• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.5
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• pp.45-53
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• 2017

Until now, Academic disciplines were categorized according to the standards of the National Research Foundation of Korea, and this categorization has contributed to the development of each disciplines. However, as time goes by, there is a need for a transition to the new trends, convergence. Therefore, to suggest the resolution for pre-existing phenomenon and problems, this study explored the concept and traits of narrative science as a convergence discipline and discussed its implications and tasks. Narrative Science is a human science, based on narrative epistemology, and it focuses on human's interpretation, communication, and inter-subjectivity. Narrative Science has many inner structures per trait, and it provides pre-existing disciplines with narrativistic inter-relation. It also pays attention to human's inner areas. For the development of Narrative Science in the future, it should be free from a misunderstanding as a narratology discipline or a methodology of qualitative research. Under this change, Narrative Science discipline areas should be fused in the perspective of human science, based on narrative philosophy and psychology.

• Journal of English Language & Literature
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• v.55 no.1
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• pp.83-105
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• 2009

Modern poetry begins as criticism of modernity and, by so doing, rejects its idea of time. Modernity emphasizes sequential, linear, and irreversible time and progress. Williams rejects the modern view of time, and attempts to substitute literature for history assuming that literature can take us into the immediacy of time. His poetry asserts the true moment of experience as an immediacy, of words co-existent with things. He suggests that modernity and its idea of time already led to World War I and could clearly lead to an actual, manmade apocalypse with continued technological progress. Already in the 1920s, Williams sensed that he was living in a world where such an end could come all true, which is why Spring and All, his greatest early achievement, begins with a parody of the modern apocalypse. Throughout the work, Williams criticizes "crude symbolism" and expresses his longing to annihilate "strained associations," for he believes that the metaphoric or symbolic association is related to order, the center, and the traditional concept of time itself. The metonymic model of Spring and All substitutes a self-reflexive, open-ended, and indeterminate structure of time for the linear and closed one. Instead of supplying an end, Williams only asserts the rebirth of time and attempts to arrive at immediacy while attacking the mediacy of traditional art. His characteristic use of fragmentation and abrupt juxtapositions disrupts the reader's generic, conceptual, syntactic, and grammatical expectations. His radical poetic experiments, such as the isolation of words and the disruption of syntax, produce a sense of immediacy and force the reader to confront the presence of the poem. His destruction of traditional forms, of the tyrannous designs of history and time, opens up rather than closes the possibility of signification, and takes us into a moment of beginning while disallowing temporal distancing. Spring and All, as a criticism of the modern idea of time, asks us to view Williams's work not as an ahistorical text but as a cultural subversion of modernity.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.2
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• pp.68-74
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• 2024

This thesis explores the embodiment of a performer and a character/role specifically by examining what the term character is associated with and implies in a sense of the performer's bodily training through which what happens to their body. First of all, this research begins to investigate the relationship between a performer and a character centred on the performer's bodily experience through training and/or studio work. From a perspective of a performer, the concept and practical approach of a character itself essentially includes and signifies all the given circumstance of a specific play which has to be acknowledged then inhabited through the performer's body. That is, the internal structure of the text parallels with articulating and developing the spine of a specific character which take place as the substance leads the performer's body to an organic action and/or that of way corresponding to what the character needs and wants to obtain through a series of moment on stage. Here, we argue that the purposeful action as a process and result of applying/inhabiting the substance enhances the performer's body as the whole being participates in the given environment within which his/her body can also work or function by means of the integrated oneness. Second, in a manner of the most fundamental level, both the ethic of acting and the central task of a performer remind us the significance of allowing therefore experiencing subtle bodily movement, namely, responses to stimulus from in/outside of his/her body either visible or invisible on the one hand. At the same time, such a journey of self-discovery empowers the performer to explore new potential possibilities on the other. Finally, as the research finding suggests that these practical insights are necessarily need to be acknowledged as a point of the departure through which the quality of a performer's body is also cultivated by means of the changeable wholeness in order to being on stage.

• The Journal of the Convergence on Culture Technology
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• v.10 no.4
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• pp.495-499
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• 2024

This article summarizes the importance, definition, key strategies and future directions of sustainable packaging design.In modern society, sustainable packaging design is not only concerned with environmental protection and resource conservation, but also involves economic, social and cultural sustainable development.This paper explores strategies to reduce environmental burden and promote ecological balance by using environmentally friendly materials, optimizing packaging design, improving packaging recyclability and reuse. In addition, the article emphasizes the importance of design innovation, such as adopting a simplified design concept and modular system, as well as increasing the versatility of packaging.It also explores the application of life cycle assessment in packaging design to ensure that every step from design to disposal minimizes environmental impact. Finally, despite the environmental and social benefits that sustainable packaging design brings, it still faces technical, economic and regulatory challenges in practice.Future design will require interdisciplinary collaboration, integration of advanced technologies, consumer education and engagement, and enhanced policy and standard-setting to promote widespread adoption and practice of sustainable packaging.

• Archives of design research
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• v.19 no.1 s.63
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• pp.201-214
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• 2006

Modern society is an age of vagueness and confusion. In addition, vagueness, complexity and variety are seen throughout art including modern philosophy, literature, and environmental design. A phenomenon like this shows that modern society has integrated different components as an organic relationship frequently crossing the boundary of fields. This feature can be regarded as hybrid related with accepting contradictory components and binding them into one under relationship between part and whole. As new design concept, presented are attitude to accept the two instead of attitude to select one of the alternatives, abundance instead of dearness, and ambiguity instead of simplicity. This principle has a crucial influence on creative design providing opposing contradiction and several alternative plans as non-deterministic form not completed one and, above all, useful information in mutual dependence and mutual relationship. When it comes to hybrid, therefore, a strategy is needed to consider layer of several fields getting out of standardizing space into a single space. As an event of this situation and concept, space experience means behaving freely based on experience of users' body. It can be known that this experience brings about users' more dynamic experience in comparison with the experience of seeing environmental design from a viewpoint of visual ism on the existing simplicity. Such a practical experience is subjective, synesthetic, and non-observational one. Therefore, hybrid has brought active users to the stage, which is distinguished from synesthesia felt through body's experience, not through observational attitude and visual space which achieve former balance and harmony with non-determination. That's because hybrid creatures are turning to a product resulted from creative imagination instead of from reappearance which makes text visualized. Such experience performed by user's active participation collapses the boundary between special elite-centered art and daily life and it is the present progressive form showing creation process of future events and new esthetic experience.

• (The)Study of the Eastern Classic
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• no.59
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• pp.405-428
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• 2015

Painting theorists in Song dynasty often spoke 'Li' when they talked about paintings. But 'Li' of the song dynasty is not limited to the 'ethics'. First, it includes visible 'natural's truth', such as the differences of 'geography' and 'physics' between the depicted objects. Second, it also includes 'common sense' which was based on both the observation and the thinking. The theorists thought if the 'common sense' was improper in the painting, the whole work was invalid. Thirdly, it also includes 'the reasonable sense in special situation', which requires great imagination ability and elaborative faculty. For example, when playing wind instruments and stringed instruments in the same time at the same concert, the painter should accurately draw the different gestures of musicians according to that the wind instrument is 'sound when the finger lift' and the stringed instrument is 'sound after the finger have left' in that moment. Fourthly, it includes 'art reason', theorists call it as 'ShenLi' or 'MiaoLi'. 'ShenLi' or 'MiaoLi' require the creator to join the spiritual concept besides his observation and thinking. For example, 'banana in snow' is neither observed available nor thought of available, but is the result of spiritual concept of creators for seeking everlasting. And at last, it certainly includes 'the principle of ethics'. Painters often highlighted the ethical relations of the feudal nation and the value of individual gentleman through the allegory story of figure painting and even the sudden composition in the landscape painting. 'Geography', 'physical', and 'common sense' are required the meticulous observation and the rational thinking for the painted object. And 'the reasonable sense in special situation', 'the art reason', 'the principle of ethics' are required enhancing painting style in the painting artistic conception and realm of life based on the nuanced observation, making 'technology' into the 'Tao'. This is the six reasonable increasing requirements for the painting work. Therefore, 'seeking the final reason' is the fundamental spirit of painting theory of Song Dynasty.

• Korea Science and Art Forum
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• v.37 no.5
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• pp.215-226
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• 2019

This study analyzed the healing effect of the design elements of healing environment from the perspective of environmental stress, which is one of the contents of environmental psychology. By examining the objective healing effects of the design elements of the healing environment, this study attempted to prepare a theoretical basis for contributing to the construction of a systematic and systematic healing environment. This study consists of three phases. Firstly, three environmental stress theories (Attention Recovery Theory, Evolutionary Psychology, and Environmental Stress Model) were examined to review the academic basis of which the theoretical concept of the healing environment has been derived and developed. Second, we analyzed 16 previous research on the design elements of healing environment and used them as an analysis framework of this study. Thirdly, 11 foreign studies that proved the healing effects of healing environment design elements through objective research methods were considered and analyzed as an analysis framework, and the basis for applying design elements in constructing healing environment was prepared. The research results are as follows. First, the concept of healing environment was developed from Lazarus's psychological stress theory and Ulrich's theory of evolutionary psychology, suggesting that it can be used as one of the noninvasive healing tools that affect stress reduction. Second, the healing environment design elements could be divided into 15 factors and categorized as physical environment, psychological environment, and social environment, and it was found that most of them were mentioned and studied in the previous research in order of nature-friendly, aesthetic, and openness. Third, most of the previous research on the healing effects of the design elements of the healing environment were related to natural affinity and aesthetics, and it was found that the visual elements of the healing environment could affect the actual stress reduction.

• (The) Research of the performance art and culture
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• no.32
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• pp.465-488
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• 2016

This paper attempts to read in different ways and to interpret newly on Cheoyongrang mhang-hae-sa in "Sam-guk-yu-sa". Ulsan have held Cheoyong Cultural Festival for 47 times according to "Sam-guk-yu-sa". However, there have been a frequent identity crisis about Cheoyong Cultural Festival because of controversial issue about Cheoyong, This paper interpretate Cheoyongrang mhang-hae-sa newly to overcome these crisis, Cheoyong's dancing and retreating was not the resignation and tolerance, but the treat and warning, as the dance of Namsansin god of Posukjeong, Buk-acksin god of Keumkangryung and Jisin god of Dongryejeon was the warning of Silla's ruination. 'The Mhang' of Mhang-he-sa temple should be interpreted not as 'watch' but 'fifteen days'. Mhang-he means the roads buried in darkness and vanished had become a sea. The name of Shin-bhang-sa temple means Gae-un-po province of Ulsan had become 'the newly purified region' because of the inspection of King Heon-ghang. The main keyword of Cheoyongrang mhang-hae-sa is 'Byuk-sa-jin-gyung'. 'Byuk-sa-jin-gyung' means to repel the impious and pray the pleasure. The purpose of the personal Gut and national Gut, Narae, was also 'Byuk-sa-jin-gyung'. The reinvented bridal room with a fresh life was like the world of Byuk-sa-jin-gyung. The dance of God Sa-bhang was, as well the desperate desire to New Silla. Cheoyong was a shaman with a superior authority who set up the power to foresee to the god of smallpox. The image of Cheoyong at is not the resignation and tolerance, but the foresight and authority. Therefore, the slogan of Cheoyong Cultural Festival, the resignation and tolerance, should be reexamined. The new Cheoyong Cultural Festival should adopt the concept of foresight and authority and Byuk-sa-jin-gyung. Cheoyong Cultural Festival, have been held for 49times, often had identity problems. The identity of Cheoyong have been misinterpreted as the resignation and tolerance. The slogan of Cheoyong Cultural Festival should be reexamined. The new Cheoyong Cultural Festival should adopt the concept of foresight and authority and Byuk-sa-jin-gyung.

• Korean small business review
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• v.43 no.2
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• pp.59-86
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• 2021

The platform concept has been used for business operations in various forms: product platforms, transaction platforms and industry platforms. All these platforms have common characteristics of having 'core' that is reused frequently and 'peripherals' that are less reusable and changed often. Companies use platforms to enable efficient development and creation of product family, transactions and innovation. These platforms provide new opportunities for many small and medium-sized companies (SMEs) by bringing changes to traditional industrial structures focused on the products rather than platforms. The service robotics industry in South Korea is mainly composed of technology-intensive SMEs due to its small market size. Although these SMEs succeed in developing technologies, they have difficulties creating and expanding markets to sell products. Thus, this study addresses the characteristics and problems of the South Korean service robotics industry and analyses how ROBOPRINT, one of the SMEs in the service robotics industry, successfully creates and continuously expands the service robot market by adopting platform concept. The results indicate that ROBOPRINT has been applying two types of platforms: product and transaction platforms. First, ROBOPRINT created art robots that were apartment mural service robots. Rather than selling art robots, the company developed various robots such as painting robots, building exterior wall-cleaning robots by reusing the core technology of the robots. The company also developed various robots according to the buyers request. In addition, the company used the robots to directly provide apartment mural services for customers. This mural service has been extended into various areas, not only in apartments but also in soundproof walls, underground passages, and retaining walls. Besides, ROBOPRINT added new services continuously by developing technologies such as virtual reality. Second, ROBOPRINT mediated mural service buyers and mural designers. This platform reduced buyers' workload, which necessitates requesting mural services to ROBOPRINT and searching for mural designers. For designers, this opened up new opportunities to participate in the mural business. The platform attracted both mural buyers and designers who were scattered before. Finally, ROBOPRINT seeks to expand the platform's scope to outside company. To share internally reused ROBOPRINT's technology with other companies, the company participated in Daegu city's 'New Technology Platform Industry'. Furthermore, ROBOPRINT is trying to share the service platform by leasing robots to other companies. This allows external agents to develop technologies and provide services by reusing resources from ROBOPRINT. This study contributes to existing theories by showing that SMEs continuously create and expand markets by building various platforms. Moreover, it provides useful implications for practitioners by describing the firm's specific platform-building strategy.

• Cartoon and Animation Studies
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• s.49
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• pp.611-631
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• 2017

At first there was practice, then festivals and theory followed. Compared to the animation production, which is older then the medium film itself, festivals and theory in this area started with a delay. While animation programs where shown in film festivals like Cannes since the mid 1940s, the first animation festival in Annecy, France was founded in 1960, followed by several short-lived events in Romania, Italy and Tokyo and finally in 1972 by the second oldest festival up to date, Animafest Zagreb. Animation theory evolved in the late 1980s in the Anglo-American area with associations like the Society for Animation Studies, following its 'big sister' film studies. Expanding ever since as a research area, European animation studies in e.g. France, German speaking countries, Poland or Croatia have been catching up in recent years by organizing theoretical conferences and publications. A vivid synergy between practice, festivals and theory has always been a key factor for establishing a platform for the art form and culture of animation. However, in the past few years a trend could be observed towards a more intense interaction between animation festivals and theory. Animation festivals are hosting theoretical and scientific symposia or conferences, which are open for artist positions and insights into the industry. At the beginning of the lecture a short reflection of the concept of Animafest Scanner itself is followed by an introduction of the Symposium Expanded Animation at the media festival Ars Electronica Linz. The talk will subsequently focus on the multilayered academic symposia at the Festival of Animated Film ITFS and the International Conference on Animation, Effects, VR, Games and Transmedia in Stuttgart. These case studies will reveal the blurring boundaries between art, science, theory and industry as well as the specificities of the interplay between artists, practitioners, scholars, curators and festival visitors in different formats.