• Research in Plant Disease
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• v.8 no.2
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• pp.84-91
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• 2002

Disease forecasting in Korea was first studied in the Department of Fundamental Research, in the Central Agricultural Technology Institute in Suwon in 1947, where the dispersal of air-borne conidia of blast and brown spot pathogens in rice was examined. Disease forecasting system in Korea is operated based on information obtained from 200 main forecasting plots scattered around country (rice 150, economic crops 50) and 1,403 supplementary observational plots (rice 1,050, others 353) maintained by Korean government. Total number of target crops and diseases in both forecasting plots amount to 30 crops and 104 diseases. Disease development in the forecasting plots is examined by two extension agents specialized in disease forecasting, working in the national Agricul-tural Technology Service Center(ATSC) founded in each city and prefecture. The data obtained by the extension agents are transferred to a central organization, Rural Development Administration (RDA) through an internet-web system for analysis in a nation-wide forecasting program, and forwarded far the Central Forecasting Council consisted of 12 members from administration, university, research institution, meteorology station, and mass media to discuss present situation of disease development and subsequent progress. The council issues a forecasting information message, as a result of analysis, that is announced in public via mass media to 245 agencies including ATSC, who informs to local administration, the related agencies and farmers for implementation of disease control activity. However, in future successful performance of plant disease forecasting system is thought to be securing of excellent extension agents specialized in disease forecasting, elevation of their forecasting ability through continuous trainings, and furnishing of prominent forecasting equipments. Researches in plant disease forecasting in Korea have been concentrated on rice blast, where much information is available, but are substan-tially limited in other diseases. Most of the forecasting researches failed to achieve the continuity of researches on specialized topic, ignoring steady improvement towards practical use. Since disease forecasting loses its value without practicality, more efforts are needed to improve the practicality of the forecasting method in both spatial and temporal aspects. Since significance of disease forecasting is directly related to economic profit, further fore-casting researches should be planned and propelled in relation to fungicide spray scheduling or decision-making of control activities.

• Journal of the Korea Society of Computer and Information
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• v.24 no.12
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• pp.51-57
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• 2019

In this paper, we analyzed the performance of IoT based smart wearable mine detection device. There are various mine detection methods currently used by the military. Still, in the general field, mine detection is performed by visual detection, probe detection, detector detection, and other detection methods. The detection method by the detector is using a GPR sensor on the detector, which is possible to detect metals, but it is difficult to identify non-metals. It is hard to distinguish whether the area where the detection was performed or not. Also, there is a problem that a lot of human resources and time are wasted, and if the user does not move the sensor at a constant speed or moves too fast, it is difficult to detect landmines accurately. Therefore, we studied the smart wearable mine detection device composed of human body antenna, main microprocessor, smart glasses, body-mounted LCD monitor, wireless data transmission, belt type power supply, black box camera, which is to improve the problem of the error of mine detection using unidirectional ultrasonic sensing signal. Based on the results of this study, we will conduct an experiment to confirm the possibility of detecting underground mines based on the Internet of Things (IoT). This paper consists of an introduction, experimental environment composition, simulation analysis, and conclusion. Introduction introduces the research contents such as mines, mine detectors, and research progress. It consists of large anti-personnel mine, M16A1 fragmented anti-mine, M15 and M19 antitank mines, plastic bottles similar to mines and aluminum cans. Simulation analysis is conducted by using MATLAB to analyze the mine detection device implementation performance, generating and transmitting IoT signals, and analyzing each received signal to verify the detection performance of landmines. Then we will measure the performance through the simulation of IoT-based mine detection algorithm so that we will prove the possibility of IoT-based detection landmine.

• Korean Journal of Ecology and Environment
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• v.47 no.3
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• pp.167-175
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• 2014

This study was conducted to quantify a carbon budget of major vegetation types established in the campus of the National Institute of Ecology (NIE). Carbon budget was measured for Pinus thunbergii and Castanea crenata stands as the existing vegetation. Net Primary Productivity (NPP) was determined by applying allometric method and soil respiration was measured by EGM-4. Heterotrophic respiration was calculated as 55% of total respiration based on the existing results. Net Ecosystem Production (NEP) was determined by the difference between NPP and heterotrophic respiration (HR). NPPs of P. thunbergii and C. crenata stands were shown in $4.9ton\;C\;ha^{-1}yr^{-1}$ and $5.3ton\;C\;ha^{-1}yr^{-1}$, respectively. Heterotrophic respirations of P. thunbergii and C. crenata stands were shown in $2.4ton\;C\;ha^{-1}yr^{-1}$ and $3.5ton\;C\;ha^{-1}yr^{-1}$, respectively. NEPs of P. thunbergii and C. crenata stands were shown in $2.5ton\;C\;ha^{-1}yr^{-1}$ and $1.8ton\;C\;ha^{-1}yr^{-1}$, respectively. Carbon absorption capacity for the whole set of vegetation types established in the NIE was estimated by applying NEP indices obtained from current study and extrapolating NEP indices from existing studies. The value was shown in $147.6ton\;C\;ha^{-1}yr^{-1}$ and it was calculated as $541.2ton\;CO_2ha^{-1}yr^{-1}$ converted into $CO_2$. This function corresponds to 62% of carbon emission from energy that NIE uses for operation of various facilities including the glass domes known in Ecorium. This carbon offset capacity corresponds to about five times of them of the whole national territory of Korea and the representative rural area, Seocheongun. Considered the fact that ongoing climate change was originated from imbalance of carbon budget at the global level, it is expected that evaluation on carbon budget in the spatial dimension reflected land use pattern could provide us baseline information being required to solve fundamentally climate change problem.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.