• Journal of the Korean Geographical Society
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• v.42 no.4
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• pp.469-487
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• 2007

Grain-Size Trend Analysis is the methodology to identify net sediment transport pathways, based on the assumption that the movement of sediment from the source to deposit leaves the identifiable spatial pattern of mean, sorting, and skewness of grain size. It can easily be implemented with low cost, so it has great potentials to contribute to geomorphological research, whereas it can also be used inadequately without recognition of its limitations. This research aims to compare three established methods of grain-size trend analysis to search for the adequate way of application, and also suggest the research tasks needed in improving this methodology 1D pathway method can corporate the field experience into analyzing the pathway, provide the useful information of depositional environments through X-distribution, and identify the long-term trend effectively. However, it has disadvantage of the dependence on subjective interpretation, and a relatively coarse temporal scale. Gao-Collins's 2D transport vector method has the objective procedure, has the capability to visualize the transport pattern in 2D format, and to identify the pattern at a finer temporal scale, whereas characteristic distance and semiquantitative filtering are controversial. Le Roux's alternative 2D transport vector method has two improvement of Gao-Collins's in that it expands the empirical rules, considers the gradient of each parameters as well as the order, and has the ability to identify the pattern at a finer temporal scale, while the basic concepts are arbitrary and complicated. The application of grain sire trend analysis requires the selection of adequate method and the design of proper sampling scheme, based on the field knowledge of researcher, the temporal scale of sediment transport pattern targeted, and information needed. Besides, the relationship between the depth of sample and representative temporal scale should be systematically investigated in improving this methodology.

• Science of Emotion and Sensibility
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• v.15 no.4
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• pp.553-564
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• 2012

Tangible user interfaces have been developed in the area of Human-Computer Interaction for the last decades, however, the applied domains recently have been extended into the product design and interactive art. Tangible User Interfaces are the combination of digital information and physical objects or environments, thus they provide tangible and intuitive interaction as input and output devices, often combined with Augmented Reality. The research developed a design guideline for tangible user interfaces based on key properties of tangible user interfaces defined previously in five representative research: Tangible Interaction, Intuitiveness and Convenience, Expressive Representation, Context-aware and Spatial Interaction, and Social Interaction. Using the guideline emphasizing user interaction, this research evaluated installation in a science museum in terms of the applied characteristics of tangible user interfaces. The selected 15 installations which were evaluated are to educate visitors for science by emphasizing manipulation and experience of interfaces in those installations. According to the input devices, they are categorized into four Types. TUI properties in Type 3 installation, which uses body motions for interaction, shows the highest score, where items for context-aware and spatial interaction were highly rated. The context-aware and spatial interaction have been recently emphasized as extended properties of tangible user interfaces. The major type of installation in the science museum is equipped with buttons and joysticks for physical manipulation, thus multimodal interfaces utilizing visual, aural, tactile senses etc need to be developed to provide more innovative interaction. Further, more installation need to be reconfigurable for embodied interaction between users and the interactive space. The proposed design guideline can specify the characteristics of tangible user interfaces, thus this research can be a basis for the development and application of installation involving more TUI properties in future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.59-70
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• 2013

This study was to suggest cultural landscape preservation, value creation, as well as utilization plan to help landscape development of Hahoe village by identify the existence of Okyeonsipyeong(玉淵十詠) natural features, which were set around Buyongdae(芙蓉臺) in Hahoe Village by Seoae(西崖) Ryu, Seongryong(柳成龍), and understanding their characteristics and meanings of natural features and meanings. Based on the writings of "Okyeonseodanggi" and "Okyeonsipyeong", the major results of this study are as belows. 'Okyeon(玉淵)' letters carved on the rocks, also known as the name of pavilion in Okyeonjeongsa(玉淵精舍), is the center of Okyeonsipyeong that symbolizes the enlightenment of clean noble man, as well as the symbolic locational expression of studying room. One of Okyeonsipyeong, 'Wansimjae', is assumed to be the name from the combination of two Buddhist names, 'Wanjeok(玩寂)' and 'Seshim(洗心)', 'Dangho(堂號)', lined on both sides with Wonlakjae, the residence of Seoae, as the center. Wansimjae is after all the natural feature indicating the overall Okyeonjeongsa as the core of Okyeonsipyeong with west edge Gyeomamjeongsa(謙巖精舍). Among ten Okyeonsipyeong natural features, Wansimjae(玩心齋), Ganjukmun(看竹門), Gyeomamsa(謙菴舍), Dalgwandae(達觀臺), Ssangsongae(雙松厓), and Dohwacheon (桃花遷) are on the right side of the stairway from Okyeonjeongsa to Gyeomamjeongsa, while Chuwoldam(秋月潭), Neungpadae(凌波臺), Gyeseonam(繫船巖), and Jijuam(砥柱巖) are on the road to the cliff under river cliff in Buyongdae as well as to the dock, and all are located within 500m radius close and diameter area. As the results of lexeme and context analyses of Okyeonsipyeong poet, they are mainly about Confucian teachings symbolizing the constancy of the classical scholar including ego becoming one with the nature and back to the nature, unworldliness and farsighted view, transcendence and seclusion, as well as integrity spirit. In Dohwacheon and Gyeomamsa poets, there is Tao characteristics and brotherhood that pursue fairylands such as Mooreungdowon(武陵桃源). To create tourism brand and landscape of Okyeonsipyeong, it is necessary to prepare storytelling plans including the letters carved on the rocks introduction in Buyongdae area, and also synopsis of the Silgyeongsusang musical, 'Buyongjiae(芙蓉之愛)' that is related to 10 natural features. In addition, the related plans of the experience road from Gyeseonam, which is the boat stop in Buyongdae, to Ganjukmun of Okyeonjeongsa, and again to viewing routes on the stairways to Gyeomamjeongsa using boats are necessary. For preliminary preservation and maintenance plans, the safety of the stairway from Okyeonjeongsa to Gyeomamjeongsa should be secured, the rock inscription should be preserved, landscape interpretation plates should be installed, trees and shrubs around Dohwacheon rock inscription should be removed, Dalgwandae letters carved on the rocks should be restored, and the bamboo forest outside Ganjukmun as well as Prunus persica plantation around Dohwacheon should be pointed out.

• Trans-
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• v.7
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• pp.103-121
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• 2019

In some documentary films, there are interviews, but in some other ones, there aren't any. As for the documentaries with interviews, the director uses talking heads to suggest their own arguments and to have audience agree. It is evident that interviews play a key role since they lead the story of a human-related documentary. Some directors prefer interviews where directors' questions and interviewees' answers are both heard. On the other hand, there a re directors who carry out the story just by using the answers from the interviewees. Then, it becomes crucial that we understand both of these styles and have new perspectives when watching documentary films. Ethics has always been considered one of the most important factors in documentaries and since they are believed to be "true," the influence documentaries have on the society is enormous. However, possibilities of exaggerating or manipulating the "truth" always exist. Therefore, it is important for the audience to identify the intentions of the director. As a matter of fact, there have been countless researches being done, but it is difficult to find studies that discuss the ways interviews are used in documentary films. The two different styles mentioned above do have huge differences in terms of directing methods. Thus, taking a look at differences from diverse angles will help us better understand the essentials of documentary films. This study will take examples from the interviews in Michael Moore's (2002), (2007) and observe how the flow of interviews can change when the voice of the director gets involved. There will also be a close examination of interviews in Kim Ilran and Hong Ji Yoo's (2011), and (2005) directed by Jim Butterworth, Aeron Lubarsky, and Lisa Sleeth, as well as Sebastian Junger and Tim Hetherington's (2010). By a careful review, use of dissolve, cross-cutting, and flashback will be analyzed to show how different editing techniques have an impact on subjective views of the director.

• (The)Study of the Eastern Classic
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• no.48
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• pp.253-287
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• 2012

This research aimed to discuss the necessity of education and evil through perspective of Sunja and Hannah Arendt. In case of Sunja, it was reviewed by his opinion about Sunja as the central figure. As for Arendt, it was researched with "Eichmann in Jerusalem" as the central figure which she wrote participating in the trial process of Eichmann who was a war criminal of Nazi. Sunja thought evil as the nature of people and understood that they all are originally selfish, envious, and seeking desire. Therefore, Sunja thought it is important to properly seek human desire. He claimed Haw Seong Gi Wi(化性起僞, changing evil human nature into goodness through manner) which changes human nature from evil to goodness. A teacher who leads evil into goodness is surely needed in the process of Haw Seong Gi Wi. At the same time, in the dimension of educational content it put stress on the role of Ye(禮, manner) which lets them realize discernment so that they properly seek human desire and Ak(樂, harmony) which harmoniously controls human emotion, and key point on education regarding Ye and Ak. As for Arendt, however, she recognized evil as normal one. Even though he thought that conforming the order of superior authority was the best value and then took evil of killing many Jews in thoughtlessness, Eichmann maintained that he did not take evil but only conformed the order. This way, people could take evil in thoughtlessness in totalitarianism, and it makes circumstance that they could not take goodness. Therefore they could take evil in thoughtlessness and experience the radical evil and the banality of evil. Accordingly, political praxis which guarantees people's plurality as the words and praxis is needed. It is named natality because the truth that they are born in this world is a starting point, and makes the essence of education. In this process, teachers have to be a representative of this generation for children as new social members, and be able to keep children's newness. Sunja and Arendt have the same equality and difference in that they referred to the necessity of education to overcome human evil. It is the same quality that goodness could recover the function of community and the practice of education is considered important in the goal of education and the dimension of directivity. It is different in methodical characteristic of education that Arendt, however, suggests praxis as the way that they express themselves in totalitarianism while Sunja thought that continuous practice piling up virtue for goodness is important.

• Analyses & Alternatives
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• v.7 no.1
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• pp.115-145
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• 2023

The 20th National Congress of the Chinese Communist Party (hereafter referred to as "the 20th National Congress") was under the global spotlight long before it was held for seven days from 16 to 22 October 2022. People wondered whether Xi Jinping would secure a third term as China's leader or whether he would lay the foundations to be in power forever during the third term. In Korea, the press and media questioned whether the event would become the "crowning of Emperor Xi (Xi Huangdi)," whose power rivaled that of the first emperor in China, Shi Hunagdi, and featured the scene where Hu Jintao was forced to leave the venue during the Congress. On the other hand, many Korean academics focused more on how Xi would organize the Politburo and its Standing Committee and whether the outline of his heirs would appear during the event. This tendency in academia in turn worsened the media's concerns. This paper presents a quantitative analysis of the 20th National Congress Report, as opposed to an analysis of Xi's political intentions at the event. The National Congress Report outlines the Party's visions, goals, and strategies for the next five years in politics, economy, society, culture, foreign affairs, and relationship with Taiwan. The authoritative document is rich in narrative and logic and deserves academic study. This research analyzes the 18th, 19th, and 20th Reports by identifying their keywords and regular expressions and checking their frequency and percentage through text-mining methods. This approach enables the quantification and visualization of the significant changes in the Party's sovereign vision over the fifteen years of Xi's rule from 2013 to 2027.

• Journal of the Daesoon Academy of Sciences
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• v.29
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• pp.101-140
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• 2017

Currently, the whole world is being swept away by spiritual movements. Since the Three Kingdoms periods, Korea has been under the influence of "The Three Teachings". But during the modern times, the word "The Three Daos" began to be widely used alongside the expression "The Three Teachings" within various circles of New Korean Religions. Regarding this, Daesoon Thought is particularly noteworthy due to its description of the religious realm spoken of as "Confucianism, Buddhism, and Taoism" and the figurehead of that realm, the "Gwan-wang (Crowned King)". This study suggests that there should be a distinction noting the differences between "The Three Teachings" and "The Three Daos" in order to understand the status of the "Gwan-wang" in Daesoon Thought and to facilitate the study Buddhism as both a religion and a religious principle within the context of "The Gwan-wang of the Three Daos". Chapter II, details the conceptions of "Dao" and "Teaching" in the Eastern tradition and "Religion" in the Western tradition. This chapter includes a discussion of how the word "The Three Daos" could be approached as a "Theory of the Three Daos" that explains the religions of the East and the West through comprehensive principles. Chapter III goes through descriptions in the Jeon-gyeong of Buddhistic faiths, doctrines, monks, and temples to discover the meaning of the Dao of Buddhism and Buddhist culture as contained in the Jeon-gyeong. In chapter IV, the Buddhistic characteristics of Daesoon Thought is clarified in three ways: the Dao of Buddhism as the "substance of form", oneness as "growth and nurturing", and "Jinmuk" as the leader of the Dao of Buddhism. From this discussion, it is shown that research on the Dao of Buddhism in Daesoon Thought is a crucial avenue for understanding the identity of Daesoon Thought. In other words, the status of Daesoon Thought is not irrelevant to the Dao of Buddhism or to Buddhism proper, but Daesoon Thought should instead be understood as pursuing the state of Gwan-wang (Crowned King), which has the Dao of Buddhism as an axis characterized as "the substance of form" or as "growth and nurturing". Also, it provides a comprehensive view by which the various aspects of Buddhism as a modern day religious phenomenon of can be understood under the principle of the Dao of Buddhism.

• Cartoon and Animation Studies
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• s.47
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• pp.241-271
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• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.

• Cartoon and Animation Studies
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• s.46
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• pp.63-84
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• 2017

Overwhelming images of vividly colored aircraft flying across the blue sky and steam gushing from massive machines are reminiscent of Japanese animation films, especially of works by master director Hayao Miyazaki. By presenting together steam engines, which are mechanical devices of the Industrial Age in the past, and aircraft of the future age, the director constructs ambiguous space and time. These special time and space constitute nostalgia for past time, with devices called steam engines as a medium, and a longing for science and the future as represented by aircraft. In addition, the anticipation and disappointment, ideals and regrets of humans who see these two from the perspective of the present are projected on the works. This shares the characteristic of the steam punk genre, which seeks to return to the past rather than to face current problems. A subgenre of science fiction (henceforth "sci-fi"), steam punk reflects fundamental skepticism of science and technology and mechanized civilization, which have developed beyond human control. In addition, as works that clearly display such characteristics, director Miyazaki's and < $Nausica{\ddot{a}}$ of the Valley of Wind> can be examined. With spectacles of steam engines and aircraft, these two works enticingly visualize narratives about nature and humans and about the environment and destruction. Such attractiveness on the part of the master director's works has led to support from fans worldwide. However, often in the backgrounds of director Miyazaki's works, which have depicted ideal worlds of nature, environment, and community as highly concentrated fantasies, lie presuppositions of war and the end of the world. As works that are especially prominent in such characteristics, there are and . These two works betray the expectations of the audience by establishing the actual wartime as the temporal background and proceeding toward narratives of reality. Trapped in the ontological identity of the director himself, the war depicted by him projects a subjective and romantic attitude. Such a problem stems also from the ambiguity of the hybrid space and time, which is basic to the steam punk genre. This is because the basic characteristic of steam punk is to transplant past time, which humans were able to control, in the future from a perspective of optimism and longing via steam engines rather than to face current problems. In this respect, steam punk animation films in themselves can be seen as having significance and limitations at the same time.

• Journal of Korean Elementary Science Education
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• v.41 no.2
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• pp.283-294
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• 2022

Although the concept of light is important in the elementary school curriculum, substantial research suggests that students and teachers have difficulties in understanding it. Therefore, it is necessary to analyze the reasons for these difficulties-whether it is due to the content or due to the presentation method of contents, structure, and expression. The national curriculum and textbooks of Korea, the US, China, and Japan were comparatively analyzed from the following perspectives: 1) key concepts of light, 2) structure of light units in the textbook, 3) materials, light sources, and optics used in light units. Consequently, there were differences between countries in their inclusion of the concept of light in the curriculum. In particular, the Korean curriculum studies the concept of refraction by a convex lens, whereas the concept of light, light source, and vision is not introduced. Furthermore, countries also differed in their structuring of units. The Korean curriculum was presented segmentally by concept rather than structured according to core ideas or perspectives, and the connection between concepts was unclear. In addition, there were differences between the countries in materials, light sources, and optical instruments to explain key concepts. On using light, the US curriculum provides a purpose and uses light to achieve it, and China and Korea understand the concept. It was divided into the method of using the material to deepen. Based on the results of this analysis, the implications for the elementary science curriculum in Korea were derived as follows. First, it is necessary to introduce concepts sequentially and organize them so that the connection between concepts is well expressed. Second, it is necessary to introduce light and light sources as the predominant concepts. Third, it is necessary to include the principle of seeing objects. Fourth, it is necessary to adjust the material and content level of the refraction concept included in the light and lens unit. Fifth, an integrated approach is required because light has a deep connection with various concepts included in the elementary science curriculum.