• Journal of Service Research and Studies
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• v.12 no.2
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• pp.38-47
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• 2022

The user interface is a very important factor in application usability. The user interface of a typical application has a navigation system and the selection of the item takes place to move the movement. In this study, we would like to see if there are differences in user satisfaction depending on the location of the navigation and the number of items. The methods of in this study, a random group of 135 adult men and women who randomly selected four to six items as independent variables was conducted on the top, bottom, side, and three locations of navigation in a typical application. As a result, the navigation system rejected the null hypothesis of 0.000 and 0.008 respectively, with a significant probability of 0.05 or less than 0.000 and 0.008, respectively. It was also confirmed that the study theory of whether the interaction of navigation location and number of items creates a difference in satisfaction was significant with a significant probability of 0.016. In the post-analysis (Schefe), there were significant differences in the position of navigation, as each group was classified as a new group at the top <bottom <, and in the number of items, there were significant differences between the two groups of six <4 . Conclusion of this research, depending on the results of some significant differences in satisfaction with the location of the navigation and the number of items, it can be seen that the satisfaction of the interface increases when the navigation position is located at the bottom. However, follow-up research is needed on whether side-type navigation is suitable for different mobile sizes.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.6
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• pp.15-29
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• 2022

The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.

• Explosives and Blasting
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• v.41 no.3
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• pp.26-37
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• 2023

In order to determine the amount of explosives that can minimize the vibration generated during tunnel construction using the blasting method, it is necessary to derive the blasting vibration coefficients, K and n, by analyzing the vibration records of trial blasting in the field or under similar conditions. In this study, we aimed to develop a technique that can derive reasonable K and n when trial blasting cannot be performed. To this end, we collected full-scale trial blast data and studied how to predict the blast vibration coefficient (K, n) according to the type of explosive, center cut blasting method, rock origin and type, and rock grade using deep learning (DL). In addition, the correction value between full-scale and borehole trial blasting results was calculated to compensate for the limitations of the borehole trial blasting results and to carry out a design that aligns more closely with reality. In this study, when comparing the available explosive amount according to the borehole trial blasting result equation, the predictions from deep learning (DL) exceed 50%, and the result with the correction value is similar to other blast vibration estimation equations or about 20% more, enabling more economical design.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.4
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• pp.60-75
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• 2014

The purpose of this study was to look for useful implications in its next application or similar planning by assessing visitors' recognition of International Garden Exposition Suncheon Bay Korea 2013. To do this, blogs acknowledged as powerful communication media in modern information society were used. After searching for blogs related to International Garden Exposition Suncheon Bay Korea in the portal site ranked first in the domestic market share, this study classified 300 cases. This study was able to grasp the consciousness as bloggers gave descriptions of information and impressions and experiences of spaces without making any adjustments. The survey results are as follows: First, Dutch gardens were the most preferred, followed by Korean gardens, Chinese gardens and French gardens; in general, visitors were not satisfied with the national gardens. Inquiry is needed into the method of determining diverse cultural identity rather than a sample garden type through blogs delivering regret regarding the world gardens. Second, the survey results showed that the level of awareness of designers' gardens was low. This study judges that more emphasis should be placed on their roles as places speaking for the original purpose of the garden exposition which introduces gardening art and design through experimental design. Third, it was understood that many bloggers were deeply impressed by ephemeral landscapes like the change in landscape consequent on the elapse of time, distinctive atmosphere, and detailed-landscapes. These aspects are important landscape elements, and those elements should be addressed with weight in a subsequent study. Fourth, the most impressive places are 'Suncheon Lake Garden' and 'Bridge of Dreams', which are establishing themselves as icons of International Garden Exposition Suncheon Bay Korea 2013. However, relatively, public attitude towards the world gardens and designers' gardens are weak. Fifth, bloggers were providing a variety of information like transportation, events schedules, ticket purchasing & prices, discount information, etc. Ticket price was commented on the most, and most of the bloggers thought ticket prices were 'expensive'. This study understands such a phenomenon as a result of the general population's non-establishment of the perception that it's proper to view gardens at visitors' own expense. Generally, bloggers expressed satisfaction with International Garden Exposition Suncheon Bay Korea 2013, but with criticism as well. Their criticism included disappointing matters, to be improved upon and wishes without any distortion, providing meaningful implications deserving reference for similar cases. In this context, a blogger could be called a citizen-reviewer while a blog could be referred to as 'a field of informal discourse' for the public. As a research method of this study, blogs are difficult to interpret as they are subjective and personal, and have limited data analysis through their quantifications; however, blogs as methods of recognition survey are channels for varied, concrete and detailed awareness which are hard to grasp through a questionnaire survey or interviews. This study judges that such an aspect of a blog could be a useful means of grasping and reflecting upon visitors' attitude in future studies.

• Journal of the Korean Society of Hazard Mitigation
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• v.3 no.3 s.10
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• pp.151-163
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• 2003

In this study, the algorithm of groundwater flow process was established for koreanized groundwater program development dealing with the geographic and geologic conditions of the aquifer have dynamic behaviour in groundwater flow system. All the input data settings of the 3-DFM model which is developed in this study are organized in Korean, and the model contains help function for each input data. Thus, it is designed to get detailed information about each input parameter when the mouse pointer is placed on the corresponding input parameter. This model also is designed to easily specify the geologic boundary condition for each stratum or initial head data in the work sheet. In addition, this model is designed to display boxes for input parameter writing for each analysis condition so that the setting for each parameter is not so complicated as existing MODFLOW is when steady and unsteady flow analysis are performed as well as the analysis for the characteristics of each stratum. Descriptions for input data are displayed on the right side of the window while the analysis results are displayed on the left side as well as the TXT file for this results is available to see. The model developed in this study is a numerical model using finite differential method, and the applicability of the model was examined by comparing and analyzing observed and simulated groundwater heads computed by the application of real recharge amount and the estimation of parameters. The 3-DFM model is applied in this study to Sehwa-ri, and Songdang-ri area, Jeju, Korea for analysis of groundwater flow system according to pumping, and obtained the results that the observed and computed groundwater head were almost in accordance with each other showing the range of 0.03 - 0.07 error percent. It is analyzed that the groundwater flow distributed evenly from Nopen-orum and Munseogi-orum to Wolang-bong, Yongnuni-orum, and Songja-bong through the computation of equipotentials and velocity vector using the analysis result of simulation which was performed before the pumping started in the study area. These analysis results show the accordance with MODFLOW's.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.

• Journal of the Korea Society of Computer and Information
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• v.20 no.2
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• pp.29-45
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• 2015

Systematic theory, concepts, and methodology for the biological evolution have been developed while patterns and principles of the evolution have been actively studied in the past 200 years. Furthermore, they are applied to various fields such as evolutionary economics, evolutionary psychology, evolutionary linguistics, making significant progress in research. In addition, existing studies have applied main biological evolutionary models to artifacts although such methods do not fit to them. These models are also limited to generalize evolutionary patterns of artifacts because they are designed in terms of a subjective point of view of experts who know well about the artifacts. Unlike biological organisms, because artifacts are likely to reflect the imagination of the human will, it is known that the theory of biological evolution cannot be directly applied to artifacts. In this paper, beyond the individual's subjective, the aim of our research is to present evolutionary patterns of a given artifact based on peeping the idea of the public. For this, we propose a text mining approach that presents a systematic framework that can find out the evolutionary patterns of a given artifact and then visualize effectively. In particular, based on our proposal, we focus mainly on a case study of mobile phone that has emerged as an icon of innovation in recent years. We collect and analyze review posts on mobile phone available in the domestic market over the past decade, and discuss the detailed results about evolutionary patterns of the mobile phone. Moreover, this kind of task is a tedious work over a long period of time because a small number of experts carry out an extensive literature survey and summarize a huge number of materials to finally draw a diagram of evolutionary patterns of the mobile phone. However, in this work, to minimize the human efforts, we present a semi-automatic mining algorithm, and through this research we can understand how human creativity and imagination are implemented. In addition, it is a big help to predict the future trend of mobile phone in business and industries.

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.3
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• pp.47-55
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• 2016

RHS is a core organization with huge influences on the expansion of the base for the garden culture and industry. This study aimed to examine the meaning and value of the professional charity's role through the appearance background and developmental process of RHS. The passion for plant collection in the Victorian Age of the $19^{th}$ century became the background of establishing the society. Such background of the times and the root of the society are deeply related to the British civil garden culture. The consideration of the forming process of RHS and the study can be summarized as below. First, the professional introduction of exotic plants by plant hunters was developed into an organization supporting professional plant research through collection, sampling, and records, which led to the development of horticulture techniques, growth of plant nursery businesses and established the foundation of the civil garden culture in the UK. Second, after John Loudon was involved in RHS, inspired by the press editing more practical information contents, middle-class and women became new patrons to gardening. Therefore, the care of gardens became a source of agreeable domestic recreation, especially to the female sex. Third, $19^{th}$ century plant collection and exhibition was seen in the Chelsea Flower Show which a key role beyond the UK garden culture. Fourth, those acts of RHS and modernity in $19^{th}$ developed British middle-class domestic gardens which have the character of the ordinary and national garden style in the UK. Such history and activities of RHS are connected to the national status as a country of gardens, which suggests clues to practical measures and values we should aim for in order to settle citizen-centered garden culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.1-8
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• 2010

"Dokseoyeoga Do"(An Enjoyable Pleasure with Reading) is a work included in a collection book of both poems and works called as "Gyunggyo Myungseung Cheop"(Collections of Beautiful Scenary in the Suburb of Seoul) with a promise that a great painter Gyumjae Jung-Sun(謙齋 鄭敾) and his lifelong friend, Sacheon Lee Byung-Yeon(李秉淵) should hopefully exchange their poems and painted works. So far, general perspective of art history toward this work is either self-portrait of Gyumjae himself or genre painting of the aristocrat. The purpose of this study is to interpret in-depth meanings implied in this work with various considerations of plant elements appeared in this work. As a result of this study, We could draw newer and additional meanings beyond the existing perspectives of art history research categories, and the details can be summarized as following below. First of all, we could approach a new interpretation implying that Gyumjae and Sacheon hopefully wished their well-being, friendship, and reunion. Second, as a means of expressing this meaning, plant elements like old juniper(Juniperus chinensis L.), orchid(Orchidaceae), and peony(Paeonia lactiflora var. hortensis) were used. Third, each plant element can be literally seen as an icon implying message that Gyumjae desired to give to Sacheon. To be more detailed, experience and greenness of old juniper imply well-being of two people, and orchid implies fragrant friendship, and peony implies the feeling that Gyumjae hopefully desired to make a reunion with a parted friend. The significance of this study is that throughout old paintings, we could observe substantial examples of recognizing the meanings of plant elements in a category of traditional landscaping and utilizing them. Moreover, adding various point-of-views of many professional categories like Korean Landscaping history in the traditional painting research, we could also recognize the potentials for making rich interpretation toward implicated meanings of old paintings.