• Trans-
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• v.16
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• pp.1-31
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• 2024

The advent of digital media has facilitated easy access for adolescents to environments conducive to the purchase of narcotics. In particular, there's an increasing trend in the purchase and consumption of narcotics mediated through Social Network Services (SNS) and messenger services. Adolescents, sensitive to such environments, are at risk of experiencing neurological and mental health issues due to narcotic addiction, increasing their exposure to criminal activities, hence necessitating national-level management and support. Consequently, the quest for sustainable treatment methods for adolescents exposed to narcotics emerges as a critical challenge. In the context of high relapse rates in narcotic addiction, the necessity for cost-effective and user-friendly treatment programs is emphasized. This study conducts a literature review aimed at utilizing digital platforms to create an environment where adolescents can voluntarily participate, focusing on the development of therapeutic content through art. Specifically, it reviews societal perceptions and treatment statuses of adolescent drug addiction, analyzes the impact of narcotic addiction on adolescent brain activity and cognitive function degradation, and explores approaches for developing digital therapeutics to promote the rehabilitation of the addicted brain through analysis of precedential case studies. Moreover, the study investigates the benefits that the integration of digital therapeutic approaches and art therapy can provide in the treatment process and proposes the possibility of enhancing therapeutic effects through various treatment programs such as drama therapy, music therapy, and art therapy. The application of art therapy methods is anticipated to offer positive effects in terms of tool expansion, diversification of expression, data acquisition, and motivation. Through such approaches, an enhancement in the effectiveness of treatments for adolescent narcotic addiction is anticipated. Overall, this study undertakes foundational research for the development of digital therapeutics and related applications, offering economically viable and sustainable treatment options in consideration of the societal context of adolescent narcotic addiction.

• International Journal of High-Rise Buildings
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• v.2 no.1
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• pp.63-77
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• 2013

In any subject area related to the provision of safety, failure is typically the most effective mechanism for evoking rapid reform and an introspective assessment of the accepted operating methods and standards within a professional body. In the realm of tall buildings the most notable failures in history, those of the WTC towers, widely accepted as fire induced failures, have not to any significant extent affected the way they are designed with respect to fire safety. This is clearly reflected in the surge in numbers of Tall Buildings being constructed since 2001. The combination of the magnitude and time-scale of the WTC investigation coupled with the absence of meaningful guidance resulting from it strongly hints at the outdatedness of current fire engineering practice as a discipline in the context of such advanced infrastructure. This is further reflected in the continual shift from prescriptive to performance based design in many parts of the world demonstrating an ever growing acceptance that these buildings are beyond the realm of applicability of prescriptive guidance. In order for true performance based engineering to occur however, specific performance goals need to be established for these structures. This work seeks to highlight the critical elements of a fire safety strategy for tall buildings and thus attempt to highlight some specific global performance objectives. A survey of tall building fire investigations is conducted in order to assess the effectiveness of current designs in meeting these objectives, and the current state-of-the-art of fire safety design guidance for tall structures is also analysed on these terms. The correct definition of the design fire for open plan compartments is identified as the critical knowledge gap that must be addressed in order to achieve tall building performance objectives and to provide truly innovative, robust fire safety for these unique structures.

• Journal of architectural history
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• v.19 no.2
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• pp.67-83
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• 2010

The purpose of this research is to rethink Alvar Aalto's architecture on the basis of the aesthetic concept of play. This attempt is valid because he had asserted the importance of play in his design. But more fundamentally, his critical view of the instrumentalised rationalism implied the idea that a human being is "Man the Player" as well as "Man the Thinker", of which theory was elaborated in Johan Huizinga's Homo Ludens (1938). Premised on it, this paper investigated the evolution of the play idea in aesthetics and located Aalto's concept within the map. Summing up, his play was an intuitively grasped desire opposed to a rational requirement, which leads to a dialectical synthesis. This schema is similar to that of Schiller, in which Spiel reconciles the reason and the sense. However, Aalto's play could be differentiated into the "astonishingly rational" and "a jest", each of which roughly corresponds to the Spieltrieb (play impulse) and the sinnliche Trieb (sensuous impulse) in Schiller's thinking. On the other hand, Aalto's architecture illustrates play that could be interpreted as the overflow of surplus energy. This play is the very concept that can bridge the gap in the form-function formula of modern architecture. Aalto's play idea seemed to basically originate from his personality but its value must be confirmed by the Finnish litterateur Yrjo Hirn as Aalto mentioned in his statements (1953 & 1972). It appears that Aalto's play concept was materialised in architecture through his typical design language, such as the undulating wall, the aperspective space, the imitation of nature and the collage of heterogenous elements. However, we should be careful not to reductively analyse the application of play in practise. As Huizinga's comprehensive theory suggests, the play element exists in any cultural areas including any architectural activities. In conclusion, this paper argues that Alvar Aalto the Homo Ludens presented the possibility of critical rationalism in modern architecture by imbuing dry modernism with "the life enhancing charm" of "the art of play".

• The Journal of Natural Sciences
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• v.8 no.2
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• pp.237-255
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• 1996

Parody, which is the device of humorous Postmodernism artists, has been from the comic immitation with the popular and well-known object. It's expressive techniques are very various such as similarity, transformation, exaggeration, irony, parados, inversion etc. and also it can be used another techniques of designer's will and ability based. Parody's effect consists of satire, mockery, scorn, ridicule, unexpectedness, defamiliarize, playfulness, wit, respect, esteem, wonder and so on of the original. So parody has a critical distance from the original, whichis the object of immitation. Ultimately, the expression of parody can be as extensive as from an ironic and funny inversion still containing the respect for the original to a contemptuous mockery. Nowadays Parodists have a tendency to use parody actively in order to criticize the real world or to meet the past with ironic recontextualize. And parody include the specific characters of postmodern design. So parody is widely known as a effective forms of expression in now-a-days our environment surrounded with the postmodern esthetics, and it's request will be increased rapidly. As a part of art, parody is apt to use widely in Fashion too. And from a historical standpoint it is to reconstitute the past with a critical eye and finally to become a new technique to create the new Fashion style with an intention of extension of design area.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.6
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• pp.78-83
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• 2020

The information and knowledge of modern society in the 2lst century is changing rapidly. Based on this social change, the ministry of education introduced STEAM (Science Technology Engineering Art Music) in 2011 to foster creative convergence talents. Therefore, this study is based on the PBL model that learners participate in the class voluntarily to develop appropriate talents in the 21st century. The combined subjects were English, which is the world's official language, and Science, which is found in almost all the fields with the development of the 4th industrial revolution. As a result, learners could define the problems and solutions during the English class and take part in the group activity actively to obtain the problems and solutions of environmental pollution during the Science class. Through this, learners answered that they had a great understanding of learning (86%), high motivation for learning (100%), improved self-confidence (100%), and improved collaboration and creativity (100%). Unfortunately, this study does not progress actively due to the entrance exams, which still require accurate answers rather than the necessity and effectiveness of convergence education. To foster talents suitable for the present age, more active research should be applied to a range of educational sites.

• Culinary science and hospitality research
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• v.15 no.2
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• pp.255-267
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• 2009

The purpose of this study is to evaluate the importance and performance of the educational laboratory facilities for culinary practice. The questionnaire was distributed to 100 students enrolled in the culinary arts department at Y University located in Chung-buk province, and a total of 71 usable, completed questionnaires were received for the research. Collected data was statistically analyzed using the SPSS 10.0 Windows version, and the IPA(Importance-Performance Analysis) was conducted to compare importance and satisfaction from kitchen laboratory facilities which have been a key element of culinary education. Results of this study can be summarized as follows. Firstly, it was found that performance (M=3.42) for culinary practice facilities was lower than importance(M=4.09) for culinary practice facilities. Secondly, through IPA, the importance and satisfaction of culinary laboratory elements showed some differences between the students who had have some educational experience in culinary art prior to enrollmnet and those who had not. The former students attached importance to the usefulness of facilities rather than the size of facilities. And as rapidly improved factors, they answered ventilation and water supply facilities for culinary laboratories. The application of this study in physical environment of culinary education will contribute to improve students` satisfaction with the quality of education. However, the critical point of this study is a limited sampling, so the results of this study cannot be generalized.

• Communications of Mathematical Education
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• v.26 no.2
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• pp.177-203
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• 2012

The purpose of this research was to look at whether small group drawing activities can be applied to learning content that combine mathematics and art, by analyzing the changes in $10^{th}$ grade students' interests in mathematics and particular features of their strategic thinking that were reflected in small group drawing activities using graphs and inequations. The results of the study are as follows: 1. The small group drawing activity using graphs and inequations demonstrated that students interests in mathematics could experience positive changes. 2. The small group drawing activity using graphs and inequations was effective in stimulating the students' strategic thinking skills, which are higher level thinking activities necessary for creating problem solving. As the students went through the whole process of accomplishing a complete goal, the students engaged in integrated thinking activities that brought understandings of basic graphs and inequations together, and were also found to use such higher level thinking functions needed in achieving creative problem solving such as critical thinking, flexible thinking, development-oriented thinking, and inferential thinking. 3. The small group drawing activity using graphs and in equations could be expected to constitute learning content that integrate mathematics and art, and is an effective solution in boosting students' strengths in mathematics by way of activities that consider students' unique cognitive and qualitative peculiarities and through integration with art.

• Korean journal of communication and information
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• v.48
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• pp.109-134
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• 2009

This study explores the political parody, which has become an active art form in order to express Korean Internet users' political practices, especially, during the politically turbulent periods from the presidential election of 2003 to the recent candlelight vigil protest of 2008. This study investigates the rise and fall of a parody culture by online users from the mid-2000s, and also examines aesthetical aspects of parodic artworks relying on amateurism culminated in 2004. Specifically, the current study questions an aesthetical lack shown in 'appropriation', by which most of the online users simply produce imitations of original image. This study rather notes 'photomontage' as an aesthetic prototype, the political aesthetics made by John Heartfield, through which this study intends to observe how his aesthetical legacy of political art could be realized in the contemporary form of political parodies produced by online users. The present paper concludes that online users' political participations in producing critical works of art could allow us to negate the dichotomy between the elite and the mass, professional artists and amateur parodists, and a radical politics and the politics of style.

• (The) Research of the performance art and culture
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• no.42
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• pp.291-319
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• 2021

In this paper, I looked for the parts where laughter appeared in the Mundoong, Yangban, Yeongno, and Grandfather and Grandmother of Tongyeong Ogwangdae and Dongrae Yaryu, and investigated the meaning of those parts. Laughter in mask play has made him more tolerant of human injustice and foolishness. I softened the critical content and naturally revealed what I thought should be hidden. Through a short and noisy plot, the opposing forces, the inner conflict of the Mundoong, Yangban, Yeongno, and Grandfather and Grandmother were shown in a realistic and realistic way. The worldview that creates the structure of realism is typically skeptical and ironic, and the worldview that creates the comical structure related to laughter aims for the ultimate emergence of a new order based on unity and harmony. Masking is thought to be a work in the stage of moving from the latter to the former. Therefore, it is judged that laughter in mask play served as an important medium for Korean art thought to have a realist view of the world. This is because various expression methods that induce laughter are working to reveal negativity, reveal the illusion of contemporary values, and naturally expose restraint and taboo suppression. In laughter, there is a path that transforms perception by fusing several elements. There was realism at the end of the pathway to new perception.

• Trans-
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• v.3
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• pp.109-135
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• 2017

The purpose of this thesis is to analyze characteristics of everyday movement showed in performances of Steve Paxton. A work of art has been realized as a special object enjoyed by high class people as high culture for a long time. Therefore, a gap between everyday life and art has been greatly existed, and the emergence of everyday elements in a work of art means that public awareness involving social change is changed. The postmodernism as the period when a boundary between art and everyday life is uncertain was a postwar society after the Second World War and a social situation that rapidly changes into a capitalistic society. Changes in this time made scholars gain access academically concepts related to everyday life, and affected artists as the spirit of the times of pluralistic postmodernism refusing totality. At the same period of the time, modern dance also faced a turning point as post-modern dance. After the Second World War, modern dance started to be evaluated as it reaches the limit, and at this juncture, headed by dancers including the Judson Dance Theatre. Acting as a dancer in a dance company of Merce Cunningham, Steve Paxton, one of founders of the Judson Dance Theatre, had a critical mind of the conditions of dance company with the social structure and the process that movement is made. This thinking is showed in early performances as an at tempt to realize everyday motion it self in performances. His early activity represented by a walking motion attracted attention as a simple motion that excludes all artful elements of existing dance performances and is possible to conduct by a person who is not a dancer. Although starting the use of everyday movement is regarded as an open characteristic of post-modern dance, advanced researches on this were rare, so this study started. In addition, studies related to Steve Paxton are skewed towards Contact Improvisation that he rose as an active practician. As the use of ordinary movement before he focused on Contact Improvisation, this study examines other attempts including Contact Improvisation as attempts after the beginning of his performances. Therefore, the study analyzes Satisfyin' Lover, Contact at 10th & 2nd and Bound that are performances of Steve Paxton, and based on this, draws everyday characteristics. In addition, related books, academic essays, dance articles and reviews are consulted to consider a concept related to everyday life and understand dance historical movement of post-modern dance. Paxton attracted attention because of his activity starting at critical approach of movement of existing modern dance. As walking of performers who are not dancers, a walking motion showed in Satisfyin' Lover gave esthetic meaning to everyday movement. After that, he was affected by Eastern ideas, so developed Contact Improvisation making a motion through energy of the natural laws. In addition, he had everyday things on his performances, and used a method to deliver various images by using mundane movement and impromptu gestures originating from relaxed body. Everyday movement of his performances represents change in awareness of performances of the art of dancing that are traditionally maintained including change of dance genre of an area. His activity with unprecedented attempt and experimentation should be highly evaluated as efforts to overcome the limit of modern dance.