• Journal of the Korean association of regional geographers
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• v.20 no.4
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• pp.357-378
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• 2014

The concern on new regional geography in Korea has emerged in the 1990s under the influence of paradigm shift of Western geography, that is, the withering of positivist geography and the introduction of grand social theories into geography. New regional geography in Korea also seems to have developed in the rapidly changing process of glocalization of capitalism which has accompanied with the transformation toward post-Fordism with high-tech innovation, development of transportation and communication technology with time-space compression, and increasing social and cultural mobility with change of identity. But it can be pointed out that discussion on methodology for regional geography in Korea has been shrunken since the mid 2000s, and there has been relatively little empirical research with synthetic approach to region. But more concern on methodology in terms of place, territory, network, scale, etc. rather than the concept of region itself has increased, and empirical researches on regions in specific fields of human geography have been promoted. It is argued that the traditional distinction between synthetic and analytic approaches seems no longer significant. But geographers need to extend the concept of region in relation to other diverse spatial concepts, and to purse simultaneously structural analysis on glocalization process and practical strategies responding positively to the process.

• Journal of the Korean Geographical Society
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• v.50 no.6
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• pp.677-694
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• 2015

This paper aims to discuss and develop theories of social sustainability as an alternative of urban development, recognizing that urban development paradigm needs to turn to the qualitative perspective. Urban development in Korea has mainly focused on quantitative expansion disregarding qualitative development so far. Korean cities has achieved the quantitative accumulation of wealth due to the strategy. However, as a result, it is also certain that socio-economic problems such as urban poverty, social polarization, deterioration of welfare and quality of life are getting more serious. In the context that social sustainability meets social needs of urban residents based on equity and focuses on social development, it has an important meaning in relation of social and economic problems such as inequality and distribution of urban development. Furthermore, social sustainablity can foster urban residents' endogenous capability and governances. The importance of social sustainablity has been standed out and its concept and practical problems have been discussed diversely among researchers in the Western advanced countries for the last decade. However, social sustainability is still unattractive and its institutional strategy are insufficient in Korea. Concepts and practical problems of social sustainability have implications on the development path of Korean cities which have been accumulated contradiction due to the quantitative development for a long time.

• The Journal of Art Theory & Practice
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• no.16
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• pp.107-137
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• 2013

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.193-202
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• 2021

HYBE Insight, opened in May 2021, is an exhibition space that visually displays and re-interprets the BTS Universe and its content. The space echoes the identity of BTS as an artist and the specificity of the cultural phenomenon they have generated. This study analyzes HYBE Insight's BTS exhibition by applying new museological theories and discourses. Based on a qualitative research methodology including literature review and observational method, the primary themes of the exhibition are follows: 1) a contextualized exhibition content presenting the identity of BTS and their music, 2) the role of the fandom Army's participation in (re) producing BTS content related to the characteristic of popular music museums, 3) the elements of convergence art and its contemporary implication, 4) and the illumination of cultural value in popular music museum management. As the pivotal theory of new museology suggests, investigating a specific exhibition based on each context it has created is significant. However, those studies, including exhibitions related to popular music/artists, were mostly developed in Western nations. In this respect, HYBE Insight's BTS exhibition provides considerable room to explore. In addition to the recent research on BTS, such as their convergent artistry, socio-cultural influence, the role of Army, and the characteristics of HYBE's content management, this article aims to contribute to the multifaceted research by scrutinizing the BTS exhibition content from the new museology perspective.

• Industry Promotion Research
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• v.8 no.4
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• pp.187-200
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• 2023

The purpose of this paper is to correspond to four-elements in astrology theory, an intellectual from ancient times, that show personality temperament among MBTI, a representative personality type test in modern times, furthermore, by examining 16 personality type cards in tarot, a play culture and fortune telling culture in which the four-element theory is integrated in symbols, it is a comparative consideration that connects the characteristics of the character types contained in them to the 16 personality types of MBTI. The four preferred types of MBTI are Extravesion(E) and Introversion(I), Sensing(S) and Intuition(N), Thinking(T) and Feeling(F), Judgment(J) and Perception(P). Among them, Western four-elements were able to respond to Fire, Water, Air, and Earth in the order of NF(iNtuitive Feeling Type), SF(Sensory Feeling Type), NT(iNtuitive Thinking Type), and ST(Sensory Thinking Type). This is a result that can be derived by comparing individual personality theory and MBTI temperament theory among the symbols contained in ancient astrological theories. And the classification of boys, knights, queens, and kings in the four classes of person cards could be divided according to the MBTI attitude index. The boy showed an adaptive introvert using I and P, the knight showed an adaptive extrovert using E and P, the queen showed a decisive introvert using I and J, and the king showed an adaptive extrovert using E and J.

• Korean Journal of Remote Sensing
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• v.29 no.4
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• pp.389-397
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• 2013

Recently high spatial resolution space-borne Synthetic Aperture Radar (SAR) systems have launched and have been operated successfully. Interferometric SAR (InSAR) processing with the space-based high resolution observations acquired by these systems can provide more detail information for various geodetic applications. Coherence is regarded as a critical parameter in the evaluating the quality of an InSAR pair. In this study, we evaluate the coherence characteristics of high-resolution data acquired by TerraSAR-X (X-band) and ALOS PALSAR (L-band) and intermediate-resolution data acquired by Envisat ASAR (C-band) over western Texas, U.S.A. Our coherence analysis reveals that the high-resolution X-band TSX (3.1 cm) data has a high coherence level (0.3-0.6), similar to that of the L-band ALOS PALSAR data (23.5 cm) in short temporal baselines. Further more, the TSX coherence values are significantly higher than those of the C-band (5.6 cm) Envisat ASAR data. The higher coherence of the TSX dataset is a surprising result, because common scattering theories suggest that the longer wavelength SAR data maintain better coherence. In vegetated areas the shorter wavelength radar pulse interacts mostly with upper sections of the vegetation and, hence, does not provide good correlation over time in InSAR pairs. Thus, we suggest that the higher coherence values of the TSX data reflect the data's high-resolution, in which stable and coherent scatters are better maintained. Although, however, the TSX data show a very good coherence with short temporal baseline (11-33 days), the coherences are significantly degraded as the temporal baselines are increased. This result confirms previous studies showing that the coherence has a strong dependency on the temporal baseline.

• Korean Journal of Culture and Social Issue
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• v.10 no.spc
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• pp.177-209
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• 2004

This paper provides a theoretical and conceptual framework for understanding adolescent culture and educational achievement in Korea. In the first part of the paper, the authors outline a research paradigm in cultural psychology and adolescent culture. In the second section, the traditional family structure, the role of parents, and how they have been changed by modernization are outlined. In the third section, socialization practices and parent-child relationship are reviewed. In the fourth section, Western theories that have been developed to explain educational achievement and their limitations are examined. In the fifth section, factors that contribute to educational success of Korean students are presented. In the final section, the impact of centralized, standardized, and rigid educational system that is imposed on adolescents is discussed. The highly regulated and centralized bureaucracy restricts educational and career opportunities for adolescents and it is responsible for the high rate of violence, delinquency, and bullying in Korea. The need for encouraging civil society that allows for diversity of ideas and skills and at the same time maintaining strong relational bonds are discussed.

• Economic and Environmental Geology
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• v.51 no.5
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• pp.463-471
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• 2018

In this paper, we review previous studies on the relative sea-level changes in the Yellow Sea during the Holocene to comprehensive understand the various research results. Currently, it is reported two theories : 1) the Holocene sea-level has never been higher than the present-day level; and 2) sea-level have reached highstand during mid-Holocene, followed by slow lowering to that of the present. The first theory yields a curve that is similar to a climate-change-related eustatic sea-level curve. However, in reality, most of the relative sea-level fluctuation resulted from land uplift or subsidence. The second theory yields a curve that is fairly coincident with a relative sea-level curve indicative of continental margins being located away from the ice sheets(i.e., far-field), and is considered as an effect of GIA(Glacio Isostatic Adjustment) and gravitational attraction. Based on detailed review of previous researches, we realized that they sourced the same papers, but obtained different results because they selectively chose and added the data. The data used to derive the second theory pertain to the northern Gunsan region, which is located within the western area of the Chugaryeong fault. Thus, we believe that the sea-level curve for the second theory is only representative of the area north of Gunsan, which is subject to GIA and tectonic deformation. Although the relative sea-level curve for the west coastal area is comparable to that for the far-field continental margin region, it is necessary to evaluate local tectonic activities as suggested by active seismicity in the west coastal area and the more than 400 faults currently existing in on the Korean Peninsula.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• 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.