• Archives of design research
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• v.18 no.1 s.59
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• pp.39-48
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• 2005

In the age of digital culture, TV broadcasting is exercising more influence as a information and communication medium compared to past. With the appearance of satellite broadcasting service in 2002, the broadcasting environment became a diversified field of local TV, cable TV, satellite, internet, etc. and created the time of multi-media and multi-channel. This ongoing change of broadcasting environment made the passive audience of the past, active image makers and new accepters, participants and users of communications, who know how to choose and use media as the active centerpiece, The active acceptor as the centerpiece of channel selections has become the center of the broadcasting, whereby they pick up and enjoy their favorite TV programs and came to remember the list of their favorite channels and zap them finally. In this point of spotting their favorite channels and improving the degree of recognition for the channels, the development of the noticeable brand for a particular program has made a great contribution. The aim of this study, therefore, is to recognize the factors, which are important in the habits of watching TV and to develop professional brands for TV broadcasting programs. The range of the survey for this study was home news programs and broadcasting stations abroad, which were on air from March to May in 2004. The focus of the survey was universal and professional news programs. Through this study, it was ascertained that, in the case of news, developing a brand for an anchor as well as for a professional brand of TV program could be an important element.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.10 no.1
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• pp.1-7
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• 2005

Tidal flats have been regarded to carry out transformation and removal of land-derived organic matter, and this purifying capability of organic matter by tidal flats is one of very important reasons for their conservation. However, integral biogeochemical studies on production and decomposition of organic matter by benthic microbes in tidal flats have been absent in Korea, although the information is indispensable to quantification of the purifying capability. Our major goals in this multidisciplinary research were to understand major biogeochemical processes and rates mediated by diverse groups of microbes dominating material cycles in the tidal flats, and to assess the contribution of benthic microbes to removal of organic matter and nutrients in the tidal flats. Our study sites were Ganghwa and Incheon north-port tidal flats that had been regarded as naturally well reserved and organically polluted, respectively. Our research group measured over 3 years primary production, biomass and community structure of primary producers, abundance and production of bacteria, enzyme activities, distribution of protozoa and protozoan grazing rates, rates of denitrification and sulfate reduction, early sediment diagenesis, primary production and respiration based on oxygen microelectrode. We analyzed major features of each biogeochemical process and their interactions. The results are compiled in the following articles in this special issue: An (2005), Hwang and Cho (2005), Mok et at. (2005), Na and Lee (2005), Yang et at. (2005), and Yoo and Choi (2005).

• Archives of design research
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• v.18 no.3 s.61
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• pp.117-128
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• 2005

The French Belle Epoque is a period where the literary and artistic movement was very activated. The birth of the cubism reflects this atmosphere of the times and the change of paradigm in all fields. The Bergsonism is often designated as one of the important backgrounds of cubism. The problem consists in knowing if Bergsonian ideas gave real influence on the cubist movement and up to what point. Our analysis will show that it is not homogenous and very variable according to painters. In the case of Picasso and Braques it seems be a simple inspiration of Zeitgeist. But the influence upon Metzinger and Gleizes is explicit. The text of 1912, Du cubism, prove their attachment to his thought. The key concept of cubist theory, influenced by Bergsonian philosophy, is the concept of simultaneity. Cubist simultaneity is in one hand a reflection of an artist's psychological experience and the other hand a synthesis of multiple views for grasping the object in itself by the way of conceptual representation. The temporal simultaneity could be identified with the notion of memory, which is a temporal continuity connecting the past to dynamic present. The spatial simultaneity is a juxtaposition of multiple views obtained by the movement around the object. But the dose reading of Bergson's text shows that there is a divergence between the notion of cubist simultaneity and his ideas. The biased interpretation is often, as well as the strict understanding, like the history shows us well, a great source of inspiration and creativity. The cubist mouvement is not far from this case.