• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.728-737
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• 2021

In the meantime, broadcasting CG has gone through the process of dismantling, changing, and distorting, while broadcasting CG in broadcasting programs utilizes the expanded background of 'temporality' and 'formality'. This is to create an audiovisual language that appeals to human synesthesia by expressing the meaning to be conveyed in three dimensions. Broadcast CG goes beyond simple instructional and informational broadcast graphic operation, and increases the pure aesthetic value and sensibility of the video considering readability and formativeness, and through this, the audiovisual information perfection of the broadcast program is derived and acts as a very important factor. Therefore, this paper examines the results of broadcast CG production and utilization methods at existing local broadcasters, and identifies the limitations of local broadcasters' CG production and utilization through case analysis for each broadcast program type. We want to derive a model that is a compromise line. In addition, I would like to suggest a plan that can be applied more actively and practically to local broadcasting programs. In order to solve this problem, this study first examines "Analysis of cases of use of broadcasting CG production in broadcasting programs" and then "more efficient broadcasting CG production techniques by identifying problems in broadcasting CG production methods and utilization of local broadcasters" and how to actively use it". In addition, the results of this study are expected to contribute to the establishment of a new role and practical broadcast CG production model for broadcast graphic designers in charge of broadcast CG production and the technical perspective of broadcast program production by local broadcasters.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.429-436
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• 2023

Traditional Chinese music has a deep indigenous color and has its own unique way of thinking and characteristics. A consensus has already been formed that linear thinking is a major feature of traditional Chinese music, and it has been implemented in both traditional multi-tone and single-tone music. It is mainly expressed in the form of single-tone music or single-tone music. This linear thought of traditional Chinese music is formed by influencing factors in various fields. For example, it is related to national culture, geographical and natural environment, religious and philosophical background, traditional Chinese notation, individual characteristics of traditional musical instruments, Yulje, composition, and transmission methods. This thinking is different from Western classical music that pursues three-dimensional thinking, and Western music emphasizes the harmony of harmony, harmony of tone and texture, logic and identity of structure, and emphasizes the aspect of space. However, traditional Chinese music emphasizes the horizontal development of melody, the fluency of ancestors, and the continuity of structure. We aims to analyze the causes of linear thinking of traditional Chinese music so that it can be more useful in educational aspects and promote the succession and development of traditional music by transferring knowledge of ethnic music.

• Information Systems Review
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• v.19 no.2
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• pp.21-35
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• 2017

The advancement of IT and the "Fourth Industrial Revolution" blurred the boundary between industries. The importance of strategic cooperation between enterprises is emphasized. IT companies must consider their existing business areas and create new territories to drive changes in the industry. They must also secure their competitive edge and manage economic costs to enable them to compete with their global counterparts. By utilizing their resources effectively, these firms can create value through inter-firm cooperation. This study analyzes the collaborative network of global IT companies using social network analysis and examines the effect of this network on firm performance. Collaborative linkages and betweenness centrality, which represent the bridging position of a firm in a network, significantly affect firm performance. This result highlights the importance of the structural position of a firm in a cooperative network of IT companies. This study also characterizes clusters in a network of IT companies. Most of these clusters comprise a combination of IT companies in diverse IT industries. These clusters suggest that these companies engage in multilateral cooperation without boundaries to maximize their business capabilities. This study offers practical implications for establishing a cooperative strategy and framework that can capture business trends in the IT industry from a macroscopic view. This study also visualizes collaborative networks in a multifaceted way using social network analysis to provide researchers and business practitioners with an informative viewpoint.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.

• Journal of The Korean Society of Inherited Metabolic disease
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• v.12 no.1
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• pp.5-13
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• 2012

I-cell disease (mucolipidosis type II; MIM 252500) and pseudo-Hurler polydystrophy (mucolipidosis type III; MIM 252600) are disorders caused by abnormal lysosomal transport in cells. The presence of numerous inclusion bodies in the cytoplasm of fibroblasts, a lack of mucopolysacchariduria, increased lysosomal enzyme activity in serum, and decreased GlcNAc-phosphotransferase activity are hallmark. Here, we attempted to investigate phenotypical and biochemical characteristics of the knockoutmouse of GlcNAc-phosphotransferase ${\alpha}/{\beta}$ subunits; in addition, we also attempted to determine whether the lysosome enriched fraction derived from placenta can be beneficial to phenotype and biochemistry of the knockout mouse.We found that the knockout mouse failed to thrive and had low bone density, as is the case in human. In addition, skin fibroblasts from the animal had the same biochemical characteristics, including increased lysosomal enzyme activity in the culture media, in contrast to the relatively low enzyme activity within the cells. Intravenous injection of the lysosome rich fraction derived from placenta into the tail vein of the animal resulted in a gain of weight, while saline injected animals didn't.In conclusion, our study demonstrated the phenotypical and biochemical similarities of the knockout mouse to a mucolipidosis type II patient and showed the therapeutic potential of the lysosome enriched fraction. We admit that a larger scale animal study will be needed; however, the disease model and the therapeutic potential of the lysosome enriched fraction will highlight the hope for a novel treatment approach to mucopolipidosis type II, for which no therapeutic modality is available.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• Journal of the Korean Association of Geographic Information Studies
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• v.19 no.3
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• pp.61-74
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• 2016

The purpose of this paper is to analyze the relationship between the location of the epicenter of a medium-sized earthquake(magnitude 4.8) that occurred on January 20, 2007 in the Odaesan area with lineament features using a shaded relief map(1/25,000 scale) and satellite images from LANDSAT-8 and KOMPSAT-2. Previous studies have analyzed lineament features in tectonic settings primarily by examining two-dimensional satellite images and shaded relief maps. These methods, however, limit the application of the visual interpretation of relief features long considered as the major component of lineament extraction. To overcome some existing limitations of two-dimensional images, this study examined three-dimensional images, produced from a Digital Elevation Model and drainage network map, for lineament extraction. This approach reduces mapping errors introduced by visual interpretation. In addition, spline interpolation was conducted to produce density maps of lineament frequency, intersection, and length required to estimate the density of lineament at the epicenter of the earthquake. An algorithm was developed to compute the Value of the Relative Density(VRD) representing the relative density of lineament from the map. The VRD is the lineament density of each map grid divided by the maximum density value from the map. As such, it is a quantified value that indicates the concentration level of the lineament density across the area impacted by the earthquake. Using this algorithm, the VRD calculated at the earthquake epicenter using the lineament's frequency, intersection, and length density maps ranged from approximately 0.60(min) to 0.90(max). However, because there were differences in mapped images such as those for solar altitude and azimuth, the mean of VRD was used rather than those categorized by the images. The results show that the average frequency of VRD was approximately 0.85, which was 21% higher than the intersection and length of VRD, demonstrating the close relationship that exists between lineament and the epicenter. Therefore, it is concluded that the density map analysis described in this study, based on lineament extraction, is valid and can be used as a primary data analysis tool for earthquake research in the future.

• Journal of Korean Society of Environmental Engineers
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• v.22 no.3
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• pp.485-494
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• 2000

According to the worldwide interest in controlling $CO_2$ which contributes to green house effect. new techniques of reducing $CO_2$ are under development. We have developed new technique for reducing $CO_2$. In low $CO_2$ concentration. the chemical absorption method is useful. In this study. the kinetics of the reaction between $CO_2$ and the sterically hindered amine solution with piperazine. have been investigated from measurements of the rate of absorption of $CO_2$ in the stirred vessel that has a horizontal liquid-gas interface, in the temperature range $30{\sim}70^{\circ}C$. The experiments were carried out in the range 10.130~20.260 kPa of partial pressure of $CO_2$, and in aqueous $2.0kmol/m^3$ AMP solution with $0{\sim}0.4kmol/m^3$ piperazine The experimental results are as follows: 1) The absorption rate of $CO_2$ into aqueous AMP + piperazine solution is gett ng faster than that of aqueous AMP absorbents with temperature. Because the activation energy of piperazine 57.147 kJ/mol is higher than that of AMP 41.7kJ/mol. therefore the effect of piperazine on absorption rate increases with temperature. 2) Compared with aqueous AMP solution. the absorption rate of $CO_2$ into AMP + piperazine solution increases from 6.33% at $30^{\circ}C$ to 12% at $70^{\circ}C$, so AMP + piperazine solution is thought to be a better than AMP solution, 3) The reaction rate constants of piprazine in aqueous AMP solution with $CO_2$ have been determined as 217.21, 420.46, 707.00 and $3162.167m^3/kmol{\cdot}s$ respectively at 30, 40, 50 and $70^{\circ}C$ but these results are higher than those of Xu which were 186.7. 367.32. 693.01. $2207.65m^3/kmol{\cdot}s$ at 30, 40, 55, $70^{\circ}C$in aqueous MDEA solution. So the regression analysis of the data has led to the following equation In $k_p$ =28.324-6934.7/T.

• Economic and Environmental Geology
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• v.49 no.5
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• pp.381-388
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• 2016

The purpose of this study is to integrate and visualize using mapping techniques based on precise seabed geomorphology, seafloor backscattering images and high-resolution underwater images of the nearshore area around the Dokdo, in the East Sea. We have been obtained the precise topography map using multibeam echosounder system around the nearshore area(~50 m) of the southern part of the Seodo. Side scan sonar survey for analysis seafloor backscattering images was carried out in the same area of topography data. High-resolution underwater images(zone(a), zone(b), zone(c)) were taken in significant habitat scope of the nearshore area of the southern part of the Seodo. Using the results of bathymetry, seafloor backscattering images, high-resolution underwater images, we performed an integrated visualization about the nearshore area of the Dokdo. The integrated visualizing techniques are possible to make the seabed characteristic mapping results of the nearshore area of the Dokdo. The integrated visualization results present more complex and reliable information than separate geological products for seabed environmental mapping study and it is useful to understand the relation between seafloor characteristics and topographic environments of the study area. The integrated visualizing techniques and mapping analysis need to study sustainably and periodically, for effective monitoring of the nearshore ecosystem of the Dokdo.

• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.21 no.2
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• pp.131-136
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• 1985

The calculation of the resulting fluid motion is an important problem of ship hydrodynamics. For a partially immersed body the condition of constant pressure at the free surface can be linearized. The resulting linear boundary-value problem for the velocity potential is the Neumann-Kelvin problem. The two-dimensional Neumann-Kelvin problem is studied for the half-immersed circular cylinder by Ursell. Maruo introduced a slender body approach to simplify the Neumann-Kelvin problem in such a way that the integral equation which determines the singularity distribution over the hull surface can be solved by a marching procedure of step by step integration starting at bow. In the present pater for the two-dimensional Neumann-Kelvin problem, it has been suggested that any solution of the problem must have singularities in the corners between the body surface and free surface. There can be infinitely many solutions depending on the singularities in the coroners.