• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.97-112
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• 2013

In this study, physical, social and psychological repression embodied by the body and clothing are referred to instinctual, power and creative desires, respectively, from the point of biological, social and aesthetic views. Desire refers to a behavior to overcome men's imperfections with individual security, sense of belonging and the pursuit of an ideal, which are obtained by living as a social creature. Repression through the body is sub-categorized depending on whether it is temporary or permanent. Repression expressed through clothing is seen through revealing/concealing, contraction/expansion, and deconstruction/ reconstruction. What enables human beings to embrace changes in fashion without fierce resistance or backlash is the changes of formativeness demonstrated by repression through the body and clothing. The aesthetic values drawn from the exhibition of repression and on the body and clothing are categorized into narcissism, fetishism and aestheticism. While narcissism is an instinctive desire grounded on the originality and confidence of the self that results in refusing repression, fetishism is a desire for power that expedites repression in the pursuit of materialistic value or sexual fantasy. Aestheticism is a desire for creativity that symbolizes the body-and-clothing repression in the pursuit of aesthetic idealism. Repression evokes desire, and the pursuit of desire leads to another repression. The aesthetic values of desire for instinct, power and creativity can be substituted with each other for interpretation according to the attitudes of an initiator, a user and a spectator.

• Journal of Science of Art and Design
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• v.6
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• pp.119-139
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• 2004

The intention of the research is to look into the form reflecting the spiritual image due to Oriental aesthetic from a realistic point of view. In this regard, I will pay attention to examining the process from figurative perspectives, in which painting image by subject acquires the beauty of form. Of the main subjection this paper, figure is an image itself appearing in painting. At this point, I will attempt to show how the meaning and value of image have been interpreted and judged on the aesthetic standard in Oriental painting in particular. For this process, I generalize the conception of the image as 'figure' and through this I will reconsider the standard of understanding and the value of perception regarding painting images on the method which are more applicable to the expressions of Oriental painting. The reason why I try to find out the true nature of images in Oriental painting from a figurative viewpoint is to convert a conventional sense of value which recognizes the images of Oriental painting only as results of idealism, into more practical field. If the true nature of Oriental painting is fixed and restricted to natures of idealism, any productive development and any changes in form for future couldn't be expected at all. In fact, what the ideological and aesthetic values of art suggest is clearly a proof of real art form. However, it is not a hard thing to prospect that only a superficial idealism will be ceaselessly produced, while the practical study about aesthetic values, meaningful results of painting expressions, is totally ignored, if ideology itself is used as criteria to judge the identity of it or if only the idealistic aesthetic values are emphasized while any clue to show a real existence of oriental paintings is not certain. Actually, nobody can deny the fact that interests about real natures regarding art expressions have been relatively ignored while armed with mental ideology for esthetic view of oriental painting in traditionalism Therefore, it is clear that 'spiritual status' itself can generate any form. Traditionally, in the Orient, the standard of judging a real value of things, which put a focus on a spiritual view of value rather than on a materialistic view of it, has been vaguely positioned the identity of images in painting As a result, the aesthetic convention has finally committed to an error that for images of oriental painting, ideological criteria like so called spiritualism are applied as a judging way, and esthetic meanings and values of real painting are considered as strategic results and spiritual intentions.

• Archives of design research
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• v.17 no.2
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• pp.479-486
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• 2004

We need to seek after new direction and order of design that puts more value on the spirits and culture of human beings in the 21st century, creating a new, all-inclusive value in which individual human being, the society and the environment can co-exist in a peaceful relationship by overcoming the materialistic, analytical, competitive, and differentiated values of traditional industrial society. The aim of this study, then, is to present a new method of design that can meet the demands of the 21st century in a civic age of information, knowledge and culture, by focusing on Monistic ideals derived from a deeply rooted Oriental philosophy. The concept of Monism is embodied by a mind set that treasures the benefit to others over rewards to the self, puts more importance on the spiritual life hidden behind physical phenomena, thinks more of what lacks than what exceeds, elevates the mind over the body, and seeks after beauty via a total harmony of balance and development that can be feasible only by combining all these elements. Ultimately, the new design principle based on the Monism consists of three basic elements: (1) identification of the subject and the object between things under the perception that all things are one (Unification); (2) the ability that helps things exist with appropriate beauty maintaining balance and stability (Harmony); and (3) the attitude of sharing to maintain sustainable vitality by filling up what lacks or is missing in a whole(Change).

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.168-183
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• 2013

Contemporary era has witnessed a diversity of emotion and emotions being expressed through consumption. This paper examines the relationship between social paradigms and emotional design by means of literature study. In sections 2 and 3, I examine the prevalent social paradigms and the concept/development of emotional design. In section 4, I show the correspondence between social paradigms and specific types of emotional design. More specifically it is shown that "pluralism and decentrality" has led to fun design, individual design and participative design; "emotional revolution" has given rise to multi-sensory design, design with positive feelings, design with negative feelings and aesthetic design; "non-materialistic values" have their correspondence in design as performance and story-telling in design; and "organic worldview" finds its expression in ecological design with a wellness emphasis, and in interactive emotional design.

• Journal of Digital Convergence
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• v.11 no.10
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• pp.679-687
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• 2013

Currently, we are living in the era of digital media that puts the technologies in front which is called digital. Based on the characteristic of 'de-materialistic', human senses have been extended more than ever and there is no exception on those influences. Even though the existence of media seriously brought the identity and value of the painting into a question after the emergence of analog photos, advent of digital photos are raising the wind of new paradigms and values creation more seriously than ever. Unlike analog photos of the past which go through chemical process, true nature of digital photo goes through the digital process which is represented by 0 and 1. This didn't bring the loss of the original, but rather brought the creation of the copy which excels the original through retouching and consequently, destroyed the traditional value which is referred as an original. Like this, digital photo image has aesthetics and value of existence which is differentiated from analog photo because it has essentially different structures and characteristics with analog photo.

• Korean Journal of Comparative Education
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• v.26 no.4
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• pp.55-80
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• 2016

Kerala, a southern-west state of India, has been vigorously studied due to its unique development status. Indeed, Kerala shows such a high level of social development as Human Development Index indicates, yet it is suffering from the low level of economic. As a result, scholars have examined a broad range of rationales to understand the 'Kerala Development Model' as discussing historical contexts, social welfare policies, land reforms by Communist Party of India, and so on. Among them, scholars agree that education is one of the most critical factors that led to social development of Kerala. Despite the consensus, there has been lack of research that deeply look into how education has been delivered, what impacts it has on people, and why it contributes to social development in Kerala. This research, thus, would discuss the meanings, values and impacts of education with the capability approach that is originally termed by Amartya Sen. The approach criticize the dominant paradigm of 'development' that is materialistic oriented, instead it emphasizes expanding a range of capabilities of people to reach 'development' that people can act upon what they value and cherish. Based on Sen's perspective, we believe that dimensions of education can be re-defined and expanded in a relation to development.

• 한국체육학회지인문사회과학편
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• v.54 no.5
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• pp.581-592
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• 2015

This research was fairness in sport and power is how they form and change through historical discussion on the sport's doping and ran afoul of fairness Explored in match-fixing in relationship with power, the product of the problems of human desires. First, doping and exploration of power. The history of doping in sports, history as long as it existed before. Medication is ruler of the players can't or don't conform with authority between the pair formed a relationship, where, in accordance with the victory of a temptation for wealth and fame and vested interests and desire, is personal, Society and country ranging and widely is committed. In particular, power of expression is reflected well reflected in the sport in the Cold War era and, in those days was wrong thinking and practices are still truly understands the connection between doping and anti-doping. Second, match-fixing and exploration of power. Also in the history of sport as doping, match-fixing, always existed. Sport and fairness of match-fixing in relation to artificial sources, and well decide the outcome of which ended with sport, not an issue connected to gambling and other crimes, And that's another sport and bring about a vicious circle of even turn into a row. The reason for this match fixing in power part of the formation of capital and profits for the exact cause has developed that further threatens the fair sport. Thus, in fairness, and relations of power in sport doping and match-fixing is historically very meaningful and, further research and discussion is needed. Buried the materialistic values of sport doping and match-fixing, nothing is being tolerated and other researchers' power as the elements of the pie grow only by sport only No one can guarantee that only satisfied if we hold a bright future of sport.