• Archives of design research
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• v.16 no.1
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• pp.103-116
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• 2003

As the globalization become the main stream in our world, there is no exception also on the cultural section. And we are En the midst of this rapid transition. In the case of advertising market, we opened to those agencies in abroad in the early year of 1990 and now completely opened. On this thesis, the multinational corporation advertising was studied and researched by empirical case study. The main topic is the value expression in the advertising creativity viewed on the cultural level. The multinational corporations that have an eminent, powerful brands produces much of goods wend widely with their powerful brands and extend their marketing activities to abroad. For example, those non-alcoholic beverages, pharmaceutical products, cosmetics, electronic appliances, vehicles, sports shoes, clothes are their main exports, and they broaden the product category, market size to the global market. They also use an expert marketing skill accumulated for a long time. The advertising activities is one of the useful method to extend their global market abroad enhacing continuously brand value. And much of the multinational corporation's advertising are suspected of negative effects that advertisements works on a tool which curies so called uniformed ideology - various ruling ideology - with commercial messages. These advertising affect an developing country's moral value, life style, social value, and others. And they weaken those developing country's unique tradition, culture by putting their own ideology. Those who have a critical position on the advertising activities have been careful in judging it's effects. The result of this study which of the value system is expressed in the multinational corporation's advertisements are; First, the self - esteem value is classified by western value, and it was founded out much more in the domestic corporation's advertisements then multinational ones. Second, the security value system is classified by western value system, and it's outcome was much the same as former one. Consequently, the multinational corporation's advertisements have less of an western value expression relative to korean advertisements. Those outcomes may infer that the multinational corporations prefer to an compromise creative strategy in korea for avoiding cultural conflicts.

• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.92-103
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• 2012

The Cheomsungdae was built in the Silla dynasty during the reign of queen Seondeok. It has a round cylindrical structure with a flowing curved fa ade. The identity of the Cheomsungdae has not been revealed since there is not much historical evidence or documents about the building. This study is trying to investigate the building technique and method from the technical point of view of the past when it was constructed. There have been much work and studies done for the Cheomsungdae, but not much were focusing on the technical aspects of the building. In addition there are many questions and doubts about the hypothesis of the building technique of Cheomsungdae since there aren't any remaining documents or historical evidence supporting it. Among many questions, we think that the discussion on falsework technique is not considering traditional construction method of the Dujabee (a traditional construction technique using various tools and equipment for the stability of the building) technique. Therefore, it is hard to identify them as reliable historical facts. As the result of the study, we want to provide the basic data on the construction techniques of Korean traditional architecture and broaden the study scope of technical history by narrowing the errors. The study could be summarized into three points. 1. The historical architecture Cheomseongdae was constructed by using traditional crane techniques such as a Noklo (pulley ladder). Cheomseongdae was re-evaluated as a high level technology for the history of architecture. 2. The benchmark method on Cheomseongdae construction has been applied with a precise scientific method based on the geometrical principals using the central axis. 3. In terms of the history of Korean traditional architecture technology, as there aren't many studies done we proposed various basic data for the traditional crane techniques and criteria of Korean traditional architecture technology. We could expect various and active studies for the technical approach of the history of architecture.

• Korean Journal of Heritage: History & Science
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• v.48 no.2
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• pp.142-157
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• 2015

This study examines how traditional knowledge functions in the specific techniques to make pottery in terms of the traditional knowledge on the pottery techniques of Onggi potters. It focuses on how traditional pottery manufacturing skills are categorized and what aspects are observed with regard to the techniques. The pottery manufacturing process is divided into the preparation step of raw material, the molding step of pottery, and the final plasticity step. Each step involves unique traditional knowledge. The preparation step mainly comprises the knowledge on different kinds of mud. The knowledge is about the colors and properties of mud, the information on the regional distribution of quality mud, and the techniques to optimize mud for pottery manufacturing. The molding step mainly involves the structure and shape of spinning wheels, the techniques to accumulate mud, ways to use different kinds of tools, the techniques to dry processed pottery. The plasticity step involves the knowledge on kilns and the scheme to build kilns, the skills to stack pottery inside of the kilns, the knowledge on firewood and efficient ways of wood burning, the discrimination of different kinds of fire and the techniques to stoke the kilns. These different kinds of knowledge may be roughly divided into three categories : the preparation of raw material, molding, and plasticity. They are closely connected with one another, which is because it becomes difficult to manufacture quality pottery even with only one incorrect factor. The contents of knowledge involved in the manufacturing process of pottery focused are mainly about raw material, color, shape, distribution aspect, fusion point, durability, physical property, etc, which are all about science. They are rather obtained through the experimental learning process of apprenticeship, not through the official education. It is not easy to categorize the knowledge involved. Most of the knowledge can be understood in the category of ethnoscience. In terms of the UNESCO world heritage of intangible cultural assets, the knowledge is mainly about 'the knowledge on nature and universe'. Unique knowledge and skills are, however, identified in the molding step. They can be referred to 'body techniques', which unify the physical stance of potters, tools they employ, and the conceived pottery. Potters themselves find it difficult to articulate the knowledge. In case stated, it cannot be easily understood without the experience and knowledge on the field. From the preparation of raw material to the complete products, the techniques and traditional knowledge involved in the process of manufacturing pottery are closely connected, employing numerous categories and levels. Such an aspect can be referred to as a 'techniques chain'. Here the techniques mean not only the scientific techniques but also, in addition to the skills, the knowledge of various techniques and levels including habitual, unconscious behaviors of potters.

• International Journal of Computer Science & Network Security
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• v.22 no.5
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• pp.39-48
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• 2022

The main purpose of the work is to analyze modern innovative educational practices in the field of culture and art and their effectiveness in the context of the spread of digitalization trends. The study used general scientific theoretical methods of analysis, synthesis, analogy, comparative, induction, deduction, reductionism, and a number of others, allowing you to fully understand the pattern of modern modernization processes in a long historical development and demonstrate how the rejection of the negativity of progress allows talented artists to realize their own potential. The study established the advantages and disadvantages of involving innovative technologies in the educational process on the example of European experience and outlined possible ways of implementing digitalization processes in Ukrainian institutions of higher education, formulated the main difficulties encountered by teachers and students in the use of technological innovation in the pandemic. The rapid development of digital technologies has had a great impact on the sphere of culture and art, both visual, scenic, and musical in all processes: creation, reproduction, perception, learning, etc. In the field of art education, there is a synthesis of creative practices with digital technologies. In terms of music education, these processes at the present stage are provided with digital tools of specially developed software (music programs for composition and typing of musical text, recording, and correction of sound, for quality listening to the whole work or its fragments) for training programs used in institutional education and non-institutional learning as a means of independent mastering of the theory and practice of music-making, as well as other programs and technical tools without which contemporary art cannot be imagined. In modern stage education, the involvement of video technologies, means of remote communication, allowing realtime adjustment of the educational process, is actualized. In the sphere of fine arts, there is a transformation of communicative forms of interaction between the teacher and students, which in the conditions of the pandemic are of two-way communication with the help of information and communication technologies. At this stage, there is an intensification of transformation processes in the educational industry in the areas of culture and art.

• Journal of Conservation Science
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• v.32 no.2
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• pp.273-291
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• 2016

Some ceramic artifacts representing time-wise from comb pattern pottery in the Neolithic Age to white porcelain in Joseon Dynasty were selected from 7 sites in the north and south area of Charyeong Mountain Range in order to making techniques interpretation and development process of ancient ceramics through physicochemical and mineralogical quantitative analysis. Studied pottery samples in the Prehistoric times showed trace of ring piling in soft-type, and pottery in the Three Kingdoms Period had both soft and hard-type but kettle-ware and storage-ware were made with ring piling, but table-ware was made by wheel spinning. Different from pottery after the Three Kingdom Period when refinement of source clay was high, pottery in the Neolithic Age and in the Bronze Age exhibited highly mineral content in sandy source clay, which showed a lot of larger temper than source clay. Groundmass of celadon and white porcelain almost did not reveal primary minerals but had high content of minerals by high temperature firing. Ceramic samples showed some different in major and minor elements according to sites irrespective of times. Geochemical behaviors are very similar indicating similar basic characteristics of source clay. However, loss-on-ignition showed 0.01 to 12.59wt.% range with a large deviation but it rapidly decreased moving from the Prehistoric times to the Three Kingdom Period. They have correlation with the weight loss due to firings, according to burning degree of source clay and detection of high temperature minerals, estimated firing temperatures are classified into 5 groups. Pottery in the Neolithic Age and in the Bronze Age belongs from 750 to $850^{\circ}C$ group; pottery in the Three Kingdom Period are variously found in 750 to $1,100^{\circ}C$ range of firing temperature; and it is believed celadon and white porcelain were baked in high temperature of 1,150 to $1,250^{\circ}C$. It seems difference between refinement of source clay and firing temperature based on production times resulted from change in raw material supply and firing method pursuant to development of production skill. However, there was difference in production methods even at the same period and it is thought that they were utilized according to use purpose and needs instead of evolved development simply to one direction.

• Journal of vocational education research
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• v.29 no.3
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• pp.1-21
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• 2010

Preservice teachers should learn the knowledge and skill necessary to meet intellectual, social and personal needs of students with culturally diverse background. Thus this study was to examine preservice teachers' attitudes and perception about multicultural education. The participants of the study comprised of 297 preservice teachers who were in the teacher preparation course. The questionnaire items consisted of 36 statements. The data were analyzed by factor analysis, correlation and t, F test. The results are as follows. First, on the basis of above, with respect to the reliability data, it is apparent that preservice teacher survey is adequate1y reliable. Second, needs of multicultural education and attitudes about cultural diversity of preservice teachers showed the positive correlation. Third, personal attitudes of preservice teachers about multicultural diversity were generally positive. Fourth, preservice teachers' expectation about the adequacy of curriculum in teacher preparation was low in compared with other factors. Attitudes about cultural diversity and attitudes preventing multicultural education showed the negative correlation. Based on this results, multicultural education should be reflected in the curriculum to meet diverse needs of preservice teachers. And teachers' attitudes and beliefs have an impact on their behaviors in the classroom, teachers preparation program for changes of their attitudes and beliefs should be developed.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.38-63
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• 2017

This study sets out to investigate the installation of royal kilns and its impact on local kilns, taking note of celadon vase with inlaid cloud pattern in Joseon Dynasty. For that purpose, it determined the kilns and period to produce celadon vases with inlaid cloud pattern, and compared them with the pattern, design, and deformity of the celadon vases produced in the royal kilns in the 15th centuries. The celadon vase with inlaid cloud pattern was superior in quality than the porcelain for tribute ware manufactured together in Jeolla Province before the installation of royal kilns. And then a majority of sagijangs at local kiln had difficult time securing enough supply of manpower and resources, and discontinued manufacturing the celadon vase with inlaid cloud pattern. En revanche, celadon vases with inlaid cloud pattern produced from specially fixed royal kilns reflected the local sagijang's skill. Local kilns were strongly influenced by the installation of royal kilns. Those could not freely use high-quality white clay, limited to the market. Besides, most of the skillful sagijangs were assigned to royal kilns. Celadon vases with inlaid cloud pattern can be used as evidence to show that the manufacturing technique was transferred from local kilns to the royal kilns as well as to show that their production in royal kilns soon became stabilized.

• Journal of Digital Contents Society
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• v.14 no.4
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• pp.481-491
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• 2013

This paper is introducing on a strategy of storytelling which is utilized as a core skill in developing cultural contents. The proposed storytelling method consists of three steps(planning, production, editing). The method of storytelling strategy is based on rhetoric metaphors and classifies rhetoric metaphors into three kinds of image metaphor, image personification and image simile. This thesis produced and studied 3 visual-image contents including 1 metaphor, 1 personification and 1 simile. As a result, visual-image contents can be a resonable method of the communicational act of visual-image contents with a rhetoric expression. This result will contribute to recognize the possibility of expressing visual-image contents by various figure. Recently, there are a lot of concernments on the expression by creative visual-image contents, but a theoretical study on creative idea for visual-image contents is insufficient. So, in the future, this thesis will be used for basic materials to express a creative visual-image contents, and also contribute to offering basic theories for visual-image contents study and teaching.

• Journal of Science of Art and Design
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• v.6
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• pp.5-32
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• 2004

Kim Hwan-ki's New York Period works consistently present, as the central signifier, a curvilinear paradigm which has been derived from his creative consciousness. The purpose of this study is to bring to light what exists behind curvilinear paradigms; a fusion of history and society with the artist's individual consciousness as a fused aspect of history and society. To make this aspect suitably understood, this study focuses on curvilinear signifier which are analyzed and considered objectively. The results of which are as follows: It is a representative example of transforming a curved line which is the modern quotation of traditional Korean art, most directly works done in porcelain. He takes the aesthetic consciousness of Korean art as the power of his works and takes aim at the collective consciousness of all races. Looking through the background of his times, his artistic subject was to find the ethic characteristics of our excellent tradition and highlight them in his art. To him, art is not about making the most of a skill but instead about allowing one's inner spirit sing it's own song. This thought is conveyed in curvilinear signifier of his works. Therefore this study has asserted that Kim Hwan-ki's curvilinear signifier in his New York Period works has strong ties to the cultural vein of Korean history and society at it's base as well as simply in his individual level. This assertion is not to set form in a superior position as a Formalist but to show form as having the will to deal with the significance of an artist's mode by interpreting the experience of the interpreter.

• Cartoon and Animation Studies
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• s.14
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• pp.65-82
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• 2008

The animation is expressed by fusing the character's aesthetic feature and action in the entire structure and such creation of the character is needed to approach with understanding its socio-cultural background and dramatic structure. This study has started for the reason that there is a need of making an animation character based on reality, as well as to develop a individual character and narrative skill at the same time. In this study, analyzing through the DSM-IV (Diagnostic and Statistical Manual of Mental Disorders) by the American Psychiatric Association, APA), I have been able to come to a conclusion in which the character's personality is presented more exaggeratingly than its ordinary tendency. So it is used as a means to occur a dramatic motive-induction and probability. Futhermore, applying the same condition of the personality disorders to the animation character has changed the narrative development and it showed a result that even the character is not having the problem of personality disorders, it shows the nature of personality disorders-like is being appeared exaggeratingly or increasingly.