• The Journal of Art Theory & Practice
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• no.2
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• Journal of the Korean Society of Costume
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• v.25
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• pp.249-268
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• 1995

Parody has recently prevailed as one of the important techniques of creation in art. The purposes of this study are to reaffirm the pos-ition of fashion as an art by clarifying parody depicted in fashion and to make an opportunity to reconsider the meaning of creation in fashion design through the significance of par-ody. For these purposes, documentary studies about parody in literature and art which had been discussed more often were preceded as a framework of this research. framework of this research. Basedd upon that, parody phenomena in fashion as well as art were analyzed. The synthetic results are as follows ; 1. Parody is a kind or critical technique and can be conceived as a process of creation. The established primary style (material) which is well-known and familiar is imitated and then is recreated in new manner through the three types of parodization, that is, the change of its external form, the change of its internal mean-ing and the shift from its place (i.e. displace-ment). 2. Parody in fashion is also analyzed based upon the three types of parodization which designer's will and expression is necessarily required. First, the parody through the change of external form is to have its effect of novelty, unexpectedness, playfulness, wit, mackery, satire, irony, paradox by changing the form of the original through imitation with similarity, transformation, exaggeration, em-phasis. Second, the parody through the change of internal meaning is to bring about paradox, irony, contempt, satire, unex-pectedness by applying the original to inappro-priate subject through its substitution, inver-sion. Third, the parody through displacement is to pursue a jarring incongruity that results from shifting the original to other context. Its effect consists of paradox, unexpectedness, playfulness, ridicule, mockery, satire, irony. In general, the parody technique in fashion can be used to have an intention of expressing seriousness, playfulness, satire, grotesque. The representative designers using the parody technique are Lagerfeld, Ricci, YSL, Yama-moto, Castelbajac, Gaultier, Mugler, West-sood, Steiner and so on. 3. Parody is the technique which imitates and then recreates the preceding style ; is at the same time the method which challenges the existing concept of originality-singleness and uniqueness. It reflects the more flexible concept of modern creation in art as well as fashion. The imitation as the creation, the characteristic of parody is recognized as an creative expressiveness, publicity, intention. Thus it differenciates from copy which is uncritical mimicry.

• Restorative Dentistry and Endodontics
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• v.25 no.2
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• pp.225-234
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• 2000

The purpose of this study was to investigate the distribution and fluorescene intensity of vasoactive intestinal polypeptide(VIP) immunoreactive cells in rat trigeminal ganglion after inferior alveolar nerve axotomy. The animals were divided into normal and two experimental groups. The experimental animals were sacrificed at 14th and 28th day after inferior alveolar nerve axotomy. The trigeminal ganglion was removed and immersed in the 4% paraformaldehyde-0.2% picric acid in 0.1M phosphate buffer. Serial frozon sections about $16{\mu}m$ in thickness were cut with a cryostat. The immunofluorescence staining was performed. The rabbit anti-VIP(1 : 8,000) was used as primary antibody and fluorescene isothiocynate(FITC)-conjugated anti-rabbit IgG(1 : 80) as secondary antibody. The slides were observed under confocal laser scanning microscope. Three-dimensional images were constructed from 9 serial images(each $1{\mu}m$ in thickness) made by automatic optical sectioning. Unprocessed optical sections were obtained and stored on a optical disk. Color picture were printed by a video copy processor. The results were as follows; 1. The appearance of VIP immunoreactive cells in the mandibular part of trigeminal ganglion was 8.79${\pm}$1.99% in normal group and 39.16${\pm}$5.62% in 14 days, 16.25${\pm}$2.39% in 28 days after inferior alveolar nerve axotomy groups. 2. The relative fluorescence intensity of VIP immunoreactive cell bodies in the mandibular part of trigeminal ganglion was 134.40${\pm}$10.39 in normal group and 192.88${\pm}$14.06 in 14 days, 143.10${\pm}$5.02 in 28 days after nerve axotomy groups. Therefore, the relative fluorescence intensity of 14 days after nerve axotomy group was 43.3% higher than intensity of normal group. 3. In optical single section analysis of VIP immunoreactive cell bodies, white cell bodies(moderate fluorescence intensity) were the most abundant in normal and 28 days after nerve axotomy groups. Whereas, in 14 days after nerve axotomy group, red cell bodies(high fluorescence intensity) were the most abundant. 4. In optical serial section analysis of VIP immunoreactive cell bodies, red cell bodies(high fluorescence intensity) were observed in a part of the 9 sections of normal and 24 days after nerve axotomy groups. Whereas, red cell bodies were observed in all of the 9 sections of 14 days after nerve axotomy group. 5. The results indicates that number and fluorescence intensity of VIP immunoreactive cells were increased in the mandibular part of trigeminal ganglion following inferior alveolar nerve axotomy.

• Journal of fish pathology
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• v.24 no.2
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• pp.65-73
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• 2011

In analysis of DNA viruses from the contaminated shellfish using PCR, preparation method of template DNA is an important factor to get enough copy number of viruses. In this study, we evaluated the efficiency of PCR template of Megalocytivirus (sT50mg-D) DNA obtained from 50 mg digestive gland homogenate of oyster using commercial method, and compared with that obtained from 5 g of the same tissues (T5g-D) after PEG precipitation procedures of virus. Both templates DNA suspended in the same volume of distilled water showed positive results by primary PCR with 35 cycles, and the presence of Megalocytivirus was confirmed in oysters collected from cultured farms in Korea. Moreover, PCR with sT50mg-D allowed us to discriminate the contaminated oyster individually, that can not be done in PCR with T5g-D prepared from the mixture of three different individual oyster to get 5 g digestive gland homogenate. In quantitative analysis with real time PCR, Megalocytivirus concentrations in 50 ${\mu}l$ templates prepared using 0.5~50 mg of one positive sample were appeared in the range 6.14E+00~1.2E+02/${\mu}l$. We were not able to get positive result using template DNA contained less than 6.14E+00 copies. Consequently, 2-step PCR performed with DNA extracts from oyster homogenate of small amount (sT50mg-D) i) was enough to detect the contaminated Megalocytivirus in shellfish, ii) allowed us to do the analysis for individual shellfish rather than mixture of several shellfish and iii) showed the presence of Megalocytivirus in oyster from Korea.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.6
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• pp.76-85
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• 2011

This research explores the Korean perspective on parks and the beginning of urban parks in the port opening period. The purpose of the study is to understand how Koreans viewed and accepted the idea of a park as imported from western culture and with what attitudes. Analyzed sources included: "Susinsa's Record"(修信使記錄) by Susinsa(修信使) who wrote the inspection records of foreign modern cultures for the first time after the port opening, "Seoyukyunmun"(西遊見聞) by Yu Kil-jun(兪吉濬) and "Yun Chi-ho's Diary"(尹致昊日記) by Yun Chi-ho(尹致昊), which are representative works by students sent abroad, as well as some records of Seo Jae-pil(徐載弼) and The Independence Club(獨立協會) such as "The Independent"(獨立新聞), which contains the records of 'IndependencePark'. This research is focused on the literature that reexamins and interprets the related data from primary sources. As a result, it was found that the people who led the modern reformation in the Port Opening period adopted and developed social thinking regarding parks. Indeed, it was possible to witness the gradual sophistication of the concept of a park from the time of Susina's thoughts on parks to that of Yu Kil-jun's support for the need and importance of parks and Yun Chi-ho's cultural and artistic interest in parks. Also, Seo Jae-pil and the Independence Club drove the development of Independence Park, which was designed to incorporate social values and symbols while also serving to meet the needs of recreation, leisure, hygiene, and enlightenment. The Independence Club consistently advocated for the necessity of open spaces and delivered this message to the public via article writing. In short, even prior to the Japanese colonial period, Koreans shared thoughts and exchanged opinions on parks. Parks were to be created not just as a copy or transplant of western parks, but were constructed based on social demands and necessity. As few studies have taken the approach of identifying this origin of Korean parks, thus, this research which traces back the origin of Korean parks, is significant.

• Journal of the korean academy of Pediatric Dentistry
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• v.28 no.1
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• pp.25-31
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• 2001

The purpose of this study was to investigate the distribution and fluorescence intensity of vasoactive intestinal polypeptide immunoreactive (VIP-IR) cells in rat trigeminal ganglion following pulp extirpation of rat mandibular molar. The animals were divided into control group(n=6) and experimental group(n=6). The experimental animals were sacrificed at 14 days after pulp extirpation. The trigeminal ganglion was removed and immersed in the 4% paraformaldehyde in 0.1M phosphate buffer. Serial frozen sections about $20{\mu}m$ in thickness were cut with a cryostat. The immunofluorescence staining was performed. The rabbit anti-VIP(1 : 8,000) was used as primary antibody and fluorescene isothiocynate(FITC) conjugated anti-rabbit IgG(1 : 80) as secondary antibody. The slides were observed under confocal laser scanning microscope (CLSM). Unprocessed optical sections were obtained and stored on a optical disk. Color pictures were printed by a video copy processor. The results were as follows; 1. The positive ratio of VIP-IR cells in mandibular part of trigeminal ganglion were 7.40% in control group and 28.42% in experimental group(14 days after pulp extirpation). 2. The relative fluorescence intensity of VIP-IR cells in mandibular part of trigeminal ganglion were 87.78 in control group and 138.65 in experimental group. The relative fluorescence intensity of experimental group was 58% higher than that of control group. 3. In optical serial section analysis of VIP-IR cells of experimental group, most of the 9 sections showed high fluorescence intensity. At high magnification, axons of the experimental group displayed greater VIP-IR than in the control group, and the positive cells were mainly of medium size. The result indicate that number and fluorescence intensity of VIP-IR cells were increased in the mandibular part of trigeminal ganglion following pulp extirpation of mandibular molar, and it suggests that VIP could play a role in processing of nociception.

• Tuberculosis and Respiratory Diseases
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• v.51 no.6
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• pp.517-529
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• 2001

Background : Surfactant protein C(SP-C) is a hydrophobic 5,000 dalton molecule. SP-C has the primary roles in accelerating surface spreading of a surfactant phospholipid. The filter hybridization and solution hybridization assays are both rapid and sensitive and can be used to measure the RNAs complementary to any cloned DNA sequence. Methods : The authors measured the SP-C mRNA levels quantitatively using solution hybridization and filter hybridization assays to obtain a standard curve equation to quantify the mRNA of unknown samples comparatively. Results : 1. The minimum level of the specimens by solution hybridization was 3 pg for SP-C mRNA. 2. The standard curve equation of the solution hybridization assay between the counts per minute(Y) and the SP-C mRNA transcript input(X) was Y=6.46 X+244. The correlation coefficient was 0.99. 3. The minimum detection level of specimens by filter hybridization was 0.1 ng for SP-C mRNA. 4. The standard curve equation of the filter hybridization assay between the counts per minute(Y) and SP-C mRNA transcript input(X) is Y=2541.6 X+252.7. The correlation coefficient was 0.99. Conclusions : A comparison of CPM/filter in the linear range allowed an accurate and reproducible estimation of the SP-C mRNA copy number. Filter hybridization and solution hybridization assays are both rapid and sensitive and can be used to measure the RNAs complementary to any cloned DNA sequence. It is ideally suited to situations where accurate quantitation of multiple samples is required.