• Journal of the Korean Geographical Society
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• v.8
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• pp.24-36
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• 1973

도시에 관한 제문제를 연구하기 시작한 것은 그다지 오래되지 않다. 더우기 도시생태에 관한 연구는 더욱 그러하다. 이처럼 역사는 짧지만, 도시생태에 관한 연구는 장족의 발전을 이룩해 왔는데 그 원인은 컴퓨터의 개발이다. 컴퓨터는 과거 10년간 사회과학은 물론 자연과학분야에 까지 널리 활용되어 과학발전에 큰 공헌을 하고 있다. 특히 컴퓨터의 자료처리 능력은 우리의 상상을 초월한다. 예를 들면 도시지리에서는 컴퓨터가 자료분석 뿐만아니라, 나타난 결과를 지도화할 수 있는 능력도 가지고 있다. 본 몬문은 서울과 대구 - 대구의 경우 두 종류의 data를 썼다.- 지역을 컴퓨터에 의해서 생태요인을 분석하여 나타난 결과를 지도화한 것이다.

• Journal of the KSME
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• v.44 no.7
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• pp.54-64
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• 2004

최근 국내 대학들에서 보이는 과학기술학에 대한 관심은 그 어느 때보다도 크다고 할 수 있다. 과학사나 과학철학 등의 강좌는 오래 전부터 쉽게 접할 수 있는 교양 과목으로 자리 잡아 왔지만, 최근에는 거기서 더 나아가 과학기술학을 이공계 학부 필수 교양으로 지정하는 학교까지 등장하고 있다. 과학기술이 없는 현대사회를 상상하는 것이 불가능할 만큼 과학기술이 중요해진 이 때, 과학기술을 생산하는 일에 몸담지 않는다 하더라도 과학기술의 소비자로서 과학기술의 역사와 특성, 발전 방향, 과학기술 윤리, 그 철학적 함의 등을 생각해 보는 일은 가치 있는 일이다.(중략)

• Textile Coloration and Finishing
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• v.7 no.2
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• pp.77-85
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• 1995

섬유와 인류의 관계는 실로 5,000년이 넘는다. $\ulcorner$섬유$\lrcorner$라고 하면 많은 사람들이 $\ulcorner$의복$\lrcorner$만을 연상한다. 따라서 의복이 왜 그렇게 대단한 기술이며 과학이겠는가 하고 반문하는 사람도 있다. 이는 의복이라는 단순한 개념의 섬유만을 상상하기 때문이다. 장구한 의복의 역사가 곧 섬유의 역사라고 생각하는 것 또한 무리는 아니다. 그런데 최근 우리의 경제부흥에 가장 큰 공헌을 한 산업이 섬유산업이라는 데는 이의가 있을 수 없다. 지금 세계의 섬유산업은 내실 크나큰 변화를 일으키고 있다. 이는 장구한 세월동안 축적되어 온 섬유기술이 새로운 첨단산업을 탄생시키고 새로운 산업분야를 형성시키고 있기 때문이다. 지금 섬유산업은 르네상스를 맞이하고 있다는 것이 현실이며, 섬유기술은 고차원적인 첨단기술시대를 열어가고 있다. 선진 제국들은 중요한 테크놀로지의 하나로 신소재공학 기술을 열어가고 있다. 그 예로서 항공, 우주, 해양, 원자력, 토목, 건축 분야 등에서 요구하고 있는 고강도 고탄성의 섬유, 내열, 방염, 내부식성인 즉 내환경성의 섬유, 일렉트로닉스 분야의 도전성, 압전성, 광전성, 방사선 차단성, 흡진성, 도광성의 특수기능섬유, 라이프사이언스분야의 생체적합성, 혈액적합성, 고분리기능성 등과 같은 바이오섬유, 이 모든 것들은 21세기 각 분야의 첨단공학을 실현시키는데 필요불가결한 것들이다.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.5
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• pp.71-86
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• 2017

This work explores the historical transformation of manual landscape architectural drawings in terms of hybridization to uncover their inherent creative aspect. Landscape architectural drawing has duel functions; namely, scientific instrumentality and artistic imagination, which are relative, interchangeable, and transformable. These characteristics have been embodied in the forms of particular types of drawing, projections, perspective views, and diagrams, which are not so much clearly distinguishable as rather mutually complementary and hybridized. In particular, the pictorial views of plants in the forms of a perspective view or elevation were frequently hybridized to projection drawings of grounds and architectural structures, which is called planometrics. Particular drawing types have often emerged as suitable and thereby dominant forms, depending on the particular historical styles of landscape design. Sixteenth-century Italian Renaissance gardens and seventeenth-century French formal gardens were generally visualized in the form of projections. Eighteenth-century and early nineteenth-century English landscape gardens were frequently represented in a pictorial perspective view. In nineteenth-century America, different drawing techniques such as competition drawing, photography, and map overlay were specialized depending on their respective functions. Twentieth-century American modernists began to explore the diagram to deploy design strategies. In such transformation, however, the planometric, which considers both the ground plane and plant's frontal identities simultaneously and thereby is suitable to landscape design, was frequently used as a hybridization technique. In the mid-nineteenth century, a top view of plants replaced the planometric, and then, in the twentieth century, plants were no longer represented artistically, instead reduced to the forms of standardized flat symbols. The use of instrumental visualizations thereby gradually increased rather than the use of an imaginative representation for landscape architectural drawings.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.301-338
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• 2021

John Woo's A Better Tomorrow arrived at the turning point of Korean society between 1987 and 1988. The Hong Kong movie boom that started here reached its peak around the 1990s. What does this phenomenon mean? Hong Kong action films have functioned as an important resource for Korean young male subculture since the late 1960s. The audience of A Better Tomorrow matches the audience of previous Hong Kong films in a generational and gendered way. The fascination of Hong Kong action films by young Korean men from 1987 to 1991 has nothing to do with Hong Kong's political context. However, a certain affect is shared between Korean and Hong Kong audiences. It could be said to be the brotherhood within the struggling group. The affective economies of this fraternity embodies the broad solidarity of 1987, the solidarity of comrades seeking to resist the violence of the world. It also works on symbolic and practical gender bias. In other words, this loyalty is nothing but loyalty between the (male) brothers who are confronting the injustice of the world. This is the "translational possibility" of A Better Tomorrow.

• The Journal of the Korea Contents Association
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• v.16 no.2
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• pp.525-536
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• 2016

is basically based on a written history but is narrated for an unwritten history with imagination. This study explored whether viewers of tow films and regard them as a real story or an unreal story. Analysis of film contents and data from a nationwide online survey(N = 300) were executed. This study found the following. First, viewers consider a true story but a imaginary story. Second, viewers show different ideologial and emcotional evaluation, and strength of memory between two films. Finally, viewers are not likely to evaluate performative value of two history films, which suggest a pluralistic interpretation of history, as they regard the films as an imaginary story or a recreation.

• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.56-64
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• 2006

It seems that there has been a tendency of faction film which reveals imagination of state/nation. As typical examples, & would show the relationship between some factional imagination and the project of blockbuster. In this regard, I've researched the tradition of cinematic representation of state/nation and some historical aspects which reveal the being of official films ruled by oppressive political intention. As a kind of discourse dealing with state/nation, & have specific strategy of representation. The analysis about that process might enable us to understand what is nationalism and what is the nature of ideological discourse consumed by faction-related products.

• Journal of Korean Philosophical Society
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• v.146
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• pp.307-328
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• 2018

The use of thought experiments has a long history in many disciplines including science. In the field of philosophy, thought experiments have frequently appeared in the pre-existing literature on the contemporary Analytic Philosophy. A thought experiment refers to a synthetic environment where the designer of the experiment-with his or her intuition and imagination-tests common-sense knowledge. It can be understood as a conceptual tool for testing the validity of the common understanding of an issue or a phenomenon. However, we are not certain about the usefulness or efficacy of a thought experiment in knowledge production. The design of a thought experiment is meant to lure readers into believing as intended by the experiment itself. Thus, regardless of the purpose of a thought experiment, many readers who encounter the experiment could feel deceived. In this paper, to analyze the logic of thought experiments and to seek the source of uneasiness the readers and critics may feel about thought experiments, I draw lessons from three renowned thought-experiments: Thomson's 'ailing violinist', Putnam's 'brain in a vat', and Searle's 'Chinese room'. Imaginative thought experiments are usually constructed around a gap between the reality and the knowledge/information at hand. From the three experiments, several lessons can be learned. First, the evidence of the existence of a gap provided via thought experiments can serve as arguments for counterfactual situations. At the same time, the credibility and efficacy of the thought experiments can be damaged as soon as the thought-experiments are carried out with inappropriate and/or murky directions regarding the procedures of the experiment or the background of the study. According to D. R. Hofstadter and D. C. Dennett(1981), the 'knob setting' in a thought experiment can be altered in the middle of a simulation of the experimental condition, and then the implications of the thought experiment change altogether, indicating that an entirely different conclusion can be deduced from thought experiment. Lastly, some pre-suppositions and bias of the experiment designers play a considerable role in the validity and the chances of success of a thought experiment; thus, it is recommended that the experiment-designers refrain from exercising too much of their imagination in order to avoid contaminating the design of the experiment and/or wrongly accepting preconceived/misguided conclusions.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2007.05a
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• pp.101-104
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• 2007

텔레매틱스(Telematics)는 IT와 인터넷의 발달로 인해 유비쿼터스라는 큰 흐름 속에 가상공간을 확장해주는 개념으로 자동차의 역사를 새롭게 변화시키고 있다. 현재는 태동 단계의 편의성과 약간의 엔터테인먼트성의 콘텐츠에 초점이 맞추어져 있지만 향후 텔레매틱스를 통해 제공되어지는 콘텐츠는 상상하기 힘들 정도로 풍부해지리라 본다. 현재 텔레매틱스 콘텐츠는 운전자와 동승자에게 구분없이 제공되고 있어 운전자의 안전을 위협하고 있는 실정이다. 그래서 본 논문에서는 운전자와 동승자에 따라 어떤 형태로 콘텐츠가 제공되어야 적합한지에 대해 연구해 보았다. 연구결과 운전자에게는 안전과 편의성 위주의 콘텐츠를 제공하고 동승자에게는 엔터테인먼트성 위주의 콘텐츠를 제공해야 하는 것으로 연구결과 나타났다.

• CHINESE LITERATURE
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• v.95
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• pp.129-153
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• 2018

《說苑》是一部西漢末葉劉向編撰歷史故事的典籍. 編撰的主要目的在於提供皇帝的閱覽. 劉向爲 了達成編撰的目的往往使用了文學的敍述方法, 由於如此理由 《說苑》裡面含有很多的文學成分. 所 以這篇論文的寫作意圖在於探究 《說苑》裡面的文學的性質. 硏究的結果如此: 《說苑》所含有的諸多文學性當中有詩歌文學·傳記文學·說文學方面的可 注目的成就. 由於劉向受了家風的影響, 他熟悉了 《詩經》, 因此他常常引用了 《詩經》裡面的詩歌. 特別是他 在比喩和誇張的修辭方面活用了 《詩經》活用得很好. 所以通過所要傳達的文學的表現, 他不但達成 了自己的編撰目的, 而且更加提高了 《說苑》的詩歌文學的性質. 因爲 《說苑》含有衆多人物的論和行迹, 於是不過 《說苑》是一部收集人物的傳記的典籍. 通 過敍述各種人物的生涯當中可注視的行和逸話, 《說苑》不但提高了人物的聲價, 而且在文學方面 描述了人物的性格·人品·智慧等描述得很好, 因此 《說苑》可以說達成了傳記文學的成就. 《說苑》雖然在根本上努力傳達了歷史的事實, 但是爲了達成勸戒的效果, 它有時候要表現得事 實不一樣. 因此 《說苑》裡面多有說的因素包括虛構·想像·遺聞逸事·民間傳說什麽的. 甚至於 一部分故事具有說的內容和構造. 這種成果讓我們更加注視 《說苑》的說方面的成就.