• Journal of the Korean Society of Costume
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• v.16
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• pp.111-123
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• 1991

We suppose that Poback-cheok appeared with wearing clothes in the ancient times. At first, man used body as a scale, and it is gradually diversified with social development. It is clear that also in the time of Shilla-Dynasty, the United Shilla-Dynasty and the Goryeo-Dynasty, the system of degree existed in historical relation to that of China. But we don't know it's real length, because there is no recording until the beginning of the Yi-Dynasty. The first recording about Poback-cheok appeared in the time of the King Sejong. Hwangjong-Cheok which is a original vessel of the degree system appears in the 7th years of the King Sejong. In the 12th years of the King Sejong, Ju-cheok, Youngjo-cheok and Joyegi-cheok appeared. In the 13th years of the King Sejong, Poback-cheok appeared as a new changed one. At that time, the length of Poback-cheok is recorded as 44.75cm in chapter of Oye and Jonsoo Pobaek-cheok is recorded as 46.73cm in Jeonjesangjeongso's picture, and it is recorded as 46.80cm in the Kyunggugdaijeon. The scale system is put in good order in the time of King Sejong. But it is confused by the war of 1636 after King Seonjo period. In the 26 th year of King Youngjo, it is reappeared as one of the King Sejong, and it is fixed as 46.80cm. The length is used until the proclamation in the 6th years of the Kwangmu(1902), and then the length of Pobaek-cheok is changed as 48.48 cm, that is measured by a Gok-cheok. After that time, the scale system is very confused during the introduction of new civilization and the Korean-Japanes Unit. So it is used longer or shorter(that is, 49.24cm or 48.91cm). And the metric system is introduced by Japanes in 1926, and it reached the present time. According to use, the actual thing with is used in the end of the Yi-Dynasty is various from 30cm to 70cm. And according to material and craft-man, it can be devided into Hwa-gag scale, Najeon-blacklacquer-scale, bamboo-scale, wooden-scale. The way of expression of measure is always followed by the decimal system. The other half part, except the part of expression of graduation, is put on decorate with a pattern. Also we can see the idea of living on this point.

• Cartoon and Animation Studies
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• s.30
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• pp.27-57
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• 2013

Animation which appeared with films in the late 19th century was a medium which came on obtaining nourishment from art historical style of modernism. However, the relation establishment between animation and modernism has been focused mainly on animation shapes, namely painted images. This sprang from explaining the relationship between animation and paintings, and for this reason, discussions of movements in animation were understood in tradition of chromophotograph of Muybridge and Jules Marey, or some characteristics owned by the live-action film. However, movements of animation were essentially different from the indexical sign of films or photogram, and objects of reproduction were different between them. Movements reproduced by animation are not ordinary movements, but expressions of or compressed movements and considerably systematic movements. As a result, these movements are far from reproduction of live-action film photogram. Rather, the logic of movements reproduced by animation comes near to controlling their motion scopes, time, distance etc. after dividing each part of the body. This is concluded in a standpoint of modern mechanism which is represented by Descartes and La Mettrie who tried to understand human body as a exchangeable machine. Design of modern mechanism ranging from modern society to industrial society and the age of modernism came to lead to analysis of physical motions of modern industrial society called composition of efficient movements understanding them as the law of nature rather than movements as nature. In the late 19th century, Taylor, F. W. and Gilbreth, Frank Bunker's studies of workers' working hours and 'motion study' were a way of constituting the frame of machine-human, which indicates that tradition of modern mechanism affected the entire modernism passing through industrial society. Further, we can see that motion studies conducted by them have almost similar characteristics to action analysis to study animation later in the name of 'timing'.

• Cartoon and Animation Studies
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• s.16
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• pp.179-198
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• 2009

This study analyzed the chronology of children's cartoon through character while the children's cartoon section is planned at the Memorial Exhibition of 100th year of Korean Cartoon which will be held at the Contemporary Art Gallery in celebration of the 100th year after birth of Korean Cartoon. The approaching method based on character is regarded as the most proper and feasible in the identification of character and meaning of children's cartoon because the character in cartoon contains the bigger role and meaning than the descriptive structure of narration. The Committee of 100th Year of Korean Cartoon, Aicheorum which is a study association for children's cartoon and Cartoon My Love $Cafe^{42)}$ in Naver jointly selected the 70 cartoon characters. A brief history is established based on these characters through chronological classification in seven sectors of around 10 year session such as before 1950s of quickening period and liberation, 1950s, 1960s, 1970s, 1000s, 1900s and after 2000. It examined the historical meaning, its reflection and characteristics focused on the cartoon character and the cartoonist which were well-known to everybody not only the display according to chronological order. The study intented the stereoscopic illumination on the children's cartoon and character which were favored beyond the generations. In addition, the similarity and human relation among cartoonist to cartoonist and character to character were analyzed and traced to identity the fact that children cartoon character is not individualistic being but it lies on the extension of tradition and trend of eternal cartoon history Finally, hopefully it will make a contribution to activate the pure creative children's cartoon in Korea through reminding the importance of character in cartoon, affirming the industrial value and reflecting the direction and perspective of pure creative children's cartoon.

• Journal of Korean Library and Information Science Society
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• v.9
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• pp.115-144
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• 1982

In ordinary modern wester expression 'the Renaissance' was used to denote the impact made by dead Hellenism civilization in western Christendom, particularly Italian literary and artistic movement at Northern and central Italy in the late medieval period. However, A.J. Toynbee examined the renaissance from the different aspect of view. In his great work "A Study of History" in vol. IX, he succeeded in establishing the theory of historic civilization encounters in space and in time; and in time, civilization of the present and the past or between dead and infant successor contacts on the analogy of parenthood and sonship in the relation of A n.0, pparentation-and-Affiliation. The distinguished his view of 'Renaissance' was illustrated in the sense of encounters between a grown-up civilization and the 'ghost' of its long-dead predecessor. The renaissances (by the process of evocation of ghost of its parent society) has not only one single aspect of literary and artistic field but also in politics, law, science and philosophy, languages and literatures and visual arts, and religion. The main theme of this study is to examine the development of libraries and its historical meaning through Toynbee's literary renaissance. His renaissance of Languages and Literatures has three typical steps: They are: 1st step-to restive the dead literature's remains: 2nd step-to remaster their meaning: 3rd step-to reproduce them in counterfeits... Through its first and second steps, collecting and editing, annotating by compiling an anthology, thesaurus, lexicon or encyclopedia, and in its third step publishing mostly imitation of classics took place. Toynbee depicted the five outstanding eminent representatives of literary renaissance who had a n.0, ppeared on the state of history down to the time of writing. They are: Assurbanipal, Constantine prophyrogenitus, Yung Lo, K'ang Hsi, and Ch'ien Lung and the last four had all been emperors of imperia rediviva. As the result of the examination of these five emperors with three steps of literary renaissance, the common result may be summarized as follows: 1. Those emperors of imperia rediviva interested in intellectual work and study, they also were deeply involved in collecting classics in an ostensible reason. 2. There were strong political intention of collecting materials as an a n.0, ppeasement policy of civilization by transferring scholars energies to an intellectual field. 3. Under the rulers of a resuscitated universal state, the literary renaissance were a product of political plane and that the total size of collection and work were huge. 4. Since there were strong exercise of sovereign power, an active censorship by distortion and elimination was inevitable. 5. There existed newly developed strained atmosphere between grown-up and long-dead parent civilization, whenever the book collection movement had occurred. 6. Over adhesion to the parent civilization caused imitation of classic work and the creative activities were stagnated.stagnated.

• Korean journal of communication and information
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• v.26
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• pp.83-104
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• 2004

Most studies of Korean Newspaper in historical view have focused on the news writing form and editorial practice. Those studies have much rely on the memories of ex-journalist or the impression of scholars. So this study aims to give the concrete figures of news writing forms and editing practices in 1920-30's by investigating Kim Dong-Seong's activities as a journalist. He was a first journalist who studies journalism. He studied journalism during his stay in the Ohio State University as an english department student. After he came back to Seoul, he worked at the Dong-A Il Bo as an one of the first publish members. His activities as a journalist have much important meanings because of his varied works and careers. He also wrote a practical affair book for reporters which was the first book in Korea. As a result of research about Kim Dong-Seong's activities in 1920-30's, the feature of edit practice in 1920's had much emphasis not only on the headline but on the relation between type and print, and at the same time the combination of news or the change of typography was one of methods which make the editing more variety. News materials were collected varied news sources and legworks by reporter. These results show us that such a news reporting practice in 1920-30's is similar co the contemporary.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.20 no.4
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• pp.199-205
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• 2015

Nitrogen and phosphorus are the limiting elements for growth of phytoplankton, which is a major primary producer of marine ecosystem. Incidentally the stoichiometry of N/P of ocean waters, measured by the (nitrate + nitrite)/phosphate ratio converges to a constant of 16. This characteristic ratio has been used widely for the understanding the ecosystem dynamics and biogeochemical cycles in the ocean. In the East Sea, several key papers were issued in recent years regarding the climate change and its impact on ecosystem dynamic and biogeochemical cycles using N/P ratio because the East Sea is a "miniature ocean" having her own meridional overturning circulation with the appropriate responding time and excellent accessibility. However, cited N/P values are different by authors that we tried to propose a single representative value by reanalyzing the historical nutrient data. We present N/P of the East Sea as $12.7{\pm}0.1$ for the year 2000. The ratio reveals a remarkable consistency for waters exceeding 300m depth (below the seasonal thermocline). We recommend to use this value in the future studies and hope to minimize confusion for understanding ecosystem response and biogeochemical cycles in relation to future climate change until new N/P value is established from future studies.

• The Journal of Art Theory & Practice
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• no.14
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• pp.187-215
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• 2012

In recent studies of art historical methodology, such as Critical Terms for Art History and The Art of Art History, subjectivity, identity, abjection, and other terms have been placed safely in the genealogy of contemporary art history. This paper questions the contemporaneity in the story of contemporary art in our time in relation to two other critical terms that have been regularly cited by contemporary critics, not only in Euro-American fields but also in Korea. The terms are postmedium and postproduction, respectively, as used by Rosalind Krauss and Nicolas Bourriaud. This paper stems from the critical condition in which art criticism and theory have their power in the rise of neo-liberalism. But this paper does not deal with the contemporary as a chronological term for art history but rather examines the three critical terms-contemporaneity, post-medium, and postproduction-that have garnered scholarly attention. I would like to put aside postmodernism for the moment; I don't disregard the postmodern condition although the death of postmodern critical terms has resulted in the loss of its polemical power in art worlds such as in exhibitions, etc. To look at "the postproduction in the age of post-medium age after postmodernism," I first explore Krauss's notion of post-medium because, unlike media artists like Lev Manovich and Peter Weibel, Krauss's post-medium condition is different and insists on medium specificity. In this sense, Krauss has turned out to be another Greenberg in disguise. For her, photography and video are expanded mediums after Greenberg, because Krauss has spent her life explicating those mediums. Under the Cup, her recent publication, came out in 2011, and discusses her desire to defend medium-specificity against the intermedia of installation art found ubiquitously in international exhibitions and biennales. Her usage of post-medium has been taken up by Weibel as postmedia in a broader sense. But whether the post-medium condition or the postmedia age, we nonetheless enter the new age of the contemporary. Consequently, this paper questions what constitutes contemporaneity in our times. It is said that there is nothing new on earth, yet I find original artistic strategies among the younger generation in the postmedia age. The contemporary justifies its place in art fields and criticism by keeping its distance from postmodernism although we still find the remnants of postmodern artistic practices and theoretical foundations. By looking at materials written by Terry Smith, I would like to examine contemporaneity as a rhetoric where artists, critics, and curators endeavor to set up a new spirit of criticism, distant from the past of modernism and postmodernism. In discussions, modernism and postmodernism act as catalysts interacting with each other while justifying their own place. In conclusion, my paper reaches to delineate where the contemporary finds its place among artists' responses and working methods. It explores the postproduction of the Internet and the World Wide Web generations, where images become data rather than representation (of modernism) and appropriation (of postmodernism). This paper analyzes Bourriaud's text, as well as relevant artists like Pierre Huyghe, Liam Gillick, and others. By examining the aforementioned critical terms, I would like to reconsider our own contemporary art in Korea, especially among young artists influenced by digital media and the World Wide Web in the 1990s.

• The Journal of the Korea Contents Association
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• v.16 no.3
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• pp.33-42
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• 2016

Utilization of cultural contents is more and more increasing as it is believed to improve local problems and provide historical values. This kind of business is positive in terms of the fact that it attracts visitors into local areas and activate local commercial areas. Under this trend, the construction of specialized streets is required to be approached with first priority to solve problems of cities. So to speak, it's more important to solve intrinsic problems found in local communities and then approach cultural contents step-by-step rather than constructing new spaces with first priority. Moreover, cultural contents should accompany economic aspects which result in local community-friendly and sympathetically concentrated values. Under this sentiment, the efforts to suggest economic ripple effects for government local government's businesses using cultural contents are very important. This study analyzed how much economic ripple effects is yielded by reflecting cultural contents. As the result of analysis, specialized street with cultural contents applied are proved to be more concentrated on multiplier of expediting employment, income and tax and tourism industry than service industry. On the contrary to this, service industry showed more concentrated multiplier of expediting production, income, added values and chain reaction effect (coefficients for influence and sensitivity for front and rear side of tourism industry. Based on these results, construction of specialized streets with cultural contents applied is proved to help synergy effects for local economy.

• The Journal of Art Theory & Practice
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• no.7
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• Korean Journal of Construction Engineering and Management
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• v.16 no.3
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• pp.68-77
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• 2015

One of recent concerns for super-tall buildings is how to manage hoisting plans and equipment efficiently. Disasters are frequently occurred in relation to electromotive hoists and cranes which are commonly used in construction sites. For construction lifts, particularly, it is highly important to conduct regular inspections or prepare against breakdown in terms of safety. However, unfortunately the reality is that regular inspections are only flatly conducted according to operating hours only. A lift, whose life span is subject to the complicated considerations such as operating hours, loading condition, and the like of each component, is far too invalid as a means of maintenance. As a way to resolve this problem and improve its convenience and safety for users, this study intends to calculate individual inspection interval for the main components of lifts by measuring their actual operating hours with sensing technology and analyzing their historical data. The findings of study include calculation of inspection intervals for the main components of lifts and classification of components to check by the actual operating hours of lift (40, 90, 130, 400 hours), which are drawn up into tables. This will make an opportunity to suggest efficient maintenance measures by enabling prevention of safety accidents and enhancement of safety for workers. Also, it will lead to increasing productivity of works by eliminating sources of delaying the term due to the breakdown of lifts.