• Cartoon and Animation Studies
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• s.36
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• pp.281-302
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• 2014

Human beings have advanced to release instinctive desire. Among the human desires, sexual desire is classed as a basic desire with appetite and has been expressed in many ways from prehistoric times to present. Despite the social and ethical restriction, expression of sexual image has been evolved with change of time and medium's development. Thanks to inventing the photograph technique, Change of pornographic image has showed a dramatic aspect since early 20th century. The video which delivers message more directly than the picture boosted this change, and the animation has experimented the expression methods and techniques numerously exceeding the limit of realistic image which reappeared by the device. In this thesis, I want to discuss how human beings express sexual desire in animation based on society's sex culture, and analyzed Japanese pornographic animation as its obvious cases. Japanese pornographic animation should be interpreted as the result of culture and society system's history. Through Heian, Edo and early Meiji period, Japanese sex culture has been kept very openly and preposterously. Transformation, metamorphosis, pedophilia, tentacle sex and exposure of specific body parts that are frequently appear in Japanese animation can be interpreted by ancient Japanese open sex culture like Wakashu, polygamy, sleeping in mixed sex group and pederasty. These Japanese odd sex culture is hard to find elsewhere and settled as intrinsic sexual expression in Japanese animation. This situation was institutionally severed by European Modernization's force at the end of World War II in 20th century. However, it seems they have been keeping their influence in a proper form until now. In this study, I discussed that pornographic animation should be interpreted in a frame of cultural phenomenon by researching the series of procedure that ancient Japanese open sex culture has been changed by the system. Sexuality which is found in general Japanese animation was started from their history, and the dichotomous expression about women can be understood that it is bent by institutionally regulated sexual opinion. Japanese history and culture can be understood that it is transformed to the dichotomy that are simultaneously according freedom of eroticism to the pornographic animation, and the fear and irresistible temptation about the woman's body as the other.

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.

• Cartoon and Animation Studies
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• s.36
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• pp.189-215
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• 2014

Since the launching of in 1963, a large amount of outstanding cartoons had been produced in China by the year 1980. During this period of time, international reputation was achieved with the extremely full expression and characteristic stories originated from Chinese culture. Decades of cartoons were produced ever year benefiting from support of the government in the last years. However, the quality and in fluence power dropped down comparing with the increasing productivity. The outward followed by examples of successful international box office most of the animation made in China. These cartoons did not obtain admitting internationally, or disclose any traditional speciality of China, although the domestic box office is considered to be fairly successful. The key factors to the successful cases should be analysed and researched rather than simply estimating, in order to achieve both artistic and commercial success. Factor of humor, as a key element of a successful cartoon is proposed in this thesis. Prior to the discussion, a general definition of humor factor is described through Henri Bergson's comedy concept, based on which the key factors of humor will be analysed. A classification system would be derived and introduced as a tool for the analysis of humor factors. According to Henri Bergson, Humor is determined by circumstance, language and character factors. Humor factors are divided into visual, scene and acoustic factors in this research taking the Speciality of cartoon media into consideration. It is the speciality that, in addition to the visual and language factors, multiple acoustic elements are also introduced in such a presentation pattern. This classification system would be considerably applicable to the analysis of humor factors in Chinese cartoons. In this study, around the year 2000 to share the Chinese animation masterpiece were analyzed by selecting and , and . This discussion about key factors of humor is likely to be beneficial to the development of Chinese Cartoons in the future.

• Journal of the Korean Society for Marine Environment & Energy
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• v.13 no.1
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• pp.18-29
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• 2010

Offshore subsurface storage of $CO_2$ is regarded as one of the most promising options to response severe climate change. Marine geological storage of $CO_2$ is to capture $CO_2$ from major point sources, to transport to the storage sites and to store $CO_2$ into the offshore subsurface geological structure such as the depleted gas reservoir and deep sea saline aquifer. Since 2005, we have developed relevant technologies for marine geological storage of $CO_2$. Those technologies include possible storage site surveys and basic designs for $CO_2$ transport and storage processes. To design a reliable $CO_2$ marine geological storage system, we devised a hypothetical scenario and used a numerical simulation tool to study its detailed processes. The process of transport $CO_2$ from the onshore capture sites to the offshore storage sites can be simulated with a thermodynamic equation of state. Before going to main calculation of process design, we compared and analyzed the relevant equation of states. To evaluate the predictive accuracies of the examined equation of states, we compare the results of numerical calculations with experimental reference data. Up to now, process design for this $CO_2$ marine geological storage has been carried out mainly on pure $CO_2$. Unfortunately the captured $CO_2$ mixture contains many impurities such as $N_2$, $O_2$, Ar, $H_{2}O$, $SO_{\chi}$, $H_{2}S$. A small amount of impurities can change the thermodynamic properties and then significantly affect the compression, purification and transport processes. This paper analyzes the major design parameters that are useful for constructing onshore and offshore $CO_2$ transport systems. On the basis of a parametric study of the hypothetical scenario, we suggest relevant variation ranges for the design parameters, particularly the flow rate, diameter, temperature, and pressure.

• Economic and Environmental Geology
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• v.31 no.3
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• pp.185-199
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• 1998

Hydrogeochemical and environmental isotope studies were undertaken for various kinds of water samples collected in 1995-1996 from the Bugok geothermal area. Physicochemical data indicate the occurrence of three distinct groups of natural water: Group I ($Na-S0_4$ type water with high temperatures up to $77^{\circ}C$, occurring from the central part of the geothermal area), Group II (warm $Na-HCO_{3}-SO_{4}$ type water, occurring from peripheral sites), Group III ($Ca-HCO_3$ type water, occurring as surface waters and/or shallow cold groundwaters). The Group I waters are further divided into two SUbtypes: Subgroup Ia and Subgroup lb. The general order of increasing degrees of hydrogeochemical evolution (due to the degrees of water-rock interaction) is: Group III$\rightarrow$Group II$\rightarrow$Group I. The Group II and III waters show smaller degrees of interaction with rocks (largely calcite and Na-plagioclase), whereas the Group I waters record the stronger interaction with plagioclase, K-feldspar, mica, chlorite and pyrite. The concentration and sulfur isotope composition of dissolved sulfate appear as a key parameter to understand the origin and evolution of geothermal waters. The sulfate was derived not only from oxidation of sedimentary pyrites in surrounding rocks (especially for the Subgroup Ib waters) but also from magmatic hydrothermal pyrites occurring in restricted fracture channels which extend down to a deep geothermal reservoir (typically for the Subgroup Ia waters). It is shown that the applicability of alkaliion geothermometer calculations for these waters is hampered by several processes (especially the mixing with Mg-rich near-surface waters) that modify the chemical composition. However, the multi-component mineral/water equilibria calculation and available fluid inclusion data indicate that geothermal waters of the Bugok area reach temperatures around $125^{\circ}C$ at deep geothermal reservoir (possibly a cooling pluton). Environmental isotope data (oxygen-18, deuterium and tritium) indicate the origin of all groups of waters from diverse meteoric waters. The Subgroup Ia waters are typically lower in O-H isotope values and tritium content, indicating their derivation from distinct meteoric waters. Combined with tritium isotope data, the Subgroup Ia waters likely represent the older (at least 45 years old) meteoric waters circuated down to the deep geothermal reservoir and record the lesser degrees of mixing with near-surface waters. We propose a model for the genesis and evolution of sulfate-rich geothermal waters.

• Economic and Environmental Geology
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• v.25 no.4
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• pp.397-416
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• 1992

In the present study, three clay deposits, named the Seongsan, Ogmaesan and Haenam deposits, were investigated. The altered zones are recognized in the hydrothermally altered rocks of the clay deposits from the center of the alteration to the margin: Kaolin, Kaolin-Quartz, Quartz, Sericite and Chlorite zones in the Seongsan deposits; Quartz zone, Alunite zone, Kaolin zone, Sericite zone and Chlorite zone in the Ogmaesan deposits; Quartz zone, Pyrophyllite zone, Sericite zone and Chlorite zone in the Haenam deposits. These zones can be grouped into two types of alteration: Acidic alteration such as Pyrophyllite zone, Alunite zone, Quartz zone, Kaolin zone, Kaolin-Quartz zone and a part of Sericite zone; Propylitic alteration such as Chlorite zone and a part of Sericite zone. All clay deposits belong to high-sulfidation (acid-sulfate) system. The rocks of the acidic alterations are composed of pyrophyllite, alunite, kaolin minerals, sericite, quartz and pyrite. On the basis of bulk chemical compositions, it was found that some components such as $SiO_2$, $TiO_2$, $Fe_2O_3$, FeO, MgO, CaO, $K_2O$ and $Na_2O$ were mobilized considerably from the original rocks. The mobility of these major elements is related to, and controls, mineral assemblages in each altered zone. Polytypes of sericite are determined as $2M_1$ and 1M by X-ray diffraction method. The amount of $2M_1$ is nearly equal to that of 1M in the Seongsan deposits whereas $2M_1$ is less and higher than that of 1M in the Ogmaesan and the Haenam deposits. These facts indicate that formation temperature of sericite is relatively high in the Haenam deposits, moderate in the Seongsan deposits, and low in the Ogmaesan deposits. The ratios of Na/(K+Na) for alunite in the Ogmaesan deposits determined by electron microprobe analyzer (EPMA) are higher than those in the Seongsan deposits. Thus, the alunite of the Ogmaesan deposits must have been formed from the solutions with relatively high aqueous Na/(K+Na) ratios and low pH at a high temperature rather than that of the Seongsan deposits. From all data, it is clarified that alunite is hypogene in origin, and has been formed by oxidation of hydrogen sulfide in the steam-heated environment, and that alunite has been produced by the spectacular solfataric alteration observed at the surface of some present-day hydrothermal systems.

• Economic and Environmental Geology
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• v.44 no.6
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• pp.493-502
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• 2011

We study the deep structure of Korean Peninsula by estimating Moho depth and crustal thickness from using land and oceanic topography and free-air gravity anomaly data. Based on Airy-Heiskanen isostatic hypothesis, the correlated components between the terrain gravity effects and free-air gravity anomalies by wavenumber correlation analysis(WCA) are extracted to estimate the gravity effects that will be resulted from isostatic compensation for the area. With the resulting compensated gravity estimates, Moho depth that is a subsurface between the crust and mantle is estimated by the inversion in an iterative method with the constraints of 20 seismic depth estimates by the receiver function analysis, to minimize the uncertainty of non-uniqueness. Consequently, the average of the resulting crustal thickness estimate of Korean Peninsula is 32.15 km and the standard deviation is 3.12 km. Moho depth of South Korea estimated from this study is compared with the ones from the previous studies, showing they are approximately consistent. And the aspects of Moho undulation from the respective study are in common deep along Taebaek Mountains and Sobaek Mountains and low depth in Gyeongsang Basin relatively. Also, it is discussed that the terrain decorrelated free-air gravity anomalies inferring from the intracrustal characteristics of the crust are compared to the heat flow distributions of South Korea. The low-frequency components of terrain decorrelated Free-air gravity anomalies are highly correlated with the heat flow data, especially in the area of Gyeongsang basin where high heat flow causes to decrease the density of the rocks in the lower crust resulting in lowering the Moho depth by compensation. This result confirms that the high heat sources in this area coming from the upper mantle by Kim et al. (2008).

• Economic and Environmental Geology
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• v.43 no.6
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• pp.625-636
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• 2010

The geophysical characteristics and geological structure of the northeastern part of the Ulleung Basin were investigated from interpretation of geophysical data including gravity, magnetic, bathymetry data, and seismic data. Relative correction was applied to reduce errors between sets of gravity and magnetic data, obtained at different times and by different equipments. The northeastern margin of the Ulleung Basin is characterized by complicated morphology consisting of volcanic islands (Ulleungdo and Dokdo), the Dokdo seamounts, and a deep pathway (Korea Gap) with the maximum depth of -2500 m. Free-air anomalies generally reflect the topography effect. There are high anomalies over the volcanic islands and the Dokdo seamounts. Except local anomalous zones of volcanic edifices, the gradual increasing of the Bouguer anomalies from the Oki Bank toward the Ulleung Basin and the Korea Gap is related to higher mantle level and denser crust in the central of the Ulleung Basin. Complicated magnetic anomalies in the study area occur over volcanic islands and seamounts. The power spectrum analysis of the Bouguer anomalies indicates that the depth to the averaged Moho discontinuity is -16.1 km. The inversion of the Bouguer anomaly shows that the Moho depth under the Korea Gap is about -16~17 km and the Moho depths towards the Oki Bank and the northwestern part of Ulleung Island are gradually deeper. The inversion result suggests that the crust of the Ulleung Basin is thicker than normal oceanic crusts. The result of 20 gravity modeling is in good agreement with the results of the power spectrum analysis and the inversion of the Bouguer anomaly. Except the volcanic edifices, the main pattern of magnetization distribution shows lineation in NE-SW. The inversion results, the 2D gravity modeling, and the magnetization distribution support possible NE-SW spreading of the Ulleung Basin proposed by other papers.

• Archives of design research
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• v.19 no.2 s.64
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• pp.73-80
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• 2006

The main purpose of this study is to help develop the productional system of the three dimensional digital animation domestically. Many 30 digital animation projects are being developed and finished with foreign computer graphics technology. However, the 3D animation market in Korea is not as good as the ones in other countries. One of the most significant problems is the lack of a program of study in Korea concerning productional systems used to create 3D animation. We previously imported an advanced productional system from the U.S., which was adaptable to big projects, and consequently, expanded the international digital animation market. Now, we need to develop a new production system which is fully adaptable to the Korean market. A non-sequential system of 3D digital animation tailored for small projects is more adaptable to domestic industry than the sequential system known as the 'Pipeline system.' A non-sequential system is good for small productions that are trying to create animation on a limited budget. The workers in this system can learn to make animation fast and effectively. They can also learn how to discuss with the others in order to avoid duplication of action. In contrast, in the Pipeline System, many workers repeat confirmation steps during the process for the same animations. The benefit of the non-sequential system is that the worker's interest and education can speed up production, because he/she can quickly learn every step of the animation process instead of just doing a particular job which does not allow him/her to observe the other steps involved. The 'animatic' step is the most important in the non-sequential system. The final animation is produced from the animatic. It is developed from scratch through to the final product but only after the agreement of all the workers, including a director.

• The Korean Journal of Archival Studies
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• no.65
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• pp.365-396
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• 2020

I examined the archival basis of two historians who wrote history books with the same title of 'History'; Simaqian of ancient China and Herodotus of Halikarnassos. I examined a prejudice to these two history books, a misunderstanding of them as an imagination rather than a history. How can an imagination become a history? First, I explained the common characteristics found in their compilation and writing of 'History.' Simaqian and Herodotus did their field-works in historical sites, gathered oral-histories, and arranged archives they collected. These two historians heavily engaged in archival works in terms of verifying authenticity and reliability of their sources on the basis of historical empiricism. There are some misunderstanding on their archival endeavor and on the very nature of archives and historical studies as empirical studies. Furthermore, this misunderstanding regarding them as literature came from a confusion over the concept of literature. The creativity of literature is not equal to the "fictitiousness" of history despite historical works sometimes may give us an impression by the way of describing and providing insight into a certain event(s) and a person(s). As Herodotus said, a recognition of the differences of each race and human is a departure of historical archiving of the valuable experiences of human-beings. By doing so, natural results of archival behaviors, preservation of the records, and consistent inquiry of historian-archivists become a humanistic passage overcoming the current wrong trends of historical studies confined to a narrow nation-history.