• Korean small business review
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• v.33 no.4
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• pp.77-93
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• 2011

Since 2000, the employment rate of small and medium enterprises (SMEs) has dwindled while the creation of new jobs and the emergence of healthy SMEs have been stagnant. The fundamental reason for these symptoms is that the economic structure is disadvantageous to SMEs. In particular, the greater gap between SMEs and large enterprises has resulted in polarization, and the resulting imbalance has become the largest obstacle to improving SMEs' competitiveness. For example, the total productivity has continued to drop, and the average productivity of SMEs is now merely 30% of that of large enterprises, and the average wage of SMEs' employees is only 53% of that of large enterprises. Along with polarization, rapid industrialization has also caused anti-enterprise consensus, the collapse of the middle class, hostility towards establishments, and other aftereffects. The general consensus is that unless these problems are solved, South Korea will not become an advanced country. Especially, South Korea is now facing issues that need urgent measures, such as the decline of its economic growth, the worsening distribution of profits, and the increased external volatility. Recognizing such negative trends, the MB administration proposed a win-win growth policy and recently introduced a new national value called "ecosystemic development." As the terms in such policy agenda are similar, however, the conceptual differences among such terms must first be fully understood. Therefore, in this study, the concepts of win-win growth policy and ecosystemic development, and the need for them, were surveyed, and their differences from and similarities with other policy concepts like win-win cooperation and symbiotic development were examined. Based on the results of the survey and examination, the study introduced a South Korean model of win-win growth, targeting the promotion of a sound balance between large enterprises and SMEs and an innovative ecosystem, and finally, proposing future policy tasks. Win-win growth is not an academic term but a policy term. Thus, it is less advisable to give a theoretical definition of it than to understand its concept based on its objective and method as a policy. The core of the MB administration's win-win growth policy is the creation of a partnership between key economic subjects such as large enterprises and SMEs based on each subject's differentiated capacity, and such economic subjects' joint promotion of growth opportunities. Its objective is to contribute to the establishment of an advanced capitalistic system by securing the sustainability of the South Korean economy. Such win-win growth policy includes three core concepts. The first concept, ecosystem, is that win-win growth should be understood from the viewpoint of an industrial ecosystem and should be pursued by overcoming the issues of specific enterprises. An enterprise is not an independent entity but a social entity, meaning it exists in relationship with the society (Drucker, 2011). The second concept, balance, points to the fact that an effort should be made to establish a systemic and social infrastructure for a healthy balance in the industry. The social system and infrastructure should be established in such a way as to create a balance between short- term needs and long-term sustainability, between freedom and responsibility, and between profitability and social obligations. Finally, the third concept is the behavioral change of economic entities. The win-win growth policy is not merely about simple transactional relationships or determining reasonable prices but more about the need for a behavior change on the part of economic entities, without which the objectives of the policy cannot be achieved. Various advanced countries have developed different win-win growth models based on their respective cultures and economic-development stages. Japan, whose culture is characterized by a relatively high level of group-centered trust, has developed a productivity improvement model based on such culture, whereas the U.S., which has a highly developed system of market capitalism, has developed a system that instigates or promotes market-oriented technological innovation. Unlike Japan or the U.S., Europe, a late starter, has not fully developed a trust-based culture or market capitalism and thus often uses a policy-led model based on which the government leads the improvement of productivity and promotes technological innovation. By modeling successful cases from these advanced countries, South Korea can establish its unique win-win growth system. For this, it needs to determine the method and tasks that suit its circumstances by examining the prerequisites for its success as well as the strengths and weaknesses of each advanced country. This paper proposes a South Korean model of win-win growth, whose objective is to upgrade the country's low-trust-level-based industrial structure, in which large enterprises and SMEs depend only on independent survival strategies, to a high-trust-level-based social ecosystem, in which large enterprises and SMEs develop a cooperative relationship as partners. Based on this objective, the model proposes the establishment of a sound balance of systems and infrastructure between large enterprises and SMEs, and to form a crenovative social ecosystem. The South Korean model of win-win growth consists of three axes: utilization of the South Koreans' potential, which creates community-oriented energy; fusion-style improvement of various control and self-regulated systems for establishing a high-trust-level-oriented social infrastructure; and behavioral change on the part of enterprises in terms of putting an end to their unfair business activities and promoting future-oriented cooperative relationships. This system will establish a dynamic industrial ecosystem that will generate creative energy and will thus contribute to the realization of a sustainable economy in the 21st century. The South Korean model of win-win growth should pursue community-based self-regulation, which promotes the power of efficiency and competition that is fundamentally being pursued by capitalism while at the same time seeking the value of society and community. Already existing in Korea's traditional roots, such objectives have become the bases of the Shinbaram culture, characterized by the South Koreans' spontaneity, creativity, and optimism. In the process of a community's gradual improvement of its rules and procedures, the trust among the community members increases, and the "social capital" that guarantees the successful control of shared resources can be established (Ostrom, 2010). This basic ideal can help reduce the gap between large enterprises and SMEs, alleviating the South Koreans' victim mentality in the face of competition and the open-door policy, and creating crenovative corporate competitiveness. The win-win growth policy emerged for the purpose of addressing the polarization and imbalance structure resulting from the evolution of 21st-century capitalism. It simultaneously pursues efficiency and fairness on one hand and economic and community values on the other, and aims to foster efficient interaction between the market and the government. This policy, however, is also evolving. The win-win growth policy can be considered an extension of the win-win cooperation that the past 'Participatory Government' promoted at the enterprise management level to the level of systems and culture. Also, the ecosystemic development agendum that has recently emerged is a further extension that has been presented as a national ideal of "a new development model that promotes the co-advancement of environmental conservation, growth, economic development, social integration, and national and individual development."

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.65-73
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• 2012

Interior design generally falls behind to architecture in its concept of conservational value as interior designs are more to the simple style or trend. Therefore, This study aims how the society and the major events in the 1960's and individual and group desires are portrayed in movies through the eyes of movie directors, and further how the concept of spaces and the features of the spaces are displayed. First, This paper analyzes the movies in the 1960's, especially the expressionism and psychological zeitgeist in "The Housemaid" directed by Kim Ki-Young that can be logically analyzed, following the signs in the movie. Secondly, It analyzes the images captured the scenes that best describe the underlying theme of the movie, revealing the features of the different spaces for different scenes. Moreover, It analyzes the correlation of the change in value, desire, and space of the time in the 1960's to see the feature of the spaces in the 1960 are represented in the movie. In conclusion, the realistic expressionism movie of Kim Ki-young's 'Housemaid' showing the everyday life of a family against the background of industrial capitalism reveals the intimate desire of the time with the director's perspective on the history. With Mise-en-Sc$\grave{e}$ne, we can understand the space structure of the time, the view on space structure and further the effect of modernization project on urban residential area.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.241-257
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• 2009

The essay discusses the way in which the aesthetic of Pre-Raphaelites reformulates the habitual system of knowledge in the Victorian age by adapting $Ranci{\acute{e}}re^{\prime}s$ concept of aesthetics. $Ranci{\acute{e}}re$ develops an original theory of aesthetics, a regime of knowledge which enables to perceive and reflect art as such. In this way, aesthetics turns to be the logical system by which the consensus idea of the beautiful comes to exist. For $Ranci{\acute{e}}re$, aesthetics is an agreed system of the sensible and reproduces the habitual knowledge of the world. Therefore, a new aesthetic movement means an attempt to break the given aesthetics and reorients the new distribution of the sensible. The important point of $Ranci{\acute{e}}re^{\prime}s$ argument is that he does not presuppose the dimension beyond the present unlike Frankfurt School. What $Ranci{\acute{e}}re$ claims is that there is no such the aesthetic which can correct the instrumental reason, but rather an indifferent moment in which a worker finds out himself as a creator who can give rise to the new regime of the sensible and feels free from what he must work for. From this perspective, the essay explores the aesthetic of Pre-Raphaelites and its meaning in nineteenth century Britain. Pre-Raphaelites was an artist group who railed against a so-called academic style of paintings and created a new aesthetic criterion to describe the truth of the natural world. The essay examines the interrelationship between Pre-Raphaelites and photography that would enable them to re-distribute the sensible and produce a new way of seeing the order of things. This is related to the birth of a modern gaze as in the case of landscape paintings. What is crucial is that the distribution of the sensible is always-already doubled with the political. In short, Pre-Raphaeltes is not only an aesthetic movement but also a political pursuit to achieve a disenchanted perception of nineteenth century industrial capitalism.

• Journal of the Korean association of regional geographers
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• v.22 no.3
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• pp.576-598
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• 2016

This paper is to reconsider some characteristics of philosophical discussion on alienation, especially focusing on Lefebvre's concept of alienation, and then to conceptualize a number of features of alienation in both industrial and postindustrial capitalist cities. The construction and development of modern city in industrial capitalism has brought about alienation from nature and from land(i.e. means of production), and in these contexts, has generated alienated labour of urban labourers, which has been deepened through development of modern technologies and divisions of labour. The transformation from industrial to postindustrial society can be seen not as alleviating but as further intensifying and expanding process of alienation. Urban alienation in postindustrial society has been spatially and temporally extended through processes of glocalization and of financialization with the development of credit system. It also has been widened to fields of consumption and leisure and to spheres of non-material production, and has get more deeply involved in capital circulation through built environment and landscape(or spectacles) of cities. Finally this paper is to re-examine briefly theoretical discussions on dealienation in order to conceptualize the just city for dealienation of labour and of urban space, in particular considering the concept of 'the right to the city' as practical strategy of urban dealienation, and to suggest further three kinds of justice for the just city, that is, justice for distribution, for production and for recognition.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.243-277
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• 2020

This paper examines a social and cultural history of horror films through the keyword "technology", focusing on The Spark of Fear: Technology, Society and the Horror Film (2015) written by Brian N. Duchaney. Science fiction film is closely connected with technology in film genres. On the other hand, horror films have been explained in terms of nature/supernatural. In this regard, The Spark of Fear, which accounts for horror film history as (re)actions to the development of technology, is remarkable. Early horror films which were produced under the influence of gothic novels reflected the fear of technology that had been caused by industrial capitalism. For example, in the film Frankenstein (1931), an angry crowd of people lynch the "monster", the creature of technology. This is the action which is aroused by the fear of technology. Furthermore, this mob behavior is suggestive of an uprising of people who have been alienated by industrial capitalism during the Great Depression. In science fiction horror films, which appeared in the post-war boom, the "other" that manifests as aliens is the entity that destroys the value of prosperity during post-war America. While this prosperity is closely related to the life of the middle class in accordance with the suburbanization, the people live conformist lives under the mantle of technologies such as the TV, refrigerator, etc. In the age of the Vietnam War, horror films demonize children, the counter-culture generation against a backdrop of the house that is the place of isolation and confinement. In this place, horror arises from the absolute absence of technology. While media such as videos, internet, and smartphones have reinforced interconnectedness with the outside world since the 1980s, it became another outside influence that we cannot control. "Found-footage" and "torture porn" which were rife in post-9/11 horror films show that the technologies of voyeurism/surveillance and exposure/exhibitionism are near to saturation. In this way, The Spark of Fear provides an opportune insight into the present day in which the expectation and fear of the progress of technology are increasingly becoming inseparable from our daily lives.

• Journal of Korean Philosophical Society
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• v.145
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• pp.45-69
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• 2018

This is an attempt to reflect on humanity in the post-human era. Here, I think that the question of future human beings should be critically raised in the following two meanings. First, can post-humans recover the body, emotions, nature and women's voices suppressed by modern enlightened subjects? Second, can post-humans preserve humanity by fighting inhumanity without presupposing human essence or immutable foundations? In answer to these questions, I will have a dialogue with M. Heidegger(1889-1976), W. Benjamin(1892-1940), Th. W Adorno(1903-1969). The three philosophers looked at the inhuman world situation brought about by modern subjects and technology, and found the possibility of new human beings. The three philosophers' new human image are the three possible models of post-humanism, 'a human being as ek-sistence' (Heidegger, Chapter 2), 'the man who restored the similarity with the other through innervation' (Benjamin, Chapter 3), 'A human being who negates the inhuman society' (Adorno, Chapter 4), and examines the current status of each. In conclusion, as long as the fourth industrial revolution is developed as a system of digital capitalism that controls the world as a whole from human senses, impulses, and unconsciousness, the necessity of the post-human era is aesthetic authenticity.

• Journal of Service Research and Studies
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• v.12 no.3
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• pp.1-25
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• 2022

This study was conducted for technology development and industrial and enterprise system design for the sustainable life of mankind. Human society is facing a crisis. As the power of mankind has increased due to the development of nuclear weapons and information and communication technologies, the risk of human society has greatly increased. The value of growth and freedom is increasing due to capitalism and democratic systems, so technological innovation is accelerating, and industries and companies are growing significantly. New technologies and industries can greatly develop human society and put it at risk. This study was conducted with the aim of redesigning technology, industry, and enterprise systems so that humans who live on Earth can be more sustainable for a longer time. It presented a practical alternative for a long-term sustainable human society. It suggested alternatives for what philosophy and methodology should be developed for the whole of humanity and in each individual national society, for developing technologies, fostering industries, and operating corporate systems. First of all, the problems of the technology development system, industrial system, and enterprise system of human society were analyzed. The characteristics and problems were analyzed in terms of sustainability of human society. The necessary and sufficient conditions for an alternative system to solve the raised problems were derived. A system that satisfies these conditions was designed and presented. The alternative system was named as a servicism system as a system based on the service philosophy. The structure, operation model, and implementation plan of the new technology industry enterprise system were presented. In the future, follow-up studies are needed to be concreted at the level of individual countries and human society as a whole.

• 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.

• Journal of Science and Technology Studies
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• v.18 no.2
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• pp.95-133
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• 2018

Since the beginning of the millennium, 'Maker Movement' has been active throughout the world. Today, there is a maker fair every year in major cities of the world including Seoul, and the number of attendees is increasing day by day, so it can be seen as a kind of maker 'phenomenon'. The positive implication of the maker's movement is that it attempts to break down the monopoly of manufacturing and to restore the rights and capabilities of citizens as makers. Today, highly developed industrial capitalism has a tendency to structurally paralyse citizens, to tie their hands and feet, and to degenerate into consuming entities only. Therefore, it can be said that the maker movement has structural tensions in the relationship of neoliberal manufacturing culture. This study is an attempt to actively interpret the maker movement in terms of "critical making". The maker movement can trace its origins to "counterculture" and "new communalism" that emerged in the United States in the 1960s and 1970s. On the other hand, there is criticism that the maker movement can fall into another technology utopianism and function as an area of consumer society, and mobilize it in the direction of activating consumerism. Although the maker's movement is amorphous due to its characteristics and it is currently in progress, it is difficult to make crude definition yet. However, as the citizens who have been defined only as consumers of science and technology, are newly emerging as producers of makers, there have been great changes in the topography of science and technology and civil society. So the scientific implication of the maker movement is great in that it shows the possibility of causing it.

• The Journal of Information Systems
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• v.32 no.4
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• pp.211-227
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• 2023

Purpose In the contemporary landscape, marked by the enduring impact of COVID-19 and the recent disruptions stemming from the conflict in Ukraine, the purpose of this study is to navigate the era characterized by pervasive risk and uncertainty. Specifically, the study aims to dissect the impact of the COVID-19 outbreak on digital transformation, exploring the factors influencing this process and considering the multifaceted dynamics at play. The focus extends to the post-COVID-19 landscape, scrutinizing the implications and meanings of digital transformation both before and after the pandemic. Additionally, the study delves into future digital trends, with particular attention to climate and environmental issues, emphasizing corporate responsibilities in averting crises similar to COVID-19. The overarching goal is to provide a holistic perspective, shedding light on both positive and negative facets of digital transformation, and advocating for regulatory enhancements and legal frameworks conducive to a balanced and resilient digital future. Design/methodology/approach This study employs a comprehensive approach to analyze the impact of the COVID-19 outbreak on digital transformation. It considers various facets, such as smart devices reshaping daily routines, transformative changes in corporate ecosystems, and the adaptation of government institutions to the digital era within the broader context of the Fourth Industrial Revolution. The analysis extends to the post-COVID-19 landscape, examining the implications and meanings of digital transformation. Future digital trends, especially those related to climate and environmental issues, are prognosticated. The methodology involves a proactive exploration of challenges associated with digital transformation, aiming to advocate for regulatory enhancements and legal frameworks that contribute to a balanced and resilient digital future. Findings The findings of this study reveal that the digital economy has gained momentum, accelerated by the proliferation of non-face-to-face industries in response to social distancing imperatives during the COVID-19 pandemic. Digital transformation, both preceding and succeeding the onset of the pandemic, has precipitated noteworthy shifts in various aspects of daily life. However, challenges persist, and the study highlights factors that either bolster or hinder the transformative process. In the post-COVID-19 era, corporate responsibilities in averting crises, particularly those resembling the pandemic, take center stage. The study emphasizes the need for a holistic perspective, acknowledging both positive and negative facets of digital transformation. Additionally, it calls for proactive measures, including regulatory enhancements and legal frameworks, to ensure a balanced and resilient digital future.