• Digital Contents
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• no.12 s.151
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• pp.64-70
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• 2005

디지털 테크놀로지의 발달에 따라 디지털게임은 지속적으로 그표현의 가능성을 넓혀왔다. 현실에서촬영할 수없는 많은 장면들이 디지털모핑(morphing)을 통해 영화의 환상적인 장면들을 대체하고 있는 경우만 보더라도 디지털기술은 이미지를 통해 표현할 수있는 한계를 극복하고 있는것이다. 불과 20년전만 하더라도 디지털게임은 현실세계에서 통용 되는 놀이들을 컴퓨터의 연산과 간단한 그래픽을 통해 상징적으로 재현한 수준에 머물렀지만, 최근 들어서는 소설이나 영화보다 더욱 방대한 데이터베이스를 갖춘 가상공간의 세계를 만들어 가고 있다.

• 프린팅코리아
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• s.50
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• pp.64-69
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• 2006

주화에 대칭되는 개념으로 사용되는 지폐는 은행권이라고도 불리며 교환매개, 가치척도와 같은 화폐의 고유기능을 수행한다. 그러다 조금만 더 관심을 갖고 들여다보면 지폐에 대한 한 가지 새로운 사실을 깨닫게 된다. 그것은 바로 지폐가 한 국가의 인쇄와 과학기술 수준을 가늠해 볼 수 있는 척도라는 사실이다. 교환의 수단을 넘어 국가의 위상을 상징하는 ‘얼굴’ 인 지폐, 지금까지 잘 알려지지 않았던 숨겨진 비밀들에 대해 살펴봤다.

• 주택과사람들
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• s.220
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• pp.96-97
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• 2008

2006년 2월, 뉴욕 소더비 경매에서 에드워드 스타이켄의 1904년작 <연못과 달빛>이 사진 작품으로서는 세계 최고가인 30억 원에 판매됐다. 그러고는 이듬해 2월, 안드레 구르스키의 2001년작 <99센트 II>가 런던 소더비에서 약 34억 원에 팔리며 이전 기록을 갱신했다. 불과 1년 사이 생겨난 이 기록들은 미술 시장에서 사진의 위치가 급부상하고 있음을 보여주는 상징적인 사건으로, 두 작품의 제작 시기가 거의 100년 가까이 차이가 난다는 점에서 많은 시사점을 준다.

• The Journal of the Korea Contents Association
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• v.8 no.11
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• pp.125-133
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• 2008

Recently, the emotional design has become one of the central issues. The interest to Calligraphy also has increased. This study is to examine the effect of calligraphic TV title to viewers through questionnaires. As a result of the questionnaire analysis, calligraphic title makes a favorable impression on viewers. On the other hand, viewers have an antipathy to a drama program with a calligraphic title. The appropriate use of calligraphic title is requested. The viewers prefer that CM Super TV drama title is located to the right side in TV screen. They also prefer the animated moving title to colored background title. This study contributes to the further research about the correlation between TV commercial zap-rate and calligraphic title.

• Digital Contents
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• no.1 s.140
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• pp.19-19
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• 2005

어느덧 2005년의 숫자가 선명한 달력이 자리를 차지했다. 개인적으로 2004년을 돌아볼때, 그 어느해 보다 뜻 깊은 한해였다. 5년간 심혈을 기울여 준비했던 SF MMORPG RF온라인을 선보여 게이머를 비롯해 업계 관계자들의 성원이래 성공적으로 서비스를 진행했기 때문이다. 이와 같은 RF온라인의 성공은 2004년 계획을 수립하는데 있어 더욱 큰 기대와 긴장을 느끼게 한다.2005년 을유년을 상징하는 닭은 다섯 가지 덕이 있다고 했다. 머리에 있는 볏은 문을 상징하고, 발은 내치기를 잘한다 하여 무라했으며, 적과 맹렬히 싸우는 용이 있다고 했고, 먹이가 있으면 자식과 무리를 불러 먹인다하여 인이 있고, 하루도 거르지 않고 시간을 알려주니 신이 있다고 평가했다. 이와 같은 닭의 특징은 창으로 인상적이다. 앞서 언급했던 RF온라인은 캐주얼 게임으로 국민 게임이라 불릴만큼 기세를 떨쳤던 포트리스 2 블루가 정점을 달릴때 시작됐다. 한달 37억원까지 달했던 매출로 성공에 대한 기쁨에 취하기도 잠시, 바로 차기작 개발에 착수 했던 것이다.

• Cartoon and Animation Studies
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• s.38
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• pp.115-132
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• 2015

An animation is a tool to represent the consciousness of an author. It is a medium that converts his/her consciousness to time by the means of spaces. Image is the most inherent element among the elements of an animation. Character is the element that has the very core function among the elements of an image because a character is a shape that can deliver a story through various actions and facial expressions. In this context, is a representative satire animation that describes a ranked and unequal human society and selfishness and absurdity of human beings existed in the human society, based on the original work of George Orwell. Therefore, this study aims to study what the work tries to satirize through the meanings and symbols that the characters, animals, and spaces in the work. As a result of the study, it was found that the characters appeared in the work are metaphoric symbols that imply the meanings of each character, not just simple characters or spaces. In the work, the farm is a symbolic space that symbolizes a human world. John, a human being, is described as a dictator in an absolute Russian monarchy who suppresses people. Old Major, a pig, is described as an old pioneer that preaches the appropriation of a revolution while Snow Ball, a pig that follows the Major is described as a naive leader that dreams to establish a real socialist state where everybody lives equal, through successful revolution. Another pig, Napoleon is described as the more greedy dictator than human being. He killed Snow Ball for his private ambition and suppresses and exploits the same race, animals. That is, setting man and various animals in the relation of dominant class and subordinated class, the author generates conflicts among characters. Although the characters pursue an ideal society through revolution, it requires another revolution in the process, which expresses repetitive contradiction of human history in a symbolic and strong way.

• 월간 기계설비
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• s.288
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• pp.62-74
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• 2014

가족끼리 놀러 가기로 했다. 한 아이는 수족관, 다른 아이는 동물원을 가자고 조른다. 부모는 어느 쪽으로 선택해야 할지 난감하다. 이럴 때 수족관과 동물원이 한 공간에 있다면 얼마나 좋을까? 이런 부모들의 마음을 헤아려 수족관과 동물원을 한 공간에 마련한 아쿠아리움이 있다. 지난 4월에 개장한 '한화 아쿠아플라넷 일산'이다. 아쿠아플라넷 일산은 국내에서 해양생물을 관람할 수 있는 63씨월드, 코엑스 아쿠아리움, 제주, 여수에 이어 다섯 번째지만 동물원과 수족관이 결합된 단일시설로는 국내 최초이며, 수도권 최대 규모의 아쿠아리움이다. 해양생물을 관람하려면 서울로 와야 하는 수도권 이북지역의 관람객을 겨냥했으며 호수공원, 국제전시단지, 한류월드로 이어지는 매머드급 접객시설이 밀집되어 있고 일산 킨텍스, 주엽역과 일산 꽃박람회장까지 연결되는 접근성이 뛰어나 전시단지의 상징적인 랜드마크로서 자리잡을 전망이다.

• The Korean Journal of Food And Nutrition
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• v.10 no.3
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• pp.344-349
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• 1997

A strain of Bacillus sp. DSNC 101, isolated from soil, produced up to 305.0 units/ml of xylanase when grown on te medium containing 2.0% xylan, 2.0% yeast extract and 0.4% K2HPO4. The strain produced xylanase in the presence of xylan, soluble starch, rice straw, Avicel, maltose, and lactose as a sole carbon source, but the enzyme was not synthesized in the presence of xylose, glucose or arabinose. The crude xylanase preparation did not show hydrolytic activity towards cellulosic substrates and PNPX, a chromogenic substrate for $\beta$-xylosidase. The temperature and pH optima for the xylanase production were 4$0^{\circ}C$ and 8.0, respectively. Xylanase synthesis was repressed by glucose, but not by xylose. The hydrolysis products of xylan catalyzed with the culture filtrate were xylooligosaccharides such as xylobiose and xylotriose but xylose was not detected by tin layer chromatography.

• Sim-seong Yeon-gu
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• v.27 no.1_2
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• pp.28-70
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• 2012

In Jungian psychology, creation myths regard as the story of unconscious and preconscious processes(projection of archaic identity) which describe not necessary the origin of our cosmos, but the origin of man's conscious awareness of the world. Therefore projections have nothing to do with matter itself but experience of one's own unconscious. Jung emphasizes importance to understand projection in individual's conscious experience rather than in philosophical doctrine. The purpose of this thesis is to explore unconscious process of creation myths with egg symbolism in clinical cases to present universal feature of Cosmic/alchemical egg. Psychologically, creation myths retold when human mind needs new order. Depending on the attitude of ego, it can be sudden expansion of consciousness or contamination of ego by unconscious. In this study, 'chaos(messa confusa)' in creation myths as archaic identity, experience of uroboros or infant, and nigredo state in alchemy. 'Separation of primordial parents' as beginning of consciousness refers to separatio operation in alchemical process. 'Light' as attainment of consciousness. Discussion of psychological meaning of egg starts with amplification which include the concept of cosmic/alchemical/philosophical egg. Egg symbolism in this study refers to emergence of egg, tapas/brooding of egg, and separation of egg. Emergence of egg as a state of preconscious totality, psychic wholeness conceived as the thing which came before the rise of ego consciousness. Discussion of conceptssuch as Shiva bindu, hiranyagharba, germ of gold, Tathāgatagarbha follows. 'Tapas/brooding of egg' as concentration of all psychic energy into one point for self reflection. Discussion includes The I Ching Hexagram 61, image of brooding egg identified with inner truth, Wonhyo's concept of jikwansasang, and Gnostic idea of Ennoia, introverted act of thinking, as well as the concept of 'Night Sea Journey'. 'Separation or hatching of egg' regarded as the idea of sudden illumination, Phanes, the shining God, and "sun-point," in alchemy. Birth of fledgling as birth of new personality. As a conclusion, psychological meaning of cosmic egg/creation myths is the story of separating from 'Not-I'(unconscious, object, undifferentiated) to 'I'(ego, subject, differentiated) which shares the same meaning as individuation process.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.3
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• pp.1-14
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• 2021

This study attempted to examine the loving pigeon culture practiced in traditional gardens and to illuminate the aspect of pigeons as a landscape animal material. In order to understand the culture of enjoying old garden through pigeons, the contents were analyzed for the translated version of the old literatures and paintings. Pigeons have been used as Jeonseo-gu(傳書鳩) and also for medicinal purposes and food. Pigeons have various symbolic meanings such as abundance, hospitality, and longevity. From the Goryeo Dynasty to the early Joseon Dynasty, pigeons were raised in the palace and private garden. In the late Joseon Dynasty, temporary trend of ornamental pigeon culture occurred. Pigeons were synesthesia materials that enriched the forest. Various beautiful pigeons created a variable landscape of the primeval forest as a moving landscape material. The bell sounds that appear differently depending on the pigeon's movement led to a rich auditory experience of the landscape. The pigeon house was an ornamental element that enriched the old garden along with the pigeon. The owners of garden were involved in gardening through the act of buying a pigeon house and placing it in the garden or making a pigeon house themselves. In addition, the writers planted plum trees, peach trees, apricot trees, and hawthorn trees as a symbol of spring and a source of food for pigeons, and expressed them in poems and paintings. This study has a limitation in that the translation of the old text was used as an analysis data. The follow-up studies on specific cases of raising pigeons in the old garden, in modern and contemporary landscape spaces are urged.