• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.17 no.1
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• pp.13-28
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• 2022

Korean Government Budget Supports for startups have been spiked and resulted in increasing the number and scaling up Startup Accelerating managers. It have skyrocketed the strong demand for their qualified roles. However, unclear role description and gap between required role and their capability have discouraged startup manager's self-efficacy resulted in declining their full commitment and causing poor role performance. The focus of this research falls on empirical analysis to the effect of startup accelerating manager's capability characteristics on their full commitment and performance to start-up support groups. This research is expected to deliver diverse policy alternatives to build up manager's core competencies to accelerate their self-efficacy leading their full role commitments and finally pushing up policy performance. In addition, this research will found more strong literature review for the following researches in this emerging fields. This research is brought four highlighting results with respect to four research problems. First, it propose proper concept of startup accelerating manager based upon its legal entitlement. Second, it drive required core competencies of manager for successful their accountability. Third, it analyze the unique features of startup accelerating manger's capabilities against business incubation manger. Fourth, it empirically analyze in coming with government startup funding, the effect of self-efficacy including employment status, job environment, etc. on their organizational commitment and job performance. This research reveal the required unique core competencies of manger into founder sourcing ability, project managing ability, startup proving and pivoting ability, consulting ability for successful investment raising. As of this empirical research results, First, manager's ability have positively effect on their job performance, full commitment, and self-efficacy. Second, self-efficacy have a mediating effect on manager's ability, job performance, full commitment. This research derive key policy implication of requiring to build up more accelerating ability, of manager from the basics to advance level by customized and algorithm based traing program. This accelerating ability buildup program will not only surge self-efficacy of manger resulting in making full commitment and better job performance, but also devote to categorizing the unique new feature and position of manger as seed investment and supporter.

• Journal of Intelligence and Information Systems
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• v.26 no.2
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• pp.1-25
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• 2020

In this paper, we suggest an application system architecture which provides accurate, fast and efficient automatic gasometer reading function. The system captures gasometer image using mobile device camera, transmits the image to a cloud server on top of private LTE network, and analyzes the image to extract character information of device ID and gas usage amount by selective optical character recognition based on deep learning technology. In general, there are many types of character in an image and optical character recognition technology extracts all character information in an image. But some applications need to ignore non-of-interest types of character and only have to focus on some specific types of characters. For an example of the application, automatic gasometer reading system only need to extract device ID and gas usage amount character information from gasometer images to send bill to users. Non-of-interest character strings, such as device type, manufacturer, manufacturing date, specification and etc., are not valuable information to the application. Thus, the application have to analyze point of interest region and specific types of characters to extract valuable information only. We adopted CNN (Convolutional Neural Network) based object detection and CRNN (Convolutional Recurrent Neural Network) technology for selective optical character recognition which only analyze point of interest region for selective character information extraction. We build up 3 neural networks for the application system. The first is a convolutional neural network which detects point of interest region of gas usage amount and device ID information character strings, the second is another convolutional neural network which transforms spatial information of point of interest region to spatial sequential feature vectors, and the third is bi-directional long short term memory network which converts spatial sequential information to character strings using time-series analysis mapping from feature vectors to character strings. In this research, point of interest character strings are device ID and gas usage amount. Device ID consists of 12 arabic character strings and gas usage amount consists of 4 ~ 5 arabic character strings. All system components are implemented in Amazon Web Service Cloud with Intel Zeon E5-2686 v4 CPU and NVidia TESLA V100 GPU. The system architecture adopts master-lave processing structure for efficient and fast parallel processing coping with about 700,000 requests per day. Mobile device captures gasometer image and transmits to master process in AWS cloud. Master process runs on Intel Zeon CPU and pushes reading request from mobile device to an input queue with FIFO (First In First Out) structure. Slave process consists of 3 types of deep neural networks which conduct character recognition process and runs on NVidia GPU module. Slave process is always polling the input queue to get recognition request. If there are some requests from master process in the input queue, slave process converts the image in the input queue to device ID character string, gas usage amount character string and position information of the strings, returns the information to output queue, and switch to idle mode to poll the input queue. Master process gets final information form the output queue and delivers the information to the mobile device. We used total 27,120 gasometer images for training, validation and testing of 3 types of deep neural network. 22,985 images were used for training and validation, 4,135 images were used for testing. We randomly splitted 22,985 images with 8:2 ratio for training and validation respectively for each training epoch. 4,135 test image were categorized into 5 types (Normal, noise, reflex, scale and slant). Normal data is clean image data, noise means image with noise signal, relfex means image with light reflection in gasometer region, scale means images with small object size due to long-distance capturing and slant means images which is not horizontally flat. Final character string recognition accuracies for device ID and gas usage amount of normal data are 0.960 and 0.864 respectively.

• Korean Journal of Heritage: History & Science
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• v.41 no.1
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• pp.5-19
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• 2008

Thirty six samples of Western asia glass vessel shards which were excavated from South Mound of Hwangnamdaechong were each measured for thickness, pore size and specific gravity and analyzed for ten major compositions and thirteen trace elements. The glass samples with colorless, greenish blue and dark purple blue were well classified by principal component analysis(PCA). All glass shards of Hwangnamdaechong belonged to Soda glass system ($Na_2O-CaO-SiO_2$) which have the range of 14~17% $Na_2O$ and 5~6% CaO. The corelation coefficients of (MgO, $K_2O$) and (MnO, CuO) showed above 0.90. The concentrations of thirteen trace elements apparently differentiated from colorless, greenish blue and dark blue glasses. We found that thirteen trace elements were very important indices for studying raw material of glass and the origin of glass making. Colorless glass : The specific gravity is $1.50{\pm}0.04$. Circle or oval circle pores are observed with regular direction in internal zone and the longest one is about 0.35 mm. The raw material of sodium must be the plant ash because sodium glasses contain HCLA(High CaO, Low $Al_2O_3$) and HMK(high MgO, high $K_2O$) and suggested to Sasanian glass. The total amount of coloring agent of colorless glass is below 1 % which is too small to attribute to the color. Greenish blue glass : The specific gravity is $1.58{\pm}0.04$. The fine pores which are 0.1~0.2mm are dispersed in internal zone. Sodium glasses are distributed to HCLA and HMK. Therefore the greenish blue glass also have used plant ash for raw material of sodium with the same as colorless glass. It was also suggested to the glass of Sasanian. The total amount of coloring agent of greenish blue glass is about 4% under the influence of working MnO, $Fe_2O_3$ and CuO. Dark purple blue glass : The specific gravity is $1.48{\pm}0.19$. There are rarely pores in internal zone. They are distributed to HCLA and LMK(Low MgO, Low $K_2O$) and suggested to Roman glass. The raw material of sodium is estimated to natron. The total amount of coloring agents of greenish blue is about 3% by $Fe_2O_3$ and CuO. These studies for western asia glass shards from South Mound of Hwangnamdaechong could be used in the future as the standard data which could be compared with those of other several graves in Korea and dispersed in foreign areas.

• Journal of the Daesoon Academy of Sciences
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• v.27
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• pp.135-169
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• 2016

While examining the religious ideas implied by Jeungsan's Great Works of the Reordering of Universe, we find special ideas which cannot be found in any other religions, and these ideas are presented in diverse ways. Most of all, the representative idea is that of human nobility; a distinctive idea which makes Daesoonjinrihoe different from other religions. Thus, this research focuses on the following questions: when was Human Nobility concretely realized? What kind of organic relationship does human nobility have between the divine world and the world of humanity? In light of the forthcoming Era of Human Nobility, what are some concrete images which can be drawn from the interaction between the realms of heaven and humanity wherein preordinations are plotted in heaven and then carried out by humankind? Prior to formulating my own sense of the subject matter, I consulted 43 previous discussions and dissertations and arranged them chronologically so as to examine their correlation. From these sources and my own insights, I was able to gain a sense of the starting point of the era of human nobility and its tenor. I have found the following problems in previous research on the uniqueness and distinctness of human nobility: ①The conceptual undertones of human nobility have not been adequately gleaned. ②There do not seem to be any dissertations which examine the way in which human nobility is connected with the doctrines of the creative conjunction between yin and yang, the harmonious union of divine beings and human beings, and the resolution of grievances for mutual beneficence. ③In most dissertations, not only is the starting point of the Era of Human Nobility regarded as concurrent with the start of the 50,000 years of earthly paradise in the Later World, but also the point of division between the former world and the later world is widely disputed. ④In-depth and fully realized studies dealing with the subject of human nobility are not easily found. ⑤There is little sense of progression in the research on human nobility because scholars are not sufficiently engage with one another to achieve common consensus. Therefore, in this dissertation, I have provided answers to the problems I discovered in previous research. I have developed my own tenor as follows: ①By giving priority to the Jeongyeong, I have closely investigated the period which divides the Former World and the Later World. Then, I produced a chronological timeline to demonstrate the progression: the Former World → the Era of the Resolution of Grievances → the Later World. This aids in the comprehension of human nobility. ②The Era of Human Nobility was preceeded by the opening of the Era of the Resolution of Grievances of human world which began in 1901. Human nobility is stipulated as a regulatory system for the universe set in motion by the opening the Era of Resolution of Grievances. ③While synthetically examining the aspects of transition which enable the Ear of Human Nobility to be realized, the period to be studied is stipulated as beginning from 1901 and ending at the start of the Later World. The subjects are defined as the flowing from Jeungsan, the first leader of human nobility, to the noble individuals empowered by Dao and the noble populace. In the Era of Human Nobility, studying the transition process by which human nobility is realized requires delving into the resolution of grievances. Although this method is essential to understanding Daesoon ideas, in actuality it does not hinge upon speculative exegetical theorizing but instead it was gained through eisegetical rigor.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.123-154
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• 2019

Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.