• Journal of Korean Philosophical Society
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• v.137
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• pp.109-130
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• 2016

Plato learned of teleology from his teacher Socrates and expanded it to its application in cosmology. His cosmological work Timaeus was the final edition of teleological view. The motive that Demiurge created the cosmos was in resemblance of his goodness. He then modeled the idea of the Good imposing limit to the Forms of Good in a material world. In this sense, Demiurge was an excellent creator and created the Good cosmos. The cosmic body was made from four elements (water, fire, air, earth) and the cosmic soul entered the cosmic body and the cosmic intelligence (nous) entered the cosmic soul. According to these steps, this cosmos was created and named a living god. In conclusion, Plato asserts that this cosmos was created by God's teleological project, and resembles the goodness of a god. When man followed the order and balance in the cosmos, the good of the individual and the state would be accomplished.

• Journal of Korean Society of Archives and Records Management
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• v.2 no.2
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• pp.69-92
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• 2002

The objective of this study is to examine the re cent trend of the interpretation of the Principle of the Provenance in today s new environment of Archives Management and to identify the effective way of the application of the Principle of Provenance to Archives Management. Because of the continued change and the flexibility of the administrative organization and the development of information network, the traditional concept of the Principle of Provenance which put emphasis on a single creator and the physical entity of the archives has been gradually modified to a rather conceptual, abstract and realistic one. A method to apply the recent concept of the Principle of Provenance is to separate the descriptions of the record entity, the creators and the context and use the organic linkage of the separated description areas. Also we can control the provenance from the current stage or even from the pre-current stage by utilizing the classification scheme and the retention schedule. In case of the electronic records, we can manage the provenance and the context by using metadata inherent in the computerized information system. Above all it is critical that we need to structure and control the provenance by building the Korean rules for archival description corresponding to the international standards. And it is another an essential point that we have to develop a guideline for constructing the fond and maintaining its consistency.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.167-202
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• 2014

When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960's and 1970's video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience's recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne's Hamlet and Lenea de Sombra's Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero's perspective. It is also noteworthy that Ostermeir understood Hamlet's dilemma as these days' young generation's propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator's perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne's Hamlet and Lenea de Sombra's Amarillo.

• The Korean Journal of Archival Studies
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• no.5
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• pp.3-37
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• 2002

Today the market of EDMS is esteemed more than 100 billions won. It signifies a comming of age of electronic records. The traditional archival theories which are based on the paper records are confronted with a new challenge. In some leading countries of archival studies reorientation of archives management has been tried by a number of distinguished specialists such as Bearman and Hedstrom since 10 years. As a consequence new paradigm of archival theories has been developed. Also in Korea this new paradigm has been introduced by some expert such as Lee, Sang-Min, Sul, Moon-won, Lee, Seung-Eok. However their arguments are too general to offer a concrete clue for new paradigm. Faced by new age of electronic records, it's important to start a discussion for the reasonable methods of electronic records management at once. The most drastically changed part of record management by the electronic technique is the life-cycle of records. The commonly practiced three-stage life-cycle is to be reduced to the two-stage life-cycle, and the concept of the spatial movement of records is to be changed. It can be also pointed that the public emerges as user from the early creating stage of records beyond time and space. Thus is can be said that the method of the management features dynamic and cohesive. The method of appraisal must be also changed and reproduced, so that it can reflect the various levels considering dynamics of the electronic records. Supposedly it will be a core factor that causes the change of methodology in records management with the change of life-cycle theory. It must be noted that various subjects would be involved in the work of classification and description over time and space and that feedback between them is of important. Description also tends to be made at the crating stage of records and structured dynamically. It results from the change of life-cycle and the introduction of the concept of continuum. Such trend allows us to start discussions on the assumption that description of both creator and archival professionals act together an important role. Of course, it is linked with the methodology in which most descriptions are made automatically at the early drafting stage of the structure. The meat date is formed on the assumption that there should be feedback between areas of automatic description, description of creators and archival professionals. The most important thing in description is to develop a suitable way how it is structured. An alternative must be offered for managing data set. As iweb that is being operated by Myongji university shows, records created in daily business are managed not as electronic records but as date base. This is because they exist outside the repository in the EDMS system. Since data set often has various sources, an alternative for classification needs to be developed. It is now likely that database is filed according to the created year to be transferred automatically to the repository. Over a long-term the total management of database, electronic records and electronic information will be a topic. A right direction of new paradigm will be found for both iweb and E-government, when practice and studies of theories are combined and interacted.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.106-121
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• 2019

Sustainable development in society has become the center of focus in many fields such as industry, environment, health, culture, etc. Considering that the concept of heritage involves understanding it as a 'resource' to improve the quality of people's lives, sustainability is an important goal that heritage policy has to achieve. Adopting the definition of sustainability in the 1987 Brundtland Report, this paper defines the concept of sustainability with respect to heritage, as well as their respective roles. Following that, three action principles are presented: value-based conservation, rational decision-making, and community involvement. Two cases demonstrating how the three principles should be practiced in managing change are then illustrated. Considering that heritage can play its role as a resource once its significance is protected, this paper argues that value-based rational decision-making is of paramount importance and the first principle. Conservation aims to manage change by practicing a cyclic process of value identification, value sustaining, and value dissemination. Therefore, this paper argues that all processes should be connected in the context of heritage values. A rational decision-making process practicing value-based conservation is then suggested. This paper argues that rational decision-making can only be practiced once values are identified by objective criteria and managed by rational judgment upon impact assessment. Community involvement, the third principle, is necessary to realize value-based conservation and rational decision-making. Recognizing that a community is a beneficiary of heritage and a creator of a beneficial process at the same time, it discusses the role of community and the importance of this role in policies for the sustainability of heritage. This paper concludes with a set of recommendations to improve policies after examining the two decision-making cases.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.286-308
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• 2021

For a long time, dramas that everyone has enjoyed at home have become the most popular cultural contents due to the development of digital technology and the influence of Hallyu.(Korean Wave) This study was conducted in-depth interviews and participatory observations on the background, role, identity, and labor experience of TV planning producers who appeared in the drama production process with the implementation of outsourcing production policy in 1991. The number of dramas produced increased sharply in the mid-2000s due to the Korean Wave. Against this backdrop, the planning producer has expanded their scope in the drama production process and emerged as a new drama producer. The planning producer plays a role in creating an environment in which writers and directors can be selected with the identity of "not a creator but a producer of dramas" and lead drama planning. OTT and watching TV on the Internet have made it possible to watch dramas without TV. As this phenomenon accelerates and becomes commonplace, fewer consumers adhere to the traditional way of watching dramas using TV, and consumers' emotional tastes become more demanding. In this environment, TV planning producers are leading the production of dramas, exerting as much influence as writers and directors. They are also building new power relationships among drama producers by securing planning and financial power.

• Journal of Broadcast Engineering
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• v.26 no.5
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• pp.500-507
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• 2021

The virtual reality industry has an opportunity to take another leap forward with the surge in demand for non-face-to-face content and interest in the metaverse after Covid-19. Therefore, in order to popularize virtual reality content along with this trend, high-quality content production and storytelling research suitable for the characteristics of virtual reality should be continuously conducted. In order for content to which virtual reality characteristics are applied to be effectively produced through user feedback, a quantitative index that can evaluate the content is needed. In this study, the process of viewing virtual reality contents was analyzed and head movement was set as a quantitative indicator. Afterwards, the experimenter watched five animations and analyzed the correlation between recorded head movement information and immersion. As a result of the analysis, high immersion was shown when the head movement speed was relatively slow, and it was found that the head movement speed can be used significantly as an index indicating the degree of content immersion. The result derived in this way can be used as a quantitative indicator that can verify the validity of the storytelling method applied after the prototype is produced when the creator creates virtual reality content. This method can improve the quality of content by quickly identifying the problems of the proposed storytelling method and suggesting a better method. This study aims to contribute to the production of high-quality virtual reality content and the popularization of virtual reality content as a basic research to analyze immersion based on the quantitative indicator of head movement speed.

• The Journal of the Korea Contents Association
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• v.21 no.3
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• pp.131-142
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• 2021

This research is based on the design of pictures in picture books, and the spatial representation of illustrations in the picture books contains the significantly important objective. Various texts, pictures, spaces, etc. in a picture must have the operator's various editing skills so that spatial arrangement is made smoothly.In this paper, the characteristics of spatial expression of design in picture books are derived by analyzing several examples of paintings and studies on classic picture books. First, the fusion of picture and text, that is, that both picture and text convey spatial information together as elements of the screen. Second, as a characteristic of the coherence of the space design in picture books, the story and content must be smoothly connected when reading the book. Third, when expressing a space, the creator should utilize the strengths and weaknesses of each other between abstract and conceived spatial expressions as needed. Fourth, as a symbolic feature of picture book spatial expression, it can be seen that many symbolic expression techniques are applied to the spatial expression of picture books according to the semiotic principle, which greatly improves the cognitive efficiency of reading picture books. The fifth characteristic is that the spatial expression of an excellent picture book has excellent interesting element, rich design means, and interestingly conveys screen contents and screen format to readers. In this research, it is thought that designers and artists should guide the creation within a spatial framework as designing picture books, thus greatly improving the efficiency of the creation process, while also provide a reader-centered visual Interesting experience.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.85-95
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• 2021

Currently, we stand between computers as creative tools and computers as creators. A new genre of movies, which can be called a post-cinema situation, is emerging. This paper aims to diagnose the possibility of the emergence of AI cinema. To confirm the possibility of AI cinema, it was examined through a case study whether the creation of a story, narrative, image, and sound, which are necessary conditions for film creation, is possible by artificial intelligence. First, we checked the visual creation of AI painting algorithms Obvious, GAN, and CAN. Second, AI music has already entered the distribution stage in the market in cooperation with humans. Third, AI can already complete drama scripts, and automatic scenario creation programs using big data are also gaining popularity. That said, we confirmed that the filmmaking requirements could be met with AI algorithms. From the perspective of Manovich's 'AI Genre Convention', web documentaries and desktop documentaries, typical trends post-cinema, can be said to be representative genres that can be expected as AI cinemas. The conditions for AI, web documentaries and desktop documentaries to exist are the same. This article suggests a new path for the media of the 4th Industrial Revolution era through research on AI as a creator of post-cinema.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.137-143
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• 2021

This discussion can be said to be a qualitative study on the possibility of linking communication education for college students and literacy education for Korean language-linked educators based on the theory of interpretation of cognitive meaning of media text containing complex mechanisms. The implicit meaning of media content expression used as an interactive communication strategy will be accepted as a multilateral interpretation according to the individual learner's cognitive environment. If so, how is the general media content meaning intended by the content creator being accepted? These doubts are the starting point for discussion. To solve the problem, I leaned on the experimental pragmatic methodology of cognitive aesthetics and applied a model of relevance of cognitive linguistics to connect learners' creative cognitive environment and present content to find a contrast. As a result of the discussion, it was possible to establish a basic framework for learners to express their subjectivity and creative thinking that could connect the cognitive environment and present content themselves. In particular, active and positive learners also revealed direct descriptive expressions to build a new cognitive environment, such as suggesting a third alternative to argue the ability to question produced media texts and the validity of the meaning implied in the text. In the future, since media text containing complex mechanisms is an indirect and persuasive communication behavior that occurs easily through various media in modern society, the universal communication principle of reliable conversation between media text creators and audiences should exist.