• Korean Journal of Childcare and Education
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• v.9 no.3
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• pp.53-74
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• 2013

This study examined the meaning of creativity of children and teachers from two novice early childhood teachers' perspectives. Each novice early childhood teacher implemented a creative education program in her classroom for 16 weeks after getting a teacher training about children's creativity. At the end of each session of creative education program, each teacher had an evaluation time and wrote their reflective journals. Date sources were reflective journals, in-depth interviews, and several artifacts. The findings were as follows; 1) The meaning of children's creativity related to children's personal characteristics, such as thinking and acting differently as well as engaging fully in their current play. 2) The meaning of teachers' creativity related to teacher's personal characteristics, such as escaping from task-oriented tendencies as well as implementing with inventive flexibility.

• Journal of the Korean Society for Precision Engineering
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• v.30 no.6
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• pp.629-637
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• 2013

In this study, a theoretical analysis method was suggested for predicting forming loads of continuous deep drawing and ironing processes (D.D.I. processes) by considering back tension and continuity equation, and FEA for D.D.I. processes was performed. Dimensions of a punch and a mold on the basis of design rules for a CNG storage vessel were applied for the analysis. To verify the suggested theoretical analysis, the results of theoretical analysis were compared with both those of FEA and experiments of previous studies. As the result of analysis, the values and tendencies of the loads predicted by the theoretical analysis were in agreement with those of FEA and the experiments. So, it is considered that the analysis suggested has reliability for predicting the forming loads of the continuous processes(deep drawing+ironing(1)+ironing(2)).

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.66-73
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• 2004

If we consider the origins of new architectural language in Russian, as opposed to its social dimensions, then we are looking at quite another area of pre-Revolutionary activity: art. It was Tatlin's early ‘counter-reliefs’ which first explored the way new materials might generate new artistic form. The Basis of his art is collage and the reality of materials. In 1915, he exhibited the first of his ‘counter-reliefs’, casual montages of pieces of metal that invade the space around them, making the decomposition of the forms three-dimensional. What is not in doubt is the primacy of materials in Tatlin's art. He was a key figure in the transition from art towards design and ‘construction’, the last was accomplished with ‘real materials in real space.’After the October Revolution, one of the central myths of avant-garde was the realization of a total work of art. The progress has developed in the directions to an unprecedented creative realm, situated somewhere between painting and architecture in the post-revolutionary period. Paramount among such pioneer works was Tatlin's design for a monument to the Third International in 1919. Here In an artistic form, his investigation of ‘material, volume and construction’ was clearly embodied. In the comtemporary architecture, Tatlin's concept has been a great influence on the various tendencies of spatial expressions. For example, the architecture with concept of ex-formality has many varied aspects of space composition - dynamic forms with plasticity of concrete, ex-cubic composition with free walls, disposal composition by geometric collision and superimposition, and etc.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.126-139
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• 2009

The following study from the perspective that the identity of a brand is determined by the creative work of the designer, will review the design identity of fashion house, which have maintained a basic concept of couture house until recently. For this purpose, first, the concepts of fashion house and identity could be examined, and then the design identity of both the past couture designer and the present house designer could be comparatively analyzed. This study focused on John Galliano of Dior, and was carried out under the method of document study and case study. Based on this, the analytic results of the design identity of fashion houses are as follows. The design identity of fashion house, which has its origins in the past couture house, appears from the house characteristics, design characteristics and the design image. The original design identity of Dior House seems to be feminism and elegant extravagance, which naturally models the body line of women into diverse lines. The new design identity of Dior House by Galliano, while reflecting wit and fantasy, at the same time is expressed as sexy and romantic elegance which attempts to express the beauty of modern women. The pursue of chic elegance, which is the characteristic of early Dior design, have changed into avant garde and unique designs with tendencies of multi-culturalism due to the most recent house designers. Finally, Dior house design has successfully maintained the master of handcrafted quality based on craftsmanship, the history from the house archive, and the modern trends appropriately added by the creativity of Galliano.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.176-187
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• 2014

Although DIY(Do-It-Yourself) clothes are not popular in Korea, they continually reflect emerging DIY trends. Previous studies have approached the technical aspect of DIY clothes or have considered them only as an aspect of consumption tendencies. The purpose of this study is to look into online communities to investigate distinctive elements, which form the DIY clothing culture. Participant observation of texts and pictures from the online community's postings about DIY was conducted and used for the analysis. Research results showed that personal and social factors motivated DIY clothes. Personal motivations are comprised of factors such as practical creativity and personal enjoyment. Practical creativity occurred when someone wished to express aesthetics and personality in DIY clothes; personal enjoyment refers to the pleasure and utility that one feels when one makes DIY clothes. The social motivations were comprised of factors such as a desire to show off and to expand social exchanges. The desire to show off involved wearing DIY clothes and then finding satisfaction from reactions of people who notice it. The "expansion of exchanges" was not only about sharing information about DIY clothes in an online community but also about distributing or giving real goods (materials or tools for DIY clothes and finished goods) as gifts. Furthermore, some "DIYers" made DIY clothes sustainable by pursuing economic feasibility as an additional motivational factor. When they had expertise and commercial traits, they established businesses in the form of independent creative firms, transforming themselves from productive consumers to producers.

• The Journal of the Korea Contents Association
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• v.17 no.11
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• pp.364-370
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• 2017

Creative thinking and fusion diversity of the performing arts pursue the settlement of empirical value realization by assuming new communication by genre. This new value and communication can create a type of collective intelligence with a different attempt based on the individual communication and horizontal thinking of the masses. Therefore, the empirical value and communication of the 21st century convergence(fusion) performing arts is possible through new types and analysis, and also were understood as the horizontal creation structure of the artist. As a result, first, the concept of the right value of 'convergence' was perceived as empirical communication depending on the empirical thinking ability of genre artists. Second, off-genre and collaborative tendencies are due to cooperation based on intellectual ability and recognition of horizontal communication by genre. Third, in the collaboration, the public's individualized communication ability and universal communication recognition should be premised and perceived the empirical definition about the collective intelligence. In conclusion, it is concluded that empirical value and communication of convergence performing arts enable to the experimental creation of collective intelligence, and that the relationship structure extends to a meaningful transition of convergence interpretation and expression of performing arts.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.4
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• pp.39-56
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• 2021

The purpose of this study was to observe the expressive characteristics of Neo-Deconstruction design, examine the expressive characteristics of Neo-Deconstruction design in the collections of Jacquemus, and analyze their internal meanings. For research, observations were made based on the concepts and expressive characteristics of Deconstruction through prior research and literary review, and analysis was conducted focusing on the expressive characteristics of Neo-Deconstruction. The scope of analysis included a total of 605 photographs collected from a total of 17 season collections of Jacquemus from the 2013 S/S to the 2021 S/S season. The results are as follows. First, the Neo-Deconstruction of Jacquemus expresses the youth culture using bright images such as diverse colors and patterns with 'positive playfulness' and pass on positive messages with deconstructive and playful forms, such as exaggeration and reduction and recombination and reconstitution. Second, with tendencies of 'symbolic receptivity', Jacquemus gained inspiration from his own life, memories, and hometown, and attempted to express the street women of places such as southern France, Paris, and Monaco in a number of collections. Also, he proposed designs that can be worn easily by anyone, regardless of gender, and as plus size models began to become more common respect was given to the tastes and preferences of diverse individuals without distinctions based on body type or sexuality. Third, 'geometric simplicity' was generally expressed by pursuing simple and practical fashion with the addition of details, such as geometric forms including stripes or asymmetrical expressions centering around everyday material that is used in clothing. Fourth, with "open communication," Jacquemus constructed his identity by addressing the various needs of consumers based on social network services and continuously sharing his creative ideas with the public. He is gaining popularity in a unique way by responding quickly to the changing atmosphere of society.

• Journal of Korean Society of Industrial and Systems Engineering
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• v.46 no.2
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• pp.13-21
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• 2023

In the recent era of the fourth industrial revolution, many industries aim to maximize the efficiency of products and services by introducing cutting-edge technologies such as artificial intelligence and big data. In this situation, organizational culture is changing a lot due to the influx of the MZ generation with strong individualistic tendencies and the decreased face-to-face communication between members. However, active communication with colleagues is still essential to maximize performance, and the margins created by simplifying work processes and automating processes must be used for creating work performance. This requires cooperation and commitment through the job immersion of members who have an active attitude. This study analyzed how the organization's autonomous work environment and trust among members, which are creative work performance conditions, affect job immersion using raw data from the Occupational Safety and Health Research Institute. As a result, it was found that both the organization's autonomous working environment and trust among members significantly effected the members' job immersion. in order to achieve productivity and value improvement in companies, efforts are needed to increase workers' job immersion by building an autonomous working environment and trust among members. The results of this study are expected to contribute significantly to the search for ways to increase workers' job commitment to improve organizational productivity.

• Journal of Music and Human Behavior
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• v.4 no.2
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• pp.1-17
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• 2007

Huge growth in developmental level, new accomplishment, and The period of adolescents is not only the transition stage but also improvement of academic level. In this level of stage, adolescents have difficulties in development, so they show psychological abnormality such as stress and depression. They could develop mental disorder such as depression or anxiety if they do not overcome the abnormality. According to the situation of the insufficiency of the decent program for adolescents' mental health in the current society, we are strongly requested to develop the psycho-therapeutic program for them. Therefore, in this study, we examined the effect of the musical activities as blues music structure on the improvement of the Self-Efficacy in the female middle school students who have depressive tendencies as well as what they experienced through the activities. The 3 participants were selected out of 70 students in the first year at the "D" middle school in Seoul by being tested with Child Depression Inventory(CDI) and Self-Efficacy Scale(SES). The musical activities were built with 3 steps. Of which, the first one was the introduction to each other, the formation of rapport, and induction of their interests to the musical activities through blues. The second one was letting participants learn the blues music structure by practice and play assigned music(including improvisation) during later 5 sessions with different difficulties at each session. The third one was giving them opportunities to play a music out of the acquired ones during the session or creative music by their own, which results in maximizing musical activities and an acquired experience. As a result, first of all, the scores of CDI test of 3 participants in 10 time sessions showed slight changes, suggesting the negative correlation between CDI and SES even though changes were not big differences. Secondly, the scores of SES test of 3 subjects in 10 time sessions were all changed and especially preference for tasking was significant. Thirdly, the scores of SES for musical playing test of 3 participants in 10 time sessions were all changed and especially preference for musical tasking was significant shown. Finally, according to answers of 3 participants in 10 time sessions for the after questionnaire on musical activities, participants experienced affirmative self-confidence and positive emotion. Taken together, it was suggested that musical activities using blues music structure could be promising therapeutic intervention method.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.