• Proceedings of the KOR-BRONCHOESO Conference
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• 1972.03a
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• pp.5-6
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• 1972

Noise and air pollution, which accompany the development of industry and the increase of population, contribute to the deterioration of urban environment. The air pollution level of Seoul has gradually increased and the city residents are suffering from a high pollution of noise. If no measures were taken against pollution, the amount of emission of pollutant into air would be 36.7 thousand tons per year per square kilometer in 1975, three times more than that of 1970, and it would be the same level as that of United States in 1968. The main sources of air pollution in Seoul are the exhaust has from vehicles and the combustion of bunker-C oil for heating purpose. Thus, it is urgent that an exhaust gas cleaner should be instaled to every car and the fuel substituted by less sulfur-contained-oil to prevent the pollution. Transportation noise (vehicular noise and train noise) is the main component of urban noise problem. The average noise level in downtown area is about 75㏈ with maximum of 85㏈ and the vehicular homing was checked 100㏈ up and down. Therefore, the reduction of the number of bus-stop the strict regulation of homing in downtown area and a better maintenance of car should be an effective measures against noise pollution in urban areas. Within the distance of 200 metres from railroad, the train noise exceeds the limit specified by the pollution control law in Korea. Especially, the level of noise and steam-whistle of train as measured by the ISO evaluation can adversely affect the community activities of residents. To prevent environmental destruction, many developed countries have taken more positive action against worsening pollution and such an action is now urgently required in this country.

• Cartoon and Animation Studies
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• s.49
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• pp.399-423
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• 2017

When thinking about the essence of color, green is the image that is settled on the plant itself, and it is also the color shining by the sun. Physics tries to explain green of plants in the correlation of sun and moon, and the history of art contemplates how it is expressed on the canvas. The film attempts to represent a realistic green using camera or computer specific to the medium. Many color theorists who explore the essence of color do not trust the mechanical and reductive scientific colorism that began in Newton and seek a completely different way of exploring in psychology and aesthetics. Like Goethe, who opposed Newton, they do not distinguish the human as subject and the color as object, but focus on the internal grounds of the relationship between subject and color. The representation of color in film is a combination of physics and art. Film color can be expanded to the spiritual dimension beyond the previous emotional and aesthetic, even beyond the physical and mental domains.

• The Journal of Art Theory & Practice
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• no.2
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• pp.75-120
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• 2004

Studies on western art in Korea has been caught in a dilemma that they could deal with only those things which had been arranged according to their 'historical generalization' in their contexts because of the bounds of time and space. It is not trivial that such conditions affect art studies in Korea. Access to the original texts and to their contexts of production is so restricted that the studies on them are prone to he superficial. And it is not independent on the politics of Korean art scene. Such factors are on the background of Korean art's excessive 'assimilation or accordance' with western art. The domestic studies on western art history and art theory have failed to notice the differences in context and Korean art has simply mediated or reproduced the restricted information by those studies. Also the studies on western art in Korea have been made use of as a justifying method of one's own academic domains. In such situations we should lead the studies on western art history and western art theory to a more reflective direction and confirm that the studies should not have any privileges of the realities. And we should try to reform a scholarship which participates in our life and existence. The field of domestic studies on western art history and western art theory should free itself from the invention of objectivity or the neutrality of mechanical reading and turn its eyes to the realities of life where events happens. Constantly suggesting which way Korean art and world art should go has to be the field's new coordinates.

• Journal of Korean Society of Archives and Records Management
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• v.7 no.1
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• pp.83-109
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• 2007

This paper focuses on the Bijombon Haerampeon written by Lee Eonjin The analysis of the paper is associated with the following: i) the career of Lee Eonjin ; ii) the manuscripts and collected works of Lee Eonjin ; iii) Haerampeon ; iv) Lee Yeonghyu and Nam Ok ; v) and the comparison of the Bijombon Haerampeon and Haerampeon carried in Songmokkwanjip and Songmokkwansinyeogo. Lee Eonjin(1740-1766) was a great poet and better known as one of the four great interpreters in Chosun dynasty. Woosangingbok was the only manuscripts handed down up to now among the works of Lee Eonjin. Woosangingbok ran the Bijombon Haerampeon, 6 pieces of itinery, 3 pieces of poem, 5 pieces of letter. Lee Eonjin visited Japan from the 6th of October, 1763 to the 20th of June in 1764 as a member of Tongsinsa in attendance upon Cho Om. He wrote Haerampeon vividly with five characters what he observed during his stay in Japan. It was composed on board of Ilkido from the 28th of May to the 8th of June in 1746. After Lee Yeonghyu and Nam Ok reviewed Haerampeon, Lee Yeonghyu placed a blue point and circle and Nam Ok placed a red point and circle. Ultimately the result raised the value of Haerampeon. Haerampeon is to be divide into four parts. Four parts are described below: the first part, the geographic features and products of Japan; the second part, the grow of Osaka city and the cityward tendency of world products; the third part, the racial prejudice, religion, and life; and the fourth part, the good neighborly relations with Japan. Finally, as compared with the proofing and difference of three kinds of text, namely, the Bijombon Haerampeon and Haerampeon carried in Songmokkwanjip and Songmokkwansinyeogo, it is approved that the Bijombon Haerampeon is the most correct text and has the value of cultural properties as a national treasure. The Result of this research will be contributed for research Lee Eonjin and utilized as information resources in the field of bibliographic science, Korean language and literature, and historical studies, etc.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.1
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• pp.54-69
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• 2021

In 2020, civilized society's overall lifestyle showed a distinct change from consumable analog media, such as paper, to digital media with the increased penetration of cloud computing, and from wired media to wireless media. Based on these social changes, this work examines whether the use of computer media in the field of landscape architecture is appropriately applied. This study will give directions for new computer media classes in landscape architectural education in the 4th Industrial Revolution era. Landscape architecture is a field that directly proposes the realization of a positive lifestyle and the creation of a living environment and is closely connected with social change. However, there is no clear evidence that landscape architectural education is making any visible change, while the digital infrastructure of the 4th Industrial Revolution, such as Artificial Intelligence (AI), Big Data, autonomous vehicles, cloud networks, and the Internet of Things, is changing the contemporary society in terms of technology, culture, and economy among other aspects. Therefore, it is necessary to review the current state of the use of computer technology and media in landscape architectural education, and also to examine the alternative direction of the curriculum for the new digital era. First, the basis for discussion was made by studying the trends of computational design in modern landscape architecture. Next, the changes and current status of computer media classes in domestic and overseas landscape education were analyzed based on prior research and curriculum. As a result, the number and the types of computer media classes increased significantly between the study in 1994 and the current situation in 2020 in the foreign landscape department, whereas there were no obvious changes in the domestic landscape department. This shows that the domestic landscape education is passively coping with the changes in the digital era. Lastly, based on the discussions, this study examined alternatives to the new curriculum that landscape architecture department should pursue in a new degital world.

• Sijohaknonchong
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• v.30
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• pp.263-300
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• 2009

Adoration for nature constitutes one of the primary subjects that literature has tackled since the origin of human history. Nature expressed through a poet's subjective imagination is the internalized and reorganized nature. This study examines the view on nature enacted in Ch'o-Jung's three-verse poems (sijo) in light of the traditional views on nature implicated in the ancient three-verse poems (koshijo), which is in line with the long-established Oriental view on nature. To dignitaris(sadaebu) in the Chosun Dynasty, nature appeared as the idealistic subject for moral culture ($shims{\breve{o}}ngsuyang$), which also becomes the literary space where the purity and justice of the world view of Neo-Confucianism(Sungrihak) is contained in the form of the three-verse poem, the lyrical poetic space where the "I" is united with nature by way of "enjoying of wind and moon"($umpungnongw{\breve{o}}i$) and "living in quiet retiremen"($yuyuchaj{\breve{o}}k$), and the object for the poetical perception of the surrounding world. Ch'o-Jung' s three-verse odes are found in Reed pipe ($Ch'oj{\breve{o}}k$), Sixty Five Pieces of Three-Verse Odes (Samhaengshi-$yukshipopy{\breve{o}}n$), Autumn Fragrance ($Hyangginam{\check{u}}n-ga{\check{u}}l$), and The Words of Zelko va Tree ($N{\check{u}}tinamu{\check{u}}i-mal$). This study analyzes 212 pieces of Ch'o-Jung' s three-verse poems chosen from theses books. In Ch'o-Jung's poems, the traditional view on nature expressed in the ancient three-verse poems is rendered in such a way that metaphysical understanding of nature is indirectly transmitted through the objective correlatives found nature. Nature is no longer the object of straightforward utterance, but transformed, displaced, and removed: that way, nature gets objectified to form a complicated and multi-layered structure. In conclusion, the view on nature manifested in Ch'o-Jung's three-verse poems is based on traditional metaphysics. Second, nature is the object of lyrical nostalgia and adoration. Third, nature is imbued with the fundamental affection for parents. Fourth, nature is associated with organic life. Fifth, the nature in Ch'o-Jung's poems reveals the beauty of stillness endorsed in Lao-tse's and Chung-tze's philosophy. And last, nature is the agent for self-realization and meditation.