• 한국균학회소식:학술대회논문집
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• 2015.05a
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• pp.45-46
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• 2015

Clubroot disease of crucifers has occurred since 1957. It has spread to the whole China, especially in the southwest and nourtheast where it causes 30-80% loss in some fields. The disease has being expanded in the recent years as seeds are imported and the floating seedling system practices. For its effective control, the Ministry of Agriculture of China set up a program in 2010 and a research team led by Dr. Yueqiu HE, Yunnan Agricultural University. The team includes 20 main reseachers of 11 universities and 5 institutions. After 5 years, the team has made a lot of progresses in disease occurrence regulation, resources collection, resistance identification and breeding, biological agent exploration, formulation, chemicals evaluation, and control strategy. About 1200 collections of local and commercial crucifers were identified in the field and by artificiall inoculation in the laboratories, 10 resistant cultivars were breeded including 7 Chinese cabbages and 3 cabbages. More than 800 antagostic strains were isolated including bacteria, stretomyces and fungi. Around 100 chemicals were evaluated in the field and greenhouse based on its control effect, among them, 6 showed high control effect, especially fluazinam and cyazofamid could control about 80% the disease. However, fluzinam has negative effect on soil microbes. Clubroot disease could not be controlled by bioagents and chemicals once when the pathogen Plasmodiophora brassicae infected its hosts and set up the parasitic relationship. We found the earlier the pathogent infected its host, the severer the disease was. Therefore, early control was the most effective. For Chinese cabbage, all controlling measures should be taken in the early 30 days because the new infection could not cause severe symptom after 30 days of seeding. For example, a biocontrol agent, Bacillus subtilis Strain XF-1 could control the disease 70%-85% averagely when it mixed with seedling substrate and was drenching 3 times after transplanting, i.e. immediately, 7 days, 14 days. XF-1 has been deeply researched in control mechanisms, its genome, and development and application of biocontrol formulate. It could produce antagonistic protein, enzyme, antibiotics and IAA, which promoted rhizogenesis and growth. Its The genome was sequenced by Illumina/Solexa Genome Analyzer to assembled into 20 scaffolds then the gaps between scaffolds were filled by long fragment PCR amplification to obtain complet genmone with 4,061,186 bp in size. The whole genome was found to have 43.8% GC, 108 tandem repeats with an average of 2.65 copies and 84 transposons. The CDSs were predicted as 3,853 in which 112 CDSs were predicted to secondary metabolite biosynthesis, transport and catabolism. Among those, five NRPS/PKS giant gene clusters being responsible for the biosynthesis of polyketide (pksABCDEFHJLMNRS in size 72.9 kb), surfactin(srfABCD, 26.148 kb, bacilysin(bacABCDE 5.903 kb), bacillibactin(dhbABCEF, 11.774 kb) and fengycin(ppsABCDE, 37.799 kb) have high homolgous to fuction confirmed biosynthesis gene in other strain. Moreover, there are many of key regulatory genes for secondary metabolites from XF-1, such as comABPQKX Z, degQ, sfp, yczE, degU, ycxABCD and ywfG. were also predicted. Therefore, XF-1 has potential of biosynthesis for secondary metabolites surfactin, fengycin, bacillibactin, bacilysin and Bacillaene. Thirty two compounds were detected from cell extracts of XF-1 by MALDI-TOF-MS, including one Macrolactin (m/z 441.06), two fusaricidin (m/z 850.493 and 968.515), one circulocin (m/z 852.509), nine surfactin (m/z 1044.656~1102.652), five iturin (m/z 1096.631~1150.57) and forty fengycin (m/z 1449.79~1543.805). The top three compositions types (contening 56.67% of total extract) are surfactin, iturin and fengycin, in which the most abundant is the surfactin type composition 30.37% of total extract and in second place is the fengycin with 23.28% content with rich diversity of chemical structure, and the smallest one is the iturin with 3.02% content. Moreover, the same main compositions were detected in Bacillus sp.355 which is also a good effects biocontol bacterial for controlling the clubroot of crucifer. Wherefore those compounds surfactin, iturin and fengycin maybe the main active compositions of XF-1 against P. brassicae. Twenty one fengycin type compounds were evaluate by LC-ESI-MS/MS with antifungal activities, including fengycin A $C_{16{\sim}C19}$, fengycin B $C_{14{\sim}C17}$, fengycin C $C_{15{\sim}C18}$, fengycin D $C_{15{\sim}C18}$ and fengycin S $C_{15{\sim}C18}$. Furthermore, one novel compound was identified as Dehydroxyfengycin $C_{17}$ according its MS, 1D and 2D NMR spectral data, which molecular weight is 1488.8480 Da and formula $C_{75}H_{116}N_{12}O_{19}$. The fengycin type compounds (FTCPs $250{\mu}g/mL$) were used to treat the resting spores of P. brassicae ($10^7/mL$) by detecting leakage of the cytoplasm components and cell destruction. After 12 h treatment, the absorbencies at 260 nm (A260) and at 280 nm (A280) increased gradually to approaching the maximum of absorbance, accompanying the collapse of P. brassicae resting spores, and nearly no complete cells were observed at 24 h treatment. The results suggested that the cells could be lyzed by the FTCPs of XF-1, and the diversity of FTCPs was mainly attributed to a mechanism of clubroot disease biocontrol. In the five selected medium MOLP, PSA, LB, Landy and LD, the most suitable for growth of strain medium is MOLP, and the least for strains longevity is the Landy sucrose medium. However, the lipopeptide highest yield is in Landy sucrose medium. The lipopeptides in five medium were analyzed with HPLC, and the results showed that lipopeptides component were same, while their contents from B. subtilis XF-1 fermented in five medium were different. We found that it is the lipopeptides content but ingredients of XF-1 could be impacted by medium and lacking of nutrition seems promoting lipopeptides secretion from XF-1. The volatile components with inhibition fungal Cylindrocarpon spp. activity which were collect in sealed vesel were detected with metheds of HS-SPME-GC-MS in eight biocontrol Bacillus species and four positive mutant strains of XF-1 mutagenized with chemical mutagens, respectively. They have same main volatile components including pyrazine, aldehydes, oxazolidinone and sulfide which are composed of 91.62% in XF-1, in which, the most abundant is the pyrazine type composition with 47.03%, and in second place is the aldehydes with 23.84%, and the third place is oxazolidinone with 15.68%, and the smallest ones is the sulfide with 5.07%.

• 한국게임학회지
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• v.6 no.1
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• pp.70-72
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• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.

• 한국지구물리탐사학회:학술대회논문집
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• 2005.09a
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• pp.125-153
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• 2005

It has been widely known that the seismic piezo-cone penetration test (SCPTU) is one of the most useful techniques for investigating the geotechnical characteristics including dynamic soil properties. As the practical applications in Korea, SCPTU was carried out at two sites in Busan and four sites in Incheon, which are mainly composed of alluvial or marine soil deposits. From the SCPTU waveform data obtained from the testing sites, the first arrival times of shear waves were and the corresponding time differences with depth were determined using the cross-over method, and the shear wave velocity profiles (VS) were derived based on the refracted ray path method based on Snell's law and similar to the trend of cone tip resistance (qt) profiles. In Incheon area, the testing depths of SCPTU were deeper than those of conventional down-hole seismic tests. Moreover, for the application of the conventional CPTU to earthquake engineering practices, the correlations between VS and CPTU data were deduced based on the SCPTU results. For the empirical evaluation of VS for all soils together with clays and sands which are classified unambiguously in this study by the soil behavior type classification Index (IC), the authors suggested the VS-CPTU data correlations expressed as a function of four parameters, qt, fs, $\sigma$, v0 and Bq, determined by multiple statistical regression modeling. Despite the incompatible strain levels of the down-hole seismic test during SCPTU and the conventional CPTU, it is shown that the VS-CPTU data correlations for all soils clays and sands suggested in this study is applicable to the preliminary estimation of VS for the Korean deposits and is more reliable than the previous correlations proposed by other researchers.

• Economic and Environmental Geology
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• v.34 no.6
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• pp.507-522
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• 2001

At the Tongyeong mine, quartz, rhodochrosite (kutnahorite), muscovite, illite, pyrite, galena, chalcopyrite. sphalerite, acanthite, and hessite are the principal vein minerals. They were deposited under epithermal conditions in two stages. Ore mineral assemblages and associated gangue phases in stage can be clearly divided into two general associations: an early cycle (band) that appeared with introduction of most of the sulfides and electrum, and a later cycle in which base metal and carbonate-bearing assemblages (mostly rhodochrosite) became dominant. Tellurides and some electrum occur as small rounded grains within subhedral-to euhedral pyrite or anhedral galena in stageII. Sulfide mineralization is zoned from pyrite to galena and sphalerite. We have used computer modeling to simulate formation of four stages of vein genesis. The reaction of a single fluid with andesite host rock at 28$0^{\circ}C$, isobaric cooling of a single fluid from 26$0^{\circ}C$ to 12$0^{\circ}C$, and boiling and mixing of a fluid with both decreasing pressure and temperature were studied using the CHILLER program. Calculations show that the precipitation of alteration minerals is due to fluid-andesite interaction as temperature drops. Speciation calculations confirm that the hydrothermal fluids with moderately high salinities and pH 5.7 (acid), were capable of transporting significant quantities of base metals. The abundance of gold in fluid depends critically on the ratio of total base metals and iron to sulfide in the aqueous phase because gold is transported as an Au(HS)$_2$- complex, which is sensitive to sulfide activity. Modeling results for Tongyeong mineralization show strong influence of shallow hydrogenic processes such as boiling and fluid mixing. The variable handing in stageII mineralization is best explained by maltiple boilings of hydrothermal fluid followed by lateral mixing of the fluid with overlying diluted, steam-heated ground water. The degree of similarity of calculated mineral assemblages and observed electrum composition and field relationships shows the utility of the numerical simulation method in identifying chemical processes that accompany boiling and mixing in Te-bearing Au-Ag system. This has been applied in models to narrow the search area for epithermal ores.

• Journal of Korean Tunnelling and Underground Space Association
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• v.24 no.6
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• pp.617-628
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• 2022

A ground support pattern should be designed by properly integrating various support materials in accordance with the rock mass grade when constructing a tunnel, and a technical decision must be made in this process by professionals with vast construction experiences. However, designing supports at the early stage of tunnel design, such as feasibility study or basic design, may be very challenging due to the short timeline, insufficient budget, and deficiency of field data. Meanwhile, the design of the support pattern can be performed more quickly and reliably by utilizing the machine learning technique and the accumulated design data with the rapid increase in tunnel construction in South Korea. Therefore, in this study, the design data and ground exploration data of 48 road tunnels in South Korea were inspected, and data about 19 items, including eight input items (rock type, resistivity, depth, tunnel length, safety index by tunnel length, safety index by rick index, tunnel type, tunnel area) and 11 output items (rock mass grade, two items for shotcrete, three items for rock bolt, three items for steel support, two items for concrete lining), were collected to automatically determine the rock mass class and the support pattern. Three machine learning models (S1, A1, A2) were developed using two machine learning algorithms (SVR, ANN) and organized data. As a result, the A2 model, which applied different loss functions according to the output data format, showed the best performance. This study confirms the potential of support pattern design using machine learning, and it is expected that it will be able to improve the design model by continuously using the model in the actual design, compensating for its shortcomings, and improving its usability.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.36-59
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• 2021

This study infers the origin and production period of the , which is in the Onyang folk museum, through analysis and interpretation of the Haeju Palgyeong and exploration of the landscapes and traditions contained in the painting. The first collection of landscapes to Haeju was identified as Haeju Palgyeong by Ku Sa-meng (1531-1604). Yoo Man-ju, writing in 1782, referred to it as Go-palgyeong in 『Heumyeong』 while Haeju Palgyeong was defined as Geum-palgyeong (今八景), which is the Haeju Palgyeong in the earliest period confirmed by literature. is 'Boating on the Nam river (南江泛舟)', 'Lotus viewing at Buyongdang (芙蓉賞蓮)', 'Foot washing at Gwangseokcheon (廣石濯足)', 'Seokbyul at Haeunkyo (泣川送客)', 'Fishing at Haeunjeong (東亭釣魚)' and 'Sea view at Namsan( 南山望海)', and the final two contain a picture that contains 'Viewing the moon at Yeonghaeru (瀛海玩月)' and 'Writing contest and Archery at Baeklimjeong (栢林觀德)' The Suyang Chaemi(首陽採薇), Shingwang-jeoljeol (神光霽雪), and Jiseong falls (池城瀑布) of Gopalgyeong, which were excluded from Haeju Palgyeong, are all landscapes unfolding as a grand site of Suyangsan Mountain. is a result of the reorganization of Seunggyeong centered on Eupchi (邑治), away from the Suyangsan area. It has emerged as a seunggyeong of Haeju. The elaborateness of trying to contain the detailed prizes representing Haeju, such as the specialty sake of Haeju, is revealed. Most of the landscapes depicted in are historic and outstanding spots in Haemok, but the scenes of life related to daily life are properly arranged. In addition, Foot washing (濯足), Fishing(釣魚), Doing laundry (漂母), Lotus viewing (賞蓮), Sending guests (送客), Drinking (飮酒), sea viewing (望海), Moon viewing (玩月), Archery (射藝), Poetry (詩作), Drinking tea (飮茶), and Dancing (歌舞) are of various styles. Compared with the Gopalgyeongs, Haeju Palgyeong did not take into account the distribution of landscapes in the four seasons, and the small-sized view was also broken. When considering the time of the construction of Haeunjeong and the deterioration of Yeonghhoeru, it is believed that was produced in the early- to mid-18th century. is considered to be a painting that contributed to strengthening the sense of intimacy with the local people and promoting the pride of Haeju by showing the representative scenery of Haeju, such as scenic spots and customs, away from the ideal utopia.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.50-58
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• 2011

Cheongpunggye is located in a valley where Baekaksan, the main mountain of Seoul and Inwang Mountain corresponding to right-white tiger(石白虎) divination based on topography are crossed. The owner of Cheongpunggye is Seonwon Kim Sangyong and many people had visited there without pause because of beautiful landscape since the early times of Chosun. Seonwon Kim Sangyong had ever studied together with Yulgok Yi I and Woogye Seong Hon. He was one of the Western faction(Seo-in) which was the leading power of Injo Coup and died for his chastity during Second Manchu Invasion of Chosun. He is known as a model of fidelity which is a symbol for scholar's spirit in Chosun together with his younger brother Cheongeum Kim Sangheon. Jangdong region, the clan village of New Andong family was the birthplace of Yulgok School which was the fundamental of scholar spirit of Chosun. And Jangdong would be the source of Jin-Gyeong(Real Scenery) Culture which was bloomed by Baekak club composed of Gyeomjae Jeong Seon, Sacheon Lee Byeongyeon, and Gwanajae Cho Yeongseok. The contents of this study are as follows. First, this study explored the placeness of Seochon region through the historical background like the relation between Jangdong, the clan village of Andong Kim family and Andong Kim family, and achievements of Seonwon Kim Sangyong and circumstances of that times. Second, this study tried to know original landscape of Cheongpunggye by investigating location, topography, water system etc. based on analysis of literature, old map, and paintings describing Cheongpunggye. The study was progressed in this way. To infer the original landscape, about 50 landscape elements of Cheongpunggye shown in Punggyejibseunggi(楓溪集勝記), Cheongpunggye Cheop, Cheongpunggye(淸風溪), the work of Gyeomjae Jeong Sean were searched, and then the location and form of the elements was analyzed. Furthermore, by analyzing the meanings of the names for the landscape elements, the thoughts(Naturalism, Taoism, Confucianism, Buddhism) supporting the structure of Cheongpunggye could be inferred. It is thought that these findings can contribute to exploration of placeness of Cheongpunggye. The study on original landscape of Cheongpunggye can be used as basic data when these works are executed-revival of Cheongpunggye, restoration of small streams in upper part of Cheonggyecheon, renewal of Seochon region.

• Journal of Korean Library and Information Science Society
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• v.53 no.3
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• pp.73-94
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• 2022

Florence is the cradle of the Italian Renaissance. It is the result of a combination of medieval humanists' exploration of ancient Greek and Roman knowledge and culture, the leadership of great monarchs and priests, patronage of the Medici family, etc., free-thinking and creativity of artists, and critical consciousness and cultural needs of citizens. However, the Florentine Renaissance could not have blossomed unless the Medici family had collected ancient manuscripts and translations, and built libraries to preserve and provide literature. Based on this logical basis, this study outlined the Florentine renaissance and historic libraries, analyzed the collection and composition of favorite books of the Medici family, and traced the architectural characteristics and metaphors of the Medici libraries, The San Marco Library (Michelozzo Library), Library of Badia Fiesolana, and the San Lorenzo Library (Laurentian Library) were the priming and birthplace of the Florentine Renaissance despite of many difficulties, including earthquake, fire, restoration, transfer, seizure, and closure. In particular, the San Marco Library, which was opened in 1444 based on the financial support of Cosimo de' Medici, Michelozzo's design, and Niccoli's private collections was the first common library in the Renaissance period. And the architectural highlight of the Laurentian Library, which opened in 1571 under the leadership of Giulio (Papa Clemente VII), is Michelangelo's staircase, which symbolizes 'from ignorance to wisdom', and the real value of the content is the ancient manuscripts and early printed books, which were collected by the humanist Niccoli and the Medici family. In short, when discussing the Florentine Renaissance, Medici's collection and historic libraries are very important points. The reason is that the ancient collections were not stuffed products, but syntactic semiotics, and the libraries are telescopes that view the history of human knowledge and culture and microscopes that create knowledge and wisdom. If records dominate memories, libraries accumulate records. Therefore, long breathing and time capsule strategies are also required for the development and preservation of retroactive books in domestic libraries with a relatively long history.

• Trans-
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• v.15
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.

• The Korean Journal of Air & Space Law and Policy
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• v.30 no.2
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• pp.469-497
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• 2015

In 2009 Iridium 33, a satellite owned by the American Iridium Communications Inc. and Kosmos-2251, a satellite owned by the Russian Space Forces, collided at a speed of 42,120 km/h and an altitude of 789 kilometers above the Taymyr Peninsula in Siberia. NASA estimated that the satellite collision had created approximately 1,000 pieces of debris larger than 10 centimeters, in addition to many smaller ones. By July 2011, the U.S. Space Surveillance Network(SSN) had catalogued over 2,000 large debris fragments. On January 11, 2007 China conducted a test on its anti-satellite missile. A Chinese weather satellite, the FY-1C polar orbit satellite, was destroyed by the missile that was launched using a multistage solid-fuel. The test was unprecedented for having created a record amount of debris. At least 2,317 pieces of trackable size (i.e. of golf ball size or larger) and an estimated 150,000 particles were generated as a result. As far as the Space Treaties such as 1967 Outer Space Treaty, 1968 Rescue Agreement, 1972 Liability Convention, 1975 Registration Convention and 1979 Moon Agreement are concerned, few provisions addressing the space environment and debris in space can be found. In the early years of space exploration dating back to the late 1950s, the focus of international law was on the establishment of a basic set of rules on the activities undertaken by various states in outer space.. Consequently environmental issues, including those of space debris, did not receive the priority they deserve when international space law was originally drafted. As shown in the case of the 1978 "Cosmos 954 Incident" between Canada and USSR, the two parties settled it by the memorandum between two nations not by the Space Treaties to which they are parties. In 1994 the 66th conference of International Law Association(ILA) adopted "International Instrument on the Protection of the Environment from Damage Caused by Space Debris". The Inter-Agency Space Debris Coordination Committee(IADC) issued some guidelines for the space debris which were the basis of "the UN Space Debris Mitigation Guidelines" which had been approved by the Committee on the Peaceful Uses of Outer Space(COPUOS) in its 527th meeting. On December 21 2007 this guideline was approved by UNGA Resolution 62/217. The EU has proposed an "International Code of Conduct for Outer Space Activities" as a transparency and confidence-building measure. It was only in 2010 that the Scientific and Technical Subcommittee began considering as an agenda item the long-term sustainability of outer space. A Working Group on the Long-term Sustainability of Outer Space Activities was established, the objectives of which include identifying areas of concern for the long-term sustainability of outer space activities, proposing measures that could enhance sustainability, and producing voluntary guidelines to reduce risks to long-term sustainability. By this effort "Guidelines on the Long-term Sustainability of Outer Space Activities" are being under consideration. In the case of "Declaration of Legal Principles Governing the Activities of States in the Exp1oration and Use of Outer Space" adopted by UNGA Resolution 1962(XVIII), December 13 1963, the 9 principles proclaimed in that Declaration, although all of them incorporated in the Space Treaties, could be regarded as customary international law binding all states considering the time and opinio juris by the responses of the world. Although the soft law such as resolutions, guidelines are not binding law, there are some provisions which have a fundamentally norm-creating character and customary international law. In November 12 1974 UN General Assembly recalled through a Resolution 3232(XXIX) "Review of the role of International Court of Justice" that the development of international law may be reflected, inter alia, by the declarations and resolutions of the General Assembly which may to that extend be taken into consideration by the judgements of the International Court of Justice. We are expecting COPUOS which gave birth 5 Space Treaties that it could give us binding space debris mitigation measures to be implemented based on space debris mitigation soft law in the near future.