• (The) Research of the performance art and culture
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• no.43
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• pp.293-322
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• 2021

The present study examined the scientific awareness appearing in Korean tokusatsu series by focusing on Vectorman: Warriors of the Earth. As a work representing Korean tokusatsu series, Vectorman: Warriors of the Earth achieved the greatest success among tokusatsu series. This work was released thanks to the continued popularity of Japanese tokusatsu since the mid-1980s and the trend of robot animations. Due to the chronic problems regarding Korean children's programs-the oversupply of imported programs and repeated reruns-the need for domestically produced children's programs has continued to come to the fore. However, as the popularity of Korean animation waned beginning in the mid-1990s, inevitably the burden fr producing animation increased. As a result, Vectorman: Warriors of the Earth was produced as a tokusatsu rather than an animation, and because this was a time when an environment for using special effects technology was being fostered in broadcasting stations, computer visual effects were actively used for the series. The response to the new domestically produced tokusatsu series Vectorman: Warriors of the Earth was explosive. The Vectorman series explained the abilities of cosmic beings by using specific scientific terms such as DNA synthesis, brain cell transformation, and special psychological control device instead of ambiguous words like the scientific technology of space. Although the series is unable to describe in detail about the process and cause, the way it defines technology using concrete terms rather than science fiction shows how scientific imagination is manifesting in specific forms in Korean society. Furthermore, the equal relationship between Vectorman and the aliens shows how the science of space, explained with the scientific terms of earth, is an expression of confidence regarding the advancement of Korean scientific technology which represents earth. However, the female characters fail to gain entry into the domain of science and are portrayed as unscientific beings, revealing limitations in terms of scientific awareness.

• Cartoon and Animation Studies
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• s.36
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• pp.375-391
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• 2014

Animation movie is a non-photorealistic animated art that consists of formative language forming a frame based on a story and cuts describing frames that form the cuts. Therefore, in expressing an image, artistic expression methods and devices for a formative space are should be provided in a frame while cuts have the images between frames faithfully. Short animation movie is produced by various image experiments with unique image expressions rather than narration for expressing subjective discourse of a writer. Therefore, image style that forms unique images and various image directions are important factors. This study compared the experimental image directions of and , both of which showed a production method of film manipulation. First, while uses pixilation that produces images obtained from live images through painting and many optical disclosure process on a cell mat, was made with diverse collage techniques such as tearing, cutting, pasting, and folding hundreds of scenes from action movies. Second, expresses non-causal relationship of characters by their repetitive behaviors and circulatory image structure through a fixed camera angle, resisting typical scene transition. On the other hand, has an advancing structure that progresses antagonistic relationship of characters through diverse camera angles and scene transition of unique images. Third, in terms of editing, uses a long-take short cut technique in which the whole image consists of one short cut, though it seems to be many scenes with the appearance of various characters. On the other hand, maximizes visual fun and commitment by image reconstruction with hundreds of various short cuts. That is, both works have common features of an experimental work that shows expansion of animated image expressions through film manipulation that is different form general animation productions. On top of that, delivers routine life of diverse human beings without clear narration through image of conceptualized spaces. expresses it in a new image space through image reconstruction with collage technique and speedy progress, setting a binary opposition structure.

• Journal of Intelligence and Information Systems
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• v.27 no.3
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• pp.113-137
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• 2021

According to the clear potential of mobile banking growth, many studies related to this are being conducted, but in Korea, it is concentrated on the analysis of technical factors or consumers' intentions, behaviors, and satisfaction. In addition, even though it has a strong customer base of 20s, there are few studies that have been conducted specifically for this customer group. In order for mobile banking to take a leap forward, a strategy to secure various perspectives is needed not only through research on itself but also through research on external factors affecting mobile banking. Therefore, this study analyzes impulsiveness, credit card use, and SNS addiction among various external factors that can significantly affect mobile banking in their 20s. This study examines whether the relationship between impulsiveness and mobile banking usage depends on whether or not a credit card is used, and checks whether a customer's impulsiveness is possible by examining whether a credit card is used. Based on this, it is possible to establish new standards for classification of marketing target groups of mobile banking. After finding out the static or unsuitable relationship between whether to use a credit card and impulsiveness, we want to indirectly predict the customer's impulsiveness through whether to use a credit card or not to use a credit card. It also verifies the mediating effect of SNS addiction in the relationship between impulsiveness and mobile banking usage. For this analysis, the collected data were conducted according to research problems using the SPSS Statistics 25 program. The findings are as follows. First, positive urgency has been shown to have a significant static effect on mobile banking usage. Second, whether to use credit cards has shown moderating effects in the relationship between fraudulent urgency and mobile banking usage. Third, it has been shown that all subfactors of impulsiveness have significant static relationships with subfactors of SNS addiction. Fourth, it has been confirmed that the relationship between positive urgency, SNS addiction, and mobile banking usage has total effect and direct effect. The first result means that mobile banking usage may be high if positive urgency is measured relatively high, even if the multi-dimensional impulsiveness scale is low. The second result indicates that mobile banking usage rates were not affected by the independent variable, negative urgency, but were found to have a significant static relationship with negative urgency when using credit cards. The third result means that SNS is likely to become addictive if lack of premeditation or lack of perseverance is high because it provides instant enjoyment and satisfaction as a mobile-based service. This also means that SNS can be used as an avoidance space for those with negative urgency, and as an emotional expression space for those with high positive urgency.

• (The) Research of the performance art and culture
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• no.38
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• pp.349-383
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• 2019

This discussion is focused on Donghaeanbyulsingut's 'gutchum-pan to pray'. 'Gutchum-pan to pray' is repeated in almost all of the geori in Byulsingut, so it is a crucial chum-pan that can never be disregarded in understanding Byulsingutchum. Meanwhile, it supposes that Donghaeanbyulsingut is grounded on the activity of producing 'praying (words) and dance (motions)' within its relationship with the structure of capitalistic society along with the context of traditional rituals. The motion that is newly generated as a response to the concrete expression of 'praying' conducted by a mudang (a shaman), that is, the expression coming from the inside associated with the praying is seen as gutchum. This dance is bound to be in competition and interest among shaman groups, and they tend to influence one another. If praying leads to dance, a mudang can gain profits from capital as well as the value of labor. When the mudang succeeds in forming a bigger bond of sympathy with her praying, the object of praying gets more eager to select byulbi and dances a heoteunchum (impromptu dance) more vigorously. This means that a mudang's ability to perform a ritual is associated with the object of praying's consumption. With his impromptu motions, the object of praying comes to go into 'the field of consumption' within the structure of capitalistic competition before he is aware of it. Behind the communication that praying leads to dance, a lot of things are associated with one another organically. 'Gutchum-pan to pray' is generated by the continuous movement of diversity and unity that the time has within the ritual of the mudang and the object of praying. It continues to create the future 'self' that is different from the present 'self', and it means that he expects variability from the present 'self' through 'gutchum-pan to pray'. The mudang also prays for him arranging the variability of the other (the object of praying) inside her labor. In a big picture, of course, the mudang expects the variability of herself, too, which is connected to the value of her labor. The variability that they expect forms a crucial axis that determines where the flow of time and space that the 'gutchum-pan to pray' has is directed to. The contents of praying are directly related with the villagers' lives, and what leads to dance is mostly related with their jobs. This implies that what the mudang experiences in her everyday consuming activity is directly associated with the villagers' activity for earning money. In other words, the contents of that praying change constantly according to the flow of capitalistic economy. Also, those striving to respond to it before anyone else also expect better life for them by substituting their self to the 'gutchum-pan to pray' eagerly. If so, who are the ones that generate 'gutchum-pan to pray'? This can be understood through relationship among mudangs, relationship between the mudang and villagers, and also relationship among villagers. Their relationships can never be free from the concepts like labor in capitalistic society, consumption and expenditure, or time; therefore, they come to compete with the other, the present self, or the better self within the diverse relationships. This gets to be expressed in any ways, words or motions. And the range that covers the creation of either group or individual 'gutchum-pan to pray' in the village is the village community. Outside the range, it is upsized to the competition of the village unit, so individual praying may become diminished more easily. Although mudangs pray in each geori, it does not mean all praying leads to dance. Within various relationships between mudangs and villagers, 'gutchum-pan to pray' comes to be generated, repeated, and extinct. As it is mitigated to more positive competition, it does not lead to gutchum any longer. In other words, repeating 'gutchum-pan to pray' previously created has turned the object of praying into the state different from the former. Also, the two groups both have experienced the last step of Byulsingut, and at that point, praying does no longer lead to dance. In other words, from the position of the shaman group, it is the finish of their labor time and ritual performance, and from the perspective of the villagers, it means the finish of consuming activity and participation in a ritual. The characteristics of 'gutchum-pan to pray' can be summarized as follows. First, it goes through the following process: competition in the village group → competition in the group → competition among individuals. Second, repeated praying does not lead to 'gutchum'. Third, in the cases of praying for each of the occupation groups, the mudang can induce a bond of sympathy from the objects of praying directly, and this lead to dance. Fourth, the group that fails in being included in the category of praying gets to be alienated from 'gutchum-pan to pray' repeatedly.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.13
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• pp.1-40
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• 1973

These studies were aimed at clarification of genetic and ecological variation in culm length, panicle length and plant height of the $\textrm{F}_2$ plants in some selected crosses made between semi-dwarf rice varieties and tall Japonica ones. One Indica semi-dwarf, Taichung Native 1, one Indica $\times$ Japonica hybrid, IE51 and one Japonica semi-dwarf, Tankanbaekmang were used as short-gene donors while two of medium maturity varieties, Jinheung and Kwanok and one late veriety, Palkweng were used as the corresponding counterpart of respective dwarf varieties in a series of crosses. Five different crosses, Kwanok $\times$ Tankanbaekmang, Palkweng $\times$ Tankanbaekmang, Jinheung $\times$ T(N)1, Kwanok $\times$ T(N)1 and Kwanok $\times$ IE51, were made among the above six varieties. The $\textrm{F}_2$ plants of these crosses together with the concerned parental varieties were grown under several different conditions including three levels of each nitrogen and planting space, three planting seasons and three locations in 1968, to investigate variation in length of culm and panicle, and plant height. On the other hand, the F$_3$ progenies which were derived from the shortest 10 percent of the plants of three $\textrm{F}_2$ populations, Kwanok $\times$ T(N)1, Jinheung $\times$ T(N) 1 and Kwanok $\times$ IE51 grown in the previous year, were compared each other on the basis of selection efficiency in culm length. The experimental results could be summarized as follows; 1. Genetic behavior A. It was revealed that Tankanbaekmang, one of Japonica dwarf has a simple recessive gene responsible for short culm expression, showing a typical segregation ratio of three tall to one short culm plants in $\textrm{F}_2$ generation of the crosses either with Kwanok or Palkweng. B. In the both combinations, segregation pattern of the panicle length was exactly same as that of culm length. It seems that the same gene controls both culm length and panicle length. C. No difference between segregation of culm length and plant height in the above crosses was observed. D. T(N)1, one of Indica semi-dwarf did not show such a simple genetic behavior as detected from the crosses with Tankanbaekmang in segregation of culm length but formed a continuous and normal distribution curve. Therefore, some nonallelic genic actions might be involved in expression of culm length of the counterpart varieties of T(N)1. In particular, a transgressive segregation appeared toward the direction of longer culm length in case of Jinheung $\times$ T(N)1. The genetic behavior of panicle length and plant height generally coincided with that of culm length in all the cases. E. IE51 demonstrated exactly the same genetic behavior as that of T(N)1 when this variety was crossed with Kwanok. It was clearly clarified that the simple recessive gene controlling dwarfism from T(N)1 was well incorporated into this variety. 2. Ecological variation A. In general, there was a decreasing tendency in culm length and plant height of rice plant as seeding delayed while it was not so noticeable in panicle length. The decreasing magnitude varied from variety to variety and from cross to cross. Genetic behavior of the culm length and related characters of these materials was not disturbed by the variation of seeding season, nitrogen level, planting space and experimental location. E. The elongation mode of the upper three internodes was very similar to the segregation mode of culm length, panicle length and plant height in $\textrm{F}_2$ populations of . all the crosses investigated in this study. Accordingly, this result confirmed that the roles of the upper three internodes are very important in manifesting plant stature in rice. C. The effect of nitrogen on culm length and the related other two characters seemed to be meager. However, it was true to show an increasing tendency of those characters as nitrogen level got increased from 4 kg to 12kg per l0a, with different magnitude depending upon variety or cross. D. Also, the effect of planting space on culm length, panicle length and plant height was relatively small in all the cases. Those characters varied again depending upon variety or cross. However, a general increasing tendency was detected in manifestation of those traits under denser planting space condition. E. All the parental varieties produced shorter culm, panicle and plant height when they were grown at the lower latitude locations. It might be attributed to the fact that their reproductive growth accelerated with increased temperature prevailing at the lower latitude locations such as Iri and Mi1yang. On the countrary, $\textrm{F}_2$ population reacted differently to the different locations from the parental varieties. All the $\textrm{F}_2$ plants produced the longest culm, panicle and plant at Milyang. 3. Selection efficiency A. The heritability of culm length in Kwanok $\times$ T(N)1, Kwanok $\times$ IE51 and Jinheung$\times$T(N)1 was 92 percent, 74 percent and 55 percent, respectively. B. The actual genetic advance for culm length obtained from the progeny lines of the selected plants(10 precent) from the $\textrm{F}_2$ generation, was comparable to the expected advance calculated from the original $\textrm{F}_2$ populations. As compared with the $\textrm{F}_2$ population, the $\textrm{F}_3$ plants of Kwanok $\times$ T(N)l shortened on the average by 20.8cm, those of Kwanok $\times$ IE51 did 8.7cm and those of Jinheung$\times$T(N)1 20.0cm, respectively. C. Panicle length of the populations was differently affected from one cross to another by the selection based upon culm length in $\textrm{F}_2$ Kwanok $\times$ T(N)1 did not show any noticeable shortening of its culm length due to the selection pressure. On the other hand, both Kwanok $\times$ IE51 and Jinheung $\times$ T(N)1 showed a considerable shortening of their panicles in case of selection for culm length. Based upon the above results, it could be concluded that the ecological variation in culm length, panicle length and plant height was relatively small and fallen within the range of genetic variation. Considering from the fact that the simple recessive gene governing short height of Tankanbaekmang always accompanied with some undesirable characters such as short panicle and extremely small grain, the short gene of T(N)1 seemed to be more useful as dwarf gene source since it did not carry short gene together with such undesirable traits.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.87-96
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• 2012

This study aimed at empirically identifying how the cultural phenomena of localisation and attachment are implemented through Mohyeonjeong and Supodae at Gajo-myeon, Geochang-gun, Gyeongnam. 'Daehakdong', the name of the place where the Mohyeon-jeong and Supodae is located, has a meaning of the place where Geong-Pil Kim(金宏弼) the Hanhwondang(寒暄堂), one of the 5 eastern sages, and Yeo-Chang Jeong(鄭汝昌) the Ildu tought Neo-Confucianism. In addition, in case of Mt. Odo(1,134m) embracing the garden, the meaning of Odo is the five virtues in Confucianism, so we can see that Confucianism was strong in that area. The meaning of 'Mohyeon(慕賢)', "missing and thinking of sages", reflects the emotion of attachment to the place where people pay a tribute to the memory of Seon-Saeng Yang the Hwondu, one of the 5 eastern sages and the creator of Neo-Confucianism in Kyeongnam, and Suk-Ryang Choi(崔淑梁) the ancestors Pyeongchon. In addition, Odojae(吾道齋), Kijeok monument to pay a tribute to the memory of Pyeongchon, the persimmon tree symbolizing Hanhwondang, and Jidongam(志同巖) standing in front of Mohyeon pavillion represent the united wills of the above 3 people to show their Dohak(道學) spirit by practicing it, and also a reiterated expression of attachment to the place. 'Hwonduyangseonsaeng janggujiso' and 'Pyeongchonchoigong ganghakjiso(坪村崔公講學地所)' engraved on the rock of Myeongso Supodae where they gave a lecture of Neo-Confucianism to local Confucianists for many years and enjoyed nature make us to identify the intrinsic meaning of the location that was inherited in the memory of people. Along with this, most of the content of poetry, restoration records, and Sangryang articles are filled with the content reminding of the historical meaning and origin of Mohyeon-jeong and Supodae, so we can see from this that the place had the spatial meaning of Jangsujiso(藏修之所), 'the place of lecturing and communicating' and respecting ancient sages. This spatial tradition is the result of positive attachment to the place, and Mohyeon-jeong and Supodae is the place where the attachment to the place was made spontaneously througth the localisation. To sum it up, Mohyeon-jeong and Supodae was the place of attachment where one paid a tribute to the memory of ancient sages, and Mohyeonjeong and Supodae rocks were the representative examples of the localisation to show the meaning of the place by implication. Studying the process of attachment and localisation of the place does not only enable us to infer the genuine form of the traditional memorial space and park, but also to reproduce the place with the modern concept.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.3
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• pp.11-24
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• 2020

The purpose of this study was to re-examine the neglected and forgotten Cheongdo Geoyeonjeong, to correct the wrong contents, examine the changes and conditions of the garden, and to establish basic data on the components of the forest in the future. In addition, it was extended to the Gongampungbyeog Cliff, the influence area of the Geoyeonjeongwonlim, and the results of the study were as follows; First, Based on the recitation of "Seonyu pungryu(仙遊風流)" in the "Cheongsuheon-yugo(聽水軒遺稿),", Dongchangcheon Stream and Gongampungbyeog(孔巖楓壁) were influenced by the outer gardens of the Georyeonjeongwonrim. Second, Small pavilion was built and arranged under the rock of Byeongam(Byeongpungbawi) in the management history of Geoyeonjeong Pavilion. The records show that Cheongsuheon used the Geoyeonjeong Pavilion as the original forest and even recognized Oewon, which is a scenic influence, as the Gongampungbyeog Cliff. Third, Many of the poems related to Gongam were recognized as Seunggyeong, which represents the Unmun area, and the eight scenery of Cheongdo and Unmungugok were established here as proof that Gongampungbyeog Cliff was very faithful to the traditional Seunggyeong aspect of Gongampungbyeog Cliff, and the crystalline structure of the location was implied as an external source of Geoyeonjeongwonlim. Fourth, The lower part of Dongchangcheon Stream, which stretches from Geoyeonjeongwonrim to Gongam, is filled with attractions consisting of cancerous areas such as Punghodae, Moseongam, Buangdae, Gokcheondae, Saganjeong, Hakgadae, and Hyeongjeam, which provide a clearer picture of the space and landscape of the Geyeonjeongwonrim Outer Garden. Fifth, The expression "dragging water, spilling it into the courtyard, and sending it back to the downtown of the field" of the Cheongsuheon-yugo suggests that the site of Geoyeonjeong Pavilion was originally a prevention. It is also inferred that Cheng Shu-heon also wanted to respect runners and pursue natural views like runners. Sixth, The record of planting a description of spring water and willow trees in "Geoyeonjeong Manyeong(居然亭晩影)」" and "Sanggukseol(霜菊說)」" suggests that the chrysanthemum was planted and planted, and that the chrysanthemum was used to describe the Osanggojeol(傲霜孤節), which means that he would not yield and keep his incision alone despite severe frost. Seventh, It is believed that the writing was written by Cheongsuheon in 1844 during the period of the creation of the Wonrim. The rock letters on the floor of Geoyeonjeong suggest the names of the receiving and the winning prizes. Most of the passages are based on nuclear power plants, including Muidogyo of the Zhuzi, and most of them incorporate the virtues of the Gunja and the natural views of the Eunja. In addition, the rock writing 'Gyeong(敬)' or 'Uidang(義堂)' is a substitute for special worship objects or introspection, adding to the significance and scenic properties of the Georyeon Garden Forest.

• (The) Research of the performance art and culture
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• no.39
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• pp.69-96
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• 2019

North Korea has conserved operas in a selective manner. The subject matters of operas recorded in the history of North Korea can be divided into classical tales, translated foreign works, Korean War and war against Japan. Operas that adapted folk classics of the 1950s are considered valuable materials to verify the changes of genres posterior to division of regime between North and South Korea. The officially confirmed works include "Kumgangsan Palseonnyeo (Gyeonwoo Jiknyeo)," "Chunhyangjeon." "Kongjwi Patjwi (Kotsin)," "Ondal," and "Geumnaneui Dal." These works had gone through recreation in terms of realistic situation setting, abolition of class difference, adjustment of social rank and punishment of evil while the base lies in the original folk classics. People emphasized in adapted folk operas are described as those who are hard-working souls without giving importance of difference of social rank, content with the currently living space, devoted to their parents and full of patriotic spirit, and members of community who participate in organized fights against unfair exploitation. This was the fruit of encouragement of work creation supporting union between labor and individual life, destruction of old things and fight promoting this destruction. Folk operas of South and North Korea posterior to Korean War have similarities in that both deal with a love story transcending social ranks and the concomitant conflicts and they focus on the audience who enjoy the operas. Nonetheless, they are different in that this love in North Korea became a tool of educating people wished by the regime, while it became an object of securing the audience by adding the tragic element to love in South Korea. North Korean operas of the initial stage are characterized by playwriting method emphasizing difficult life and compensation of common people, realistic stage expression, accentuation of melody and agreement between notes and lyrics. This was efforts designed to continuously lead senses concentrated from the theater to everyday life of people. In effect, this is in line with the playwriting method of revolutionary operas. Adapted folk operas were subject matters ideal for easily approaching the audience and leaving them good memories at the same time. To realize socialist realism, they went through an experiment of reviewing "people" through the classic folk operas. The possibility of continuation of a work was determined by thorough evaluation after carrying out an experiment in terms of subject matters, theme, music and operation plans from the moment of which the work was on the stage. The sign consisted in the possibility of visit of "Kim Il-sung" to appreciate the work and presentation of directionality. By proposing the clear directionality of which hard-working people who deny social status system can be duly compensated, it encouraged the audience who saw the opera to voluntarily put this in practice. Thus, operas established the directionality through selective processes for creating public communion even before revolutionary operas.

• Sijohaknonchong
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• v.30
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• pp.319-332
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• 2009

The research on the poem work of Hwang Jin I may have been discussed relatively profoundly compared to the number of works left by her. On the prolongation of such result that has been made thus far, the author tried to investigate aspect of confrontation of figuration and situation of farewell revealed in the poem work of Hwang Jin I through this dissertation. The 6 poems of Hwang Jin I are works which are directly or indirectly related to the situation of farewell. Thus, the author began to discuss dissertation, thinking that the difference in aspect of confrontation in the farewell situation of Hwang Jin I projected in the work can be confirmed by analyzing the poem work of Hwang Jin I. First, with respect to the figuration of farewell in the poem of Hwang Jin I, it cannot be said that she left many poems. However, it could be confirmed that the universal human emotion felt in the situation of farewell was effective converted to figuration by personality of the author through the delicate symbol and simile felt in each work and diverse poetic devices. Then, the aspect of confrontation of farewell situation revealed in the poem of Hwang Jin I was investigated in 3 large divided aspects. First, it is the nature-compliant aspect of confrontation that does not artificially reject or disobey but accepts the moment of farewell by relying on the providence of nature with respect to the situation of farewell. Four works pertain to this category, namely, <니 언지 무언(無言)하여$\sim$>, <어뎌 니 일이여$\sim$>, <산(山)은 넷 산(山)이로디$\sim$> and <청산(靑山)은 내 뜻이요$\sim$>. Next, it may be challenge to the nature, that is, to cut time and space at own intention against the providence of nature. The work, <동지인(冬至人)달 기나긴 밤을$\sim$> pertains to this category. Finally, it is mixed aspect of confrontation in which the above-mentioned compliant aspect of confrontation is mixed with challenging aspect of confrontation. The work, <청산리(靑山裡) 벽계수(碧溪水)ㅣ야$\sim$> may pertain to this category. As explained above, the aspect of confrontation revealed differently in the situation of farewell may be due to the peculiarity of her status as official kisaeng. Furthermore, her magnanimous and affectionate character may be also quite influential on this matter. The matters to be supplemented to make the above discussion successful need to be studied in the subsequent research.

• Journal of the Korea Society of Computer and Information
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• v.18 no.2
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• pp.149-156
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• 2013

In this paper, the Constitutional Court's ruling through the SNS was virtually guaranteed the freedom of election campaign through, though, still a large portion of campaign restrictions on public election law provisions exist to this forward in the election is likely to cause a lot of legal problems. In this paper, the Constitutional Court's ruling through the SNS was virtually guaranteed the freedom of election campaign through, though, still a large portion of campaign restrictions on public election law provisions exist to this forward in the election is likely to cause a lot of legal problems. Moreover, in the mean time the campaign and which in the course of the election campaign through the SNS, the infinite potential of the growing point than any point spread from the SNS and freedom of election campaign through public election law with regard to the limitation of the diffusion of false facts, awards, a number of problems are likely to occur. You've been in this business and disseminate false guilt disparage precandidacy for true-false, as well. He should be able to reach a specific goal you want to defeat through the dissemination of information which is specified as a crime for this strictly for the fact that disseminate false, rather than to interpret it is the judgment of the Court in that judgment against have been made. Therefore, this strict interpretation of the law and the need to revise or delete before I would like to discuss about. The legislation would repeal the cull of Ron sang first of all point out the issue through analytics. First, the purpose of the data protection Act provides limited interpretation to fit in this world of sin. Secondly, this sin is committed for the purpose of prevention, since the purpose of the objective in this case of sin and the need to interpret strictly. Why I am the Internet space in the case of so-called tweets from followers, this means in some cases done without a lot of the stars because of this, there will be a limit to the punishment of sin, this is obvious. And, in the long-awaited Constitutional Court ensures the freedom of election campaign through SNS and free election in the country, even in the limited sense interpretation opens the chapter of communication is needed. This ensured the freedom of expression will be highly this is a mature civil society that will be imperative.