• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.70-95
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• 2013

The Tejaprabha Buddha painting, located in the Korai Museum in Kyoto, Japan, was made in 1569 when Joseon Dynasty was in his $14^{th}$ year under SeonJo's ruling, and is only one of Tejaprabha Buddha paintings from the early Chosun dynasty. With its well preserved state, the painting allows clear indications of all icons and list of names that were written, and the record region also has minimal deterioration. This Buddhist painting is a GumSeonMyoHwa which is drawn with gold lining on red hemp cloth and has a relatively small dimension of $84.8{\times}66.1cm$. With the Tejaprabha Buddha in the center, the painting has two unidentified Bodhisattvas, Navagrabha, Rahu, Keto, YiSipPalSoo (28 constellation of the eastern philosophy), SipYiGoong (12 zodiacs of the western philosophy), SamDaeYookSung, and BookDooChilSung (the Big Dipper), all of which provide resourceful materials for constellation worshipin the Joseon era. This painting has a crucial representation of the overall Tejaprabha Buddhism - a type of constellation worships - from the early Joseon dynasty. Even though the composition does seem to be affiliated with the paintings from the Koryo dynasty, there are meaningful transformations that reflect changes in content into constellation worship in Joseon dynasty. As a part of the Tejaprabha Buddha, SipIlYo has become a center of the painting, but with reduced guidance and off-centered 'Weolpe (star)', the painting deteriorates the concept of SipIlYo's composition. Furthermore, addition of Taoistic constellation beliefs, such as JaMiSung (The purple Tenuity Emperor of the North Pole), OkHwangDaeChae, and CheonHwangJae, eliminates the clear distinction between Taoistic and Buddhist constellation worships. Unlike the Chinese Tejaprabha Buddha painting, the concept of YiSipPalSoo (28 constellation of eastern philosophy) in this painting clearly reflects Korean CheonMoonDo's approach to constellation which can be applied to its uniqueness of the constellation worships. The fact that the Big Dipper and ChilWonSungKoon (Buddha of the Root Destiny Stars of the Northern and central Dipper) are simultaneously drawn can also be interpreted as the increase in importance of the constellation worship at the time as well.

• Journal of the Society of Disaster Information
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• v.17 no.4
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• pp.722-732
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• 2021

Purpose: Due to the coronavirus infection-19 (COVID) pendemics, all educational institutions were required to provide full non-face-to-face real-time education, and fire officials were required to provide fire-fighting education by applying non-face-to-face education. In this difficult situation, the National Fire Service Academy tries to find the direction of the non-face-to-face real-time education and suggest ways to improve it through a survey of the status of non-face-to-face real-time education conducted by the NFSA to fire officials. Method: A survey was conducted on fire officials under the theme of "Consciousness Survey for Improving the Quality and Specialization of Non-face-to-face Real-Time Remote Education" and an in-depth analysis was conducted based on the results. Result & Conclusion: First, professors or educational operators shall actively utilize remote education programs suitable for educational characteristics by utilizing various programs. Second, a dedicated notebook for non-face-to-face training should be provided to provide an educational environment where all learners can participate in the training without difficulty. Third, in the case of education and training that requires the use of equipment due to the nature of fire officials' education and training, it is necessary to consider it as a non-face-to-face training place by arranging educational equipment at each fire station. Fourth, it is hard to expect a satisfactory educational effect to cope with practical education with theoretical education. Therefore, facilities and programs that enable non-face-to-face real-time hands-on training should be developed. It is worth considering the proper combination of face-to-face education while maintaining the social distance as much as possible until such non-face-to-face training is possible. Fifth, non-face-to-face education is considered to have high eye fatigue due to the light and electromagnetic waves of the computer screen, and as time goes by, the concentration level decreases. Therefore, it is necessary to form an education time to reduce the eye fatigue of learners and increase concentration through proper class and rest time. Finally, professors should operate a learner participation-oriented education that allows professors and learners to interact rather than one-sided knowledge transfer education. In addition, technical problems of non-face-to-face remote education should be thoroughly prepared through preliminary system checks to ensure that education is not disrupted.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.252-271
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• 2022

This article examines the characteristics of the royal tombs of the late Silla Dynasty with the statues of the 12 animal deities(Zodiac) and estimates the process of change. The features of the statues show a difference in their combination in terms of continuity and similarity of the object in their hands. In addition, there is a difference in the shape of the face of the stone statue, and differences are observed in the orientation and aspect ratio of the statue according to the sculptural method. The characteristics of these statues are somewhat different from the previously studied protected-stone and manufacturing techniques. For example, the Zodiac statues that are flattened from high relief to low relief are known to be decorated in realistic expressions, but they tend to be treated as separate conditions because they do not match the change of the stone. In addition, there was a characteristic that did not show regular changes, such as appearing and disappearing again when there was no balustrade in the tomb. Summing up the characteristics of each part, the Zodiac statues are largely divided into curved angles and flat angles according to the sculptural technique, and the head orientation and clothing of the statue are related. They are divided into two categories and can be viewed as having temporality according to the aspect ratio. These characteristic changes are consistent with the continuity of features and changes in the object in the hands of the 12 Zodiac statues. Therefore, the number of faces with protected-stone changes were gradually increasing in trend. As a result, there is a possibility that the Gujeongdong Square-shape Tomb and King Jindeok Tomb are earlier royal tombs than the Wonseong Royal Tomb. Therefore, the royal tombs of the late Silla Dynasty have a complete, tomb structure, containing the 12 animal god statues, ceremonial spaces(拜禮空間), Shindo(神道), stone statues(石像), and tombstones. This can be understood as a basic motif for the royal tomb structures of Goryeo and Joseon.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.105-120
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• 2020

This study explores the process of the actual content production and distribution, by creating a YouTube channel to promote the popular music contents produced by the researcher, which thus reflects the reality where the production of video contents rapidly increases. A YouTube channel titled "Alida Music", of which the focus was to promote indie musicians, was created on February 2019. The contents of 10 indie musicians were produced in one-take live format. The information of the indie musicians was displayed in the form of a screen business card, with their e-mail address and SNS account at the top. Therefore, this promotional design was named "Card Live". Promotional video contents marked with the QR code in the lower right on the screen were produced, along with the promotional phrase "Communicate directly with the artist through the QR code", which allows viewers to watch other contents of the indie musician when they scan the QR code. This research conducted a study on how to improve and promote "Card Live" contents of "Alida Music", which were produced through this process. A group interview targeting five indie musicians, among whom one participant deemed significant was selected to conduct a one-to-one in-depth interview. As a result of the study, the following three conclusions were drawn. First, YouTube was found to be the medium with the greatest influence and highest efficiency at the lowest cost. Second, the evaluation of the participants on "Card Live" were divided into the three categories: need for one-take live, the design elements of "Card Live", and scanning issues of the QR code. Third, there is a need for promotional methods that can effectively utilize the media aspects of YouTube: the channel management issues such as raising public awareness as well as the number of subscribers of "Alida Music" should be resolved and measures to effectively use various media including other SNS should be developed. In terms of its content, it is imperative to recruit diverse performers to make various contents, as well as to come up with ways to link "Card Live" contents with offline. Based on these results, "Card Live" contents should be further revised and complemented in order to provide interesting contents to consumers, which will further develop "Alida Music" as a platform where various musicians and companies meet, thereby inducing contracts with popular music agencies and generating advertising revenues. However, since this study was carried out only with the limited number of participants, future studies should include more participants to bring forth a variety of promotional plans and improvement measures. Also, in the era of consuming contents through smart devices, the fact that some features of "Card Live" were available only on PC, did not fully reflect the characteristics of the times. In the future research, various contents that smartphone users can access and view freely without PC should be produced.

• Conservation Science in Museum
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• v.3
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• pp.43-50
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• 2001

This article is about a joint project carried out by the National Museum of Korea and the Tokyo Cultural Properties Research Institute for the conservation of central Asia Wall painting that has been selected for the exhibition at the new Seoul National Museum of Korea at Yongsan. The investigation of the wall painting revealed very useful information. This includes the condition of the object, and the identification of evident damage, such as cracks, loss of pigment, plus materials and methods employed during the object's creation, as well as previous conservation treatment. The object was mainly made by applying plaster to the body (wall) that consisted of a mixture of soils and rice straws. Then, on the surface of the wall-painting, pigments were used to draw and to colour it. As a part of the investigation, radiocarbon dating was conducted using straw samples taken from the object. The result indicates that the object is probably dated form between the end of the 10th Century and the beginning of the 13th Century. The result of X-ray diffraction also revealed the composition of the pigments used on the surface. These are 1. gypsom [Ca(SO₄)·2H₂O], CaSO₄ and Calcite (CaCO₃) and Calcite (CaCO₃) that were used for the white background. 2. Pb₃O₄ and led Arsenate [Pb(As₂O₆) that were used for the red colouring. 3. Cuprite (Cu₂O), Arsenolite (As₂O₃) and Arsenic Oxide (As₂O₄) that were used for the green colouring.

• (The) Research of the performance art and culture
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• no.39
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• pp.609-635
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• 2019

This study analyzed five official entries in the 3rd Cheong Kong Festival contest and analyzed the patterns of teen audience empathy. The tools used for this analysis were 'characters, acting, background and theme'. Firstly, characters were mostly teenagers and out-of-school teenagers, but there were other performances that focused on the relationship between teenagers and adults or focused on the youth, which the teen audience preferred. And they preferred realism acting to emotional acting and preferred musical acting to realism acting. In addition, the background of the events covered in the performance was evaluated to be like this: the closer the audience was to the youth, the higher the audience sympathized with the performance, and the closer the subject matter was to the youth's interest, the more positive it received. In summing up the opinions of the youth evaluation team, the first audience-participating Sinpa Theater, "Mr. X" was evaluated to expand the scope of teenagers to 20s and to show the negative and heavy reality as fun and beneficial one. Secondly, when it comes to non-prejudiced youth theatre "The Turtle", which have a high level of empathy, it was evaluated to shape the prejudice about others through the symbol of 'bag'. Thirdly, regarding the time-traveling retro-style youth theatre of the 'a jam-packed Bus', it was evaluated to be a well-made retro-style youth theatre. Regarding the 'Lunar Eclipse', which showed the aesthetic of the relationship, scenes were evaluated to be built with omission and restraint. Regarding "B Officer on and Love Letter", it was evaluated to be adapted to a musical from Hyun Jingun's novel, which was released 100 years ago. Lastly, the performance desired by the youth evaluation team was a performance with a high level of 'sympathy' and 'education'. In other words, they preferred performances that empathize with the emotions and thoughts of teenagers, and on the other hand, they wanted to see performances that allowed them to see the world broadly outside their own worlds. If youth theater is created by referring to the evaluation of youth as it is in this study, the audience will be more sympathetic to performances.

• The Korean Journal of Air & Space Law and Policy
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• v.32 no.1
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• pp.327-353
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• 2017

The issue submitted to the Court of Justice on the merits of case C---573/13 originated from a claim brought in the context of a dispute between Air Berlin and the German Federal Union of Consumer Organisations and Associations. The challenge concerned the way in which air fares were displayed in Air Berlin's computerised booking system. The system was organised in such a way that, after selecting a date and a departure airport, one would find all possible flight connections in a summary table. However, the final price of the ticket was displayed only for the clicked connection, and not for all connections, thus preventing customers from being able to compare such price with the prices of other connections. The German Federal Union took the view that this practice did not meet the requirements laid down by Article 23 of Regulation (EC) No. 1008/2008, which requires transparency in the prices set for air services. This led the German State to bring an injunctive action to cause Air Berlin to discontinue said practice. The claim was upheld at both the application and appeal stage of the relevant proceedings. Subsequently, Air Berlin submitted the matter to the German Federal High Court, which decided to stay the proceedings and ask for a preliminary ruling from the Court of Justice as to 1. whether Article 23 of Regulation (EC) No. 1008/2008 must be interpreted as meaning that, during the computerised booking process, the final price to be paid must be indicated at all times when prices of air services are shown, including when they are shown for the first time; and 2. whether, during the computerised booking process, the final price must be indicated only for the air service specifically selected by the customer or for each air service shown. In a nutshell, the Court, by the here---discussed judgment determined that Article 23 of Regulation (EC) No. 1008/2008 must be interpreted as meaning that, in the context of a computerised air ticket booking system, the final price to be paid must be indicated not only for the air service specifically selected by the customer, but also for each air service in respect of which the fare is shown. Clearly the above judgment will place air companies under an obligation to update and adjust (when needed) their computerised ticket booking and payment systems, in consideration of the primary need for consumers to be aware at all times of the actual price payable for a ticket and be able to compare the price of the service selected with the prices for other air services in respect of which the fare is shown.

• Geophysics and Geophysical Exploration
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• v.2 no.1
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• pp.26-32
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• 1999

Among the various seismic data processing sequences, the velocity analysis is the most time consuming and man-hour intensive processing steps. For the production seismic data processing, a good velocity analysis tool as well as the high performance computer is required. The tool must give fast and accurate velocity analysis. There are two different approches in the velocity analysis, batch and interactive. In the batch processing, a velocity plot is made at every analysis point. Generally, the plot consisted of a semblance contour, super gather, and a stack pannel. The interpreter chooses the velocity function by analyzing the velocity plot. The technique is highly dependent on the interpreters skill and requires human efforts. As the high speed graphic workstations are becoming more popular, various interactive velocity analysis programs are developed. Although, the programs enabled faster picking of the velocity nodes using mouse, the main improvement of these programs is simply the replacement of the paper plot by the graphic screen. The velocity spectrum is highly sensitive to the presence of the noise, especially the coherent noise often found in the shallow region of the marine seismic data. For the accurate velocity analysis, these noise must be removed before the spectrum is computed. Also, the velocity analysis must be carried out by carefully choosing the location of the analysis point and accuarate computation of the spectrum. The analyzed velocity function must be verified by the mute and stack, and the sequence must be repeated most time. Therefore an iterative, interactive, and unified velocity analysis tool is highly required. An interactive velocity analysis program, xva(X-Window based Velocity Analysis) was invented. The program handles all processes required in the velocity analysis such as composing the super gather, computing the velocity spectrum, NMO correction, mute, and stack. Most of the parameter changes give the final stack via a few mouse clicks thereby enabling the iterative and interactive processing. A simple trace indexing scheme is introduced and a program to nike the index of the Geobit seismic disk file was invented. The index is used to reference the original input, i.e., CDP sort, directly A transformation techinique of the mute function between the T-X domain and NMOC domain is introduced and adopted to the program. The result of the transform is simliar to the remove-NMO technique in suppressing the shallow noise such as direct wave and refracted wave. However, it has two improvements, i.e., no interpolation error and very high speed computing time. By the introduction of the technique, the mute times can be easily designed from the NMOC domain and applied to the super gather in the T-X domain, thereby producing more accurate velocity spectrum interactively. The xva program consists of 28 files, 12,029 lines, 34,990 words and 304,073 characters. The program references Geobit utility libraries and can be installed under Geobit preinstalled environment. The program runs on X-Window/Motif environment. The program menu is designed according to the Motif style guide. A brief usage of the program has been discussed. The program allows fast and accurate seismic velocity analysis, which is necessary computing the AVO (Amplitude Versus Offset) based DHI (Direct Hydrocarn Indicator), and making the high quality seismic sections.

• Journal of Intelligence and Information Systems
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• v.18 no.1
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• pp.1-21
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• 2012

In recent years, mobile phone has experienced an extremely fast evolution. It is equipped with high-quality color displays, high resolution cameras, and real-time accelerated 3D graphics. In addition, some other features are includes GPS sensor and Digital Compass, etc. This evolution advent significantly helps the application developers to use the power of smart-phones, to create a rich environment that offers a wide range of services and exciting possibilities. To date mobile AR in outdoor research there are many popular location-based AR services, such Layar and Wikitude. These systems have big limitation the AR contents hardly overlaid on the real target. Another research is context-based AR services using image recognition and tracking. The AR contents are precisely overlaid on the real target. But the real-time performance is restricted by the retrieval time and hardly implement in large scale area. In our work, we exploit to combine advantages of location-based AR with context-based AR. The system can easily find out surrounding landmarks first and then do the recognition and tracking with them. The proposed system mainly consists of two major parts-landmark browsing module and annotation module. In landmark browsing module, user can view an augmented virtual information (information media), such as text, picture and video on their smart-phone viewfinder, when they pointing out their smart-phone to a certain building or landmark. For this, landmark recognition technique is applied in this work. SURF point-based features are used in the matching process due to their robustness. To ensure the image retrieval and matching processes is fast enough for real time tracking, we exploit the contextual device (GPS and digital compass) information. This is necessary to select the nearest and pointed orientation landmarks from the database. The queried image is only matched with this selected data. Therefore, the speed for matching will be significantly increased. Secondly is the annotation module. Instead of viewing only the augmented information media, user can create virtual annotation based on linked data. Having to know a full knowledge about the landmark, are not necessary required. They can simply look for the appropriate topic by searching it with a keyword in linked data. With this, it helps the system to find out target URI in order to generate correct AR contents. On the other hand, in order to recognize target landmarks, images of selected building or landmark are captured from different angle and distance. This procedure looks like a similar processing of building a connection between the real building and the virtual information existed in the Linked Open Data. In our experiments, search range in the database is reduced by clustering images into groups according to their coordinates. A Grid-base clustering method and user location information are used to restrict the retrieval range. Comparing the existed research using cluster and GPS information the retrieval time is around 70~80ms. Experiment results show our approach the retrieval time reduces to around 18~20ms in average. Therefore the totally processing time is reduced from 490~540ms to 438~480ms. The performance improvement will be more obvious when the database growing. It demonstrates the proposed system is efficient and robust in many cases.