• The Korean Journal of Mycology
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• v.18 no.3
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• pp.149-157
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• 1990

Five strains of Armillaria mellea were collected from the forest of Chonbuk province and isolated from the tissue of fruit bodies. Nutritional and environmental characteristics of mycelial cultivation and rhizomorph production of Armillaria mellea isolated were determined in sawdust media, woody inocula and soils. The sawdust media of Styphnolobium japonicum, Culhamia simplex, Populus monilifera and Populua davidiana were proper for mycelial growth. The ranges of optimum pH, temperature and moisture content for mycelial growth were in the range of $4.5{\sim}5.0$, ${\sim}25^{\circ}C$ and $65{\sim}70%$, respectively. Among the various additives and inorganic salts added, 10% rice bran and 3% $CaCO_3$ were effective to mycelial growth. The woody inocula of Styphnolobium japonicum, Culhamia simplex, Quercus acutissima and Quercus veriabilis were proper for rhizomorph production. The ranges of optimum pH, moisture content and temperature for rhizomorph production were in the range of $4.5{\sim}4.9,$ $45{\sim}55%\;(w/w)$ and $20{\sim}24^{\circ}C$, respectively. Distribution of rhizomorphs in soil was varied with depth, but the main concentration occurred in the range of $7.5{\sim}12.5\;cm$. They were rarely found below 25.0 cm.

• Journal of KIISE:Computer Systems and Theory
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• v.28 no.9
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• pp.415-423
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• 2001

Recently, there are many attempts to reproduce real world fine art pieces in digital forms. The digital representations are convenient to store and/or transmit. In contrast, mobiles, or moving sculptures, such as those designed by Alexander Calder cannot to reproduced realistically by usual reproduction techniques. Since mobiles are originally designed to generate motions in response to external forces applied to it, people could not fully enjoy them through photographs or static images. We present a virtual mobile system where use can easily control the mobile and can feel the impressions that the artist originally intended to provide. A real-world mobile is reconstructed in a three-dimensional physically-based model. and then virtual wind is generated to give motions to it. The motions of the mobile are generated by constraint dynamics and impulse dynamics techniques, which are modified to fully utilize the characteristics of the mobile, and finally give interactive displays on the PC platforms. The techniques presented can easily be extended to simulate other interactive dynamics systems.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.9
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• pp.412-419
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• 2019

Negative space in the discipline of art defines the space around and between the subject of an image. The use of negative space is an element of artistic composition, since it is occasionally used to artistic effect as the "real" subject of an image. In painting, it is a technique that negatively touches the background of an object to be expressed, so that it gives a feeling of unique texture and silhouette by touching unnecessary parts while leaving necessary parts. As in art, negative space in a design can also be useful to identify an image of infeasible design ranges with a straightforward view. Similarity between two disciplines leads to the introduction of the negative space concept for design space exploration. A rough design space exploration using statistics and visual analytics may support more efficient decision-making, and can provide meaningful insights into the direction of early-phase system design. For this, the approach guarantees dynamic interactions between visualized information and human cognitive systems. Visual analytics is useful to summarize complex and large-scale data. It is useful for identifying feasible design spaces, as well as for avoiding infeasible spaces or highly risky spaces. This paper investigates the possible use of the negative space concept by using an application example.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.425-434
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• 2019

The purpose of this study is to improve the academy sports field for the establishment of advanced sports culture. This study used qualitative research. The research participants were baseball players for 11 years and have been professional baseball players. Another study participant has been a soccer player for eight years. And he has been a football coach for 13 years. The results of this study are as follows. First, the act of entertaining was the form in which parents served sports leaders meals and alcohol. Parents' student athletes had increased chances of playing in the game and were able to receive faithful guidance. Second, the student athletes whose parents did not act of entertaining to the sports leader were discriminated against. The student athletes were harassed by their leaders, their positions changed, and their chances of playing were reduced. Third, parents' student athletes who did not act of entertaining to their leaders either stopped exercising or moved to another school because of discrimination. Eventually, the entertainment culture of academy sports acted as a mechanism to induce sports de-socialization of student athletes, and made students experience a negative aspect of sports culture. As a result, the entertainment culture of academy sports caused discriminatory treatment due to economic inequality. Therefore, the negative entertainment culture of academy sports should be eradicated for the establishment of advanced sports culture.

• Journal of Science of Art and Design
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• v.11
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• pp.153-199
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• 2007

The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.14-30
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• 2020

This study focuses on the fact that pictorial maps in the late Joseon Dynasty were conceptual diagrams with the place names perceived by the people at the time of their production. In this regard, targeting on five pictorial maps, the humanistic landscape characteristics of Pyongyang, which had cultural identities such as a historically old, commercial, and Pungnyu(appreciation for the arts) city, were derived as follows. First, the historic legitimacy of Pyongyang Castle was represented by ritual and religious facilities. They include 'Dangunjeon' and 'Gijagung' related to the nation founder, 'Munmujeong': the remains of Goguryeo, 'Sajikdan' & 'Pyongyanggangdan': the place of the national rites, Hyanggyo and Seowon: education & rite functions, Buddhism and Taoist facilities, 'Yongsindang', 'Sanshindang', and 'Jesindan': folk religion facilities. Gija-related facilities, which became symbols of Pyongyang due to the importance of Small-Sinocentrism and Gija dignity tendency, were distributed throughout Pyongyang Castle though, the facilities related to King Dongmyeong of Goguryeo and the spaces of religion praying for blessings are spread in Bukseong and on the riverside of Daedonggang each. Second, as a Pyongando Province's economic center, Pyongyang's commercial landscape was represented by logistics and transportation facilities. The Daedonggang River, which was in charge of transportation functions, had many decks such as 'Yangmyeongpo', 'Cheongryongpo' and 'Waeseongjin' and bridges, such as 'Yeongjegyo' and 'Gangdonggyo', which connected major transportation routes. The road network was created in Oeseong area to facilitate logistics transportation and management, and many warehouses named after the jurisdiction of Pyongyangbu were distributed near the roads and Provincial Offices of the main gates. In addition, it was characterized by the urban area systematically divided with hierarchical roads, 'Bukjangnim' of willow trees planted on the main entrance roads of Pyongyang Castle, a linear landscape created by 'Simnijangnim' consisting of mixed forests with elm trees. Third, Pungnyu City is realized by the distribution of amusement facilities. The riverside of Daedonggang adjacent to Naeseong exhibits characteristics of artificial landscape such as a canal leading to the inside of the castle, a docking facility with embankments, and a port with cargo ships anchored. However, Bukseong of the natural surroundings had numerous pavilions and platforms such as 'Bubyeongnu', 'Eulmildae', 'Choeseungdae', 'Jebyeokjeong' and engraved letters such as 'Cheongnyubyeok', 'Jangbangho'. 'Osunjeong', 'Byeogwolji', 'Banwolji' near 'Sachang', and 'Aeryeondang', built on the island of a square pond, created waterscape in Naeseong invisible from the Daedonggang, and for practical purposes, ponds and repeated willow vegetation landscape related to Gija were placed in the western rampart of Jungseong. In addition, 'Seonyeondong', a cemetery of Gisaeng, located near by Chilseongmun, was used as poem titles and themes by literary people, contributing to the creation of the Pungnyu image of Pyongyang.

• The Journal of Korean Philosophical History
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• no.32
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• pp.309-336
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• 2011

There were various linking points that connect Li xue(Neo-Confucianism) to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi and Yan Hui" 2. Esteem of "life and vitality". Scholars of Li xue in Song regarded the pleasure of acting up to "benevolence" as a beauty, and this benevolence originated in the "heaven and earth; the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe", thus the natural "life and vitality" of the "heaven and earth" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation". Originally the "serene contemplation" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In the same manner, the "pleasure" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point, the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li" or "Qi" that producing all things is "coming of itself", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition". Scholars of "Li xue" ordinarily valued much of "disposition of a sage", consequently this tendency influenced on aesthetics. "disposition" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing inquiry", "study the laws of nature by close access" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty. Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of Landscape painting.

• Cartoon and Animation Studies
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• s.33
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• pp.343-361
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• 2013

This paper derives the mutual relationship between film and installation art through specific case studies about the point of the intersection of the two genres. It needs to find the relationship between art painting and photography and the relationship of silent film and the relevance of the work of art in the 1920s. After painting over the installation exploring the relationship of art and through the mise en scene of the film, ie, the screen image of the configuration and deployment, or cinematic work of art for the film can be found in the application of practices. First, in Chapter 2, this study works of art practices through the analysis of film and the interaction between the two genres based practices for secure sex. In Chapter 3 the movie 'Wonderful Life' and installation art work "hand memory" through the analysis of the two cases specifically for the point of intersection analysis. 'Wonderful Life' and 'hand' Remember each subject and conceptual work in terms of 'memory' that it is represented on similar, but, film and installation art genre caused by the difference in the way the media represented by the results of the different forms of otherwise appear. If so, this study film and installation art practices through the comparison of cases to derive mutual relationship by analyzing two cases in detail what each of the different looks at whether any similarity in that.

• The Korean Journal of Pesticide Science
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• v.6 no.4
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• pp.271-278
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• 2002

Methanol extracts from 420 samples of 173 plant species in 58 families were tested at 5000 ppm for their insecticidal and acaricidal activities against five economically important arthropod pests by spray method. The responses varied with arthropod pest species, plant species and plant tissue sampled. In a test with Nilaparvata lugens Stal, extracts from Zanthoxylum piperitum barks, Chamaecyparis obtusa leaf and Quercus salicina leaf showed potent insecticidal activity. With Plutella xylostella L., potent larvicidal activity was observed from extracts of Platycarya strobilacea wood, Meliosma myriantha barks, Sophora japonica leaf, Zanthoxylum piperitum barks, and Pinus thunbergii wood. Methanol extracts of Sophora japonica leaf and Zanthoxylum piperitum barks showed high insecticidal activity against Spodoptera litura. In a test with Tetranychus urticae Koch, extract from Carpinus coreana leaf, Firmiana simplex barks, Elaeagnus macrophylla leaf, Aralia elata leaf, Comus controversa barks and Chamaecyparis obtusa leaf exhibited strong acaricidal activity. As a naturally occurring pest control agent, Zanthoxylum piperitum barks could be useful as new insecticidal and acaricidal products against various arthropod pests.

• Journal of the Korean Society for information Management
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• v.21 no.4 s.54
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• pp.187-208
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• 2004

In this study, aesthetic impressions were used for a high-level feature of image retrieval. The term, 'aesthetic' has been studied in psychology, art, and literature. It means unconscious, instantaneous parts of visual perception and emotion. The literatures related to aesthetic impressions were reviewed and four kinds of aesthetic impressions were defined operationally : strong impression, soft impression, courteous impression, and refined impression. 66 image files of paintings were sampled randomly from 1100 paintings and low-level color features were extracted from them by a using perceptual color model(Lai, & Tait, 1998). The high-level features of an image, that is, four kinds of aesthetic impressions of each painting were measured by 4 subjects and averaged. In CBIR, 2 subjects performed image retrievals using example queries. They were asked to retrieve images by using the aesthetic impressions or the keywords. In evaluations, subjects showed that they were satisfied with the aesthetic impression-based image retrieval system on the average. And R-precision of the image retrieval with both color features and aesthetic impressions was higher than that of the image retrieval with color features only. But further studies with larger test collections and query sets should be followed for generalization of the result of this study.