• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2017.10a
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• pp.76-78
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• 2017

본 연구는 비산 2 3동의 골목정원 조성지역과 비조성지역의 주민들을 대상으로 골목현황 및 주민의식을 분석하고, 이를 통해 골목정원 조성이 골목환경에 미치는 영향을 분석하고자 하였다. 연구결과를 살펴보면, 조성지역은 11개의 골목정원과 22개의 주제정원이 조성되어 있으며, 비조성지역은 서부시장을 중심으로 한 프랜차이즈 특화거리가 조성 중에 있다. 골목환경 구성요소의 중요도는 두 지역 모두 조명시설, CCTV 등 안전과 관련된 항목이 높게 평가되었으며, '공방 등 체험, 전시 및 공연시설', '텃밭', '항아리, 장식품 등 조형물' 등 개인 여가생활과 관련된 항목은 낮게 분석되었다. 만족도의 경우 조성지역은 골목정원 조성으로 개선된 조명시설, 초화류 등과 같은 항목이 높게 나타났다. 비조성지역의 경우 19개 항목의 만족도가 모두 낮게 분석되어 전반적으로 골목환경에 대해 불만족하는 것으로 분석되었다. 이를 바탕으로 개선방안을 제시하면, 조성지역은 CCTV 추가설치 및 빈집정비를 통해 골목의 안전성 확보와 휴게 및 교류공간 조성이 필요할 것으로 판단된다. 비조성지역의 경우 전반적인 골목환경 개선이 필요하며, 조명시설의 추가 설치가 필요할 것으로 사료된다.

• Journal of the korean Society of Automotive Engineers
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• v.8 no.2
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• pp.13-21
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• 1986

점차 엄격해지는 요구조건을 만족시켜 주기 위해서는 승용차용 엔진의 실제특성과 운전특성을 지 배하는 설계변수의 조절은 불가피하며, 그중에서도 엔진의 핵심부인 연소질의 설계는 가장 중요 하다. 부분 부하에서의 SI기관의 연료경제성을 향상시키는 가장 좋은 방법이 압축비를 상승시 키는 것이므로, 앞으로의 여소실은 고압축비에서도 옥탄가가 높은 연료를 요구하는 성향을 낮 추는 특성을 갖고 있어야 한다. 새로운 엔진의 향상을 최적화하기 위하여는 quench area의 크 기와 위치 그리고 적절한 quench distance의 성질이 중요하며, 또한 연소실의 소형화, 스파크 플러크의 위치, 표면적/체적의 비 그리고 화염전파거리등도 고려에 넣어야 한다. 승용차용 엔진의 요구조건은 연소실을 피스톤 크라운에 위치시키는 용이한 방법을 통하여 해결될 수 있으며, 이 러한 형상의 연소실은 실린더 헤드에 장치한 연소실과 비교하여 다음과 같은 장점을 갖고 있다. - 스파크 플러그 주변에 연소실을 배치하기 쉽다. - 연소실 내에 quench area의 설정이 자유롭다. - 연소실 layout의 개조없이 압축비의 설정이 자유롭다. - 연소실의 조합이 간단하다. - 실린더벽으로의 열손실이 감소되어 열효율이 증대된다. - 공연비의 희박가능한계가 크다. - EGR성능이 향상되어 NOx 의 배출과 연료소비율이 감소된다. - 필요하다면 연소실실 또는 직접분사식 Diesel 기관으로서의 개조가 간단하다. 만약 생산단가가 크게 상승하지 않는다면, NOx의 배출과 연료소비율이 작으면서도, 비출력이 큰 4-밸브 연소실이 실용화 될 전망이다.

• (The) Research of the performance art and culture
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• no.22
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• pp.93-121
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• 2011

This article is concerned with the withdrawal of the compositional principle of Jinogigut which has been performed in Seoul and the identification of its meaning based on the withdrawal. Jinogigut is a world where a god is connected to humans in complicated manners, this world and the world of the dead coexist, and it is a process of demonstrating that the dead, who have stayed in the world of humans, enter the world of a god. Jinogigut shows the process of leading the dead to the world of the dead one after another. First, the god-centered street is continued, and the gut displays through which process a god will guide the dead to the world of the dead. Next, is a human-centered street, which exhibits the appearance of the dead heading to the world of the dead following the death angel, more in detail. Finally, a human-centered structure shows how humans enter the world of the dead. Through this repetition, it reveals that the dead take a seat in the world of the dead, at last. The organization of the later part of the world of the dead-oriented gut in Jinogigut, which is god-centered, continues to a human-centered gut through the meeting between a god and humans. and , which are continued, followed by , are ceremonial rituals that confirm the dead entering the world of the dead without any problem. Begareugi shows that the entering of the dead into the world of the dead was completed with perfection by cutting hemp cloth, and informs the living that the dead expressed gratitude for holding the ritual for him/her by appearing at the venue of the gut once again and that the dead settled into the world of death. , which finally holds ancestral rites to the god of ancestors who is seated in the world of the dead, reveals that the dead, who had been a human, has been transformed into the god of ancestors through Jinogigut. Jinogigut also performs the function of comforting a client (who is the family of the dead) of the gut, who has faced a sudden death in his/her family. What is the most important for consoling the client is to display that the dead has entered the world of the dead without any problem. Jinogigut shows this process through a three-layered structure. It exhibits how the dead would be moved to the world of gods, as well as the safe entering of the dead who followed Jeoseung-saja(envoy from the world of the dead) and who had appeared to this world from the world of the dead. Then, it demonstrates again the appearance of the dead entering the world of the dead following Barigongu; thus, it placates the heart of the client's family.

• (The) Research of the performance art and culture
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• no.23
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• pp.347-368
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• 2011

This article is a review of the composition pattern of Suryukjae, which is one of the Buddhist ceremonies, and a consideration of the performance process. As one of the ceremonies leading the dead to heaven performed in the Buddhist circle, Suryukjae had been performed in Buddhist temples nationwide, but currently, it remains only in several Buddhist temples. Suryukjae is composed as follows. First, the early part of Suryukjae is a stage of preparing Suryukjae and ensuring legitimacy; thus, it has no detailed Jaecha except for Gwanyok. It is made up of Onghoge and Dage, has no Somun, and is centered on Yojabbara. The middle part of Suryukjae is a part in which Suryukjae is performed on a full-scale, which wishes the achievement of the goal of Suryukjae. It is made up of Geobul, Dage, and Somun, and is centered on Sadaranibara. Furthermore, this part delineates the flow of the Jaecha concerned as it contains detailed Jaecha. Meanwhile, in the middle part of Suryukjae, there is only detailed Jaecha called Sajadanman Bongsong (sending off), and the rest parts including Orodan, upper part, middle part, and lower part, in which there is no detailed Jaecha called Bongsong. The fact that there is no Bongsong in this part means all Bongsong is made in Heuihyang Bongsong, which is the last Jaecha. This implies that Saja, which is enshrined in Sajadan, is the essence of the achievement of the goal of Suryukjae. Only when there is Saja, Muju, Yuju, and Gohon (the meaning of all spirits) can be led to heaven. Also, from a rough perspective, this part is connected to other Chundojae (ceremony for sending off the dead to heaven) in Korea. There is a geori(Jaecha) that calls in Saja also in Jinogigut (exorcism) of Seoul. Then, although various gods from the otherworld are coming in in succession, to which Saja enters clearly shows a process in that Saja returns to the next world with the dead through . Just as demonstrates a process in that Saja returns to the next world with the dead in Jinogigut, also in Suryukjae, Saja needs to return to the next world with Gohon; therefore, at least Sajadan has detailed Jaecha called Bongsong. That is, this means that although Suryukjae of Buddhism is different from other Chundojae in terms of the composition of Jaecha, its notion about Saja is the same.

• Journal of the Korea Computer Graphics Society
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• v.25 no.3
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• pp.43-54
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• 2019

In this paper, we review the applicability of fog screen to implement 'Spatial Augmented Reality' which displays the image on the whole space of real space or in real space by separating display equipment and user, in contrast to the traditional Augmented Reality. Through three exhibitions and one performance, we confirmed t hat the fog screen, which can be passed through, is a suitable material for implementing the Spatial Augment ed Reality. We found that the hologram production was easier than before because of fog screen. Through the questionnaire survey conducted on performers along with the exhibition, we found that only about half of people know what a fog screen is, and about 10% of the total respondents saw the fog screen. In order to investigate the effect of fog screen on the surrounding space, we conducted an experiment to observe the change of humidity according to the time and distance in the Children's Culture Center of the Asian Culture Center. We found that the humidity within a radius of 5m around the fog screen could increase by 2~3%($6,400m^3$ standard). Thus we provided some safety requirement with fog screen when works made of materials vulnerable to moisture such as paint, paper, and wood are exhibited at the same time with fog screen in the exhibition hall.

• (The) Research of the performance art and culture
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• no.34
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• pp.43-71
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• 2017

Theatre for young people which have been barely survived after 1990's are attracting new attention because the systemic production of Theatre for young people by establishment of theatre for young people institute in national theatre company has affected and the influence of adolescent on society has been increasing. It brought the phenomenon that theatre for young people becomes young writers' first work. The national chaggeuk company of Korea firstly showed the work which can be described as theatre for young people in 2013. It seems to be meaningful to examine how the critical mind of theatre for young people is expressed in changgeuk because its writer and director are all experts on theatre for young people and theatre for young people takes a part among vigorous experiments of changgeuk. This study starts with the premise that it is necessary to examine the meaning and the direction because it's the first theatre for young people. It can have positive review because it highlights the present meaning of tradition which channgeuk has by contemporary questioning and it keeps the identity of channgeuk by making it focused on rhythm despite various musical attempts. However, it seems to be solved that it weakened the possibility of voluntary playgoing by putting distance to audience with emphasis of dramatic aspect and curtail of commentary. As the way to solve this problem, it is suggested to be an effective strategy to set the goal direction and repeat various description.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.27-38
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• 2021

Non-Contact society has arrived due to social distinctions by COVID 19 pandemic. The arrival of the era of non-contact is having a profound impact on educational activities as well as on our social and economic lives. In response to the pandemic situation universities and all other educational institutions have implemented non-contact online classes. In particular arts physical educations and other practical classes are experiencing many difficulties due to the limited environment caused by social distancing from COVID 19 pandemic. Vocal classes are undergoing a transition mainly from 1:1 individual face-to-face lessons or group teaching methods to the non-contact era of online teaching or lesson methods. It is necessary to look at the direction of non-face-to-face practical classes in preparation for accelerated educational innovation. Edu-tech, which innovates technology in the wake of the age of non-contact after COVID 19 pandemic is expected to begin in earnest at school sites in Korea which have remained in the traditional way of education. The purpose of this study is to effectively non-contact vocal instructional methods by cogitating the current state of higher practical education and vocal classes in Korea. In addition, This study conducted two components of satisfied instructions such as 'Priorlearning of monitoring of recorded singing', and 'Immediate analyzing of various vocal contents and supplementary lessons of music theory' with a research on the peos and cons of non-face-to-face vocal class. Over a period of time, The effective non-contact of vocal instructional methods is in need to supplement non-face-to-face vocal class problems and further research and system construction with non-face-to-face vocal class's pros and cons to construct high-quality lecture contents is warranted.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• Journal of Digital Contents Society
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• v.12 no.4
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• pp.567-574
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• 2011

In this paper, we have designed and implemented a commercial web system for the future which resolves the necessary security and compatibility to the existing issues in various fields such as theater or the ball park that tickets are issued. The system presents the OTP (One Time Password) system using the mobile in order for defense in the bypass hacking technique such as screen hacking and for greater security. Also, we presents a smart ticketing system that improve the existing responsive hybrid web. It uses Non-ActiveX System which solve compatible problems with present systems that don't use ActiveX. Also, it is available in a variety of environments and equipment. In addition, the system provides an intelligent screen switching systems using the characteristics of mobile devices, an automatic discount system, and a venue information system which shows the shortest distance to the venue considering the commercial portion.

• Proceedings of the Korea Contents Association Conference
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• 2005.05a
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• pp.178-182
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• 2005

From the result of analysis to animation, it can be detected the close relation between myth and animation. As Plato mention that myth is a story. Though it is common field for many researchers on myth and animation now, but it have been performing many researches only for animation narrative in the aspect of myth. Therefore this study will be examined that the ritual ceremony, the frequency of participation, and imagination of myth can be related with animation directly. The ritual ceremony is a similar activity to go to theater for watching animation. It can be merged into the unconsciousness state while awaken state. A high frequency of ritual ceremony can also be provide the experience of shortening a distance between the present and the ancient time of mythical aura. Last, imagination is an enemy of rational thoughts, however, it is vital source and material which was created by myth and it can also create new animation. It will be formulated a methodology for this paper which are three elements for an analogizing tool with new mythological approaches, it is inclusive method for animation and myth. So it can be applied and analyzed to other visual media with this methodology.