• Proceedings of the Korean Society of Crop Science Conference
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• 2023.04a
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• pp.7-7
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• 2023

Currently, the main technologies of various fourth industries are big data, the Internet of Things, artificial intelligence, blockchain, mixed reality (MR), and drones. In particular, "digital twin," which has recently become a global technological trend, is a concept of a virtual model that is expressed equally in physical objects and computers. By creating and simulating a Digital twin of software-virtualized assets instead of real physical assets, accurate information about the characteristics of real farming (current state, agricultural productivity, agricultural work scenarios, etc.) can be obtained. This study aims to streamline agricultural work through automatic water management, remote growth forecasting, drone control, and pest forecasting through the operation of an integrated control system by constructing digital twin data on the main production area of the nojinot industry and designing and building a smart farm complex. In addition, it aims to distribute digital environmental control agriculture in Korea that can reduce labor and improve crop productivity by minimizing environmental load through the use of appropriate amounts of fertilizers and pesticides through big data analysis. These open-field agricultural technologies can reduce labor through digital farming and cultivation management, optimize water use and prevent soil pollution in preparation for climate change, and quantitative growth management of open-field crops by securing digital data for the national cultivation environment. It is also a way to directly implement carbon-neutral RED++ activities by improving agricultural productivity. The analysis and prediction of growth status through the acquisition of the acquired high-precision and high-definition image-based crop growth data are very effective in digital farming work management. The Southern Crop Department of the National Institute of Food Science conducted research and development on various types of open-field agricultural smart farms such as underground point and underground drainage. In particular, from this year, commercialization is underway in earnest through the establishment of smart farm facilities and technology distribution for agricultural technology complexes across the country. In this study, we would like to describe the case of establishing the agricultural field that combines digital twin technology and open-field agricultural smart farm technology and future utilization plans.

• Journal of Cadastre & Land InformatiX
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• v.54 no.1
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• pp.63-74
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• 2024

The fundamental basis for revitalizing cultural resources and developing content is national heritage(cultural property). In national heritage, cultural heritage is a tangible cultural heritage that represents the uniqueness of history and tradition, identity, and changes in life. In the case of museums, the collections (a museum-owned cultural heritage) represent the unique characteristics of the institution. In South Korea, it is recommended that museum collections be registered and used in the Cultural Heritage Standard Management System so that cultural heritage can be managed and utilized in connection with academics, industry, and administration. However, due to a lack of awareness of modern and contemporary heritage, the thematic classification chronology of the system was set mainly before the Joseon Dynasty, and a cultural heritage classification system suitable for national land information has not been established. Therefore, this study aims to propose a classification system for cadastral cultural heritage, based on the modern era when cadastral terminology was first used, using the cultural heritage owned by the LX Museum. Cadastral cultural heritage is characterized by the fact that although it is a field of specialized technology, the surveying or the production of it is not done by specific individuals only, and that while the production is professional, there are many educational aspects in its use. Therefore, unlike other specialized museum collections that are classified based on the functional aspects of their production methods, intended use, and creators, the classification method for cadastral cultural artifacts should be based on the characteristics of the cadastral tools and the outputs. This classification follows a three-tier stages with reference to the items in the Cultural Heritage Standard Management System. This classification aims at the effective use of knowledge by categorizing concepts and systematizing the subjects of data into a series of orders. A safe conservation and management environment for cadastral cultural heritage can be established, and academic and socio-cultural interpretation of the collection is possible by this classfication. Moreover, It is also expected to serve the basis for the national land information as well as searching for the national land information research, planning a exhibition, and the field of education in museum.

• The Mathematical Education
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• v.63 no.2
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• pp.255-272
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• 2024

This study aims to design mathematics-integrated classes that cultivate artificial intelligence (AI) thinking and to analyze students' AI thinking within these classes. To do this, four classes were designed through the integration of the AI4K12 Initiative's AI Big Ideas with the 2015 revised elementary mathematics curriculum. Implementation of three classes took place with 5th and 6th grade elementary school students. Leveraging the computational thinking taxonomy and the AI thinking components, a comprehensive framework for analyzing of AI thinking was established. Using this framework, analysis of students' AI thinking during these classes was conducted based on classroom discourse and supplementary worksheets. The results of the analysis were peer-reviewed by two researchers. The research findings affirm the potential of mathematics-integrated classes in nurturing students' AI thinking and underscore the viability of AI education for elementary school students. The classes, based on AI Big Ideas, facilitated elementary students' understanding of AI concepts and principles, enhanced their grasp of mathematical content elements, and reinforced mathematical process aspects. Furthermore, through activities that maintain structural consistency with previous problem-solving methods while applying them to new problems, the potential for the transfer of AI thinking was evidenced.

• The Korean Journal of Air & Space Law and Policy
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• v.21 no.1
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• pp.169-189
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• 2006

In 2007, KSLV(Korea Small Launching Vehicle) that we made at Goheung National Space Center is going to launch and promotes of our space exploration systematically and 'Space Exploration Promotion Act' was enter into force. 'Space Exploration Promotion Act' article 3, section 1, as is prescribing "Korean government keeps the space treaties contracted with other countries and international organizations and pursues after peaceful uses of outer space." The representative international treaties are Outer Space Treaty (1967) and Liability Convention (1972) etc. In Liability convention article 2, "A launching State shall be absolutely liable to pay compensation for damage caused by its space object on the surface of the earth or to aircraft in flight. The important content of the art. 2 is the responsible entity is the 'State' not the 'Company'. According by Korean Space Exploration Act art. 14, person who launches space objects according to art. 8 and art. 11 must bear the liability for damages owing to space accidents of the space objects. Could Korean government apply the Products Liability Act which is enter into force from July 1, 2002 to space launching person? And what is the contact type between Korea Aerospace Research Institute(KARl) and Russia manufacturer. Is that a Co-Development contract or Licence Product contract? And there is no exemption clause to waive the Russia manufacturer's liability which we could find it from other similar contract condition. If there is no exemption clause to the Russia manufacturer, could we apply the Korean Products Liability Act to Russia one? The most important legal point is whether we could apply the Korean Products Liability Act to the main component company. According by the art. 17 of the contract between KARl and the company, KARl already apply the Products Liability Act to the main component company. For reference, we need to examine the Appalachian Insurance co. v. McDonnell Douglas case, this case is that long distance electricity communication satellite of Western Union Telegraph company possessions fails on track entry. In Western Union's insurance company supplied to Western Union with insurance of $ 105 millions, which has the satellite regard as entirely damage. Five insurance companies -Appalachian insurance company, Commonwealth insurance company, Industrial Indemnity, Mutual Marine Office, Northbrook Excess & Surplus insurance company- went to court against McDonnell Douglases, Morton Thiokol and Hitco company to inquire for fault and strict liability of product. By the Appalachian Insurance co. v. McDonnell Douglas case, KARl should waiver the main component's product liability burden. And we could study the possibility of the adapt 'Government Contractor Defense' theory to the main component company.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.