• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.46-56
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• 2012

The research results of tracing the Landscape Philosophy of Hageowon garden(何去園) in Musu-dong, Daejon of Youhwadang, Kwon, Iijin(權以鎭, 1668-1734) is as below. The ideological background of the protagonist reflected in Hageowon is the Hyoje Ideology(filial piety and brotherly love, 孝弟) of Sinjongchuwon(painstakingly caring for one's ancestors), Musil ideology(pursuing ethical diligence and truthful mind, 務實) based on sadistic tradition and ethical rationalism, Confucionist Eunil Ideology(ideology on seclusion, 隱逸) of Cheonghanjiyeon(quiet relaxation, 淸閒之燕), and the Pungryu ideology(appreciation for the arts, 風流) of Taoism in the Taoist style. Thus, by substituting these ideological values into a space called Hageowon, the Byulup gardens(別業) such as the Symbolic garden(象徵園), meaning gaeden(意園), and miniascape garden(縮景園) were able to be constructed. 2) The space organization system of Hageowon is generally classified into three phases considering the hierarchy. The first territory is the transitional space having residential features, which is an area to reach peach tree - road(Taoist world 桃經) from Youhwadang(有懷堂). The second territory is a monumental memorial space where the Yocheondae(繞千臺), Jangwoodam(丈藕潭), Hwagae(花階), and the ancestral graves take place, centering on the yards of Sumanheon(收漫軒), and the third territory is the secluded space in the eastern outer garden where the mountain stream flows from the north to south and which is the vein of the left-hand blue dragon(靑龍) of the guardian mountain of Hageowon. 3) Symbolically, the first phase has symbolized the space as a meaningful scenery by overlapping the Confucionist place of Youhwadang - Gosudae(孤秀臺) - Odeokdae(五德臺), and the mystic world of Jukcheondang(竹遷堂) - peach tree - road(桃徑). The second phase, which is the space of Sumanheon(收漫軒), Yocheondae, and Jangwoodam, the symbolical value of Sinjongchuwon(愼終追遠) and the remembrance and longing for one's parents are reflected. The third phase, which is the eastern outer garden of Hageowon and where the mountain stream flows from the north to south, is composed of the east valley(東溪) - Hwalsudam(活水潭) - Sumi Waterfall(修眉瀑布). More specifically, (1) Mongjeong symbolizes the life of gaining knowledge through studying to realize one's foolishness, (2) Hwalsudam symbolizes a transcending attitude in life refusing to pursue wealth and fame, and (3) Jangwoodam symbolizes the gateway to the fairyland to enter the world of mystic gods. 4) The rationale behind Hageowon is that the two algorithms of Confucionism and Taoist Theory appear repeatedly and in an overlapping way. The Napoji(納汚池) and Hwalsudam, which pertains to the prelude of space development, has symbolized Susimyangseong(修心養成, meditating one's mind and improving one's nature), which is based on ethical rationalism. Moreover, if the Monjeong sphere pertaining to the eastern outer garden of Hageowon takes the Confucionist value system as its theme, including moral training, studying, and researching, Jangwudam, Sumi Waterfalls, and Unwa can be understood as a taste of Cheokbyeon(滌煩, eliminating troubles) for the arts where the mystic world is substituted as a meaningful scenery. 5) The miniascape technique called artificial mountain was substituted to Hageowon to construct a mystic world like the 12 peaks of Mt. Mu(巫山). By borrowing the symbolic meaning expressed in old poems, it has been named 'Habang(1/何放), Hwabong(2, 3/和峯), Chulgun(4, 5, 6/出群), Sinwan(7/神浣), Chwhigyu(8, 9, 10/聚糾), Cheomyo(11/處杳), Giyung(12/氣融).' The representative poet reciting artificial mountain were Wangeui(汪醫), Nosamgang(魯三江), Dubo(杜甫), Hanyou(韓愈), Jeonheaseong(錢希聖), and Beomseokho(范石湖). They related themselves with literature by transcending time and space and attempted to sing about the richness of the mental world by putting the mystic world and culture of appreciating the arts they pursued in the vacation home called Hageowon.

• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• Journal of KIISE:Computer Systems and Theory
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• v.33 no.3
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• pp.166-177
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• 2006

The cache size tends to grow in the embedded processor as technology scales to smaller transistors and lower supply voltages. However, larger cache size demands more energy. Accordingly, the ratio of the cache energy consumption to the total processor energy is growing. Many cache energy schemes have been proposed for reducing the cache energy consumption. However, these previous schemes are concerned with one side for reducing the cache energy consumption, dynamic cache energy only, or static cache energy only. In this paper, we propose a hybrid scheme for reducing dynamic and static cache energy, simultaneously. for this hybrid scheme, we adopt two existing techniques to reduce static cache energy consumption, drowsy cache technique, and to reduce dynamic cache energy consumption, way-prediction technique. Additionally, we propose a early wake-up technique based on program counter to reduce penalty caused by applying drowsy cache technique. We focus on level 1 data cache. The hybrid scheme can reduce static and dynamic cache energy consumption simultaneously, furthermore our early wake-up scheme can reduce extra program execution cycles caused by applying the hybrid scheme.

• Journal of Korean Society of Transportation
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• v.20 no.3
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• pp.115-128
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• 2002

Dislike the tangent sections, the horizontal curve sections of roads should be designed, considering several factors : one of such factors is widening. In other words, since widening results from that when a vehicle runs on the horizontal curve sections, the rear wheels of the vehicle run not along with tracks of the front wheels but out of that, such offtracking should be exactly investigated and reflected in design of the curve sections. Especially in the case of industrial roads which semi-trailers and large trucks run frequently or arterial roads with small curve radiuses in mountainous regions. serious offtracking Phenomenons result in increasing the risk of accidents. decreasing the capacities and jeopardizing pedestrians' safety on the curve sections. For the offtracking, widening amounts of roads has been determined under the traditional presumption that vehicles run at a low speed and there is no superelevation. In fact, however, since the vehicles run at a high speed as well as at a low speed and the superelevation is installed on the horizontal curve sections in the structural aspect of roads, the existing standards for installing widening have a limitation to reflect exactly actual Phenomenons. In particular, for articulated wheel axles of a tractor and a trailer and long articulated vehicles, not only the offtracking degree is very high but also the interpretation shows different aspects from one of single axles. Comparing and reviewing the results of Korean and foreign studies related to the trailer offtracking model theory and the standards for installing widening, this study developed a realistic dynamic offtracking model which considers geometric structures of roads and speeds of vehicles, suggested how to measure widening with this model and examined applicability of the model. The findings of this study are as follows ; First. a dynamic offtracking model. which considers dynamic movements of a tractor and a trailer and the superelevation, was developed. Second, a new method to measure widening with the developed dynamic offtracking model was developed and a method to measure widening with swept path width was suggested as well. Finally, validity of the current standards for installing widening was examined by determining actual offtracking and widening amounts with the developed model and the applicability was investigated through the case studies. Compared with the existing offtracking models, the dynamic offtracking model developed in this study can reflect practically vehicle speed. dimension and geometric structural aspects of roads. In conclusion, the meaning of this study is that it reviews validity of the current standards for installing widening and provides a base to establish such standards by suggesting new methods to measure the widening with this dynamic offtracking model.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1897-1909
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• 2009

This large-scale research project contributes to the theory development in the importance of clothing to the self and in the way that older persons might age successfully by fulfilling the need for self-actualization by incorporating a primary resource environment, such as clothing into their self-system. This paper presents one research objective from a lager project that explores the correlations among the Proximity of Clothing to Self (PCS), age identity (subjective or perceived age), and self-actualization (the highest level of human needs). A mail survey design was applied to this study. In November 2004, two questionnaires, Clothing: A Resource for Successful Aging? (to measure PCS, age identity, and demographic variables) and Personal Orientation Inventory (to measure self-actualization), were sent to 1,700 older persons in the U.S. and 195 completed usable questionnaires were returned (12% response rate). This research discovered that the age identity of older persons did not relate with PCS except for those 85 years and over. There were negative correlations among subscales of PCS and self-actualization. This result can be interpreted as that an older person who has not met the highest level of needs yet, can use clothing as a facilitator or need satisfier to meet a higher level of Self-Actualization (SA). Correlation analyses also revealed that older persons in the age category of 75 to 84 years were different from those in the category of 65 to 74 years and 85 years and over. This result implies that older persons in this age category are undergoing more psychological transitions than those in other categories. Further research is necessary to explore the relationship of several SA subscales with various clothing variables such as clothing interest, clothing involvement, or clothing satisfaction.

• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.27 no.1
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• pp.21-30
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• 1991

The estimation of the fish biomass density or the size of fish by means of the acoustic equipment is an important part in the quantitative assessment of fisheries resources. The precision of such estimates depend upon the target strength of fish and the accuracy to which the acoustic equipment has been calibrated. This paper examine the accuracy of the digital measurement system which is manufactured by way of trial in order to masure the target strength of fish, and calibrations of that system carry out with an ogive and a ellipsoid made of the aluminum and the epoxy, respectively. Furthermore, measurements of target strength for eight species of fish are made at 25, 50, 100 kHz. The accuracy of the digital measurement system is compared the theory with measurements on ogive and ellipsoid, and the agreement is reasonable. Result of establishments on the target strength to fish length and to fish weight regression obtained from the measurements are available to provide the methods of design for use in interpreting acoustic measurements of fish abundance on the experimented eight species.

• The Journal of the Korea Contents Association
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• v.16 no.2
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• pp.652-665
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• 2016

National Competency Standards or NCS is an educational system that emphasizes developing job-related abilities. Therefore it will be an effective solution in training field-oriented work forces if properly applied. However, in the department of social welfare, it is not easy to apply NCS to the curriculum since most academic subjects concerning social welfare focus not on practice but on theory and in addition, most of social welfare departments in junior colleges have an accredited curriculum for the 2nd degree of the social worker qualification. This means it is preposterous if NCS is applied to the curriculum without prior changes in the existing qualification system. So, this paper proposes a draft model to apply NCS to the already-accredited curriculum for the 2nd degree social workers in the junior colleges and details are as follows. Firstly, the competency units will be customized for the existing academic subjects in the curriculum rather than developing new subjects in accordance with NCS competency units. Secondly, some client-related competency units including children, seniors, the disabled are newly developed and then applied to the curriculum, which are crucial for the career development at the junior college level. Thirdly, the competency units are categorized into three types in accordance with the degree of job relevancy - type 1, type 2, type 3. Fourthly, four out of 11 basic job abilities are selected and then developed into academic subjects. Fifthly, all competency units concerning the main job market are regarded as one virtual competency unit and then arranged in the order of type 1s, type 2s and type 3s and then the scope of their study is adjusted to the job abilities required at the main job market.

• Journal of KIISE:Computing Practices and Letters
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• v.9 no.3
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• pp.322-331
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• 2003

As the complexity of a 3D game is increased by various factors of the game scenario, it has a problem for controlling the interrelation of the game objects. Therefore, a game system has a necessity of the coordination of the responses of the game objects. Also, it is necessary to control the behaviors of animations of the game objects in terms of the game scenario. To produce realistic game simulations, a system has to include a structure for designing the interactions among the game objects. This paper presents a method that designs the dynamic control mechanism for the interaction of the game objects in the game scenario. For the method, we suggest a game agent system as a framework that is based on intelligent agents who can make decisions using specific rules. Game agent systems are used in order to manage environment data, to simulate the game objects, to control interactions among game objects, and to support visual authoring interface that ran define a various interrelations of the game objects. These techniques can process the autonomy level of the game objects and the associated collision avoidance method, etc. Also, it is possible to make the coherent decision-making ability of the game objects about a change of the scene. In this paper, the rule-based behavior control was designed to guide the simulation of the game objects. The rules are pre-defined by the user using visual interface for designing their interaction. The Agent State Decision Network, which is composed of the visual elements, is able to pass the information and infers the current state of the game objects. All of such methods can monitor and check a variation of motion state between game objects in real time. Finally, we present a validation of the control method together with a simple case-study example. In this paper, we design and implement the supervised classification systems for high resolution satellite images. The systems support various interfaces and statistical data of training samples so that we can select the most effective training data. In addition, the efficient extension of new classification algorithms and satellite image formats are applied easily through the modularized systems. The classifiers are considered the characteristics of spectral bands from the selected training data. They provide various supervised classification algorithms which include Parallelepiped, Minimum distance, Mahalanobis distance, Maximum likelihood and Fuzzy theory. We used IKONOS images for the input and verified the systems for the classification of high resolution satellite images.

• Journal of Science of Art and Design
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• v.12
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• pp.65-96
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• 2007

Today, the modern art is extremely diverse. It is denying its own boundary through chaos, extreme, abjection. In fact the diversity of the modern art can be best described as questioning and challenging to the essence of the reality, rather than the artistic pursuit of the beauties. The pursuit of the reality has been a long lasting discourse since the ancient. Through the history, the reality (referent) and representation (image) has been complementing and disposing each other in a relationship of a meaningful construction until the modern times. The limit of modernistic self-reference and the emergence of the figure leads to the emergence of Post-modernism in a trend of experimenting new visual arts. The return to the figure is clearly distinguished from existing representation's system and it brought new meanings to approaches and interpretations of the reality. In the case of Pop arts of 1960's and the following the modern sculptures, which is covered by this thesis, I put an emphasis on the diversification of those via changed strategies on the reality. In a situation where the reality is dictated by signified, the modern arts can no longer stay on a classic concept of representation, rather it pursuits new system and diverse strategies. I provide three types of strategic characters of the reality and the diversification of reality: the transition of the reality. These three types can be used as a frame work, which is supporting new aspects of the modern arts in reflecting on existing system. Therefore, the reason of categorizing is to distinguish modernistic arts and post modernistic arts, and to propose new post-modernistic discourses. Adapting J.F, Lyotard's view, absence is used to trace down the diversification of the reality thorough the sublime on the deconstruction of the mega discourses and the relationship of representation. Based on H. Faster's theory of the appropriation, the appropriation is used to exemplify the strategies of visual arts are in variations and being delayed. Lastly, in the transition, J. Baudrilliard's simulacre is used in terms of the concept of post modernistic representation. Based on the core of his theories, the deconstruction of existing concepts and simulation as the post modernistic representation, and the world of hyperreality based on simulacre are explained. These allows us to deny that representation is the expression of reality through mimesis. My aim is to work on the definition of the arts and representation in the modern era, and go further from there in order to clarify meaning and extension of the modern sculptures. Now two artists are reviewed based on their own art works: George Seagal; Jeff Koons. They are selected among numerous artists from the Post Modern era. Epic contents and emphasis on daily life of Seagal's works show good examples to artists from Pop Arts and following time period and may have served as a start point for Postmodernism. Indeed, he tried to show a newly defined relationship between art works and daily life experience. On the other hand, J.Koons used the strategies of fabrication and appropriation, which shows characteristics of the postmodernism. Through his four individual exhibitions, he shows the diversification of the reality based on art works as fetishistic merchandises, and newly defined concept of Ready-made since M Duchamp. Lastly, the diversification of the reality is analyzed again in context of my art works. I focused on the return to the figure among a variety of trends of late 20 th century modern sculpture. It showed the post modernistic point of view on the reality. Post modernistic diversified strategies are adopted as a method of distinguishing each art works via the diversification of the reality. This is the result of contemporary social and cultural situations.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.