• Journal of The Korean Association For Science Education
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• v.37 no.1
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• pp.143-154
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• 2017

Science inquiry has long been emphasized in Korean science education. Scientific modeling is one of key practices in science inquiry with a potential to provide students with opportunities to develop their own explanations and knowledge thereafter. The purpose of this study is to investigate teacher's understanding of models in science and science teaching. A professional development program on Models (PDM) was developed and refined through three times of implementation while teachers' conceptions of models and modeling were examined. A total of 29 elementary and secondary teachers participated in this study. A survey based on model use of scientists in the history of science was developed and used to collect data and audio recordings of discussions among teachers and artifacts produced by the teachers during PDM were also collected. Three ways of ontological and two ways of epistemological understanding of models and modeling were found in teachers' ideas. After PDM, a quarter of the teachers changed their ontological understanding whereas very few changed their epistemological understanding. In contrast, more than two thirds of the teachers deepened and extended their ideas about using models and modeling in teaching. There were no clear relationships between teachers' understanding of models and ways and ideas about using models in science teaching. However, teachers' perceptions of school conditions were found to mediate their intention to use models in science teaching. The findings indicate possible approaches to professional development program content design and further research.

• Korean Journal of Social Welfare
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• v.64 no.2
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• pp.85-109
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• 2012

This qualitative study explored a middle-aged lesbian's life and her identities by the oral life history approach in feminist epistemology, where the participant is not the object but the subject of knowledge. The participant kept her own perspective that her homosexuality was not intrinsic but constructed. In her life's history, she was a "docile body" accepting socially constructed historical meaning of homosexuality, as well as a "resistant body" protesting against social discrimination and oppression for homosexual population. She overcame an embedded negative recognition of her scaled injured body and her sexuality as "deficient". Finally, she showed an amazing resilience and an indomitable spirit for reconstructing the meaning of her body as "blessed." Beyond the deficient body, as an active agent not the pathologic sexual minority, she could cultivate compassion and empathy for others. From the results, it is important how to place gender and sexuality in the context of social work theory and practice. Sexuality, not sexual orientation, is 'our' collective agenda to address the social problems which were associated with social hierarchy, inequality, and injustice.

• Proceedings of the Korean Information Science Society Conference
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• 2010.06b
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• pp.289-293
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• 2010

21C 현대 문명사회에서는 도시의 고밀도 및 팽창으로 인하여 도시 내 생태계가 파괴되면서 생물서식처의 환경 악화 및 엄청난 감소가 초래되었으며, 그 결과로 인하여 인간과 생물이 접촉할 수 있는 공간이 현저하게 줄어들고 있다. 또한 도시 영역의 확장을 위하여 산림 및 녹지의 감소, 녹지의 분절 및 단절화, 해안 매립 등이 계획 없이 무분별하게 진행됨으로써, 각종 동식물의 개체 수 감소 및 토양의 건조화 등이 발생하고 있으며, 그 영향으로 생물종의 다양성이 떨어지고, 도시 생태계의 교란이 심해지고 있다. 이러한 도시 생태계의 교란은 도시에 거주하고 있는 시민들의 생활의 질이 떨어지게 하고 많은 환경 문제들의 주원인이 되고 있다. 지속적이면서도 자연친화적인 도시발전을 위해서는 도시 내 자연생태계를 회복하고 생물서식공간을 종합적으로 보전하면서 복원해야 한다는 요구가 높아지고 있지만, 이를 체계적으로 이루기 위한 방법론의 부재에 시달리고 있었다. 이러한 가운데 유럽을 중심으로 생겨난 비오톱(Biotope)과 비오톱 지도화 방법이 생태계를 보전하며, 시민들에게 다양한 자연체험과 휴양 기회를 제공하고 친환경적인 도시계획을 위한 핵심적인 역할을 하는 것으로 인식되고 있다. 하지만, 기존의 비오톱 지도는 이미지 기반의 2차원 지도로 제공되고 있어, 거리 및 공간 분석에 취약하고 정보전달력이 부족하여, 익숙한 전문가가 아닌 경우 비오톱을 이해하는데 상당한 정도의 시간이 필요하였다. 이에 본 논문에서는 공간정보가 결여된 2차원 형태의 GIS 데이터를 기반으로 3차원 공간 데이터를 자동으로 생성하고, 위성영상과 DEM(Digital Elevation Model)을 이용하여 3차원 지형을 만들어 각 주제도별로 입체적인 분석이 가능하도록 하였다. 또한 동영상 녹화 기능과 3차원 객체 추가 기능을 이용하여, 자연생태계를 고려한 도시의 설계를 진행하는 경우 3차원적인 모델링을 제공함으로써 효과적이면서도 사용자의 이해도를 향상 시킬 수 있는 정보 전달력을 가질 수 있도록 설계 및 구현하였다.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

• Journal of Korean Medical classics
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• v.19 no.4
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• pp.212-218
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• 2006

당금시대(當今時代), 정진입도동서방문명형성상호간적융합공제(正進入到東西方文明形成相互間的融合共濟), 병탐색착이상생적관계진행발전적전절기(幷探索着以相生的關係進行發展的轉折期). 동양사상통과관찰정체적직관여통합적사유방법(東洋思想通過觀擦整體的直觀與統合的思維方法), 설명료우주변화규율화인간적각종난해지미(設明了宇宙變化規律和人間的各種難解之謎), 종이창조출료위대적음양오행론사상(從而創造出了偉大的陰陽五行論思想). 단시수착 '서세동점' 적조류(但是隨着 '西勢東漸' 的潮流), 신위동양인이교육화사유방법이축보서양화(身爲東洋人而敎育和思維方法已逐步西洋化), 미능계승아문적위대전통(未能繼承我們的偉大傳統), 반피서양적과학문명화물질문명소흡수(反被西洋的科學文明和物質文明所吸收). 연이(然而), 서양적임하일종철학급과학(西洋的任何一種哲學及科學), 몰유일개능구이일종원리래설명우주화인간급만물적변화(沒有一個能구以一種原理來說明宇宙和人間及萬物的變化), 즉몰유일개능여동양적음양오행론상필적적철학화이론(卽沒有一個能與東洋的陰陽五行論相匹敵的哲學和理論). 포괄음양오행론재내(包括陰陽五行論在內), 동양사상이기흔강적설복력, 수착과학진보(隨着科學進步), 기가치개시중신피인식(其價値開始重新被認識). 이전뇌화수자혁명위대표적현대문명(以電腦和數子革命爲代表的現代文明), 역시근거음양론적이진법위기초이창조출래적(亦是根據陰陽論的二進法爲基礎而創造出來的). 애인사탄(愛因사坦), 탕천수수(湯川秀樹), 니극발이(尼克勃이), 가포라등(기布羅等), 균대동양사상적위대성가이인가(均對東洋思想的偉大性加以認可), 병종차득도영감(幷從此得到靈感), 취득위대적과학성과(取得偉大的科學成果). 음양오행론시불가마살적절대진리(陰陽五行論是不可磨殺的絶對眞理). 불관대기이론가치급본질무지적인(不管對其理論價値及本質無知的人), 즘양급여평가, 단시저일이론시일개해석자연화인간본질급설명기변화적이론(但是這一理論是一個解釋自然和人間本質及說明其變化的理論), 결부회상실기진정적가치(決不會喪失其眞正的價値).

• Sijohaknonchong
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• v.30
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• pp.263-300
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• 2009

Adoration for nature constitutes one of the primary subjects that literature has tackled since the origin of human history. Nature expressed through a poet's subjective imagination is the internalized and reorganized nature. This study examines the view on nature enacted in Ch'o-Jung's three-verse poems (sijo) in light of the traditional views on nature implicated in the ancient three-verse poems (koshijo), which is in line with the long-established Oriental view on nature. To dignitaris(sadaebu) in the Chosun Dynasty, nature appeared as the idealistic subject for moral culture ($shims{\breve{o}}ngsuyang$), which also becomes the literary space where the purity and justice of the world view of Neo-Confucianism(Sungrihak) is contained in the form of the three-verse poem, the lyrical poetic space where the "I" is united with nature by way of "enjoying of wind and moon"($umpungnongw{\breve{o}}i$) and "living in quiet retiremen"($yuyuchaj{\breve{o}}k$), and the object for the poetical perception of the surrounding world. Ch'o-Jung' s three-verse odes are found in Reed pipe ($Ch'oj{\breve{o}}k$), Sixty Five Pieces of Three-Verse Odes (Samhaengshi-$yukshipopy{\breve{o}}n$), Autumn Fragrance ($Hyangginam{\check{u}}n-ga{\check{u}}l$), and The Words of Zelko va Tree ($N{\check{u}}tinamu{\check{u}}i-mal$). This study analyzes 212 pieces of Ch'o-Jung' s three-verse poems chosen from theses books. In Ch'o-Jung's poems, the traditional view on nature expressed in the ancient three-verse poems is rendered in such a way that metaphysical understanding of nature is indirectly transmitted through the objective correlatives found nature. Nature is no longer the object of straightforward utterance, but transformed, displaced, and removed: that way, nature gets objectified to form a complicated and multi-layered structure. In conclusion, the view on nature manifested in Ch'o-Jung's three-verse poems is based on traditional metaphysics. Second, nature is the object of lyrical nostalgia and adoration. Third, nature is imbued with the fundamental affection for parents. Fourth, nature is associated with organic life. Fifth, the nature in Ch'o-Jung's poems reveals the beauty of stillness endorsed in Lao-tse's and Chung-tze's philosophy. And last, nature is the agent for self-realization and meditation.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.190-217
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• 2012

This research has studied the building awareness of Nu-Jeong that a view of nature and aesthetic consciousness to unite the nature are inherent by considering Nu-Jeong of scholars who left fame and wealth behind and retired to hermitage in the backwoods in the 16~18 Century. This is to clarify correlation with leaving nature as it is, namely, an ideal state that scholars at the time would enjoy, through landscape awareness accepted into Nu-Jeong literature. In addition, this research has tracked the ideologic flow that acts on space formation by clarifying Korean unique meanings inherent to Nu-Jeong's cultural landscape. As a suggestion for this, the interpretation through 'Pungsu location Nu-Jeong name's analysis Nu-Jeong literature analysis', etc. was tried, so its integrated conclusion is as follows. It is not a chance that scholars of Joseon have left numerous literature works singing the nature. They already had huge interest and knowledge on the nature, and achieved active poetic exchange by sublimating the praise of nature as literature. Nu-Jeong, which was a place of exchange like this, had cleanliness of the nature and ideological purity as an oppositional space on turbid political realities. The Nu-Jeong literature drew the nature into a literature space as it is, without doing abstraction or ideation on the nature. The owner of Nu-Jeong exclusively possessed such natural landscape in grim and independent postures, so it provided a clue of Nu-Jeong cultural landscape that this research aimed to discuss. Scholars who aimed to raise wide and large vigor filled in between the sky and earth got to convince that people are born from the nature, grow in the nature and finally return to the nature. What people are born from the nature and finally return to the nature is just consistent with Taoistic and Zhua-ngzi thoughts denying human work, and leaving nature as it is or nature itself remained intact which is an ideal state. The construction at the time is a vessel containing the spirit of the times of the era. This thesis has proved that the Nu-Jeong culture of scholars located on the central line of Korean landscape was the flower of Joseon's scholar culture by interpreting it semantically.

• 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.

• Journal of Korean Medical classics
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• v.18 no.3 s.30
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• pp.9-16
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• 2005

종의역학적각도간(從醫易學的角度看), 우주적팽창일수축반복가설부합음양소장과정. 우주팽창시(宇宙的膨是)‘양생음장(陽生陰長)’, ‘양성음쇠(陽盛陰衰)’적과정(的過程) ; 우주수축시(宇宙收縮是)‘양살음장(陽殺陰藏)’, ‘음성양쇠(陰盛陽衰)’적과정(的過程). 종수축도팽창(從收縮到膨脹), 종팽창도수축(從膨脹到收縮), 기전환점시양극혹음극적상태(其轉換點是陽極或陰極的狀態), 응용(應用)’음극변양(陰極變陽), 양극변음(陽極變陰)‘적음양극변원리(的陰陽極變原理). ${\lceil}$내경(內經)${\rfloor}$인위물질화시공(認爲物質和時空), 시간화공간본질상시일치적(時間和空間本質上是一致的), 도시종기파생출래적(都是從氣派生出來的). ${\lceil}$내경(內經)${\rfloor}$이경인식도료시공적통일성화상대성(已經認識到了時空的統一性和相對性). 저여애인사탄상대론적시공관유상동지처(這與愛因斯坦相對論的時空觀有相同之處). 서방과학적시공관시통과대물질실체이급물질상호관계적관찰이형성적물리시공관(西方科學的時空觀是通過對物質實體以及物質相互關係的觀察而形成的物理時空觀) ; 의역시공관시통과대포괄인류재내적천지만물적일절생명활동현상적관찰이형성적생명시공관(醫易時空觀是通過對包括人類在內的天地萬物的一切生命活動現象的觀察而形成的生命時空觀).

• The KIPS Transactions:PartB
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• v.12B no.2 s.98
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• pp.115-122
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• 2005

The sub-mage matching problem in which one image contains some part of the other image, has been mostly investigated on natural images. In this paper, we propose two sub-image matching techniques: mesh-based method and correlation-based method, that are efficiently used to match text images. Mesh-based method consists of two stages, box alignment and similarity measurement by extracting the mesh feature from the two images. Correlation-based method determines the similarity using the correlation of the two images based on FFT function. We have applied the two methods to the text verification in a postal automation system and observed that the accuracy of correlation-based method is $92.7\%$ while that of mesh-based method is $90.1\%$.