• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.446-453
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• 2021

This paper deals with two methods regarding fact and value. One is the method of H. Putnam, which is to break the boundary between fact and value and to make a world where the two have an inherent connection. The other is the method of J. Habermas, which regards fact and value as the product of an intersubjective agreement based on argumentation. Putnam, through his position of internal realism, moves from realism to pragmatism, especially by combining the rationalist tradition of Kant and Dewey's pragmatic views. Habermas also stands in the tradition of rationalism and universalism in Kant, at the same time emphasizing the practicability of truth in Hegel's tradition of historical reason. The significance of the strategy of Putnam and Habermas is that they have attempted to revive the realm of value against the strict dichotomy of facts and values and the subsequent devaluation of rationality in the realm of value. The starting point of this attempt is that the practical foundation of rationality is laid on life and practice. This could provide the room for escaping from rationality, which prioritizes only truths that reveal facts, that is, instrument-reduced rationality, the room for the revival of practical rationality through reflection on what is the purpose of life, and, in turn, the room for resisting to pass the realm of values and norms to the logic of habitual routines or customs. However, despite such common goal, there are clear limitations to Putnam's approach due to the differences in the strategies taken on facts and values. Putnam's method can demolish the whole universal framework that is the foundation where pragmatic pluralism will be fostered, eliminating the difference between the specificity of values and the universality of norms and shaking up the status of universal ethics. Therefore, Habermas' ethical theory is proposed as an alternative to establish a basis for universal ethics by relying on communication rationality and to secure the coercion of norms and blossom cultural pluralism as a diverse lifestyle based on this coercion.

• Korean Journal of Remote Sensing
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• v.38 no.6_1
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• pp.1463-1478
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• 2022

Maritime transport accounts for 99.7% of the exports and imports of the Republic of Korea; therefore, developing a vessel monitoring system for efficient operation is of significant interest. Several studies have focused on tracking and monitoring vessel movements based on automatic identification system (AIS) data; however, ships without AIS have limited monitoring and tracking ability. High-resolution optical satellite images can provide the missing layer of information in AIS-based monitoring systems because they can identify non-AIS vessels and small ships over a wide range. Therefore, it is necessary to investigate vessel monitoring and small vessel classification systems using high-resolution optical satellite images. This study examined the possibility of developing ship monitoring systems using Compact Advanced Satellite 500-1 (CAS500-1) satellite images by first training a deep learning model using satellite image data and then performing detection in other images. To determine the effectiveness of the proposed method, the learning data was acquired from ships in the Yellow Sea and its major ports, and the detection model was established using the You Only Look Once (YOLO) algorithm. The ship detection performance was evaluated for a domestic and an international port. The results obtained using the detection model in ships in the anchorage and berth areas were compared with the ship classification information obtained using AIS, and an accuracy of 85.5% and 70% was achieved using domestic and international classification models, respectively. The results indicate that high-resolution satellite images can be used in mooring ships for vessel monitoring. The developed approach can potentially be used in vessel tracking and monitoring systems at major ports around the world if the accuracy of the detection model is improved through continuous learning data construction.

• Journal of Service Research and Studies
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• v.12 no.1
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• pp.25-35
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• 2022

Covid-19, of which the first patient in Korea occurred in January 2020, has affected various fields. Of these, the tourism sector might havebeen hit the hardest. In particular, since tourism-based industrial structure forms the basis of the region, Gangwon-province, and the tourism industry is the main source of income for small businesses and small enterprises, the damage is great. To check the situation and extent of such damage, targeting the Chuncheon region, where public access is the most convenient among the Gangwon regions, one-day tours are possible using public transportation from Seoul and the metropolitan area, with a general image that low expense tourism is recognized as possible, this study conducted empirical analysis through data analysis. For this, the general status of the region was checked based on the visitor data of Chuncheon city provided by the tourist information system, and to check the levels ofinterest in 2019, before Covid-19, and in 2020, after Covid-19, by comparing keywords collected from the web service sometrend of Vibe Company Inc., a company specializing in keyword collection, with SK Telecom's T-map search site data, which in parallel provides in-vehicle navigation service and communication service, this study analyzed the general regional image of Chuncheon-city. In addition, by comparing data from two years by developing a tourism popularity index applying keywords and T-map search site data, this study examined how much the Covid-19 situation affected the level of interest of visitors to the Chuncheon area leading to actual visits using a data analysis approach. According to the results of big data analysis applying the tourism popularity index after designing the data mart, this study confirmed that the effect of the Covid-19 situation on tourism popularity in Chuncheon-city, Gangwon-provincewas not significant, and confirmed the image of tourist destinations based on the regional characteristics of the region. It is hoped that the results of this research and analysis can be used as useful reference data for tourism economic policy making.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.