• Title/Summary/Keyword: popular culture

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A Survey on Consumption Pattern of Minimally Processed Fruits and Vegetables (최소가공기술을 이용한 신선편의 과채류의 소비형태에 대한 연구)

  • Kim, Gun-Hee;Bang, Hye-Yeoul
    • Journal of the Korean Society of Food Culture
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    • v.13 no.4
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    • pp.267-274
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    • 1998
  • The consumption patterns of the minimally processed fruits and vegetables were surveyed in this present study. Eighty four women who were resident in either Seoul and Kyongki-do in Korea were participants in this study as respondents to our various questionnaire. The result are summarized as follows; The respondents had a preference for a supermarket (46.4%) as the place of purchase (or fruits and vegetables and the frequency of purchase was two or three times per week. The residents of apartment preferred department stores and supermarkets to stalls in the immediate residential area (p<.05). Fifty percents of the unmarried women respondents indicated that they only purchased once a week. Approximately 70% of the respondents rated quality considerations over the price and quantity when they choose their fruits and vegetables. This behavioral tendency was stronger for the residents of the apartment and amongst the more highly educated women. The type of fruits and vegetables purchased were mainly unprocessed. However, minimally processed products appeared to be popular especially among unmarried or married who did not have children, were highly educated and aged between 20 and 30. These observations are supported by data in which 82% of respondents whose ages were ranged between 20 and 30, with high educational backgrounds and who had experienced in the purchase of minimally processed fruits and vegetables. The motivation for purchasing minimally processed fruits and vegetables generally resulted from a consideration of the saving in cooking time, the ease of handling and the desire to serve appropriate portions. On the other hand, the reasons for not purchasing minimally processed fruits and vegetables were the comparatively high price, a perception of unsanitary handling and pack size that were considered too small. Ninety-three percent of the respondents exhibited a positive response to the need for minimally processed fruits and vegetables. Freshness was considered to be the most important factor when purchasing these products. The preferred price for the minimally processed fruits and vegetables was approximately $110{\sim}120%$ of that for the unprocessed products.

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User Gestures as a Voluntary Action in Products Design - Focused on a Gesture Discovered in User Positive Action to Transform Products (제품디자인에 있어서 자발적 행위로의 유저제스처 -사용자의 긍정적 제품변형행위에 관한 제스처를 중심으로-)

  • 진선태;우흥룡
    • Archives of design research
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    • v.17 no.2
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    • pp.95-104
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    • 2004
  • Creativity is a important keyword for users as well as for main design organization who needs it. But little attention has been given to the aspect of user's creativity, also there has been a few attempt to apply it into design development until now. Nowadays in design areas, user's experiences and actions are changing the passive states receiving meanings into the active states creating meanings voluntarily. It is resonable to suppose that creative stage is important for users and they have the possibility of new ideas of uses and creating new productions. User's experiences of objects includes that of being formed or supported previously and that of voluntary interpretations acquired for himself, which it may be the possibilities predicted in design process or unknown user's action areas. It is likely that creative use process by themselves are the actions applied and deviated from usability and function by main design organization, also creative productions are arranged and made by users. These have a scope of examination and research in probability that is occurs frequently in user. In this research, approaching with a term, 'User gestures', User gestures are the characteristic action areas based on user's voluntary behaviors, where are revealed a unessential and non-operational function as a action itself and various transformation and creation of products as a outcome of action. This fact proves clearly that user gestures have a worth of alive spectrum to observe aspects of user culture and could be a attractive approach to seek easily new design concept for designer and developer. A further direction of this study will be following areas, Ethnography methods research of user gestures, Cultural research to phenomenon of user design and UGSBD(User gesture scenario based design) research. And it seems probable that they are applied in design development as follows, User initiative customization products, User participatory recycling products and creativity-experience design.

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The Present State and Problems of Hotel Buffet Styled Restaurant -II. A Survey of Ecology in Food and Nutrition of Some Urban Females Dining in Hotel Buffet Styled Restaurant- (호텔 뷔페음식(飮食)에 관(關)한 실태조사(實態調査) -제(弟) 2보(報). 여성(女性)들의 뷔페식당(食堂)에서의 끽식행동(喫食行動)에 관(關)한 연구(硏究)-)

  • Choi, Kyung-Suk;Mo, Su-Mi
    • Journal of the Korean Society of Food Culture
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    • v.6 no.2
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    • pp.185-197
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    • 1991
  • An eating behavior research was done with 50 females at a buffet styled restaurant during their lunch time. Of the respondents, 52.0% were professional and 54.0% were graduate school graduates. Of the respondents, 58.0% of the company were friends and 24.0% were relatives. The average time period of eating was $93.0{\pm}23.4$ minutes. The average frequency of taking food was $4.0{\pm}1.1$ and the average frequency of taking food after satiety was $1.4{\pm}0.8$. It is significant that lower frequency of food consumption was directly proportional to the age groups of respondents. The average selected food items were $30.4{\pm}7.1$ out of 175 and the average weight of the consumed food was $995.0{\pm}240.9$ g. The older age group chose a similar number of food items, but the amount of each food item was considerably less than younger. So the younger the age group was, the more they ate. The average food items at one time was $7.1{\pm}2.2$ and the average food weight time was $233.7{\pm}69.7$ g. The percentage of respondents who evaluated themselves as 'ate too much' was 70.0% and those who evaluate themselves 'ate properly' was 14.0%. Most of them were satisfied with the buffet service. The average of number of food items consumed by respondents before cooking was $50.5{\pm}8.9$. The consumption of calories and nutrients was compared with the Korean Daily Recommended Dietary Allowances. The consumed calories were 60.9% of RDAs, protein 104.4%, calcium 77.1%, iron 129.8%, vitamin A 66.5%, thiamin 96.0%, riboflavin 95.7%, niacin126.6% and ascorbic acid 112.3%. This data exceeded 1/3 of the Korean Daily RDAs tremendously and tells us extreme overeating. The energy ratio of carbohydrate: fat: protein was 51.6: 29.9: 18.5. Caloric consumption of animal food was 27.9% and the consumption rate of the other nutrients from animal food was considerably high. But the consumption rate of vitamin A was 90.9% from vegetable groups. Accoding to this study, buffet service gives some advantages. It gives customers an good opportunity to vary their food intake, which enhances eating experiences and can cause an improvemont of food habits. But overeating is a problem. Therefore, we think it is necessary for those women who have influence over their family's food selection, to have nutrition education about a desirable order of eating a meal, food selection, and health problems due to overeating at buffet styled restaurant. There should be some improvement in the management of buffet service. For example, proper temperature, texture, and freshness of the food should be maintained. Prevention of mixed food smells should be considered as well. To lower the price it is desirable to reduce the number of similar items and to use seasonal food as much as possible. A buffet styled restaurant with less food items with cheaper prices is recommended. Various traditional food should be developed for the menu items. We expect buffet services to be sutable to maintain good health and to be popular to any eater.

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Optimization of in vitro lily culture system with different treatments of taurine (타우린 처리에 의한 나리 기내 식물체 생산체계 최적화)

  • Lee, Sang-Hee;Yang, Hwan-Rae;Kim, Sun Tae;Jun, Tae Hwan;Kim, Yong Chul;Kim, Jong Bo
    • Journal of Plant Biotechnology
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    • v.44 no.4
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    • pp.484-489
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    • 2017
  • Lilies as cut flowers are one of the most popular ornamental plants in South Korea. It is necessary to develop lily cultivars with high qualities. Therefore, highly efficient propagation systems are needed following release of elite cultivars. In this study, we used taurine treatment to improve the growth conditions including shoot and bulb formation, fresh weight gain, and reduction of rooting and browning. We experimentally evaluated the effect of taurine as a growth stimulator, at concentrations of 0, 2.5, 5, 10, 15 and 20 mg/l. The results showed that 20 mg of taurine enhanced shoot formation by 85% and increased fresh weight 5.5-fold, which was higher than the approximately four-fold increase in the control. In addition, multiple bulb formation rate was increased by 80% and rooting by 82% following exposure to 20 mg/l of taurine. The efficiency of taurine treatment was higher than that of control with 50% multiple bulb formation rate and 60% rooting rate. The browning was 10.6% at 2.5 mg/l of taurine when compared with 0.8% at 20 mg/l. Taurine showed a positive effect on the overall growth of lily plants in terms of increased fresh weight, shoot formation rate, rooting, and formation of multiple bulbs, indicating that taurine can be used as an alternative to amino acids or as an antioxidant such as citrate and vitamin C in plant tissue culture.

A Qualitative Study on Facilitating Factors of User-Created Contents: Based on Theories of Folklore (사용자 제작 콘텐츠의 활성화 요인에 대한 정성적 연구: 구비문학 이론을 중심으로)

  • Jung, Seung-Ki;Lee, Ki-Ho;Lee, In-Seong;Kim, Jin-Woo
    • Asia pacific journal of information systems
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    • v.19 no.2
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    • pp.43-72
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    • 2009
  • Recently, user-created content (UCC) have emerged as popular medium of on-line participation among users. The Internet environment has been constantly evolving, attracting active participation and information sharing among common users. This tendency is a significant deviation from the earlier Internet use as an one-way information channel through which users passively received information or contents from contents providers. Thanks to UCCs online users can now more freely generate and exchange contents; therefore, identifying the critical factors that affect content-generating activities has increasingly become an important issue. This paper proposes a set of critical factors for stimulating contents generation and sharing activities by Internet users. These factors were derived from the theories of folklores such as tales and songs. Based on some shared traits of folklores and UCC content, we found four critical elements which should be heeded in constructing UCC contents, which are: context of culture, context of situation, skill of generator, and response of audience. In addition, we selected three major UCC websites: a specialized contents portal, a general internet portal, and an official contents service site, They have different use environments, user interfaces, and service policies, To identify critical factors for generating, sharing and transferring UCC, we traced user activities, interactions and flows of content in the three UCC websites. Moreover, we conducted extensive interviews with users and operators as well as policy makers in each site. Based on qualitative and quantitative analyses of the data, this research identifies nine critical factors that facilitate contents generation and sharing activities among users. In the context of culture, we suggest voluntary community norms, proactive use of copyrights, strong user relationships, and a fair monetary reward system as critical elements in facilitating the process of contents generation and sharing activities. Norms which were established by users themselves regulate user behavior and influence content format. Strong relationships of users stimulate content generation activities by enhancing collaborative content generation. Particularly, users generate contents through collaboration with others, based on their enhanced relationship and specialized skills. They send and receive contents by leaving messages on website or blogs, using instant messenger or SMS. It is an interesting and important phenomenon, because the quality of contents can be constantly improved and revised, depending on the specialized abilities of those engaged in a particular content. In this process, the reward system is an essential driving factor. Yet, monetary reward should be considered only after some fair criterion is established. In terms of the context of the situation, the quality of contents uploading system was proposed to have strong influence on the content generating activities. Among other influential factors on contents generation activities are generators' specialized skills and involvement of the users were proposed. In addition, the audience response, especially effective development of shared interests as well as feedback, was suggested to have significant influence on contents generation activities. Content generators usually reflect the shared interest of others. Shared interest is a distinct characteristic of UCC and observed in all the three websites, in which common interest is formed by the "threads" embedded with content. Through such threads of information and contents users discuss and share ideas while continuously extending and updating shared contents in the process. Evidently, UCC is a new paradigm representing the next generation of the Internet. In order to fully utilize this innovative paradigm, we need to understand how users take advantage of this medium in generating contents, and what affects their content generation activities. Based on these findings, UCC service providers should design their websites as common playground where users freely interact and share their common interests. As such this paper makes an important first step to gaining better understand about this new communication paradigm created by UCC.

Technique and Type of Line Expression in Goryeo Dynasty Metal Craft Engraving (고려시대 금속공예 선각(線刻)기법의 기술과 유형)

  • Kim, Serine
    • Korean Journal of Heritage: History & Science
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    • v.53 no.3
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    • pp.24-41
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    • 2020
  • The engraved line expression in metal crafts is a detailed technique of carving or decorating metal surfaces. This technique engraves a line using a tool on the surface of a metal craft. This technique was used extensively in articles made of various metal materials during the Goryeo Dynasty, and the range of patterns that could be expressed and the width of users was wide. In this paper, based on relics and literature, the concept of line representation of this engraving technique used in the metal crafts of the Goryeo Dynasty and the perceptions and terms of the Goryeo Dynasty were examined. In addition, the users engaged in this craft and the specific patterns and patterns of decoration were reviewed. Through these means, it was possible to confirm various aspects of a technique that was thought previously to involve just simple expression of lines using tools. In addition, through the literature, Geumseokmun Gate, and relics currently being transmitted, it was possible to confirm the utilization patterns of techniques used in various types of objects. Various uses have led to the combination with other metal craft techniques that were popular at the time, and while utilizing unique characteristics of the techniques, this maximized the molding of various patterns. In the meantime, it is true that the intaglio technique in metal crafts has not received much attention compared to the decoration techniques of other metal crafts, such as inlay, embossing, and openwork techniques in which decorative effects are maximized due to the recognition that the technique was used so widely in relics. However, the universality of the technique is premised on its wide use across all eras. As such, it was used in metal craft relics that reflect the various cultural characteristics of Korea and various cultural aspects that are currently passed down. On the one hand, technology has been passed down as a form of intangible heritage that embodies a longstanding craft culture which continues to the present in the fields of sculpture and intangible cultural properties. As such, the universality of Seongak contains many cultural meanings. In addition, the uniqueness of the technique is distinct, and it is deeply related to Goryeo, who was in charge of the use of technology and craftsmanship of the Joseon Dynasty and the metal craft technology that is currently handed down. I think research on future techniques should be continued in depth.

A Reliable Protocol for transfection of mature primary hippocampal neurons using a neuron-glia co-culture system (신경세포-신경교세포 공동배양을 이용한 성숙한 해마신경세포의 효율적인 형질전환 방법)

  • Lee, Hyun-Sook;Cho, Sun-Jung;Jung, Yong-Wook;Jin, Ing-Nyol;Moon, Il-Soo
    • Journal of Life Science
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    • v.17 no.2 s.82
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    • pp.198-203
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    • 2007
  • DNA transfection is a powerful tool for studying gene functions. The $Ca^{2+}$-phosphate precipitation remains one of the most popular and cost-effective transfection techniques. Mature neurons are more resistant to transfection than young ones and most other cell types, and easy to die if microenvironment changes. Here, we report a transfection protocol for mature neurons. The critical modifications are inclusion of glial cells in culture and careful control of $Ca^{2+}$-phosphate precipitation under microscope. Cerebral glial cells were grown until ${\sim}70-80%$ confluence in DMEM/10% horse serum, which was thereafter replaced with serum-free Neurobasal/Ara-C, and 319 hippocampal neurons were plated onto the glial layer Formation of fine $DNA/Ca^{2+}$-phosphate precipitates was induced using Clontech $CalPhos^{TM}$ Mammalian Transfection Kit, and the size ($0.5-1\;{\mu}m$ in diameter) and density(about 10 particles/$100\;{\mu}m^2$) were carefully controlled by the time of incubation in the medium. This modified protocol can be reliably applied for transfection of mature neurons that are maintained longer than two weeks in vitro, resulting in 10-15 healthy transfected neurons per a well of 24-well plates. The efficacy of the protocol was verified by punctate expression of $pEGFP-CaMKII{\alpha}$, a synaptic protein, and diffuse expression of pDsRed2. Our protocol provides a reliable method for transfection of mature neurons in vitro.

A Analysis on the Characteristics of Landscape Elements and the Reappearance Technique of Landscape Image in the Chinatown of Shanghai Street in Busan (부산 상해거리 상점 전면부 경관요소의 유형적 분석과 중국 전통 경관이미지의 재현 수법에 관한 연구)

  • Piao, Xiang-Hua;Kang, Young-Jo
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.30 no.2
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    • pp.130-141
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    • 2012
  • This study examines the characteristics of landscape elements and the reappearance techniques of traditional landscape image in Chinatown of the Shanghai Street in Busan, Korea. The subjects of the study are commercial buildings owned by Chinese residents, commercial buildings' naming design and environmental sculptures in the Shanghai Street. The results are as follows: First, the design methods of the front side of commercial buildings were classified into two parts: facede design of buildings and signboard design. The design form of the buildings' facades were classified into five types, there are: emphasis type on Chinese characters' signboard, addition type on decorative signboard, introduction type of traditional patterns, imitation type of traditional architectures and modern architectures' modes. The signs of chinese commercial buildings were observed mostly as having a traditional Chinese font in yellow/white on a red background. It has been found that this style was the most popular method of sign design. Secondly, The commercial buildings' naming design was analyzed into design methods and meanings. Design methods were classified into three types: a combination of meaning and place, a combination of season and atmosphere and tourist attractions. The meaning of the commercial buildings' names was divided into three kinds: the wishes of the prosperity, elegant type and the appropriation of local attractions. Thirdly, the environmental sculptures of Shanghai Street were found to have been influenced by both through out Chinese culture with mixed Korean culture. Finally, as for characteristics of landscape elements, we found three reappearance techniques - addition, replacement, juxtaposition. The technique of addition is added new face to the base map by just two methods - extending and overlapping area. Replacement is created new faces from base map by the action of replacing, it has three types - local replacement, package replacement, successive replacement. Juxtaposition is the fact of two or more things placed together with contrasting effect, it also has three types - the same kind juxtaposition, a different kind juxtaposition, topological juxtaposition. This study is the basic research which is analyzing the landscape design in chinatown. But the research only on Shanghai Street may have some limits in scope. It is considered an necessary study to add, which is about chinatown in other city such as Incheon, Jeonju. Then it is expected that the results of this study can be used for the basic data of the landscape plans, that municipalities are actively progressing their respective development projects of Chinatown.

Installation Art In Indonesian Contemporary Art; A Quest For Medium and Social Spaces (인도네시아 현대미술에 있어서의 설치미술 - 미디엄과 사회적 공간을 위한 탐색)

  • Kusmara, A. Rikrik
    • The Journal of Art Theory & Practice
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    • no.5
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    • pp.217-229
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    • 2007
  • Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

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A Study on the Distinguished Characteristics and Transmittion significance of Toichon Nongak in Changwon city (현전(現傳) 창원 퇴촌농악의 양식적 특징과 전승 의의)

  • Yang, Ok-Kyung
    • (The) Research of the performance art and culture
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    • no.37
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    • pp.187-221
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    • 2018
  • The style of performance to contemporary nongak is not fixed in a specific period of time, but in conjunction with the total change in society that has occurred during its long time from traditional society to the modern times. It is important to recognize that the traditional performance art forms that we see and feel today, including nongak, are constantly interacting with the times and are a change in the design that has been shaped in the past. Now, we must get rid of the negative idea that there is some fixed prototype in Nongak. Also, the value and the need for preservation of current Nongak should not be evaluated according to the ' pure genealogy of village descent, ' which was possible only in villages with small population movements long ago. If can get rid of the stereotypes, can greatly expand the view that we read the values of a certain Nongak. Looking away from a few of these traditional fixed perceptions can significantly broaden the view of reading the winning values of some farmers ' songs. In this regard, this report determined the performing style and nature of Changwon's Toichon-noangak through a structural analysis of the Toichon-noangak in contemporary, and discussed the significance of the transmittion of Toichon-noangak. Changwon Toichon Nongak started out as an even-present ritual performance based on the religious nature of the village community and actively exchanged with the economic, social and cultural foundations of the Republic of Korea, which began to accumulate in the modern changes. Generally, the performance style of village Nongak has a combination of characteristics according to the ritual, Dure(collective labor), entertainment, and these three functions. Toichon Nongak is also a village Nongak style and in which of ritual nongak and village entertainment nongak are connected in parallel as one in the big total structure. The origin, background, purpose, and style of towing of Toichon noangak demonstrates that the Toichon noangak is originally ceremonial noangak derived from a prayer style of Dongje. Then, various factors influences are interacting with Toichon noangak within the orbit of modern society, such a style of playing, popular nongak, is believed to have undergone an extended change. Overall, Toichon nongak performance style can be called nongak, which maintains traditional customs and it also has the changed characteristics according to the times of village society.