• 천문학회보
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• 제35권1호
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• pp.63.1-63.1
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• 2010

Over its 30-year lifetime, UKIRT has been the world's leading telescope devoted exclusively to observations in the infrared. Its outstanding success over this period is attributable to a number of factors, foremost among which are the size (3.6m) and high quality of the mirror, the excellent site at the summit of Mauna Kea, and the deployment of unique, world-beating instrumentation. In recent years, as the UK has re-directed its investment in astronomical facilities towards ESO, UKIRT has focussed on wide-field imaging in the near infrared, and we are currently conducting a definitive programme known as the UKIRT Infrared Deep Sky Survey (UKIDSS). In this presentation I will describe UKIRT's current capabilities, its evolving operation, opportunities for Korean participation, and possibilities for its future development.

• 인문언어
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• 제1권1호
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• pp.159-183
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• 2001

This paper surveys the meaning of the pen name ′Yi Sang(李箱)′ in the light of the arbitariness of language and the relationship among names, observing in three ways how the images of ′Sang′ (Box) appear differently in his works. In Particular, we look into (1) the relationship between a box and its inner boxes, (2) the divisional relationship in the box, and (3) the relationship between the box and an outer box. In Yi Sang′s work, image (1) gives shape to the relationship between the writer himself and his ancestors who are responsible for his present existence. Image (2) gives shape to two internally divided Yi Sangs, and is symbolized as a mirror that reflects two selves. Image (3) gives shape to a relationship between himself in the closed world and other people and/or a bigger outside world. All these symbolic relationships are fully represented in his work "Nalgae" (The Wing)". What is interesting is that Yi Sang has already employed these box images in his earlier poetry "Geonchuk-muhan-yukmyeon-gaucho" (Infinite Architectural Hexagon). furthermore, by visualizing his name as a sqaure($\square$), he means to suggest the intentional image of his pen name as a ′box′.

• International Journal of Advanced Culture Technology
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• 제10권4호
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• pp.396-402
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• 2022

Since the 21st century, the internet has been an essential existence due to the 4th industrial revolution and the development of IT technology, but the focus of the existing development direction has changed a lot over the past three years. COVID-19, also known as a pandemic, first occurred in 2020 escalating rapidly and cutting off society existing as an off-line form in every country. As non-face-to-face life continues, everyday technologies using online such as hybrid work have promptly developed, and an online virtual world called Metaverse excelled and became a phenomenal topic. In this study, theoretical considerations and the current status of the metaverse, which are being highlighted as global trend keywords, are examined, and the utility of the metaverse in the fashion industry was studied. Based on this study, it is expected that the work is recognized and brings helpful intuitions as a way to revitalize the shrinking fashion industry by using the metaverse, which is still in its infancy.

• 한국콘텐츠학회논문지
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• 제21권8호
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• pp.60-68
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• 2021

본 논문의 목적은 2018년부터 넷플릭스에서 상영된 <블랙 미러: 밴더스내치>의 형식적 특성에 대해 알아보고 그것의 의미를 해석하는 것이다. 이 콘텐츠는 시청자에게 사건 진행을 선택할 수 있도록 하고 이에 따라 각기 다른 결말이 나타나기 때문에 일종의 상호작용적 서사로 볼 수 있다. 그러나 여러 가지 방식으로 상호작용이 제한되는 경우도 있어서 수용자는 선택의 자유를 충분히 누리지 못한다. 또한 여러 결말에서 공통적으로 <블랙 미러> 시리즈에 전형적인 테크놀로지 비판의 주제가 나타나는데, 그래서 <밴더스내치>를 전통적 서사의 일종으로 간주할 수도 있다. 이러한 이중적인 서사의 상황 때문에 사용자의 선택 가능성과 작가의 서사적 권위는 충돌하게 된다. 그리고 그 충돌로 말미암아 복잡한 형식이 발생하는데, 그것은 비선형적 상호작용성과 선형적 서사 형식 사이의 중간적인 것이며, 혹은 두 가지가 융합된 결과이다. 그리고 그것을 메타렙시스 또는 제4의 벽을 파기하는 형식과 같은 자기반영의 형식으로 이해할 수 있다. 본 논문에서는 이러한 특수한 형식을 통해 성찰적 상호미디어성, 즉 일종의 융합 형식을 통한 미디어의 자기성찰이 이루어질 수 있음을 설명해 보고자 한다.

• 한국게임학회 논문지
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• 제19권3호
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• pp.101-112
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• 2019

본 연구는 <블랙미러: 밴더스내치>의 서사를 게이미피케이션 개념을 통해 읽음으로써, 현재의 인터랙티브 영화의 가능성과 한계 및 발전 방안을 살펴보고자 한다. <밴더스내치>의 '도전과제'는 예측 불가능한 세계에서 이야기를 진행하는 것이며, '보상'은 엔딩의 위계화이다. 이 영화의 재미 요소의 한계 극복을 위해서는 선택지와 엔딩 사이의 불확실성을 줄이고, 유희성을 강화해야 하며 다양하고 차별적인 결말을 마련해야 한다. 이러한 분석은 게이미피케이션 요소의 강화가 인터랙티브 영화의 몰입에 긍정적 영향을 줄 수 있음을 함의한다.

• 대순사상논총
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• 제25_1집
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• pp.25-85
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• 2015

In this study, source criticism (an establishment of authentic text) of the Hyun-Mu Sutra(玄武經) among different editions is studied and an attempt of a new interpretation appropriate to that is attempted. The Hyun-Mu Sutra, a scripture written in 1909, began to communicate with the world through the religions of Jeungsanism. In particular, it was remarkable that The Hyun-Mu Sutra was absorbed as canon textbooks Jeonkyung(典經), the Scriptures of Daesoonjinrihoe, The Fellowship of Daesoon Truth(大巡眞理) from a loner and secret pull-out of heritage traditions. However, this scripture though written in 1909 and more than 100 years has passed, remained in a state unestablished authentic text. The Hyun-Mu Sutra is the scripture consisted of 25 pages by the religions of Jeungsanism[Gang Il-sun 姜一淳(1871~1909)]. 33 page type of Hyun-Mu Sutra has been distributed in the world until now the authentic text of The Hyun-Mu Sutra. However, as a result of the examination, diagnostic scripture(病勢文) was found to have been added by descendants. After a review of authentic text of The Hyun-Mu Sutra, it concluded that there is no diagnostic scripture in primary The Hyun-Mu Sutra. Though The Hyun-Mu Sutra is a booklet of a small amount, the notation and expression is so unique, it has been in secrecy to read its contents. Interpretation way of The Hyun-Mu Sutra up to now can be summarized in two as follows. 1) approaches by I-ching 2) approaches by ten celestrial stemps and twelve earthly branches(10干12支). Approaches by I-ching among this sometimes was supplemented with Buddhist classification methods. Nevertheless, these studies can be evaluated limited because it fails to secure authentic text of The Hyun-Mu Sutra. In this study, the contents of The Hyun-Mu Sutra was examined itemized by focusing on the following four points. 1) The icon of The Hyun-Mu Sutra(玄武經符) is similar as normal talisman(符籍) but it has other features. 2) 'Reverse Fonts'(反書體)[the opposite view of the standard fonts(正書體), reflected in the mirror fonts] and size or location used in text is not in uniform. 3) letters in scripture were pointed and points were stamped in the left and upper and lower characters. 4) "Spiritual poem" (詠歌, the Korean traditional music with a view of elegance as an origin of eco), and the music with the Five-Sounds[宮Gung, 商Sang, 角Gak, 徵Chi, 羽Wu) were related. As a result, content analysis of The Hyun-Mu Sutra is carried out in the next four points. 1) The icon of The Hyun-Mu Sutra (玄武經符) has been primarily developed by Jeungsan. 2) 'Reverse Fonts'(反書體)[the opposite view of the standard fonts(正書體), reflected in the mirror fonts] and reverse location such as '宙宇' [the reverse of '宇宙'] represents based on a new world based on a forward and reverse I-ching(正易). 3) Dot and neighbor points is a symbolic map that guides the position of lateral new world(後天) and era(人尊) 4) Spiritual poem is the entrance to achieve the Realization of Do(道通). The above can be considered as the results of this study.

• 한국시조학회지:시조학논총
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• 제26집
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• pp.7-24
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• 2007

흔히 백수 정완영 시인의 작품세계는 동양적 사유세계에 충실하다고 말한다. 그러나 이에 대한 구체적 언급이 없었기 때문에 이 논문에서는 바로 이 점에 대해 알아보려 하였고, 그 결과 다음과 같은 결론을 얻었다. 첫째, 백수 시조에는 작중화자가 자연에 부합하는 존재이면서 자연의 원리 하에 자신을 세우고 자연 속에 동화되어 몰아(沒我)의 경지를 자주 나타내고 있다. 이것은 장자에서 말하는 좌망(坐忘), 불교에서의 지관(止觀) 혹은 정좌(靜坐)와 흡사한 경지라 할 수 있다. 둘째, 백수 시조에는 대립되고 모순되는 것 같은 개념을 서로 상관 개념으로 보려하고 있다. 이는 장자에서는 방생(方生)이라 하고 불교에서는 연기설(緣起說)이라고 한다. 셋째. 백수 시조에는 현실초월 공간에 고향을 설정하고 있는데 이는 장자가 말한 무하유지향(無何有之鄕)의 세계, 불교에서의 공파(空寂)의 세계와 비슷하다. 이렇게 볼 때 그의 시조 속에는 장자나 불교 철학이 깊이 배어 있음을 확인하게 되었다. 그의 작품들은 많은 독자들로부터 사랑을 받고 있는데 그 이유 중의 하나가 바로 이같은 동양적 사유세계를 잘 나타내고 있음에 기인한다고 할 수 있겠다.

• East Asian Economic Review
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• 제24권4호
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• pp.313-336
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• 2020

In this paper, I review evidence on changing global specialization in labor-intensive exporting. Production of apparel, footwear, furniture, and related products are how many low-income countries first enter export manufacturing. Just as China's rise as a powerhouse in these goods supplanted a role previously occupied by the East Asian Tigers, the world may again be on the cusp of significant change in where labor-intensive goods are produced. China's prowess in these sectors peaked in the early 2010s; its share in their global exports, while still substantial, is now in decline. Mechanisms through which the global economy may adjust to China's graduation into more technologically sophisticated activities include expanded labor-intensive export production in other emerging economies and labor-saving technological change in products currently heavily reliant on less-educated labor. Available evidence suggests that the first mechanism is operating slowly and the second hardly at all. As a third mechanism, China may in part replace itself by moving labor-heavy factories out of densely populated and expensive coastal cities and into the country's interior. Such a transition, though still in its infancy, would mirror the decentralization of manufacturing production in the U.S. and Europe, which occurred after World War II.

• 한국의상디자인학회지
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• 제25권2호
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• pp.31-44
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• 2023

Fashion design in the metaverse is not simply a 3D avatar or virtual fashion, it is an important clue for shopping trends, and the role of fashion design has grown even more because avatars and humans are identified and active. This study, I attempts to understand the metaverse platform accurately and find out the scope of fashion design within the metaverse platform. In addition, we want to provide basic data that can expand the field by using fashion design in various ways on the metabus platform. This study investigated and analyzed various metaverse fashion cases, articles, software, and methods used by metaverse fashion creators, and the results are as follows. First, the metaverse platform is a new level of virtual interaction where users and creators communicate through the convergence of augmented reality, lifelogging, mirror world, and virtual world. Second, most of the users of the metaverse platform are generation Z, and metaverse creators who make money by producing avatars or items, including fashion design, are emerging as a new job field. Third, many fashion brands created spaces on the Metaverse platform, collaborated with games, or opened fashion weeks for publicity, marketing, and sales. Fourth, as a 3D program for metaverse fashion creator activities, open-source software is easier and free of charge compared to programs for fashion design specialists, and most costumes can be reproduced, so it will be easier for fashion design majors to utilize.

• 무역상무연구
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• 제42권
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• pp.3-32
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• 2009

As we know, Incoterms are reflecting only the greatest common measure of practice in int'l trade. Therefore we can think them as the commercial practice most widely used in trade. They contain a number of detail under converse mirror image terms because they connect each other like a thread as to all oversea's commercial transactions between importing buyers and exporting sellers. Therefore they afford convenience to exporters and importers in the world because they tell the parties what to do as to transfer of risk and costs, responsibilities in connection with delivery of the goods. Nonetheless, since Incoterms 1936, they have been periodically revising in order to represent contemporary commercial practice. Therefore, according to change of Int'l trade environment, ICC plans to modify to the 2000 Incoterms. I hope to contribute to revising works by reference of above mentioned revision, that to say, aspects of provision, reflection of prevailing most commonly used, promotion of status as uniform rules, provision of convenience of int'l buyers and sellers. harmony with existing int'l instruments, presentation of criteria in variation of Incoterms.