• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.265-274
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• 2012

This study aims to examine the physical language of dance art's acceptability of the discourse method of story-telling as a narrative discourse system from the view of story-telling of cultural contents. Dance, through the establishment of relationship between dancers and stage art, can form a discourse system with various literary devices including figures of speech, metaphors, and symbols. The argument over manifestation of dance's narrative components in the concept of story-telling is shown as follows; the background as an object can offer time and spatial backgrounds through stage art and the dancers' performance elements; and, for the character, the dancer himself can be the first-person-narrator and possibly makes plane personality descriptions. As for the elements of main affairs of dance, the stage art components present the background of primary motif of incident and the dancer's diverse relationships form conflicts through the correlation of solo dance, duet, and group dance. The plot as a process of developing the main affair is led by actant such as the dancer's mime actions, gestures, facial expressions, etc. The element of dance's revealing narration is the dance art itself and the developing structure of narration is the dance language's own grammar. Choreographers should compose persuasive dance texts to convey stories efficiently through character decisions, their actions, stage art's elements that display the time and spatial backgrounds, and the development of plot, as a narrative discourse of dance.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.198-216
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• 2024

This article reevaluates the National Museum of Korea's pivotal actions during the Korean War in the 1950s and its aftermath. It argues that the evacuation of the museum's collection to Busan and the subsequent exhibition "Masterpieces of Korean Art" in the United States in 1957 were not isolated events, but rather interconnected facets of a larger narrative shaping the museum's trajectory. With newly discovered archival evidence, this study unravels the intricate relationship between these episodes, revealing how the initial Busan evacuation evolved into a strategic U.S.-led touring exhibition. Traditionally, the Busan evacuation has been understood solely as a four-stage relocation of the museum's collections between December 1950 and May 1951. However, this overlooks the broader context, particularly the subsequent U.S. journey. Driven by the war's initial retreat of the war, the Busan evacuation served as a stepping stone for evacuation to Honolulu Museum of Art. The path of evacuation took an unexpected turn when the government redirected the collections to the Honolulu Museum of Art. Initially conceived as a storage solution, public opposition led to a remarkable transformation: the U.S. exhibition. To address public concerns, the evacuation plan was canceled. This shift transformed the planned introduction into a full-fledged traveling exhibition. Subsequently approved by the National Assembly, the U.S. Department of State spearheaded development of the exhibition, marking a distinct strategic cultural policy shift for Korea. Therefore, the Busan evacuation, initially envisioned as a temporary introduction to the U.S., ultimately metamorphosed into a multi-stage U.S. touring exhibition orchestrated by the U.S. Department of State. This reframed narrative sheds new light on the museum's crucial role in navigating a complex postwar landscape, revealing the intricate interplay between cultural preservation, public diplomacy, and strategic national interests.

• The Journal of the Korea Contents Association
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• v.20 no.12
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• pp.230-240
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• 2020

To develop a virtual world-based immersive tutoring system, we would like to develop a simulation in the spatial aspect to maximize the diversity and realism of the situation. This implementation requires the modeling of virtual space as well as the knowledge and intelligent thinking functions of virtual humans. First, information structures are needed to simulate the hierarchical and multifaceted composition of space and the corresponding knowledge of virtual humans. Specifically, four structures for 2.5D spatial distribution expression, complex spatial relationship expression, object expression, and temporal and spatial representation of events are developed respectively. It then uses these expressed knowledge to develop the spatial thinking function of virtual humans needed to make spatial movement. In general, events have a chain effect on adjacent or connected objects through force, resulting in a variety of situations and reflected in the planning of the next action by the virtual humans involved. For this purpose, the development of events according to historical trends is recorded on the representation structure of time and space. It embodies typical events to demonstrate the feasibility of independent behavior in complex spaces among virtual people.

• Proceedings of the KSR Conference
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• 2007.05a
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• pp.605-613
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• 2007

In order to overcome the difficulties of quantitative risk analysis such as complexity of model, we propose a systematic methodology for risk quantification of railway system which consists of 6 steps: The identification of risk factors, the determination of major scenarios for each risk factor by using event tree, the development of supplementary fault trees for evaluating branch probabilities, the evaluation of event probabilities, the quantification of risk, and the analysis in consideration of accident situation. In this study, in order to address the feasibility of the propose methodology, this framework is applied to the prototype risk model of nation-wide railway level crossings. And the quantification result based on the data of 2005 in Korea will also be presented.

• The Korean Journal of Archival Studies
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• no.42
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• pp.287-326
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• 2014

Documenting environmental conflicts will be a priority target for documenting localities, because those conflicts are critical events that make intensive 'place experiences' of local residents. This study is to design a narrative structure for documenting conflicts in the process of Transmission Towers Construction in Miryang. This study begins with analysing the characteristics of environmental conflicts, and draws a conflicts documentation model including basic rules, narrative structure and development process. Basic rules are set up as mixed documentation of memory and evidence, application of 'frame', and dynamic description. Based on the rules, this study suggests a dynamic and open narrative framework adopting the metadata model of ISO 23081. This model is applied to documenting Transmission Towers Construction Conflicts in Mi-ryang. The full narrative and 'frame' of the conflicts are set after analysing development and issues of the conflicts, stakeholder, and properties of each conflict problem. Records descriptions are related to the context(each event occurred in the conflicting conditions, mandates, and stakeholder) descriptions to make multiple narratives in digital environments. Event description contains elements for articulating the 'frame' of each party of the conflict. The merits of this model are; i) to accumulate the adequate context information systematically by adopting dynamic narrative model, and ii) to acquire the new items and connect them to related items easily and consistently through multi-entity description. This documentation model of environmental conflicts may support to shape the collective memory of community, and to achieve good governance by managing conflicts in the process of locating non-preferred facilities with due regard to values and perceptions of residents and communities.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.107-116
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• 2020

The Hong Kong film "Project Gutenberg" has obtained the great achievements at the box office and public reputation due to such multiple factors as realistic counterfeit banknote production process, breathtaking gunfight scenes, brain-burning plot, unexpected reversal ending, personal charm of Chow Yun-Fat and so on. In terms of film narrative, the director utilized the narrator, Li Wen, to guide the police and audience in the limited angle of perspective into the scheme, and make the symbolic meaning image of the actor Chow Yun-Fat stengthen the audience's confirmation for the imagination of "painter", with the introduction of multiple narratives and flashback of different characters and scenes, and then finally, used the narrative structure with multiple lines and layers to uncover the truth. There are three great reversals in the film, each of which is overthrow for the film plot, and every overthrow is a disavowal of the audience's cognition for the previous story; therefore it brings the greatly emotional tension, making the audience get complete release and relief in the process of the psychological game of cognition, identification and decision-making at the end.

• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.169-178
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• 2010

This paper has conducted a theoretical re-inquiry on Gilles Deleuze' thought about Alfred Hitchcock' film based on the image of thought in relation with the concept and theory about film. So, the purpose of this article is to explore that film can acquire the academic significance as a philosophy including an academic denomination of social science and Arts. According to the findings, Gilles Deleuze appeared that A. Hitchcock used the mental-image which can transform the perception-image, the action-image, and the affection-image in film and make the relation including the way which it is developed between character and event. Also, as the mental-image can change the meaning of film, camera is the essence and mental referent. And the mental-image makes the other images a specific frame, permeates into image and transforms it. This paper sets limits to some problems that Deleuze's thought about film generalizes to filmic theory, but has a importance to inquiry new research as a theoretical introspection for the practical discussion about the relation between film and philosophy.

• The Safety technology
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• no.190
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• pp.14-17
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• 2013

원자력발전소 의존도가 높은 우리나라의 경우 원전 가동상태에 따라 전력 수급 문제가 큰 영향을 받게 된다. 올해 여름 부품비리, 부실정비 등의 사건으로 일부 원전이 가동 정지되면서 발생한 '비상 전력수급체계 운영'이 그 대표적인 예다. 이처럼 국가 전반에 미치는 파급영향이 크기 때문에 원전의 안정적인 운영은 선택이 아닌 필수라고 할 수 있다. 그럼 원전을 안정적으로 운영하려면 어떻게 해야 할까. 누구나 알고 있듯, 그에 대한 해답은 '철저한 안전관리'와 '완벽한 정비'다. 하지만 원전의 경우 워낙 시설규모가 크고, 다양한 산업이 집약돼 있다 보니 체계적인 안전활동을 전개하기가 상당히 어렵다. 그런데 이 같은 점에도 불구, 원전 내에서 빈틈없는 안전관리를 펼치고 있는 안전관리자들이 있어 주목을 받고 있다. 그 주인공은 바로 경북 울진 한울원자력본부 내에 위치한 한전KPS 한울 제1~3사업소의 박이현 과장(1사업소), 이상헌 과장(2사업소), 강경석 과장(3사업소)이다. 이들은 모두 관련 경력만 20여 년에 달하는 베테랑으로, 원전설비 관련 안전관리에 있어서는 타의 추종을 불허하는 실력을 갖추고 있다. 연이은 원전 사건사고로 높아진 국민들의 우려를 씻어내기 위해 더욱 열심히 안전관리에 매진하고 있다는 이 3명의 안전관리자들을 만나 이야기를 나누어 봤다.

• The KIPS Transactions:PartB
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• v.16B no.4
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• pp.309-318
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• 2009

The researches on the system that automatically records and retrieves one's everyday life is relatively actively worked recently. These systems, called personal memex or life log, usually entail dedicated devices such as SenseCam in MyLifeBits project. This research paid attention to the digital devices such as mobile phones, credit cards, and digital camera that people use everyday. The system enables a person to store everyday life systematically that are saved in the devices or the deviced-related web pages (e.g., phone records in the cellular phone company) and to refer this quickly later. The data collection agent in the proposed system, called MyMemex, collects the personal life log "web data" using the web services that the web sites provide and stores the web data into the server. The "file data" stored in the off-line digital devices are also loaded into the server. Each of the file data or web data is viewed as a memex event that can be described by 4W1H form. The different types of data in different services are transformed into the memex event data in 4W1H form. The memex event ontology is used in this transform. Users can sign in to the web server of this service to view their life logs in the chronological manner. Users can also search the life logs using keywords. Moreover, the life logs can be viewed as a diary or story style by converting the memex events to sentences. The related memex events are grouped to be displayed as an "episode" by a heuristic identification method. A result with high accuracy has been obtained by the experiment for the episode identification using the real life log data of one of the authors.

• The Journal of the Korea Contents Association
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• v.12 no.10
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• pp.138-147
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• 2012

Recently, significant tries appeared in the spatial design field were appreciated as tries to find crossing between space formation and discourse. This study is to find spatial clues from Gilles Deleuze, the modern philosopher's literature where he developed his discourse analyzing paintings of Francis Bacon, and reveal common characteristics with the contemporary spatial design. According to the analysis of Deleuze, Bacon's paintings are separated into frame-aplat, shape-figure, and contour-track. From these three elements, I extracted spatially analyzing languages of 'occurrence of shape-accident', 'space of track-sense', and 'interaction of aplat-background.' Then with these analyzing languages, I analyzed latest works of Rem Koolhaas. Deleuze Space Theory confirmed in works of Rem Koolhaas is the application of accident-focused occurred between the user and space, the space that induces accident, and differentiation between the user and space or space and site. As a result, I could confirm the common characteristic that both modern discourse and spatial design are understood as 'difference' from life and movement.