• Current Research on Agriculture and Life Sciences
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• v.32 no.3
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• pp.111-117
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• 2014

Phytophthora blight caused by Phytophthora capsici Leonian is a dangerous disease threatening pepper growers worldwide. The efficacy of chemical control is generally low as the pathogen is soil-borne and rapidly spread by zoospores during the rainy season. Thus, based on the demand for resistant varieties, various good resistant sources, such as CM334, AC2258, and PI201234, have been reported and their inheritance of resistance studied by many different authorities. However, the mode of inheritance remains unclear, as 1 or 2 independent dominant genes, 3 genes, or multiple genes have all been reported as responsible for resistance. Recently, QTL mappings of the gene factors for resistance have been reported, and molecular markers for resistance used in breeding programs. With the release of many resistant commercial hybrid cultivars, differentiation of pathotypes of the pathogen is attracting interest among breeders and plant pathologists. Various authorities have already classified the pathogen strains into different races according to the inter-action between resistant host plants, including the source of resistance, such as CM334 and PI201234, and resistant commercial varieties and P. capsici isolates. However, no standard differential host sets have yet been established, so the results are good only for the pathogen strains used in the experiments. Thus, for breeding varieties with durable resist-ance, it is important to introduce resistance from different sources and use diverse local pathogen strains collected in the target area for distribution in a breeding program.

• Journal of The Korean Association of Information Education
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• v.25 no.5
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• pp.733-740
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• 2021

The purpose of this study is to present the direction of elementary school AI education by analyzing cases of classes related to AI education in actual school settings. For this purpose, 19 classes were collected as elementary school class cases based on AI education. According to the result of analyzing the class case, it was confirmed that the class was designed in a hybrid aspect of learning content and method using AI. As a result of analyzing the achievement standards and learning goals, action verbs related to memory, understanding, and application were found in 8 classes using AI from a tool perspective. When class was divided into introduction, development, and rearrangement stages, the AI education element appeared the most in the development stage. On the other hand, when looking at the ratio of learning content and learning method of AI education elements in the development stage, the learning time for approaching AI education as a learning method was overwhelmingly high. Based on this, the following implications were derived. First, when designing the curriculum for schools and grades, it should be designed to comprehensively deal with AI as a learning content and method. Second, to supplement the understanding of AI, in the short term, it is necessary to secure the number of hours in practical subjects or creative experience activities, and in the long term, it is necessary to secure information subjects.

• Journal of the Korea Society for Simulation
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• v.31 no.3
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• pp.1-10
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• 2022

Defense fields widely operate unmanned systems to lower vulnerability and enhance combat effectiveness. In the navy, swarm unmanned surface vehicles(USVs) form a cluster within communication range, share situational awareness information among the USVs, and cooperate with them to conduct military missions. This paper proposes an interface system, i.e., Interface Adapter System(IAS), to achieve inter-USV and intra-USV interoperability. We focus on the mission planning subsystem(MPS) for interoperability, which is the core subsystem of the USV to decide courses of action such as automatic path generation and weapon assignments. The central role of the proposed system is to exchange interface data between MPSs and other subsystems in real-time. To this end, we analyzed the operational requirements of the MPS and identified interface messages. Then we developed the IAS using the distributed real-time middleware. As experiments, we conducted several integration tests at swarm USVs simulation environment and measured delay time and loss ratio of interface messages. We expect that the proposed IAS successfully provides bridge roles between the mission planning system and other subsystems.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.215-237
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• 2020

This paper is written to introduce and review Shinji Matsunaga's The Aesthetics of Video Games which published in Japan in 2018. Shinji Matsunaga has studied video games from a philosophical and aesthetic perspective. In The Aesthetics of Video Games, he took video games as a hybrid form of traditional games. Shinji Matsunaga particularly notes that video games can design human behaviors and experiences. From this point of view, he tries to construct a theoretical framework that will be able to describe the ways of signification in games and fiction respectively. In previous studies, video games have been mainly discussed in the context of cultural studies and entertainment culture in Japan. The Aesthetics of Video Games is distinguished from the previous studies in the following points. First, The Aesthetics of Video Games pioneered the method of studying video games in art theory. Second, it established various types of relationships with video games and traditional aesthetic concepts. Third, this book connects new concepts that emerged in the age of artificial intelligence to video games as an aesthetic action. Through this work, not only video games were discussed academically, but also the fields of aesthetics and art were expanded. The Aesthetics of Video Game is like a collection of philosophical concepts for video games. Through this book, it can be said that the path for artificial intelligence to approach human secrets is closer than before.

• 한국정보교육학회:학술대회논문집
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• 2021.08a
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• pp.377-383
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• 2021

The purpose of this study is to present the direction of elementary school AI education by analyzing cases of classes related to AI education in actual school settings. For this purpose, 19 classes were collected as elementary school class cases based on AI education. According to the result of analyzing the class case, it was confirmed that the class was designed in a hybrid aspect of learning content and method using AI. As a result of analyzing the achievement standards and learning goals, action verbs related to memory, understanding, and application were found in 8 classes using AI from a tool perspective. When class was divided into introduction, development, and rearrangement stages, the AI education element appeared the most in the development stage. On the other hand, when looking at the ratio of learning content and learning method of AI education elements in the development stage, the learning time for approaching AI education as a learning method was overwhelmingly high. Based on this, the following implications were derived. First, when designing the curriculum for schools and grades, it should be designed to comprehensively deal with AI as a learning content and method. Second, to supplement the understanding of AI, in the short term, it is necessary to secure the number of hours in practical subjects or creative experience activities, and in the long term, it is necessary to secure information subjects.

• Cartoon and Animation Studies
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• s.37
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• pp.509-537
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• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.

• Cross-Cultural Studies
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• v.42
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• pp.505-524
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• 2016

This study examines the ways District 9, a film released in 2009, reworks the sci-fi genre to explore the human encounter with "other" alien populations. Like Avatar, released in the same year, District 9 addresses the tropes of conflict over land and human-alien hybridity and introduces non-humans and aliens, not as invaders, but as objects of human oppression and cruelty. Unlike many other science fiction films where the encounter between humans and non-humans occurs in an unidentifiable future time and location, District 9 crosses genre barriers to engage with urban realism, producing a social critique of contemporary urban population problems. The arrival of aliens in District 9 occurs as part of the recorded human past and the film's action is carried out in the present time in the specifically identified city of Johannesburg. A distinctly anti-Hollywood film that locates the action at the street level, District 9 plays out human anxieties about contact with others by referencing the divisions and conflicts historically attached to South Africa's sprawling metropolis and its current problems of urban poverty and illegal immigrants. Focusing on how this particular urban setting frames the film, the study investigates the ways Blomkamp's sci-fi film about extra-terrestrials presents a curious postcolonial mix of aliens and immigrants surviving in abject conditions in an urban slum and forces a realistic examination of the contemporary social problems faced by South Africa's largest city and by extension other major global cities. The paper also examines the film's representation of the human-alien hybrid and its potential as a force to resist human exploitation of the other. It also claims that though the setting is highly local, District 9 speaks to a wider global audience by making obvious the exploitative practices of profit-seeking multinationals. A sci-fi film that is keen on making a social commentary on urban population conflicts, District 9 resonates with the wider sense of insecurity and fear of others that form the horizon of the uncertain and potentially violent contemporary human world.

• Cross-Cultural Studies
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• v.40
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• pp.111-131
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• 2015

An unusual success engendering loyalty among cult fans in the United States, Mamoru Oshii's 1995 cyberpunk anime, Ghost in the Shell (GITS) revolves around a female cyborg assassin named Motoko Kusanagi, a.k.a. "the Major." When the news came out last year that Scarlett Johansson was offered 10 million dollars for the role of the Major in the live action remake of GITS, the frustrated fans accused DreamWorks of "whitewashing" the classic Japanimation and turning it into a PG-13 film. While it would be premature to judge a film yet to be released, it appears timely to revisit the core achievement of Oshii's film untranslatable into the Hollywood formula. That is, unlike ultimately heteronormative and humanist sci-fi films produced in Hollywood, such as the Matrix trilogy or Cloud Atlas, GITS defies a Hollywoodization by evoking much bafflement in relation to its queer, posthuman characters and settings. This essay homes in on Major Kusanagi's body in order to update prior criticism from the perspectives of posthumanism and queer theory. If the Major's voluptuous cyborg body has been read as a liberating or as a commodified feminine body, latest critical work of posthumanism and queer theory causes us to move beyond the moralistic binaries of human/non-human and male/female. This deconstruction of binaries leads to a radical rethinking of "reality" and "identity" in an image-saturated, hypermediated age. Viewed from this perspective, Major Kusanagi's body can be better understood less as a reflection of "real" women than as an embodiment of our anxieties on the loss of self and interiority in the SNS-dominated society. As is warned by many posthumanist and queer critics, queer and posthuman components are too often used to reinforce the human. I argue that the Major's hybrid body is neither a mere amalgam of human and machine nor a superficial postmodern blurring of boundaries. Rather, the compelling combination of individuality, animality, and technology embodied in the Major redefines the human as always, already posthuman. This ethical act of revision-its shifting focus from oppressive humanism to a queer coexistence-evinces the lasting power of GITS.