• Proceedings of the KSR Conference
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• 2010.06a
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• pp.2270-2277
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• 2010

Recently the role of a railroad is emphasized as the imprortant part for growth for the low carbon green growth and the social consensus about the railroad investment is actively progressed. The various social economic value in which the travel demand change over of the environment-friendly railroad system can bring becomes with public debate as much as a discussion is not any more necessary. In this research, the influence that it recognized that the travel time improvement by the high speed rail was the most important element among many method that it can increase the railroad use efficiency in which it connects the interregional major cities and the railway travel time improvement reaches to the rate of railway and road travel time, and the environment like the carbon emission quantity was comprehensively inquired.

• Journal of the Korea Furniture Society
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• v.26 no.4
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• pp.291-300
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• 2015

The Netherlands' contemporary Art Furniture has drawn large attention from design and art fields all around the world because of Dutch designers' intriguing themes and experimental approaches. Its successful achievement not comes from certain policies or personalities, but the result of ceaseless internal criticisms and self examinations. After World War II, Modernism was the most common notion of furniture design for mass production in the Netherlands like other nations, but Dutch designers and critics put modernist canon up for discussion since 1960s. They have searched counter modernist design for expression of human element and warmth using art works, craft, and Postmodernism theory, etc. Throughout design debate of modernism, free design, design as art and conceptual design, now we could observe Dutch designer's unique and distinguished Art Furniture in the influential places. By analyzing the development of the Netherlands' contemporary Art Furniture in chronological sequences, we could understand them better and learn something useful to Art Furniture in South Korea.

• Korean Institute of Interior Design Journal
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• no.22
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• pp.69-76
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• 2000

Contemporary architecture in Japan is entering an entirely new phase in the second half of the 1980s. In the late 1960s, doubts began to be expressed about Modernism, which until then had been the recognized mainstream of architecture. There was much discussion, but it was only in the early '80s that an active debate was initiated concerning Post-Modernism. Today, however, matters have gone beyond this, and the situation appears particularly significant. The Japanese architecture world was hitherto understand to be fundamentally very different from its western counterparts. There are several trends in current Japanese architecture which have still come out of the Japanese tradition of life, culture, region, climate itself. At the same time, stance of contemporary Japanese architecture start from a common basis in world's design stream which can be called Post-Modernism, Deconstructivism, Neo-Modernism. This study is aimed at analysis of 'Regional Characteristics' in Contemporary Japanese Architecture.

• Review of Korean Society for Internet Information
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• v.14 no.3
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• pp.95-100
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• 2013

Having taken actions for 2 years, Net Neutrality User Forum has realized Net Neutrality as a international issue of future Internet. Although the Internet design principle (layering, module, IP protocol) has enabled the end users to communicate each other without any additional permission or interference, in the reality, the end users have been tracked by both companies and governments, and the communications could be blocked, or restricted by surveillance devices, such as DPI, which could change the whole Internet design principle. Given that the Internet is a large community of the equal end-users based on end-to-end principle, it's essentially the issues of the whole Internet users, rather than of one nation, and we should focus on developing the transparent and participatory ways in Internet governance. The current Internet governance discussion have taken placed in ICANN, IGF, etc., in bottom-up processes of multistakeholderism to reflect the views of end-users. However there have been the controversial issues in Internet Governance, such as the position of government as a stakeholder, global north-south problem, transparency, so we have faced the debate on the new or evolving frame of Internet governance.

• Proceedings of the KIEE Conference
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• 2001.07a
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• pp.527-529
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• 2001

Interfaces are the point of interconnection between distributed generation and the energy infrastructure. These interfaces are generally physical but can include a market dimension as well. While there are issues surrounding various interfaces, the most important issues in the short term are on the electrical interface. Much of the discussion and debate surrounding distributed generation interconnection has centered on technical issues. However, there are two elements of Interconnection that merit equal consideration-process and contractual issues. The solution of distributed generation Interconnection issues depends on whether existing requirements can be modified to make them more efficient, transparent, and standardized while maintaining the grid's reliability and safety. In this paper, two main courses, standardization and third party participation, are suggested for the resolution of these issues.

• Journal of Korean Society of Archives and Records Management
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• v.12 no.2
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• pp.163-179
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• 2012

The author discusses the nature and scope of archival reference service through the debate to user studies in the 1980s and the 1990s. Until the 1990s, archivists paid little attention to studying their user population. A new approach to archival user service led to the development of various public services of archives and resulted in active interaction with the public. Based on the discussion, the article examines the implication of archival reference service in Korean society.

• International Journal of Contents
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• v.9 no.3
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• pp.55-61
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• 2013

The Korean films in the 1980s played an important role in impeding the interaction between the media and the audience. In terms of two mechanisms of money and power, the Korean films lost the function of publicity and were forced to disregard positive aspects of culture as a way of understanding society. As a mass medium, the film did not give people the space for critical thought and discussion on social reality. This study tries to discuss how Korean movies in the 1980s functioned as a bulwark of critical debate provided by the interaction between cultural texts and audiences through the notion of the public sphere. For Habermas, the public sphere provides a basis for critical analysis in order to reveal the relationship between media and economic and administrative power in a modern society.

• Journal of Navigation and Port Research
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• v.32 no.2
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• pp.149-158
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• 2008

This paper discusses the strategies for the future qf the Hong Kong Port and Buasn Port. We assess whether they prepare the ports for the position of being the logistics hub, and as such could assist the ports to maintain their position in the world's container port. We reviewed both the current situation qf the Hong Kong Port and the strategy of the port for the future (Master Plan 2020) to keep the status of logistics hub. With the case study on the Port of Hong Kong, this study attempts to examine what the strategic planning is needed for the Busan Port. We debate the Port of Busan could be seen as a logistics chain for the future. In our discussion, the strategic planning on "Port Vision 2020" for Port of Busan does not address the issues regarding this part, nor does it make any recommendations in terms of the requirement of the logistics private sector.

• Trans-
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• v.10
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• pp.31-50
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• 2021

Media audiences are defined in a complex relationship with a comprehensive media environment, and are structured and reconstructed according to changes in the media environment. Today, with the changes in the media environment represented by convergence and transmedia, discussions on audiences are actively developing, and debates between positive and negative views on the cultural and political characteristics continue. This paper aims to systematically examine the complexity and ambivalence of new audiences beyond the binomial confrontational debate, and to understand the conditions and mechanisms under which the progressive possibility can be actualized. First, it looks at the changes in today's media environment and contents, and examines the changing patterns of audiences in connection with them based on related research. In addition, it examines the debate on the cultural and political characteristics of new audiences, and explores ways to construct /reconstruct alternative audiences based on Jacques Ranciere's discussion. In conclusion, the characteristics and contents of the utopian and dystopian moments of the transmedia audience were examined, and the necessary works for realizing the former were identified.

• Trans-
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• v.5
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• pp.1-27
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• 2018

What is 'analyzing a movie'? And, what is 'its role in film studies'? The question required a systematic and scholarly answer, and filmologie was making a clear place for itself. Through psychology, aesthetics, text theories and of course semiotics, the conceptualization of 'film' has been formed. Deleuze, who has been continually writing about 'movies' in his philosophical essays, ended the debate in defining the relationship between 'image and essence' when he released 《Movie 1, Movement-Image》 in 1983. 'Film' rapidly became the topic of the century and became a 'device' that leads the way of thinking. The reason why Jean-Louis Boissier labeled this 'film' as 'device (le dispositif)' was not part of film studies. What should be noted is that the mention of 'film' became a key part of the debate of 'reproduction', which was the most popular subject of philosophy and humanities. In the digital era, the film is once again questioned about its definition. In retrospect, themes of core debates of 'History of cinema' have always been driven by simple and superficial technological changes. With the emergence of CG (Computer Graphics), the question of 'cinema' in the 21st century is not only a philosophical discussion on the problem of 'reproduction', but also a crucial change that shifted the focus of the debate on the nature of the film from 'production' to 'distribution'.