• Journal of Korean Society of Archives and Records Management
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• v.19 no.4
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• pp.63-86
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• 2019

UNESCO clearly has a good user interface compared to other sites. However, it does not have a structure in which user-centric knowledge curating is employed by users. As such, the knowledge structure should be expressed differently in advance for users to enjoy such benefits. At present, almost all current information systems are lacking with semantic and contextual information. Moreover, these systems are deemed insufficient of interlinking various kinds of thoughts in our minds. Thus, it is necessary to model in advance what users are likely to think and provide an interface that they can easily utilize based on that modeling. Furthermore, there is a need for a new structural theory based on semantic technology that can make that possible. Therefore, in this proposal, theoretical and practical insights were presented for user interface implementation to which relational facet navigation based on the structural theory is applied. Moreover, this proposal intends to suggest a "thinking expansion platform" that allows users' ideation of different concepts, including those unfamiliar to them.

• Cross-Cultural Studies
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• v.40
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• pp.185-212
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• 2015

Bruno Dumont's film P'tit Quinquin (2014) trends toward 'the new extremism' in contemporary European cinema. This criminal-mystery-comedy film achieves the cinematic recognition of reality in the new extremist way: like typical new extremist films, P'tit Quinquin contains a lot of 'unwatchable' content, including disembodied parts of human body, carcasses, and the body of a boy who has killed himself. The reality, however, remains confidently invisible, despite everything that is visible within the film. In understanding Dumont's attempt to reach cinematic recognition, the relationship between 'the visible' and 'the invisible' is reconsidered. In the context of the film, the relationship between cinema and reality becomes indirect. The reality can be only felt, not seen. The invisible reality can be perceived only as a void, just like the criminal who is unknown even though he is sought after. To reveal this void, the film strives to give its viewers as much explicitly visible content as possible during its 200-minute run. This essay is an interdisciplinary attempt to examine the working and the effects of this cinematic attempt by Bruno Dumont; aspects of film theory, visual anthropology, (inter-)mediology, posthumanism in cultural theory, etc., are related for this purpose.

• Korean Association of Arts Management
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• no.56
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• pp.189-215
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• 2020

This study aims to understand the process of valuing contemporary artworks by young and emerging artists via online art platforms. This paper conceptualizes Bourdieu's theory of cultural capital, which theoretically guides us for conducting a case study of Saatchi Art. This article mainly collected data by interviewing seven Korean artists who were selected by our case with the supplement information carried out direct observation and document reviews. By analyzing the gathered data, the key finding of this research is that the selection of artists in Saatchi Art's curatorial program implicitly admits and guarantees the value of their artworks. By doing so, it contributes to building symbolic capital for the selected artists. This article also contends that such construction of the artists' symbolic capital results from the accumulated symbolic capitals of the founder and curator of the online platform. The theoretical contribution of this paper is to expand previous research on valuing artworks in the offline art world into the online one.

• Journal of Leisure Studies
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• v.10 no.1
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• pp.1-27
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• 2012

According as the number of immigrants has dramatically increased since last 10years, immigrants' acculturation has become a matter of great importance to Korean society. This study reviews theories on acculturation in leisure studies, specifically marginality vs ethnicity theory, assimilation theory and it's extended models, Berry's box and it's extended models, and cross-cultural vs cultural perspectives on acculturation research. Moreover, It also examines domestic research trend for some aspects such as the number of publishing articles a year, major issues and theories applied to domestic studies, methodology and employees. Finally, some kinds of suggestion for domestic studies in the near future are discussed.

• Korean Journal of Culture and Social Issue
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• v.22 no.2
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• pp.165-182
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• 2016

Happiness research has primarily been conducted based on the American model of happiness. The agentic concept of happiness in the West emphasizes the positive feeling state stemming from individual achievement and positive interpersonal relationships. However, previous studies on lay theories of happiness in other East Asian countries, such as China and Japan, have suggested that these meanings of happiness differ from those of the Western cultural context. The present study examined the lay theory of happiness among Koreans using qualitative and quantitative approaches. Furthermore, the authors compared the Korean model of happiness with that of the Japanese and Americans from Uchida and Kitayama (2009). The findings from the present research indicate that the Korean model of happiness involves both positive and negative states and consequences of happiness, unlike the uniformly positively connoted happiness in Western cultural contexts. The paper concludes with a discussion of the implications of the current findings on happiness research in the Korean culture.

• Journal of Information Technology Applications and Management
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• v.29 no.6
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• pp.123-134
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• 2022

War films are a general term for films that have battlefields as their main background. Although war films as a genre directly deal with combat situations, they also deal with characters or subjects related to war. War films promote patriotism and nationalism, but they also argue against war by highlighting the disastrous war. This study is based on the color theory that the meaning of film color is temporarily and infinitely generated according to the cultural differences, with Eisenstein's creative theory on film color and pathos. I wanted to clarify the pathos effect and the meaning of color green expressed in the Korean war films. In war films, colors are visualized in art forms such as symbols, similes and metaphors. In war films, color green symbolizes life. On the battlefield, the green of nature stands against the catastrophic situation. The green of ecology, which insists on the flow of life, evokes fear in ecological crises such as war, disaster and climate change. The dark green caused by a catastrophe like war warns of the destruction of life. The connotation of color is temporarily and infinitely expands according to the cultural differences. The dark green, which visualizes the battlefield of destruction, is a form and element of pathos that indicates changes in emotions such as sadness, pity, grief and despair. Pathos as an emotional appeal is a leap from the quality to the quality of the means of expression and refers to the departure from Dasein. The green color that dominates the visuals of war films is a symbol of life and functions as a pathos that makes emotional changes take a new leap. A qualitative leap through pathos means all changes that become new.

• Korean Journal of Cognitive Science
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• v.23 no.2
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• pp.133-164
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• 2012

Paul Churchland(1989) suggests the theory of representation from the results of cognitive biology and connectionist AI studies. According to the theory, our representations of the diverse phenomena in the world can be represented as the positions of phase state spaces with the actions of the neurons or of the assembly of neurons. He insists connectionist AI neural networks can have the semantical category systems to recognize the world. But Fodor and Lepore(1996) don't look the perspective bright. From their points of view, the Churchland's theory of representation stands on the base of Quine's holism, and the network semantics cannot explain how the criteria of semantical content similarity could be possible, and so cannot the theory. This thesis aims to excavate which one is the better between the perspective of the theory and the one of Fodor and Lepore's. From my understandings of state space theory of representation, artificial nets can coordinates the criteria of contents similarity by the learning algorithm. On the basis of these, I can see that Fodor and Lepore's points cannot penetrate the Churchlands' theory. From the view point of the theory, we can see how the future's artificial systems can have the conceptual systems recognizing the world. Therefore we can have the perspectives what cognitive scientists have to focus on.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.84-97
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• 2016

One of the assimilation policies of Japanese imperialism for the permanent domination in the colonial Joseon is the theory of integration of Japan and Joseon. The theory of integration of Japan and Joseon is a logic that Joseon (Korea) and Japan (Wae) were connected to the same ancestor on the basis of ancient myths. Also it is the assimilation ideology to justify the Colonial rule of those days through the objectification of historical identity or affinity of political and cultural relations of ancient Korean peninsula and Japan (Wae). Japan reorganized our history to meet the colonial point of view, as part of the assimilation policies based on the theory of integration of Japan and Joseon. On the other hand Japan attempted to objectify them through archaeological research and the reinterpretation of the historical remains. The survey, reinterpretation and tourist of the historic sites in historic cities such as Gyeongju and Buyeo were promoted in this context. In particular, the Buyeo, a capital of Baekje, was emphasized upon the close relevance and affinity between Sabi, Baekje and ancient Asuka (飛鳥) in Japan through research and reinterpretation on the Historic Sites. Based on them, Historic Sites Tourism was conducted by reconstructed historic sites toward the colonial Korean. In addition, after the Sino-Japanese war in 1937, Japan tried to realize the politics of space by upgrading and idealizing Buyeo as homeland or Shinto (神都) related to Japanese ancient mythology of the Asuka culture. This paper investigated in what context research, reinterpret and tourist of the historic sites progressed on Buyeo area and how it had soaked through the general public in the Japanese colonial era. First, it is on historic sites. Historic sites research on Buyeo area made an attempt by Sekino Tadashi in 1909 for the first time and the re-excavation of the old burial mounds and temple sites during the Japanese colonial period. Sekino set up a cultural relationship and influences between the ancient China (梁), Korea (百濟) and Japan (倭). Also, he emphasized that Sabi, Baekje largely received influence of Chinese culture and Baekje and Japan Asuka culture had closely relations and affinity. These views had been consistent during the Japanese colonial period. Second, it is the reinterpretation on Historic sites. Buyeo Historic Sites Preservation Society (Buyeo Gojeok Bojonhoe) was established in 1915 and Osaka Kintaro, curator of Baekje exhibition hall redefined the relationship between ancient Japan and Baekje as perspective of the assimilation ideology through the post contextual interpretation. In particular, they emphasized on the close relevance between Baekje's Historic sites and Japan, through the reinterpretation of Nakhwaam, Goransa and Cheongmasanseong. Third, it is the tourist on Historic sites. Buyeo Historic Sites Preservation Society played a leading role in Tourist on Historic sites at the Buyeo region. The main tourist destinations and course were restructured through a reinterpretation on the historic sites. Japan would like to show Buyeo as ideology area, homeland of ancient Japanese culture, toward the Koreans under Japanese colonial era. Thus, research, reinterpretation, and tourism on Historic sites were promoted while they were closely related to each other. The promoting body was Joseon Chongdokbu and pro-Japanese interest group. It's point was 'made' and 'shown' by the eyes of others and a rediscovery of Buyeo as representational space of colony.

• The Journal of Art Theory & Practice
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• no.1
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• pp.71-92
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• 2003

This study examined the condition of an educational discourse, relating the concept of creativity, culture, culture-centered, and critical thinking, to explore Culture-based Art Education(CBAE). In particular, art education practice was examined using interpretations of creativity and critical theory positions from the field of education. Discourse analysis was used as the research method to contextually situate and analyze the ways in which art education theory and practice of creativity and of critical studies encoded meanings. The study helped build an understanding that creativity was formed as a modernist discourse in the humanistic stance. In education, creativity became the fundamental concern for progressive educators who pursued innate ability of individuals. The way to enhance creative potential of students was to induce their motive, as was the same case in art education, while in artist training, free expression was its main method. In this way, as creativity was intimately connected with the concept of expression, in art education art making is the only course for enhancing creativity. However, because creative process cannot intelligently be regarded as logically distinct from the creative product, and creativity can only be said by product, it seems valid to think that creativity is the quality not to be achieved by teaching. Furthermore, its emphasis on art making resulted in unbalance of art making and art appreciation in art education. It was the late sixties when several alternatives for creative education were made their appearance. Critical studies in art adopted critical theory as its theoretical background has developed as an alternative of creative art education, when research and theory for creativity could not be adequate to deal with the problem of practice. Critical theory is a broad and diverse field of theory and practice drawing on aspects of the modernist perspective of the later Frankfurt School, feminism, Freirean pedagogy, postcolonial discourse as well as postmodernism to construct a practical approach to education. It is very this eclectic nature to provide the mosaic that need to experience cultures from different perspectives in a pluralistic society. Because one's personality is formed by multiple aspects of culture which is very complex and is made up of what we do and value, creativity cannot make part of educational discourse with the philosophy of culture centered. On the other hand, critical studies, as a school art program of critical theory, can perform the role of CBAE, because it would have to deal with the investigation of social and cultural issues form multiple personal, local, national, and global perspectives.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.4-19
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• 2017

Kim Jeong-gi (pen-name: Changsan, Mar. 31, 1930 - Aug. 26, 2015) made a major breakthrough in the history of cultural property excavation in Korea: In 1959, he began to develop an interest in cultural heritage after starting work as an employee of the National Museum of Korea. For about thirty years until he retired from the National Research Institute of Cultural Heritage in 1987, he devoted his life to the excavation of our country's historical relics and artifacts and compiled countless data about them. He continued striving to identify the unique value and meaning of our cultural heritage in universities and excavation organizations until he passed away in 2015. Changsan spearheaded all of Korea's monumental archeological excavations and research. He is widely known at home and abroad as a scholar of Korean archeology, particularly in the early years of its existence as an academic discipline. As such, he has had a considerable influence on the development of Korean archeology. Although his multiple activities and roles are meaningful in terms of the country's archaeological history, there are limits to his contributions nevertheless. The Deoksugung Palace period (1955-1972), when the National Museum of Korea was situated in Deoksugung Palace, is considered to be a time of great significance for Korean archeology, as relics with diverse characteristics were researched during this period. Changsan actively participated in archeological surveys of prehistoric shell mounds and dwellings, conducted surveys of historical relics, measured many historical sites, and took charge of photographing and drawing such relics. He put to good use all the excavation techniques that he had learned in Japan, while his countrywide archaeological surveys are highly regarded in terms of academic history as well. What particularly sets his perspectives apart in archaeological terms is the fact that he raised the possibility of underwater tombs in ancient times, and also coined the term "Haemi Culture" as part of a theory of local culture aimed at furthering understanding of Bronze Age cultures in Korea. His input was simply breathtaking. In 1969, the National Research Institute of Cultural Heritage (NRICH) was founded and Changsan was appointed as its head. Despite the many difficulties he faced in running the institute with limited financial and human resources, he gave everything he had to research and field studies of the brilliant cultural heritages that Korea has preserved for so long. Changsan succeeded in restoring Bulguksa Temple, and followed this up with the successful excavation of the Cheonmachong Tomb and the Hwangnamdaechong Tomb in Gyeongju. He then explored the Hwangnyongsa Temple site, Bunhwangsa Temple, and the Mireuksa Temple site in order to systematically evaluate the Buddhist culture and structures of the Three Kingdoms Period. We can safely say that the large excavation projects that he organized and carried out at that time not only laid the foundations for Korean archeology but also made significant contributions to studies in related fields. Above all, in terms of the developmental process of Korean archeology, the achievements he generated with his exceptional passion during the period are almost too numerous to mention, but they include his systematization of various excavation methods, cultivation of archaeologists, popularization of archeological excavations, formalization of survey records, and promotion of data disclosure. On the other hand, although this "Excavation King" devoted himself to excavations, kept precise records, and paid keen attention to every detail, he failed to overcome the limitations of his era in the process of defining the nature of cultural remains and interpreting historical sites and structures. Despite his many roles in Korean archeology, the fact that he left behind a controversy over the identity of the occupant of the Hwangnamdaechong Tomb remains a sore spot in his otherwise perfect reputation.