• Journal of the Korea Institute of Information and Communication Engineering
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• v.17 no.11
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• pp.2723-2728
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• 2013

Due to the popularity of smart phones based on personal propensities and individual lifestyle changes customerized services is increasing interest in the individual. The system for personalized services make a difference in the public institutions, museum of science and history. In particular, museums and art galleries have a common motivation which is sightseeing. Museum for the history and science education a national purpose that is put, unlikely art gallery. Museum of science and History, unlike the theme parks have a combination of entertainment and education as a public institution is a large consensus. In order to achieve this objective, exhibits raise a sufficient commitment to and the exhibits should be described by age. Using augmented reality combined with effective entertainment and education measures, we propose the effective smart guide service strategies for museum.

• Conservation Science in Museum
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• v.29
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• pp.1-32
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• 2023

The Paintings of a 60^th Wedding Anniversary Ceremony Created by an Unknown Painter (Deoksu 6375), housed by the National Museum of Korea, is a five-panel painting book depicting scenes from a wedding ceremony. Hoehonrye is a type of repeated wedding ceremony to commemorate a couple's 60th wedding anniversary with congratulations from the community. The paintings of the book record five scenes from the wedding: jeoninrye, a ceremony where the groom brings a wooden wild goose to the bride's house; gyoberye, the groom and the bride bowing to each other; heosurye, pouring liquor to toast to the couple's longevity; jeopbin, offering tea to guests; and a banquet to celebrates the couple's 60th wedding anniversary. The book describes figures, buildings and a variety of items in detail with delicate brushstrokes. The techniques were examined using microscopy, infrared, and X-ray irradiation and hyperspectral imaging analysis. The invisible parts were examined to identify the rough sketch and distinguish pigments and dyes used for each color. The components of the pigments were determined by X-ray fluorescence analysis, while the dyes were identified by UV-vis spectrometry. Microscope observation revealed that the fabric used for the paintings was raw silk thread with almost no fiber twist, and plain silk fabric. Hyperspectral imaging analysis, X-ray fluorescence analysis, and UV-vis spectrometry confirmed that the white pigment was white lead and the black was chinese ink. The red pigments were using red clay, cinnabar, and a mixture of cinnabar and minium. Brown was made using red clay and organic dyes, and yellow using gamboge. Green was identified as indigo, malachite, chrome green, barium sulfide, and blue as azurite, smalt, and indigo. The purple dye was estimated as a mixture of indigo and cochineal, and gold parts were used gold powder. Hyperspectral images were distinguished parts damaged and conservation treatment area.

• Journal of Ginseng Culture
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• v.3
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• pp.38-53
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• 2021

This research uncovered that the world-renowned British Museum has displayed ginseng as part of notable exhibitssince its opening. The British Museum was established in 1753 upon the bequest of Sir Hans Sloane, a famous physician, scientist, and collector. At the heart of his collections was the vast amount of vegetable substance specimens. This study first reconstructed Sloane's collection activities in the context of British Imperialism and botanical science in the early modern period. It then traced the origins and routes by which four ginseng specimens were obtained: Radix Ginseng or ninzin from China (VS 532), Ginseng. Id (VS 8,198), the roots and seeds of ginseng (VS 7,825), and ginseng root (VS 12,140). These specimens were presumed to originate from one type of Korean ginseng from China, a Japanese ginseng variant from Japan, and two ginseng species from North America. The English public learned about ginseng and ginseng exhibits via a flourishing printing culture. In England, Korean ginseng was appreciated much more highly than American ginseng.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.583-590
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• 2023

In today's rapidly developing technology, the traditional exhibition format of museums can no longer meet social needs. By analyzing the advantages and key technologies of extended reality technologies such as virtual reality, augmented reality, and hybrid reality, the museum XR exhibition interaction scheme is analyzed. Come to Discovery Museum. In this regard, this study first delves into the concept of XR technology, the concept and influencing factors of tourist experience, and the relationship between the application of XR technology and tourist experience through theoretical investigation. On this basis, representative paleontological museums in China and South Korea were selected, and the actual experience of visitors at the exhibition site and the application of XR technology were investigated through examples. Research has shown that the use of augmented reality technology can achieve seamless integration of virtual and real worlds in paleontological museums, extend viewing space, expand cultural heritage connotations, and revitalize cultural heritage. It provides visitors with a deeper interactive experience, enhances immersion and enriches display methods, making this type of museum more attractive. On this basis, XR technology helps museums achieve Digital transformation, and makes them have the advantages of sustainable development.

• Conservation Science in Museum
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• v.3
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• pp.43-50
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• 2001

This article is about a joint project carried out by the National Museum of Korea and the Tokyo Cultural Properties Research Institute for the conservation of central Asia Wall painting that has been selected for the exhibition at the new Seoul National Museum of Korea at Yongsan. The investigation of the wall painting revealed very useful information. This includes the condition of the object, and the identification of evident damage, such as cracks, loss of pigment, plus materials and methods employed during the object's creation, as well as previous conservation treatment. The object was mainly made by applying plaster to the body (wall) that consisted of a mixture of soils and rice straws. Then, on the surface of the wall-painting, pigments were used to draw and to colour it. As a part of the investigation, radiocarbon dating was conducted using straw samples taken from the object. The result indicates that the object is probably dated form between the end of the 10th Century and the beginning of the 13th Century. The result of X-ray diffraction also revealed the composition of the pigments used on the surface. These are 1. gypsom [Ca(SO₄)·2H₂O], CaSO₄ and Calcite (CaCO₃) and Calcite (CaCO₃) that were used for the white background. 2. Pb₃O₄ and led Arsenate [Pb(As₂O₆) that were used for the red colouring. 3. Cuprite (Cu₂O), Arsenolite (As₂O₃) and Arsenic Oxide (As₂O₄) that were used for the green colouring.

• Korean Association of Arts Management
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• no.59
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• pp.33-72
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• 2021

I intended to discuss the new phase of the publicness of museums in a digital environment with the Goole Arts & Culture Project. To this end, I critically examined the instrumental approaches and technological optimism in the application of digital technology to museums, and scrutinized the recent museological issues, particularly the revision or curtailment of the museum's publicness amid the spread of neoliberal policy, which have been omitted within those technological approaches. This is because the meaning of Google Art & Culture can be considered more effectively through an extended theoretical reconstruction. Based on these theoretical discussions, I critically reviewed how the "non-profit," an important concept that defines the publicness of museums, was adopted and utilized as an business strategy by Google. As a result, I wanted to reveal that the neoliberalization of museums, the failure of the government's public function, the crisis of museum's publicness, and Google's "non-profit" strategy have been closely related. Armed with advanced digital technology, the GAC project appropriated the publicness of museums as a useful profit-making model. As such, now the concept of publicness of museums is at a point of more controversial and radical transformation than ever before.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.5
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• pp.83-92
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• 2017

Because the exhibition space in the virtual reality is another kind of reality, which exits in another level, it enables us free from time and physical space, so using the virtual reality will be an effective practice for overcoming cultural divide and managing museums. Especially, virtual reality could transform a fixed physical space into portable contents, so this characteristic would be useful and meaningful when applying the outreach program, which claimed to stand for 'museum out of museum' as following. First, it will give more opportunities of experiencing museums to many people because of freedom of physical space, one of the advantages virtual reality has. Second, people will experience and understand the contents under the context, rather than simply exposing information of artifacts one by one. Third, even people who are far from a museum can experience identical contents at the same time, so this synchronicity will enhance communications among people and the society. Fourth, it will provide rich contents to people by putting a variety of exhibitions into one VR device. Fifth, it will be useful for archiving the exhibition with minimizing the loss of contents. Sixth, VR will convert museum visitors from observers to operators. Finally, VR can expand the target audience of the outreach program and develop a variety of education programs. Because museums is a public organization for overcoming cultural divide and enhancing communication, they should adopt virtual reality, which enables to extend the exhibition space and provide more opportunities of experiencing museums.

• Journal of The Korean Association For Science Education
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• v.24 no.5
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• pp.869-885
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• 2004

The aim of this study is to acquire a better understanding of how natural history(NH) and natural history museums(NHM) are perceived among students, teachers and parents by administering a questionnaire. A total of over 2500 people participated in this survey. We developed the questionnaire which was categorized by three specific areas: 1) people's overall perceptions of natural history and natural history museums; 2)the way of people's getting such perceptions and knowledge; 3) people's possessing interests in NH and NHM. The summary of survey results included; firstly people had paid attention to nature and natural environments; secondly NH and NHM were not familiar to people, but they expressed their eagerness to learn about them; thirdly the first image occurred to people was dinosaur, when they recalled NH and NHM with describing them to be mysterious and education.; on the fourth, NH and NHM were informed through TV programs; lastly, most people responded that they never learned about NH and NHM in schools but they wanted to learn them.

• Journal of Information Management
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• v.6 no.6
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• pp.164-166
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• 1973

영국(英國)에서는 대학도서관(大學圖書館), 공공도서관(公共圖書館) 및 특수도서관(特殊圖書館)을 포함하여 각종(各種)의 도서관(圖書館)이 많이 있다. 그러나 불과 몇 달전까지만 해도 국가도서관제도(國家圖書館制度)가 없었다는 것은 경이(驚異)할만한 일이며, 세계적(世界的)으로 유명(有名)한 영국박물관도서관(英國博物館圖書館)도 공식적(公式的)인 국가도서관(國家圖書館)이 아니었기 때문이다. 1972년(年)에 새로운 입법(立法)이 통과되어, 소위 "영국도서관(英國圖書館)"이라 불리우는 국립도서관(國立圖書館)이 현재(現在) 건립중(建立中)에 있는데, 이것은 영국박물관도서관(英國博物館圖書館)(British Museum Library), 국립과학발명참고도서관(國立科學發明參考圖書館)(National Reference Library of Science and Invention), 국립과학기술대출도서관(國立科學技術貸出圖書館)(National Lending Library for Science and Technology), 국립중앙도서관(國立中央圖書館)(National Central Library) 및 영국국립서지관(英國國立書誌館)(British National Bibliography)을 통합(統合)하여 3부(部)로 구성(構成)되어질 것이다.

• Conservation Science in Museum
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• v.18
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• pp.65-76
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• 2017

Following advances in technology and with the growing need for renewable energy, fluorescent and halogen lamps are being replaced by LED lighting in museum systems. This paper researched the setting of standards for the diverse lighting systems in addition to the LED lighting that are expected to be introduced in museums in the future. Contrary to previous belief, LEDs were shown to only barely emit in the ultraviolet region, but the visible rays were confirmed to produce discoloration depending on illuminance-hours. When the color change by LED lamps at the color temperature of 2800K, or warm white, was compared with 5500K, or white, the emission spectrum analysis confirmed that the blue spike increased at a higher color temperature and caused more discoloration. This suggests that in addition to illumination, color temperature should be considered by including the emission spectrum when museums set lighting environment standards.