• Journal of Ginseng Culture
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• v.6
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• pp.105-115
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• 2024

Wild ginseng, grown in undisturbed forest environments, has been maintained for centuriesthrough human intervention and knowledge, leading to the development of current ginseng agriculture. The practice of ginseng farming has long been established in various regions of Korea. However, the ginseng farming specifically in Geumsan was recognized as a Globally Important Agricultural Heritage System (GIAHS) by the Food and Agriculture Organization of the United Nations (FAO) in 2018. This designation was granted after a thorough evaluation, which confirmed that Geumsan's ginseng farming met the necessary criteria, including historical importance, traditional knowledge system, agrobiodiversity, and agricultural landscape. Traditional ginseng farming in Geumsan practices the 'rotating agriculture system', a sustainable land use approach that has been developed over several cycles of long duration (10-15 years). It contains the knowledge to choose locations for cultivation that prioritize the direction of sunlight and wind circulation. Furthermore, it received significant recognition for its agricultural heritage value based on its maintenance of several traditional knowledge systems, including ancestral wisdom and knowledge regarding pre-planting field management techniques. As of December 2023, there are currently 86 locations in 26 nations that have been designated as GIAHS. Among these sites, Geumsan stands out as the first and only site in the world specifically recognized for the cultivation of ginseng crops. This historical record serves as a significant reminder of Korea's prominent position as a major producer of ginseng on a global level. This article first provides an overview of the concept of agricultural heritage, the designation criteria, and the status of the designation. It then identifies, among the GIAHS designation criteria, the agricultural heritage value of traditional ginseng farming in the Geumsan region from the perspective of local traditional knowledge systems.

• Archives of design research
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• v.18 no.4 s.62
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• pp.277-286
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• 2005

The purpose of this study is to ascertain the design element in traditional palaces of Korea, China and Japan. It takes threesteps to proceed this study. Firstly, it needs to be established the analysis framework from the documents. In second step, the design elements - the form, the material, the pattern and the color - should be collected and investigated through the observation of the actual traditional palaces the Changduckung, the Forbidden City, the Nijo castle. The third step is the analysis of the results of the investigation of the design elements from step two. To sum up similarities and dissimilarities among the design element in traditional palaces of Korea, China and Japan is as the following It is to be noticed that the mainly common characteristics of the artistic design are 'naturalism', 'harmonious ideas' and 'confucianism'. But the representation style of the design element is differed from the country. : The typical features of China are symmetry, glassy surface by artificial process, the meandered curve, the magnificent pattern and the constrable color. In Japan, the mathematical asymmetry, made-up rough surface by artificial skill, decorativepattern with abbreviation and achromatic color are important feature of the design element. While the major features of Korean design element are asymmetrical balance with nature, rough surface by natural process, moderate pattern and harmonious color.

• Journal of the Korean earth science society
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• v.22 no.5
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• pp.350-359
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• 2001

The purpose of this study is to develop theme-based integrated science unit by the interdisciplinary approach and to analyze it's effects on the science achievement and the attitude towards science learning. 'Interaction' and 'Stability' were selected as the integrated themes, and the main concept and subconcept in relation to the themes were extracted from the four areas of science, and the learning contents were constructed in the integrated ways. While the main concept have relevance to subconcept in the interaction, the main concept have little relevance to subconcept in the stability. Therefore, the stability was to fit with middle school integrated science theme, but the interaction was not. The theme-based integrated science units developed was implemented in middle school, and the results are follows. First, the science achievement of group of theme-based integrated science teaching is significantly higher than those of group of traditional teaching. Second, the scores of the test of attitude toward science learning of the group of theme-based integrated science teaching is significantly higher than those of group of traditional teaching. Third, the students' perception of theme-based integrated science teaching was positive. The students have participation, interest, motivation in theme-based integrated science teaching, and students have difficulty in learning theme-based integrated science teaching.

• Journal of the Institute of Electronics Engineers of Korea SD
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• v.43 no.11 s.353
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• pp.48-57
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• 2006

This work describes a 12b 200KHz 0.52mA $0.47mm^2$ algorithmic ADC for sensor applications such as motor controls, 3-phase power controls, and CMOS image sensors simultaneously requiring ultra-low power and small size. The proposed ADC is based on the conventional algorithmic architecture with recycling techniques to optimize sampling rate, resolution, chip area, and power consumption. The input SHA with eight input channels for high integration employs a folded-cascode architecture to achieve a required DC gain and a sufficient phase margin. A signal insensitive 3-D fully symmetrical layout with critical signal lines shielded reduces the capacitor and device mismatch of the MDAC. The improved switched bias power-reduction techniques reduce the power consumption of analog amplifiers. Current and voltage references are integrated on the chip with optional off-chip voltage references for low glitch noise. The employed down-sampling clock signal selects the sampling rate of 200KS/s or 10KS/s with a reduced power depending on applications. The prototype ADC in a 0.18um n-well 1P6M CMOS technology demonstrates the measured DNL and INL within 0.76LSB and 2.47LSB. The ADC shows a maximum SNDR and SFDR of 55dB and 70dB at all sampling frequencies up to 200KS/s, respectively. The active die area is $0.47mm^2$ and the chip consumes 0.94mW at 200KS/s and 0.63mW at 10KS/s at a 1.8V supply.

• Korean Journal of Remote Sensing
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• v.37 no.6_1
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• pp.1657-1667
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• 2021

Anthropogenic activities and natural processes have been causes of land subsidence which is sudden sinking or gradual settlement of the earth's solid surface. Mexico City, the capital of Mexico, is one of the most severe land subsidence areas which are resulted from excessive groundwater extraction. Because groundwater is the primary water resource occupies almost 70% of total water usage in the city. Traditional terrestrial observations like the Global Navigation Satellite System (GNSS) or leveling survey have been preferred to measure land subsidence accurately. Although the GNSS observations have highly accurate information of the surfaces' displacement with a very high temporal resolution, it has often been limited due to its sparse spatial resolution and highly time-consuming and high cost. However, space-based synthetic aperture radar (SAR) interferometry has been widely used as a powerful tool to monitor surfaces' displacement with high spatial resolution and high accuracy from mm to cm-scale, regardless of day-or-night and weather conditions. In this paper, advanced interferometric approaches have been applied to get a time-series of land subsidence of Mexico City using four-year-long twenty ALOS PALSAR L-band observations acquired from Feb-11, 2007 to Feb-22, 2011. We utilized persistent scatterer interferometry (PSI) and small baseline subset (SBAS) techniques to suppress atmospheric artifacts and topography errors. The results show that the maximum subsidence rates of the PSI and SBAS method were -29.5 cm/year and -27.0 cm/year, respectively. In addition, we discuss the different subsidence rates where the study area is discriminated into three districts according to distinctive geotechnical characteristics. The significant subsidence rate occurred in the lacustrine sediments with higher compressibility than harder bedrock.

• (The) Research of the performance art and culture
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• no.33
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• pp.329-354
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• 2016

Hyupryulrang was the position that announced the start and end of music in royal ceremonies. It appeared when the royal etiquette was categorized and implemented due to the five etiquette system, which was formed by the influence of Confucianism. Confucianism valued etiquette and music and this aspect was reflected in royal five etiquette, making music involved in royal ceremonies. So there was a need to have a mediator who will announce the insertion of music according to the process of royal ceremonies. For harmonious realization of royal ceremonies and music, hyupryulrang was indispensible. In Korea hyupryulrang appeared in Goryo era and lasted until Joseon era. Hyupryulrang during Joseon was handled by bongsanshi and once was taken by jeonak( 典樂) temporarily but finally was managed by officials in jang-akwon(掌樂院). Among the officials in jang-akwon, jang-akwon jeong(正) mainly served the role but jang-akwon chumjeong(僉正) and jang-akwon juboo(主簿) were sometimes recruited for the role according to circumstances. What was common among jang-akwon jeong, chumjeong, and juboo was that they were all danghakwan(堂下官). Danghakwan was an official who had the fundamental limitation of not being able to participate in policy making so was in a lower position compared to dangsangkwan. Meanwhile, according to circumstances of ceremonial process or the characteristics of ceremonies, gyeraseonjeonkwan(啓螺宣傳官), mushingyungseonjeonkwan(武臣兼宣傳官), and yeojipsa(女執事) were recruited as hyupryulrang instead of officials of jang-akwon, so that there would be no problems in ceremonies and performance of music. The activities of hyupryulrang can be summarized as setting up or laying down hui in most ceremonies that involved band. At night, however, as hui(麾) was invisible, jochok(照燭) or sometimes geumgogi(金鼓旗) was used. As for the term that referred to hyupryulrang, in case of royal banquet, the names of the ceremonial tools were borrowed such as geohuichabi(擧麾差備) and jochokchabi(照燭差備). The location of hyupryulrang was in the west on top of seogye(西階) facing toward the east, which was a position where hyupryulrang could watch the ceremonial process easily and be close to the band. That is, it was a position where one can see the space of ceremony and the space of music at the same time. Also, hyupryulrang was involved in musical parts related to ceremonies such as rehearsals, arrangement of the band, controlling the speed of music, and prevention of missing any musical pieces, and was in charge of such tasks. Hyupryulrang, who had to take charge of music in accordance with ceremonial procedure, was a mediator between royal ceremonies and music.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• The Journal of Korean Philosophical History
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• no.27
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• pp.223-254
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• 2009

This thesis is aimed at researching the formation of democracy in socialist China. Due to a sense of cultural superiority on the basis of their developed civilization, they already formed a strong cultural nationalism, which has come to firm up into "Sinocentrism" through long periods of time. However, there arose a sense of crisis due to the Western invasion after the Opium War and the intellectuals in China happened to seek the solution to rescuing their mother land from ruin; in the midst of this process, the theory of social evolution of the West was introduced and accepted. The acceptance of this theory of social evolution gradually transformed in confrontation with a logical limit that China defeated in international competition could not but be plundered by imperialism after all, but it contributed to Chinese intellectuals' forming the concept of the modern state nationalism of the West deviating from cultural Sinocentrism. After the Russian Revolution, a large number of Chinese progressive intellectuals developed their socialist movement with the recognition that Marxism was a practicable alternative to rescue China from its crisis. The Chinese Communist Party was under guidance of the Comintern from the early process of its formation, in which they emphasized the fact the national liberation struggle in colonialized countries was an indispensable element in the world communist movement under the condition of the control of the world by imperialist capital at that time and subsequently, Marxism characterized by resistant nationalism in China gained its cause. Afterwards, the People's Republic of China was established by the Chinese Communists which came to get widespread support from the Chinese through anti-imperialism &feudalism in the process of the Sino-Japanese War, and thus China equipped with a full-blown socialism system set sails. However, with the relations with the Soviet Union getting worse under the international conditions of a cold war, the development of the Chinese socialism couldn't but resort to the concentrated power of its people, which was linked to the boost of continuous patriotism of the Chinese Communists. Particularly, due to the newly-emerging contradictions after reform & opening [gig kifng], China underwent disruption; thus, as an ideology to integrate such disruptive elements, Sinocentrism based on China's cultural pride re-appeared. Recently, a very strong form of Sinocentrism has come to the fore as their superiority of traditional cultures is emphasized in China whose international position as an economic power has been raised.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.349-392
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• 2019

In the 1960s of Korea, the normalization of diplomatic relations between Korea and Japan led to a sense of a vigorous anxiety and fear that "Japan will once again come to the Korean peninsula". As a reaction to this, the discourse on the criticism of 'Japanese Style' strongly emerged. If the prior discourse of criticism was to express the national antipathy toward the colonial remnants that had not yet been disposed of, the critical discourse of the 1960s was the wariness of the newly created 'Japanese Style' in popular culture, and to grasp it as a symptomatic phenomenon that 'evil-minded Japan' was revealed. Thus, this new logic of criticism of the 'Japanese Style' had a qualitative difference from the existing ones. It was accompanied by a willingness to inspect and censor the 'masses' that grew up as consumers of transnational 'mass culture' that flowed and chained in the geopolitical order under the Cold War system. Therefore, the topology of 'popular things=Japanese things=consuming things' reveals the paradox of moral demands that existed within Korean society in the 1960s. This was to solidify the divisive circulation structure that caused them to avoid direct contact with the other called 'Japan', but at the same time, get as close to it as ever. It is a repetitive obsession that pushes the other to another side through the moral segregation that strictly draws a line of demarcation between oneself and the other, but on the other hand is attracted to the object and pulls it back to its side. This paper intends to listen to the different voices that have arisen in the repetitive obsession to understand the significance of the dissonance that has been repeated in the contemporary era. This will be an examination of the paradoxical object of Japan that has been repeatedly asked to build the internal control principle of Korean society, or to hide the oppressive and violent side of the power, and that can neither be accepted nor destroyed completely as part of oneself.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.