• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.27-42
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• 2004

Music videos provide for many others images, alluring the audience to fall in another emotional world, while the sexual images shown in them suggest new images of man and woman. Today, men's images are being interpreted from various viewpoints. As interests in men's fashion are visualized through music video clothing, not only juveniles who want to be identified with the music video images but also adults try to imitate them, and proceed to wear the clothing, obliterating the boundary between 'reality' and 'illusion' and creating new images of men. This study is aimed at reviewing the male images shown in the music videos, particular their clothing, produced between 2000 and 2002. The results of this study could be summarized as follows : 1. Since beginning of the human history, men's image has been characterized by patriarchal system, capitalism, bourgeois class which emerged after industrial revolution and other man-dominant socio-cultural phenomena, such male image are shown in the music video as conservative and dominant image. 2. However, due to the post-modern culture, the power began to be decentralized. while feminism and men's liberation movement gain strength. As a result, women or heterosexuals began to regard men as sexual objects, and such a phenomenon is featured as sexual, bisexual or decadent images in the music videos. 3. On the threshold of the 21st century, music videos have begun to creatively describe men's life, their social conflicts, dreams and hopes and death and thereby. feature men's such images as being destroyed in view of existentialism. The numerous creative men's images interpreted in this way are featured in many music video works only to create playful, cyborg or demonic images using the senses. After all, men's images are featured in the music video costumes in diverse ways ranging from the conventional images to acquiescent images. In addition, various male images are combined with the characteristics of the music videos to be re-created anew. The young men in the our modern age tend to imitate or apply such images to create their own images or individualistic styles. All in all, men's image can be fixed no longer but diversified and fragmented in the new age.

• Korean Journal of Cognitive Science
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• v.24 no.3
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• pp.237-270
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• 2013

Determinism and compatibilism have thought that libertarianism contradicts the scientific view. This paper demonstrates that the hypothesis that free will exists does not cause any problems and contradictions, while maintaining pro-scientific view. Rather, determinism lacks scientific and demonstrative bases. At first, I reject dualistic self by assuming identity theory of the self and physical body & brain. Free will is a functional concept or property that can have multiple realization. Therefore we can recognize whether aliens or robots have free will through observation on their acts. 'Free will' is a functional kinds term like 'digestion'. As we know we have digestive function, we can know that we have free will even before knowing the necessity of its existence by understanding micro structure of human free will. The judgement that an individual has free will function depends on whether it has particular actions. Those actions are controlling and restraining actions in context, predicting future, making elaborate conditional sentences, etc. Real being of free will is the physical occupant of the function that makes those actions. Determinism is based on various kinds of misconceptions and misunderstandings. Determinists often confuse necessity of physical law and determinism. Another decisive misunderstanding is that free will postulates same conditions and different results from the same point of time. However, free will postulates that the two points of time are different. Because determinism is unnecessary redundant hypothesis influenced by religions, according to Ockham's Razor, determinism should be eliminated.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.113-122
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• 2013

The movie "Beautiful Mind" directed by Ron Howard is about a genius global mathematician, John Nash's life. In the movie, the main actor, John Nash is a schizophrenic patient who suffers from hallucination and delusion, and his illusion appears as three distinct characters. Each researcher has had a different opinion on the interpretation of these three characters, but many parts of their opinions are losing consistency. Especially the girl is assumed to be a character from the main actor's hallucination because she is ageless or there is no interpretation of the girl. Although the director Ron Howard did not adopt Aldous Huxley's theory "the more you know the more you see" for the movie, he analyzed the characters in the way of his own with thinking that he can analyze them in accordance with the knowledge level of audience. The imaginary characters come out from John Nash's head and who he wants to be. They are the basic human needs, earthly desire, sexual desire and the desire for honor. John Nash minutely reflects these three kinds of desires in an imaginary world through the three characters. This thesis is to newly suggest the symbolic meaning of the imaginary characters in the movie by clearly analyzing the meaning of the controversial three characters.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.82-89
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• 1998

During the boom of museum building in the 1970s-80s two museum wee erected in Germany. They are James Stirling's Neue Stattsgalerie Stuttgart and hans Hollein's Stadtisches Museum Abteiberg Monchengladbach, These two museums share the folowing point of similarity : Stirling's Neue Stattsgalerie Stuttgart and Hollein's Staditisches Museum Abetiberg Monchenbladbach both manifest the conditions of the times in light of their respective cities' local characters and historical contexts without being bound to traditional formality. Stirling and Hollein attempted to grasp the meaning of the 기nuseum as a city in miniature." Taking into account the t two museums’s territorial characteristics of being situated on a slope, both Stirling and Hollein made the walker to pass t through their building complex and introduced the concept of a public square within them. As a result, the museums are not j just two large buildings but are architecture composed of a collage of various structures. S Stirling’s architecture employs the method of attaching additional elements on top of basic constituents, which is suggestive '||'&'||'#61551; of the historical fragment from Shinkel's Altes Museum. On the other hand, Hollein applies a collage-style method as if he w were doing urban planning, maintaining the distinctiveness of each of the various forms and materials of buildings. T The object style buildings of the two museums actively demonstrate the contrast of double meaning to represent the a ambiguous and multifarious characteristics of the modern times. Stirling explores the theme of opposition and coexistence in h his Neue Stattsgalerie Stuttgart by placing a series of opposing concepts, such as the past and present and histor${\gamma}$ and t technology, in one space. Thereby, the contradiction and its appeal are manifested. Hollein made use of the visual illusion and c contradiction in alluding to the irony of the modern reality induced by nature and culture and history and technology. F For the above reasons and methods, James Stirling ’ s Neue Stattsgalerie Stuttgart allowed the penetration of art into daily l life and became the general public’s favored museum for its free and unrestrained environment. Likewise, Hans Hollein’s S Stadtisches Museum Abteiberg Moncbengladbach contribute to the development of museum function as it an expression of art i in the form of a complex piece of scupture on its own.ts own.

• Cartoon and Animation Studies
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• s.34
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• pp.81-104
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• 2014

Self-reflexivity means consciousness turning back on itself and breaks with art as illusionism and exposes their own factitiousness as textual construct. Self-reflexivity in media deals with the media's condition and process itself and tends to pull viewers out of the reality represented on screen by reminding them that is a media's construction or illusion on the screen. Representation aesthetics has been recognized with an essential theory of the art since Ancient Greek, but it has encountered crisis with the invention of the photography and the cinema in the early 1900s. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replace the past principal. This essay focuses on self-reflexivity in animation and their methodology. First, the change of representation aesthetics in visual arts will be discussed. Second, animations exposing their process of production and components will be analyzed, and lastly, intertextuality in animation will be dealt. I hope to provide the vision of the expanded animation media with this study.

• Journal of The Korean Association For Science Education
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• v.36 no.6
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• pp.935-946
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• 2016

This study aims to explore cognitive biases relating the core competences of science and instructional strategy in reducing the level of cognitive biases. The literature review method was used to explore cognitive biases and science education experts discussed the relevance of cognitive biases to science education. Twenty nine cognitive biases were categorized into five groups (limiting rational causal inference, limiting diverse information search, limiting self-regulated learning, limiting self-directed decision making, and category-limited thinking). The cognitive biases in limiting rational causal inference group are teleological thinking, availability heuristic, illusory correlation, and clustering illusion. The cognitive biases in limiting diverse information search group are selective perception, experimenter bias, confirmation bias, mere thought effect, attentional bias, belief bias, pragmatic fallacy, functional fixedness, and framing effect. The cognitive biases in limiting self-regulated learning group are overconfidence bias, better-than-average bias, planning fallacy, fundamental attribution error, Dunning-Kruger effect, hindsight bias, and blind-spot bias. The cognitive biases in limiting self-directed decision-making group are acquiescence effect, bandwagon effect, group-think, appeal to authority bias, and information bias. Lastly, the cognitive biases in category-limited thinking group are psychological essentialism, stereotyping, anthropomorphism, and outgroup homogeneity bias. The instructional strategy to reduce the level of cognitive biases is disused based on the psychological characters of cognitive biases reviewed in this study and related science education methods.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.737-742
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• 2007

The concept of 'Picturing' is beyond the 'Illusion' of traditional art in the Digital Media era. It is a 'Suffering' of the 'Re-appearance' that is masquerade the 'Actual' as a 'Digital Apparition.' This study aims to concern the point of view on the above subject; the 'Picturing' through the analysis of communication problems in the digital era. To begin with, need to define the concept of 'Picturing' and how it is expected to have a role through the accessibility of medium use, intervention by body and images. Also, I suggest a new approach to 'Picturing' as a new mutual communication method. Body, Digital media, and Image. These three principles of 'Picturing' create huge benefits to our world/nature whether we want it or not. It seems to become more and more of powerful self-replicating organism. We have to be aware what sort of images are surrounding us and how transmitting it to where in/on our body via newest sophisticated media we use. 'Picturing' is an invasion of ordinary, no longer exists pleasure for body, no longer speaks intension of its next destination. It strongly self-grows and also controls us in the name of Digital media era. However, 'Picturing' is a mode of re-imaging activity and also suggestion of re-appearance practice.

• 모자간호학회지
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• v.2 no.1
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• pp.45-54
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• 1992

The purpose of this study was to explore the stressors in pediatric intensive care unit and impaired psychological responses of children after open heart surgery. Sixteen children aged 6 to 11, who were admitted to the hospital for open heart surgery during the period from July, 1991 to February, 1992 were the subjects of the study. Observations, drawings, and interviews were used to collect data for study. Behavioral responses about intensive care unit phenomena were analyzed according to the 4 categories identified to assess children's perceived stressors in ICU. Impaired psychological responses were examined using observational and interview data. Drawings were analyzed by content and color by this researcher and validated by the psychologist. The findings were as follows : 1. The most frequently perceived stressors by children in ICU were the physical stressors causing pain and discomfort(68.5%). It was followed by social stressors which denote disruption of relationship with family and friends(13.0% ), environmental stressors which denote unfamiliar surroundings, noise, staff, and other patients (11.2%), and psychological stressors which denote factors affecting self-esteem such as inability to communicate and inadquate knowledge of the situation (7.3%). 2. 81.3% of the children showed of least one of the impaired psychological responses. Three children (18.8%) experienced time disorientation. An equal number of subject experienced perceptual illusion. Two children(12.5%) experienced hallucination. Vivid dream about ICU phenomena was reported by 2 children. Seven children(43.8%) were identified as having exaggerated fear. They feared about oxygen mask and ICU environment in general. Seven children(43.8%) experienced impairment of memory about treatments, procedures, and environment of ICU. 3. The analysis of children's drawing revealed that 56.3% of children experienced fear in the ICU. 75% of children included nurses in the drawings and 62.5% of children drew other children. 81.3% of children drew and identified himself in the drawing. The colors used most by children were green, purple, and brown. From this result, it is recommended to prepare children before open heart surgery to reduce their stressors and impaired psychological responses in ICU.

• The Journal of Information Systems
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• v.27 no.1
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• pp.153-169
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• 2018

Purpose Since human brains catch images faster than texts or numbers, infographics has been widely used in business in the form of "information dashboard" to enhance the efficiency of decision-making. Groupware, however, has neglected the adoption and use of infographics, in particular, in the idea generation process. Given that an overall performance of groupware-based idea generation is no better than that of the (paper-and-pencil-based) Nominal Group Technique, Jung et al. (2010) adopted the notion of infographics in the form of performance feedback to solve the productivity paradox. With the consistent results, which demonstrate beneficial effects of infographics on performance enhancement, an interesting observation that groups with the bar chart treatment performed better than groups with the dot chart treatment was made. The main purpose of this study was to find if there were a performance consistency between the outcomes from the previous study and the outcomes from the current study. Design/methodology/approach In experiment 1, we employed the same system used in the previous study (i.e., Jung et al., 2010). As individuals' contributions accumulated, the mechanism visually displayed individuals' performances two-dimensionally in the form of a bar chart or a dot chart. Then, we compared the performance outcomes from this study to the outcomes from previous study (i.e., Jung et al., 2010). In experiment 2, we modified the performance graph to test the effect of "playfulness" on performance by converting dots to car images. Then, we compared the performance outcome from experiment 2 to the outcomes from experiment 1. Findings Just like our interesting (and unexpected) finding in Jung et al.'s study (2010), the outcome confirmed a consistent superior performance of a bar chart. This implies that a bar chart is a better choice when stimulating performance with a visual aid in the context of groupware-based idea generation. Although a bar chart was criticized in a way that errors of length-area judgments are 40 ~ 250% greater than those of positional judgments along a common scale, such illusion turned out to be facilitating upward performance comparison better. Regarding Experiment 2, the outcome showed that the revised-dot graph is as good as the bar graph in terms of quantity and quality score of ideas. We attribute the performance enhancement of the resized-dot to the interaction between the motivational characteristic and the situational characteristic of playfulness because individuals in the revised-dot graph treatment performed better than individuals in the dot graph treatment. Given the order of performance (Bar >= Revised Dot > Dot) that the revised-dot treatment performed the same as (or lower than) the bar treatment, an additional research is warranted to reach to a consistent outcome.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.3 s.43
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• pp.197-207
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• 1992

Expressionism, is as diverse as the artists invo)ved, in a very broad sense two main tendencies may be noted. The first is that of the Action painters, concerned in different ways with the gesture of the brush and the texture of the paint. It included such major artists as Arshile Gorky, Jackson Pollock, Willem De Keening, and Franz Kline. The other group consisted of the Color Field painters, concerned with the statement of an abstract sign or tranquil image in terms of a large, unified color shape or area. Here must be included Mark Rothko, Barnett Newman, Ad Rdinhardt, as well as, to a degree, Adolph Gottlieb, Robert Motherwell, and Clyf(ord Still. In this paper, 1 selected two artists Arshile Gorky and Jackson Pollock independent charac-teristics and studied the influence of their Action painting on the fabrics of modern fashion. However, it should be noted it was never the intention of the critic Harold Rosenberg, in coining this term, to imply that Action painting was a kind of athletic exercise. Nor is it true that the furious and seemingly haphazard scattering of the paint involved a completely uncontrolled, intuitive act. There is no question that, in the paintings of Jackson Pollock, Arshile Gorky and many of the other Abstract Expressionists, the element of intuition or the accidental plays a large and deliberate part; this was indeed one of the principal contributions of Abstract Expressionism which had found its own inspiration in surrealism's 'psychic automaton'. However, nothing that an experienced and accomplished artist does can be completely accidental. Aside from their intrinsic quality, the spun-out skeins of poured pigments contributed other elements that changed the course of modern painting. There was the concept of the all-over painting, the painting seemingly without beginning or end, extending to the very limits of the canvas and implying an extension even beyond. The feeling of absorption or participation is heightened by the ambiguity of the picture space. The colors and lines, although never punctur-ing deep perspective holes in the surface, still create an illusion of continuous movement, a billowing, a surging back and forth, within a limited depth. To study the influence of Abstract Expressionism on the fabric of modern fashion, 1 selected and examined four fashion magazines: Collezioni published in France, Bazaar in Italy, Gap in Japan and Vogue in the U.S.a. froim January 1989 to June 1991. As a result of this review I found that some fabrics used in modern clothing are printed in a dripping, pouring and splashing style without any meaning or form. Slides included in the presentation show that modern fabrics which are printed in such a style were influenced by Abstract Expressionism. The slides also show that these abstract prints are well suited to modern fashion design.