• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.4
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• pp.189-203
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• 2014

In this study, Creative motifs using face composition of Jogakbo and Knot Symbol were developed, and applied to traditional Baeja of Joseon Dynasty to develop design contents of traditional clothes. As for study method, 7 motifs of new formative image that integrates traditional beauty and contemporary sense were developed by applying Knot Symbols and face compositions of Jogakbo with the use of Adobe Illustrator CS6 and Adobe Photoshop CS6 vector graphic software. The motifs were designed in contemporary image in face compositions like rectangle pattern, triangle pattern, dual rectangle pattern, vertical and horizontal pattern, pinwheel pattern, gojunmun pattern and free pattern by involving various changes like repetition, rotation, reduction, expansion and decomposition and using the colors used in the Jogakbo. It is desired that through this study, traditional Baeja may develop to bear traditional and contemporary image so that our traditional clothes design may become global. Also it is anticipated that this study will contribute to development of culture products of Hanbok like Jeogori, pants and skirt that require change of design in the global era while maintaining traditional beauty to appeal to the emotions of world citizens.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.155-163
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• 2021

This design proposal research is meaningful as Jogakbo can retain the traditional value of the it's design as it becomes a contemporary design proposal. As a specific method of research, history was been investigated to find meaning and formative characteristics defined through prior research under the theme of Jogakbo. Ideas, such as silhouettes, details for design, and the making domestic and foreign designer examples were obtained. The fabric used for the works were recycled from past leather works. All materials are sheep skin. There were various processed surfaces used to avoid monotony. Jogakbo's cotton composition focused on free and radial patterns. The pattern was manufactured using a flat and 3D combination, and the selection of items was mainly made with a simple and light silhouette, so that Jogakbo's details, such as dresses, slip dress, and vests could stand out. Color is an important factor in Jogakbo. However, traditions which are relics of the times, do not need to be preserved in their original form. If changes are inherited with reasonable grounds and directions in line with the changing times, the significance and values are retained are sufficient. It is hoped that these design development studies will continue in the future so that our precious cultural heritage can continue to change and develop positively.

• The Journal of Society for e-Business Studies
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• v.14 no.4
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• pp.75-94
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• 2009

Since XML emerged as a standard for data exchange on the web, it has been established as a core component in e-Commerce and efficient query processing over XML data in ubiquitous computing environment has been also receiving much attention. Recently, the techniques were proposed whereby an XML document is fragmented into XML fragments to be streamed and the mobile clients receive the stream while processing queries over it. In processing queries over an XML fragment stream, the average access time significantly depends on the order of fragments in the stream. As such, for query performance, an efficient organization of XML fragment stream is required as well as the indexing for energy-efficient query processing due to the reduction of tuning time. In this paper, a technique of XML fragment stream organization based on query frequencies, fragment size, fragment access frequencies, and an active XML-based indexing scheme are proposed. Through implementation and performance experiments, our techniques were shown to be efficient compared with the conventional XML fragment stream organizations.

• Korean Journal of Environment and Ecology
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• v.19 no.2
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• pp.150-161
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• 2005

Soraksan National Park and Odaesan National Park, that are 20.7 km apart, should play an important role as habitats and corridors for wildlife because they are located in the center of Baekdudaegan. However, landscape features such as small area, fragmentation, and geographic isolation seem to impede the proper ecological functions of these two national parks. Using GIS technique, we examined the pattern of fragmentation in these two national parks and adjacent regions (Sokcho-si, Goseong-gun, Inje-gun, Yangyang-gun, and Hongcheon-gun) encompassing a total of $4573.5km^2$ in area. We then selected the patches suitable for an endangered carnivorous species, leopard cat, based on habitat conditions, and identified the network and stepping stone among patches to enable leopard cats to migrate. Diverse roads and artificial facilities in the study area generated a total of 24,701 patches: 39 patches among these were selected as potential habitats upon considering the habitat condition such as vegetation types and minimum area for leopard cat. Three patches nearby Gyebangsan and Bangtaesan were identified as a potential network center to relieve the effects of fragmentation and isolation of the two national parks. Our results also showed that patches containing Jombongsan and Bangtaesan would act as a source patch from there leopard cats can disperse to both national parks. It is an urgent task to identify the pattern of fragmentation and the connectivity between patches in national parks and adjacent areas for wildlife conservation because almost all national parks confront land- scape problems similar to the two national parks examined in this study.

• Applied Biological Chemistry
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• v.38 no.6
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• pp.522-527
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• 1995

To develop an antiviral agent for the rice black-streaked dwarf virus (RBSDV), a hammerhead type ribozyme, which has a potential target site on the genome segment 3, was designed. Oligonucleotides for the ribozyme and its substrate were synthesized, annealed, and cloned into a plasmid pBluescript II KS(+). Ribozyme and substrate RNAs were then synthesized by in vitro transcription with $T_3$ RNA polymerase, obtaining RNAs in expected size, 193 and 182 nucleotides, respectively. The substrate RNA was efficiently cleaved into two fragments when incubated with the ribozyme at $55^{\circ}C$, while the cleavage was not detected at $37^{\circ}C$. In addition, the segment 3 RNA of RBSDV was also cleaved into two fragments by the same ribozyme at $55^{\circ}C$. Taken together, our results demonstrated that the hammerhead ribozyme has an in vitro endonucleolytic activity and may be used as an antiviral agent in transgenic plants.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1883-1896
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• 2009

This paper explores the use of Korean wrapping cloths (bojagi) in the late Joseon period and the types of decorations applied to them. Korean wrapping cloths called bojagi are pieces of cloths used by households of all social classes for practical purposes such as wrapping presents and covering food. In addition to the basic purposes, the making of bojagi was also an activity to express the down-to-earth wishes and the satisfaction of creation by the designer. With regard to the decorative feature of Korean wrapping cloths, five types of, patchwork, embroidered, painted, printed, and oiled-paper wrapping cloths, were examined. The patchwork wrapping cloths (jogakbo) show the frugality of Joseon women in addition to the well-developed composition skill of lines and colors. The embroidered wrapping cloths were prepared for special rituals and ceremonies such as weddings. Painted wrapping cloths were decorated with a Chinese-colors technique (called dangchae) or sometimes with black ink painting. For printed wrapping cloths, various sizes of woodblock printings and roller printings were used. Although monotone black ink was the main color applied to the printing, there was also wrapping cloths made from chintz having brilliant fast colors. Oiled-paper wrapping cloths called sikjibo were in use only for covering food. Cut-out work was employed to decorate it.

• Analytical Science and Technology
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• v.29 no.3
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• pp.136-141
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• 2016

In the present study, the distribution of glass particles inside 10 patrol cars of Chungnam Province has been studied. The target seats were front seats (driver’s seat, passenger’s seat) and the back seat. The target areas were the bottom of the seat (seat contacting buttocks, back of the seat, and the corner of the seat (the bottom and back attached part)). The target areas were tape lifted with an adhesive tape. The glass particles adhering to the adhesive tape were examined and counted under a stereomicroscope. The total number of glass particles found was 679. Among them, 471 (driver’s seat 293, passenger seat 178) were collected from front seats, which are usually occupied by police officers. The majority of glass particles were under 0.49 mm size. The results show that the majority of glass particles can be found on the front seats, rather than on the back seat. There is a high probability that glass particles found on the front seat adhere to police officers, so that to get further transferred to the convict upon physical contact (secondary transfer). Thus, there is a risk of misinterpretation of the value of glass evidence in the course of forensic examinations. Hence, a separate method to prevent cross contamination has to be prepared by police authorities as soon as possible.

• Journal of Science of Art and Design
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• v.5
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• pp.175-216
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• 2003

시각이 아닌 오감체계에 관계하는 때문에 현대미술은 외관만으로 이루어지지 않는다. 곧 예술 작품들은 하나의 장소를 관객에게 제공하여, 심리적, 물리적, 또는 예술이 존재여부에 관한 갖가지 질문들을 제기한다. 모든 예술 작품은 메시지를 담고 있다. 이러한 관점에서 개념 또는 아이디어에 우선하는 현대미술은 그들의 메시지를 전달하기 위해 우리의 사회적 배경과 보편성을 간과할 수 없다. 우리의 물체 인식은 결국 우리의 경험체계를 통해서 이루어진다고 간주하면, 현대미술의 새로운 형태는 보편적 특질들이 그 특질들 이상의 상태로 보여지도록 유도한다. 이러한 창조 행위의 시작은 현대인간의 문화 읽기이며 문화는 인간과 자연의 긴밀한 관계 속에서 이루어진다. 역사는 지나간 시간을 기록한 것이며, 이 또한 우리의 지식과 정보 체계에 속한다. 회화가 평면에 입체감을 표현하는 것과는 달리 조각은 자연 속, 즉 실재공간 속에 있는 모든 것을 표현하기 때문에 시각(visible) 이외에도 촉각(tangible)이 관여하게 된다. 조각의 특수성은 촉각(tangible)이 우선하는 것이다. 그러나 시각과 촉각은 매우 적극적으로 미학적 경험에 참여하는 감각으로 이들을 서로 분리하여 생각하기가 무척 힘들다. 왜냐하면 어떤 경험에 있어서 기억연합 또는 감각 연합에 의해 하나의 감각이 다른 여러 감각을 촉발하여 연쇄반응 혹은 '형태 Gestalt'를 이루기 때문이다. 대부분의 근대 조각 작품들은 조각대 위에 고정되어 있는 구상 형태를 지녔기 때문에 조각작품 자체가 지닌 외적 형태와 그 자체내의 공간이 더욱 중요한 역할을 하게 된다. 말하자면 미로의 비너스 조각은 대리석과 비너스 형태의 결합이다. 때문에 관객은 그 주변을 돌면서 우리 신체의 내적 공간과 시각에 의존하면서 그 작품의 중량감, 양감, 형태 등의 특질과 만나게 된다. 그러나 현대 추상조각과 개념조각은 이보다 좀 더 확장된 공간을 제시한다. 이것은 현대조각이 건축개념을 수용한 때문이며, 그것이 때로는 안 쪽에서 때로는 바깥 쪽에서 그 형태를 결정하며, 보고 듣고 느끼고 만져지고 왕래하는 등의 인식 영역인 관객의 오감체계에 직접적으로 관계하기 때문이다. 우리는 건축 공간에서, 시각 외에도 청각이나 촉각을 통해 지각한다. 대강 요약하자면 공간은 객관적 상태이기보다는 인식영역의 주관성을 통해 받아들여진 우리가 지나쳐온 것들이나 체험된 공간이다. 여기서 '받아들여지는' 일은 과거 경험들의 주체들, 언어와 문화에 의해서 이루어져야 한다. 건물, 즉 둘러싸고 있는 공간은 중앙이 아니다. 중앙은 바로 나, 둘러싸여진 나이다 나는 나의 동작에 따라 그 공간의 시스템을 변화시킬 수 있는 유동적인 중심이다 (이때의 나는 위치의 축을 변화시키는 것이 아니라, 그들을 탐색하는 것이다). 작품이 대형화되면서 이러한 건축공간개념이 현대 조각가들의 작품개념에 이용되었다고 본다. 현대미술에서 In situ작업과 특정한 장소를 위한 기획되어진 최근의 프로젝트 작업들은 대형화되어있으며, 건축에서처럼 특정한 장소를 만들어낸다. 로잘린드 크라우스(Rosalind Krauss)는 또한 '조각영역의 확장 (La sculpture dans le champ elargi)'에서 현대조각이 건축과 환경의 영역을 침범하고 있음을 지적한다. 그녀에 의하면, 1960년대 이후의 현대조각은 이러한 탈 귀속성과 조각의 자율성을 획득함으로써 조각은 건축물이 아니면서 건축물 주변에 위치하거나 풍경이 아니면서 풍경 안에 자리잡게 되었다. 이와 같이 현대의 대형조각 작품들 - 예를 들어 대형화된 미니별 조각이나 개념미술, 또는 대지예술 등 -은 풍경의 실재가 아니기 때문에 환경으로부터 구분된다고 언급하고 있다. 이들 조각은 더 이상 만져지는 실체이거나 점유하는 공간의 상징언어를 지닌 조각의 범주에 한정되지 않게 된다. 조각과 건축의 공간인식을 인체의 크기와 관련하여 보면, 메를로 퐁티(Merleau-Ponty)의 '지각의 현상학' 은 우리가 논하는 작품의 공간체계를 분석하는데 지침표가 되어준다. 메를로 퐁티가 말하는 지각은 정신에 의해서만 이루어지는 것이 아니며, 몸과 함께 이루어지는 현상이다. 지각은 우리가 부단히 눈을 움직이고 만지고 냄새를 맡고 주변을 돌아 다니면서 세계와의 직접적인 접촉을 통해 이루어 진다. 몸의 움직임을 통하여 나타나는 신체적 표현은 몸 자체가 원천적으로 지향적 활동의 주체로서 파악되는 한 이미 항상(恒常, constant) 의미 현상을 지니다. 우리의 지각이 움직이는 몸의 지향 활동을 통해 이루어진다는 것은 우리의 몸의 지향활동이 의식에 선행함을 의미한다. 몸의 움직임은 의식의 의도를 표현할 때에만 의미를 나타내는 기호가 되는 것이 아니라, 이미 그 자체가 살아있는 표현이다. 우리의 몸짓, 표정은 우리 의식이 의도하기 전에 이미 의미가 담겨있다. 몸은 그 자체가 기호(Signe)적이다. 결국. 메를로 퐁티에게서 세상(le monde entier)은 그 자신이 주체가 되어 인식한다, 그리고 이 인식 구조에는 우리의 몸이 구심점(le point centripete)이 된다. 만약 우리가 이러한 메를로 퐁티의 개념을 염두에 둔다면, 예술작품의 특성에 매우 중요한 역할을 하고 있는 재료와 크기를 이해할 수 있을 것이다.

• Proceedings of the Korea Information Processing Society Conference
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• 2002.04b
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• pp.991-994
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• 2002

A. Shamir 는 비밀 정보 D를 n개의 조각으로 나눈 후, $k(k{\leq}D)$개의 조각으로는 D를 복원할 수 있으나, (k-1)개 이하의 조각으로는 복원할 수 없는 비밀 분산 방식을 처음으로 소개하였다. 이 방식은 대수학에서의 체(field) 이론에서 중요한 위치를 차지하고 있는 다항식에 대한 Lagrange interpolation에 기반하고 있으며, 키 복구 시스템 등에 실제로 사용되고 있다. 그 후에, Tompa 등은 Shamir 의 방식이 어떤 형태의 속임수에 대하여 안전하지 않음을 보이고 이 방식을 약간 변형하여 속임수에 대해 안전한 방식을 제안하였다. Tompa 등이 제안한 방식은 안전성이 어떤 증명 되지않은 가정에 의존하지 않는다는 Shamir 방식의 특성을 보존한다. 본 고에서는 위의 방법들을 수학적으로 세밀히 분석하여 보다 자세한 증명들을 제시하고, 키 복구 시스템에 적용하는 경우에 있어 각 방식의 유용성과 단점들을 비교한다.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.23-32
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• 2009

The purpose of this study is to research fabrics, colors, and arrangement of color in Jogak-bo which were developed during the late Chosun dynasty. It is expected that from the analysis of the number, distribution and arrangement of colors of Jogak-bo in the late Chosun we can suggest various color arrangements thoset can be applied to modern fashion are summarized as follows. First, as for the number of colors of Jogak-bo according to material, silk fabrics Jogak-bo used a variety of colors whereas hemp fabrics Jogak-bo mostly used one color showing contrast between silk fabrics Jogak-bo and hemp fabrics ones. Second, as for the distribution of colors of silk Jogak-bo and hemp fabrics ones, warm colors were used most frequently. On the other hand, fewer achromatic colors were used to silk fabrics Jogak-bo, and they were more applied to hemp fabrics Jogak-bo. As for the use of cold colors, fewer cold colors were applied to hemp fabrics Jogak-bo compared to silk fabrics Jogak-bo. Third, as for the arrangement of colors, various colors were used in silk fabrics Jogak-bo, but a single color or not more than 1 color was applied to hemp fabrics Jogak-bo. It well demonstrates brilliance and glamour of silk Jogak-bo and stability and unity of hemp fabrics Jogak-bo. As for the arrangement of colors of Jogak-bo, most of Jogak-bo showed contrasting colors and shades, and similar colors and shades were hardly found in silk fabrics Jogak-bo whereas they were frequently found in hemp fabrics Jogak-bo.