• Cartoon and Animation Studies
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• s.26
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• pp.109-130
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• 2012

The purpose of this study is to suggest the direction of the development of the feature length animation for movie theater by analyzing of the reasons of the success of . released in 2011 has broken box office records by drawing 2 millions since drew 760 thousands in 1976. This can be one of the success model of the animation for movie theater, considering it has had trouble not only in planning ability and scenario power but also in producing environment where subcontracts are prevalent. This box office hit seems to have been possible through cooperation and division of movie crews and animation crews. Many kinds of materials are reviewed and producer Kim Seonku was interviewed for analysis of the reasons of box office success. Followings are five reasons of success found as the result of analysis and the body of this article is composed of the argument and analysis of each. 1.This animation was planned and produced in the same way of commercial feature films. 2.There was detailed division of work while producing 3. Various kinds of investments were made sequentially, 4. Major film distributor like Lotte and CJ could be motivated 5. There were producers who can mediate between the animation and film field This study suggests the direction both in the aspect of industry and the aspect of training professionals as the result of analysis. In the industrial aspect, transitional cooperation is needed between animation filed and film field which can motivate distributor. Industrial approach like planning, investment, distribution and marketing is absolute for the success of animation for movie theater. Also in the aspect of training professionals, curriculum needs to be improved in the university because the ability and passion of the professionals in the field of animation industry are the most important and education is the most approachable way.

• Journal of the Korean Geographical Society
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• v.51 no.5
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• pp.613-632
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• 2016

The recent diagnosis of the Anthropocene challenges public understanding of nature as a pure and singular entity removed from society, as the diagnosis confirms the earth-changing force of humans. In geography, the nature-society divide has been critically interrogated long before the diagnosis of the Anthropocene, developing several ways of theorizing nature-society relations. This paper introduces a new frontier for such theoretical endeavors: more-than-human geography. Inspired by the material and performative turn in geography and the social sciences around the 2000s, more-than-human geographers have sought to re-engage with the livingness of the world in the study of nature-society relations. Drawing on actor-network theory, non-representational theory (NRT) and vitalism, they have developed innovative ways of thinking about and relating to nature through the key concepts of 'nonhuman agency' and 'affect'. While more-than-human geography has been extensively debated and developed in recent Euro-American scholarship on cultural and economic geography, it has so far received limited attention in Korean geographical studies on nature. This paper aims to address this gap by discussing the key concepts and seminal work of more-than-human geography. I first outline four theoretical strands through which nature-society relations are perceived in geography. I then offer an overview of more-than-human geography, discussing its theoretical foundations and considering ontologies, epistemologies, politics and ethics associated with nature-society relations. Then, I compare more-than-human geography with political ecology, which is the mainstream critical approach in contemporary environmental social sciences. I would argue that more-than-human geography further challenges and develops political ecology through its heightened attention to the affective capacity of nonhumans and the methodological ethos of doing a careful political ecology. I conclude by reflecting on the implications of more-than-human geography for Korean studies on nature-society relations.

• Journal of vocational education research
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• v.36 no.1
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• pp.77-103
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• 2017

The purposes of this study are 1) to analyse the importance and performance of the success factors in steps of Formation process Of Cooperation NetWork(FoCNW) of educational institutions and businesses, and 2) to draw the success factors that need improvement. To achieve these purposes a survey research was conducted with a group of 1,098 (professors, teachers and workers in charge of cooperation at universities, technical colleges, vocational high schools and businesses which are equipped with a cooperation system), and 339 questionnaires were analyzed. The major results of the study are as follows. Firstly, while cooperation workers showed high recognition on the importance of success factors in steps of FoCNW, their performance of those factors was relatively low. Secondly, both the recognition of importance and performance of success factors in steps of FoCNW was higher in educational institutions than in businesses. Thirdly, the success factors in need of improvements from both educational institutions and businesses are 'collecting outer information and consulting' and 'publicizing cooperation competency', 'setting cooperative activities (programs) and contents of agreements', 'managing cooperation quality formally', 'drawing plans for sustainable cooperation improvement' and 'diffusing cooperation network'. The success factors in need of improvements from educational institutions are 'perceiving necessity of and forming consensus on cooperation' and 'deciding and supporting the worker in charge of cooperation', and 'participating and sharing of organization members'. The success factors in need of improvements from businesses are 'deciding goals and performance strategies', 'developing mutual understanding and checking possibility of cooperation with potential partners', and 'evaluating cooperation activities and their outcomes and providing feedback' and 'adjusting contents of agreements and deciding whether to maintain cooperation'. Therefore, efforts from each partner to improve those factors and support from related organizations are necessary.

• The Korean Journal of Archival Studies
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• no.19
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• pp.3-55
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• 2009

Records of architectural cultural properties, in case of accidents, show who are to blame, present what evidences are to establish the cause, and also are used for checking if there were any problem in policies and regulations in preserving and caring architectural cultural properties. These records are of great importance in their roles and are of essential use regardless of time and space. Considering its significance, In that architectural cultural properties requires setting clear goals and directions and as well, criteria, for management, we need methods of systematical control and consideration for its characteristics. This research started with the sense of purpose that managing architectural cultural properties are in need of systematic and concrete control, based on the perception that they need protecting and transmitting. The goal of this thesis is to work on the current archiving status of architectural cultural properties by monitoring patterns and processes in archival administration, to diagnose problems by looking into the records creation and management, and to present the improvement plan which would lead to the architectural cultural properties' more efficient management and better use in the future. The management of architectural cultural properties begins with registering and assigning. Cultural Heritage Administration is in charge of control, supervision, and budget and local governments deal with direct management. Accordingly, records are by the hands of each local governmental body. Currently, each cultural property has its management depending on every different working environment in each governmental body. Architectural cultural properties needs managing in one body through the synthetic and unified, concrete and systematic manual and guide for management. Archiving architectural cultural properties have need of unitive management through a professional system, considering the physical characteristics and history of archiving. Unified management system will enhance efficiency and actual use of architectural cultural property records if one governmental body undertakes uniting records through standardization and professional supervision, and data-based unified search engine would enhance efficiency and actual use. Therefore, I suggest that Archives for Architectural Cultural Properties should be established as a professional Archives and wholly responsible body for the purpose of systematically and unifiedly managing architectural cultural property records with professional personnel and facility and transmitting their historical, cultural, and academic value. In Korea, studies up to the present have mainly focused on managing architectural records and records of drawing while few efforts were made to directly deal with managing architectural cultural properties themselves. The focus of this thesis is to study the current status and establish problems of the management of architectural cultural properties in administrative process, and as a result, to propose to establish Archives for Architectural Cultural Properties as a professional archives.

• Journal of Climate Change Research
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• v.2 no.1
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• pp.55-68
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• 2011

The Intergovernmental Panel on Climate Change(IPCC) has identified the causes of climate change and come up with measures to address it at the global level. Its key component of the work involves developing and assessing future climate change scenarios. The IPCC Expert Meeting in September 2007 identified a new greenhouse gas concentration scenario "Representative Concentration Pathway(RCP)" and established the framework and development schedules for Climate Modeling (CM), Integrated Assessment Modeling(IAM), Impact Adaptation Vulnerability(IAV) community for the fifth IPCC Assessment Reports while 130 researchers and users took part in. The CM community at the IPCC Expert Meeting in September 2008, agreed on a new set of coordinated climate model experiments, the phase five of the Coupled Model Intercomparison Project(CMIP5), which consists of more than 30 standardized experiment protocols for the shortterm and long-term time scales, in order to enhance understanding on climate change for the IPCC AR5 and to develop climate change scenarios and to address major issues raised at the IPCC AR4. Since early 2009, fourteen countries including the Korea have been carrying out CMIP5-related projects. Withe increasing interest on climate change, in 2009 the COdinated Regional Downscaling EXperiment(CORDEX) has been launched to generate regional and local level information on climate change. The National Institute of Meteorological Research(NIMR) under the Korea Meteorological Administration (KMA) has contributed to the IPCC AR4 by developing climate change scenarios based on IPCC SRES using ECHO-G and embarked on crafting national scenarios for climate change as well as RCP-based global ones by engaging in international projects such as CMIP5 and CORDEX. NIMR/KMA will make a contribution to drawing the IPCC AR5 and will develop national climate change scenarios reflecting geographical factors, local climate characteristics and user needs and provide them to national IAV and IAM communites to assess future regional climate impacts and take action.

• Journal of Korean Philosophical Society
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• v.141
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• pp.43-62
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• 2017

The main purpose of this paper is to survey the debates between Searle and Smith over the problem of "freestanding Y terms" in Searle's conception of social reality, and offer a viable solution, drawing on the experientialist conception of symbolic experience. Smith raises the problem of "freestanding Y term" against Searle's formula "X counts as Y in C" that there may be some cases where we cannot identify an X term to which an Y term refers. In case of an abstract concept such as equity, we may not find exactly what it stands for. That is, we cannot identify exactly what(X term) counts as equity. If there is nothing like an X for Y term, we can regard anything as equity, which may disrupt Searle's formula. Understandably, Smith does not say that the problem dismantles Searle's whole conception of social reality. Instead, Smith intends to show that Searle's formula is neither complete nor specific enough. Apparently, Searle admits that there may be freestanding Y terms and tries to articulate it within his formula, which does not seem to work. I suggest that the experientialist account of symbolic experience may serve to dissolve Smith's challenge, without modifying Searle's original formula. According to the experientialist conception of symbolization, we symbolically map some portion of our experience onto a physical object, which serves as a signifier, and we then understand and experience the signifier "in terms of" the mapped portion of experience. Thus, we experience certain buildings and some relevant people, say students, staffs, and professors in terms of "university." The status functions of university have been created by means of symbolic mappings, which change the way we understand and experience the buildings and people. In this picture, there need not be any notions such as "one-to-one correspondence" between X terms and Y terms. In this way, Searle may maintain his original formula, while dissolving, not answering, Smith's challenge. What Searle needs is a more appropriate theory of symbolization, part of which has been articulated by the experientialist account of symbolic experience.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.152-171
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• 2009

The Dancheong(丹靑) of the main building of Mihwangsa Buddhist Temple(美黃寺) in Haenam(海南) is the leading work of the Jeolla Dancheong style, which was created in the 18th century and has been passed down to the early modern days, and boasts its excellence and originality. On the outside, one can only see the traces of the Dancheong due to the colors that fell off and deteriorated severely. On the inside, however, the general Dancheong pattern is accompanied by the painting of 1,000 Buddhas(千佛圖), which is hardly found in other Buddhist temples, and the Arahan painting, which is truly magnificent in technique and can pass as an independent painting. The Dancheong also has unique methodological characteristics that can't be found in other Dancheong works such as the painting and attaching technique. The Dancheong inside is estimated to have been created in 1754 considering the records of "Dalmasan Mihwangsasa Daebeopdang Jungsusangryangmun(達摩山美黃寺大法堂重修上樑文)", the calligraphical writings of "Mudeungsanindanhwakya(無等山人丹?也)"and "Geonryungshipgu(乾隆十九)" left in the Jungryang, and the style characteristics reflected in the Dancheong patterns and the painting of 1,000 Buddhas. The fact that there are no traces of re-Dancheong also supports the estimation that the Dancheong was created in the absolute age of 1754. The absolute age will be the reference of deciding the chronological years of Dancheong patterns and be helpful in examining the characteristics and changes by the periods. There were certain style characteristics in Dancheong by the periods and regions. The Dancheong of Jeolla region also had its own style, which includes the tendency of finishing with two- or three-fold green belts without giving meokdanggi to the meoricho and the huge jar decoration of huigol. Treating the baetbadak of all materials, whether it's Geumdancheong or morodancheong, with lines of certain thickness and colors is another style of Jeolla Dancheong from the 18th to the 20th century. The Dancheong of the Geukrakbojeon(極樂寶殿) of Cheoneunsa Buddhist Temple and Daewoongbojeon(大雄寶殿) of Naesosa Buddhist Temple in Jeolla is especially noteworthy in that it bears similar patterns and techniques to that of the main building of Mihwangsa Buddhist Temple in addition to the characteristics mentioned above. The Dancheong of Mihwangsa Buddhist Temple must have exerted so great influences on that of the two temples that it's called "the style of Mihwangsa Buddhist Temple."When adopting a broader point of view, it can be classified as one of the Dancheong styles of Jeolla. The common icons and techniques found in the Dancheong of Mihwangsa, Cheoneunsa, and Naesosa Buddhist Temple provide some clues about the influential relationships among painters of the days. They may have been created by the painters of the same school or the painters affected by those who created the Dancheong of Mihwangsa Buddhist Temple.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.175-198
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• 2022

With the development of technology, the methods of digitally converting various forms of analog information have become common. As a result, the concept of recording, building, and reproducing data in a virtual space, such as digital heritage and digital reconstruction, has been actively used in the preservation and research of various cultural heritages. However, there are few existing research results that suggest optimal scanners for small and medium-sized relics. In addition, scanner prices are not cheap for researchers to use, so there are not many related studies. The 3D scanner specifications have a great influence on the quality of the 3D model. In particular, since the state of light reflected on the surface of the object varies depending on the type of light source used in the scanner, using a scanner suitable for the characteristics of the object is the way to increase the efficiency of the work. Therefore, this paper conducted a study on nine small and medium-sized buried cultural properties of various materials, including earthenware and porcelain, by period, to examine the differences in quality of the four types of 3D scanners. As a result of the study, optical scanners and small and medium-sized object scanners were the most suitable digital records of the small and medium-sized relics. Optical scanners are excellent in both mesh and texture but have the disadvantage of being very expensive and not portable. The handheld method had the advantage of excellent portability and speed. When considering the results compared to the price, the small and medium-sized object scanner was the best. It was the photo room measurement that was able to obtain the 3D model at the lowest cost. 3D scanning technology can be largely used to produce digital drawings of relics, restore and duplicate cultural properties, and build databases. This study is meaningful in that it contributed to the use of scanners most suitable for buried cultural properties by material and period for the active use of 3D scanning technology in cultural heritage.

• Korean Journal of Remote Sensing
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• v.38 no.5_3
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• pp.939-951
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• 2022

The most important factor in designing autonomous driving systems is to recognize the exact location of the vehicle within the surrounding environment. To date, various sensors and navigation systems have been used for autonomous driving systems; however, all have limitations. Therefore, the need for high-definition (HD) maps that provide high-precision infrastructure information for safe and convenient autonomous driving is increasing. HD maps are drawn using three-dimensional point cloud data acquired through a mobile mapping system (MMS). However, this process requires manual work due to the large numbers of points and drawing layers, increasing the cost and effort associated with HD mapping. The objective of this study was to improve the efficiency of HD mapping by segmenting semantic information in an MMS point cloud into six classes: roads, curbs, sidewalks, medians, lanes, and other elements. Segmentation was performed using various machine learning techniques including random forest (RF), support vector machine (SVM), k-nearest neighbor (KNN), and gradient-boosting machine (GBM), and 11 variables including geometry, color, intensity, and other road design features. MMS point cloud data for a 130-m section of a five-lane road near Minam Station in Busan, were used to evaluate the segmentation models; the average F1 scores of the models were 95.43% for RF, 92.1% for SVM, 91.05% for GBM, and 82.63% for KNN. The RF model showed the best segmentation performance, with F1 scores of 99.3%, 95.5%, 94.5%, 93.5%, and 90.1% for roads, sidewalks, curbs, medians, and lanes, respectively. The variable importance results of the RF model showed high mean decrease accuracy and mean decrease gini for XY dist. and Z dist. variables related to road design, respectively. Thus, variables related to road design contributed significantly to the segmentation of semantic information. The results of this study demonstrate the applicability of segmentation of MMS point cloud data based on machine learning, and will help to reduce the cost and effort associated with HD mapping.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.