• Archives of design research
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• v.17 no.4
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• pp.169-176
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• 2004

It is incontestable that the essence of the current fever of well-being is pseudo-ideology, which is the commercialized well-being. Nevertheless, the potential value as the cultural contests of Korean Design, reaching the philosophy of well-being, must not be overlooked. Being more than its dictionary meaning of 'happiness' and 'welfare', well-being aims peace of mind and richness in mentality, thus supports the life style of 'Body-Mind Monism'. As a trend that has taken a ride on the consumerism, it is inevitable to excavate the benign cultural value that an ordinary sign of well-being lacks in order to create a peculiar model of Korea's design contents by sublimating the commodity aesthetic of well-being into an alternative argument possessing the cultural identity of Korea. Well-being, not much different form an attitude of following the 'ways of nature', is a typical model of non-dualistic thinking of East Asia. By tracing back to the indication of well-being that already existed in the non-dualistic thought and design of East Asia, the genealogy connecting the current phenomena of well-being to the Body-Mind Monism can be found in the cultural traditions of as close as Korea and as far as East Asia. In the case of adopting the monistic way of East Asian thinking that sees body and mind as one not two as the theoretical background of well-being imported fro the West, it is expected to provide a solution for the design discourse of Korea to be out of colonialism. Well-being contributes to the monistic awareness in the period of self-reflected modernization, which needs to search new values based on the reconsideration of dualistic paradigm centered on the Western culture, thus it is worth putting anticipation on the potential significance well-being would have in the field of national as well as international design world.

• Archives of design research
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• v.17 no.4
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• pp.375-384
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• 2004

The general tendency of approach to Korean Design History has been focusing its primary interest on the grand story in relation to the problems of modernization in political, economical and social aspects of Korea. In the discourse of modernization, however, there are two sides immanent in the modernization: there is the formal, institutional and authoritative modernization developed inside the capitalistic mode of production and the informal, individual and cultural modernization manifested in the mode of everyday lives. Especially, despite the viewpoint of the latter being embossed as an alternative approach in various areas including the academic world of history since the collapse of socialism, the historical recognition of the phenomena of modern design by the Korean design historians is more like the 'history from the above' that exists at the level of the discourse outside the reality rather than the 'history from the below' that exists within the ordinary life. To grant a sense of balance in such frame of historical understanding, it requires the restructuring the design history of Korea through the cultural perspectives from having the representation of mundane lives realized by the voluntary design activity of the common people as research subjects. One of the methods to acquire an answer to such problem is decoding, in the manner of 'cultural history', the life-long domestic artifact made by Madame Yang, Gap Jo (currently 87 years of age) who is a model of typical Korean mother. Through the historical rumination on the traces of unpretentious lives of the people that has been buried under the grand narrative of the Korean Design History, a new era aimed for the historical prospect of Korean design as cultural history will be possible by excavating the petit yet multi-layered meaning of Korean designs.

• Journal of the Korean association of regional geographers
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• v.8 no.1
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• pp.1-19
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• 2002

The Cultural Revolution(wenhuadageming) is one of the most important political movement in the modem China. The studies on the movement done in recent years concentrated on the political conspiracy or the struggle over political line, so they did not pay attention to the political geographical dimension of the movement. This paper proposes that the Cultural Revolution practised in the area of minority nationalities at least is well understood through the political geographical perspective. Through the discussion on the Cultural Revolution practised in the Inner Mongolia autonomous district and the Oroqen minority nationality autonomous banner, this paper suggest that the socialist Chinese leader group considers the frontier area(bianjiang) or the minority nationality regions(xiaoshuminzudiqu) important as 'region' or 'space' not as 'the area of minority nationalities (minzu)'. Especially, in the period of the movement, the leader group of the revolution manipulated the space by using the index of nationality or manipulated the nationality by using the index of space. Therefore this paper assert that the Cultural Revolution in the area of minority nationality autonomous region was a integration process of the people and national territory through the reorganization of the nationalities into classes and of autonomous region into region in general meaning.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.75-86
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• 2016

The area surrounding Segeomjeong, one of the famous pavilions near the capital in the Joseon Dynasty, was a favorite place of scholars to visit and enjoy the beautiful natural landscape. The recreational culture of Segeomjeong area in traditional societies representing the prototype of urban tourism in modern society indicates cultural landscape which is a combination of the surrounding landscape and human activities. At this point, the purpose of this research on Saegumjeong area as a recreation place was to examine recreational activities and landscape elements before restoration. Through the relevant historical literature, there were several recreational activities such as traveling to enjoy scenery, taking a view of stream with waterfalls, doing creative writing of reciting poems and drawing about the greatness of nature and gathering on a broad and flat rock or Tangchundae. Also, the main landscape elements-such as Saegumjeong, stream, broad and flat rocks, pine trees, Tangchundae Peak, and mountains-were extracted through paintings of Saegumjeong drawn before restoration. Consequently, in this study, it was confirmed that the Segeomjeong area was the spot that scholars visited consistently, the center for travel, and the place for communication between scholars and national banquets. This study is significant, in that it drew conclusions on the cultural landscape of the Korean people through the ages and helped to discover the meaning and value of cultural landscape of recreation places based on Korean natural characteristics and cultural climate.

• Review of Culture and Economy
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• v.20 no.2
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• pp.89-117
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• 2017

As the industrial paradigm shifts and the manufacturing industry declines, many changes also take place in the region as well. In this regard, interest in industrial heritage as a facet of cultural heritage is on the increase. In this paper, the meaning of regional 'cultural contents' as industrial heritage is investigated within the scope of specific region. It is meant to move beyond the viewpoint of considering industrial heritage as only relating to industrial machinery and relevant landmarks from the past. The concept of industrial heritage is established more clearly through the review policy and case study analysis of existing research; the analysis is conducted to investigate the characteristics associated with it, and then to explore how best to utilize it. In particular, this paper attempts to focus on how it operates within these parameters using a spatio-temporal context as much as possible, and concentrating on the recognition and experience of the subject of industrial heritage as being traceable through human story. This research is based on the case of 'Sapporo' which focuses on modern history based on historical importance, and the 'Cheongju' case study, which contrasts the former by focusing on urban regeneration using a spatial lens. This paper identifies the possibility of regional development through the examination of past identity and diversity in the present, and highlights the features that could be linked to future usability and development. In addition, it proposes the possibility that the cycle of regional development could change in the process of the different stages of territorialization, de-territorialization and re-territorialization.

• Korean Journal of Heritage: History & Science
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• v.48 no.2
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• pp.30-47
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• 2015

In this study, we introduce the French concept of 'valorisation' of heritage which corresponds to 'utilization(활용)' of heritage in Korea. As interests on the social, economic and identity values of heritage are increasing, it is considered as not only a target of protection and preservation but also an object of utilization. Even though this global transition has been formed quickly, the concepts regarding utilisation of heritage has not been academically founded and its related foreign terms or cases were not studied in depth. In particular, modern cultural heritage requires more attention and researches on the protection and utilization as it represents a relatively large range of utilization but it doesn't have strong protection policies. We justify the needs to introduce the concept 'valorisation' in Korea while analyzing Le Havre case that shows how to promote economic and social values of heritage as well as heritage values from 'local' to 'country' and to 'world'. This case was selected as it allows to identify the meaning of valorisation and heritagization process from modernly rebuilt areas after World War II to World Heritage Site.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.86-100
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• 2020

This study is the result of a design proposal to create a history and culture complex for the "Gungjip," an Important Folklore Cultural Heritage, and its surroundings located in Namyangju, Gyeonggi Province. In particular, the purpose is to introduce a new design approach to a historical and cultural complex consisting of the Gungjip House and Hanok annexes to be opened to the public in the future; and to provide its implications for future study. Although the architectural condition of Gungjip House is well preserved, several problems have been found in the use of the site as a public space due to the lack of a plan for systematic space experience, lack of specific spatial programs, and the too much shade due to uncontrolled green areas, etc. Therefore, the plan presented in this study largely sought to respect the meaning of historical landscape as a public space and to balance with the contemporary needs. The design strategies derived through basic research are to strengthen the sense of place as a cultural heritage; to respect the ecological characteristics of the site and visual harmony with the surrounding environment; and to suggest spatial programs suitable for the contemporary needs. Based on these strategies, the framework for the entire space is conceptually composed of four spaces; Oewon, Ganjeong, Jujeong, and Huwon, and proposes systematical land use and landscape experience. The main feature of this plan is the landscape approach, which aims to preserve the architectural cultural assets in their original form, but to create a reasonable land use and meaningful landscape experience based on the sense of place.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.143-148
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• 2022

The subject of this paper is the practical examples of technoculture that critically thinks network technology, a strong material foundation in the era of data capitalism in the 21st century, and appropriates its socio-cultural metaphor as an artistic potential. In order to analyze its alternatives and the meaning of cultural politics, this paper examines the properties and influence of data capitalism after the 2008 global financial crisis, and the cultural and artistic context formed by its reaction. The first case considered in this paper, Furtherfield's workshop, provided a useful example of how citizens can participate in social change through learning and education in which art and technology are interrelated. The second case, Greek hackerspace HSGR, developed network technology as a tool to overcome the crisis by proposing a new progressive cultural commons due to Greece's financial crisis caused by the global financial crisis and a decrease in the state's creative support. The third case, Paolo Cirio's project, promoted a critical citizenship towards the state and community systems as dominant types of social governance. These technoculture cases can be evaluated as efforts to combine and rediscover progressive political ideology and its artistic realization tradition in the context of cultural politics, paying attention to the possibility of signifying practices of network technology that dominates the contemporary economic system.

• 한국게임학회지
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• v.6 no.1
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• pp.70-72
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• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.18-27
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• 2016

A 'flowered-wall,' which are also called a 'flower plant patterned wall,' or a 'flower patterned wall,' is a wall of a building or a fence with various patterns on it. A flowered-wall can be an external mean to look into the owner's authority and values while internally it possesses the symbolic meaning of wishing the well-being and peace of the household. In the research area of the flowered-wall, the walls located in the palace were well researched in various studies across architecture, horticulture, and art design, however, the walls belonging to the local regional traditional folk houses and temples have been involved in little to no research in the landscape architectural area. Taking notice of this perspective this study researched and analyzed the cases of the flowered-walls of the traditional folk houses and the temples that belonged to the national and municipal cultural properties of Jeollabuk-do Province from the landscape architectural perspective. The whole samples were examined and it was shown that there were 9 traditional folk houses with flowered-walls. Among the temples there were 7 cases. Therefore the research focusing on tracing the shape and symbolic meaning of the flowered-walls in the 16 cultural properties located in the Jeollabuk-do Province which consisted of traditional folk houses and temples resulted in the following. Flowered-walls displayed hierarchical differentiation revolving around the main space and its spacial characteristic. This differentiation is variously displayed across the flowered-wall, gable, crack plastering, and chimney. In the case of the folk houses the symbols have the meaning of the prosperity of the household and progeny, exorcism, longevity, number of fortune, harmony, and peace etc that prays for practical wishes such as long life and good health with the prosperity of their descendants. Meanwhile in the temples, symbols indicating an easy passage into eternity, perpetuation of the Buddha-nature, and three marks of existence are applied, differentiating from the folk houses by the appliance of the religious values in the patterns. In conclusion this research resulted in the rightful illumination on the local landscape culture, the possibility of expressing the Korean sentiment through flowered-walls in the contemporary space, the reassessment of flowered-walls, and the provision of basic data for a plan to success the cultural heritage.