the buyer to an independent third party is not found to have been given by means appropriate in the circumstances. And Art. 39 is subject to the parties' power under Art. 6 to derogate from or vary the effect of any provision of the Convention. When determining which requirement must be satisfied by the buyer is specifying the nature of any lack of conformity, a mixed objective-subjective standard should be applied, which has regard to the respective commercial situation of the buyer and the seller, to any cultural differences, but above all, to the nature of the goods. Also to determine the specificity requirement is to satisfy the purpose of notice of lack of conformity.

• Journal of the Korean Institute of Intelligent Systems
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• v.13 no.2
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• pp.237-242
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• 2003

In this paper, we propose a new adaptive intrusion detection algorithm based on clustering: Kernel-ART, which is composed of the on-line clustering algorithm, ART (adaptive resonance theory), combining with mercer-kernel and concept vector. Kernel-ART is not only satisfying all desirable characteristics in the context of clustering-based IDS but also alleviating drawbacks associated with the supervised learning IDS. It is able to detect various types of intrusions in real-time by means of generating clusters incrementally.

• The Journal of Art Theory & Practice
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• no.7
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• pp.65-87
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• 2009

• Journal of the Korea Furniture Society
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• v.22 no.1
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• pp.42-53
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• 2011

This article aimed at identifying the concept of 'artistic-quality' of furniture and presenting the concept of 'artistic-quality based furniture creation' as the future direction of furniture design. For this, the authors approached to the theoretical background of the concept of artistic-quality, and then examined the prospect of practical application of the concept by analyzing the tendencies in today's art furniture. In this light, 'artistic-quality' of furniture could be understood as a quality that triggers the designer's venturous spirit throughout the process of furniture creation, so that the designer keeps seeking for the novelty and innovation in his experimental design and process. The feature of the current tendencies of art furniture in terms of the expression and effect, which could explain this venturous spirit of artistic-quality based furniture creation, could be summarized as follows; first, High-touch: Furniture that exemplifies the artistic-quality by specific texture of handmade quality, second, High-feeling: Furniture that arouses the new feelings and new concepts of furniture structure & function by experiments on new abstract forms of furniture, and third, High-mentality: Furniture that leads us to the sphere of subtle aesthetic recognition and mentality with its specific poetic expression and sensibility.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Journal of the Korea Furniture Society
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• v.20 no.4
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• pp.290-306
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• 2009

This article aimed at broadening the view on 'the concept of function' in furniture design. In this context, we argued that the established concept of furniture function has confined itself to the rational perspective, so that the emotional action and influence of furniture hardly regarded as an important issue in furniture design, and this has been a hinderance to multidirectional discussions on the meaning of furniture in our life. Starting from the investigation on the basis that forms the different dimensions of our experience of furniture, we clarified that we should view the meaning of furniture within a wider sphere where the actions of furniture on our perceptional, behavioral, and emotional levels are inclusively considered. In this light, 'emotional function' of furniture was defined as a concept that explains a multidimensional action of furniture, which leads creative aesthetic experience which enrich the interplays between designer, furniture, and user. The feasibility of the concept has been examined by an analysis on the characteristics of contemporary Art Furniture, which is experimental approaches towards various aesthetic values of art and design. In order to realize emotional function of furniture, furniture should become an experiment for the new perception and emotion; invite more of the user's interplay and action in the meaning-making process; and arouse emotional echoes and reflections within user's mind.