• Cartoon and Animation Studies
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• s.49
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• pp.611-631
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• 2017

At first there was practice, then festivals and theory followed. Compared to the animation production, which is older then the medium film itself, festivals and theory in this area started with a delay. While animation programs where shown in film festivals like Cannes since the mid 1940s, the first animation festival in Annecy, France was founded in 1960, followed by several short-lived events in Romania, Italy and Tokyo and finally in 1972 by the second oldest festival up to date, Animafest Zagreb. Animation theory evolved in the late 1980s in the Anglo-American area with associations like the Society for Animation Studies, following its 'big sister' film studies. Expanding ever since as a research area, European animation studies in e.g. France, German speaking countries, Poland or Croatia have been catching up in recent years by organizing theoretical conferences and publications. A vivid synergy between practice, festivals and theory has always been a key factor for establishing a platform for the art form and culture of animation. However, in the past few years a trend could be observed towards a more intense interaction between animation festivals and theory. Animation festivals are hosting theoretical and scientific symposia or conferences, which are open for artist positions and insights into the industry. At the beginning of the lecture a short reflection of the concept of Animafest Scanner itself is followed by an introduction of the Symposium Expanded Animation at the media festival Ars Electronica Linz. The talk will subsequently focus on the multilayered academic symposia at the Festival of Animated Film ITFS and the International Conference on Animation, Effects, VR, Games and Transmedia in Stuttgart. These case studies will reveal the blurring boundaries between art, science, theory and industry as well as the specificities of the interplay between artists, practitioners, scholars, curators and festival visitors in different formats.

• Journal of Korea Society of Industrial Information Systems
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• v.12 no.4
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• pp.15-24
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• 2007

The recognition of postal address images is indispensable for the automatic sorting of postal envelopes. The process of the address image recognition is composed of three steps-address image preprocessing, character recognition, address interpretation. The extracted character images from the preprocessing step are forwarded to the character recognition step, in which multiple candidate characters with reliability scores are obtained for each character image extracted. aracters with reliability scores are obtained for each character image extracted. Utilizing those character candidates with scores, we obtain the final valid address for the input envelope image through the address interpretation step. The envelope sorting rate depends on the performance of all three steps, among which character recognition step could be said to be very important. The good character recognizer would be the one which could produce valid candidates with very reliable scores to help the address interpretation step go easy. In this paper, we propose the method of generating character candidates with reliable recognition scores. We utilize the existing MLP(multilayered perceptrons) neural network of the address recognition system in the current automatic postal envelope sorters, as the classifier for the each image from the preprocessing step. The MLP is well known to be one of the best classifiers in terms of processing speed and recognition rate. The false alarm problem, however, might be occurred in recognition results, which made the address interpretation hard. To make address interpretation easy and improve the envelope sorting rate, we propose promising methods to reestimate the recognition score (confidence) of the existing MLP classifier: the generation method of the statistical recognition properties of the classifier and the method of the combination of the MLP and the subspace classifier which roles as a reestimator of the confidence. To confirm the superiority of the proposed method, we have used the character images of the real postal envelopes from the sorters in the post office. The experimental results show that the proposed method produces high reliability in terms of error and rejection for individual characters and non-characters.

• Journal of the Korean Ceramic Society
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• v.38 no.11
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• pp.1046-1054
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• 2001

Effects of B$_2$O$_3$and CuO addition on the microwave dielectric properties of the PbWO$_4$-TiO$_2$ceramics were investigated in order to use this material as an LTCC material for fabrication of a multilayered RF passive components module. We found that PbWO$_4$could be used as an LTCC material because of its low sintering temperature (8$50^{\circ}C$) and fairy good microwave dielectric properties($\varepsilon$$_{r}$=21.5, Q$\times$f$_{0}$=37200 GHz and $\tau$$_{f}$ =-31 ppm/$^{\circ}C$). In order to stabilize $\tau$$_{f}$ of PbWO$_4$, TiO$_2$was added to the PbWO$_4$and the mixture was sintered at 8$50^{\circ}C$. A near zero $\tau$$_{f}$ value (+0.2 ppm/$^{\circ}C$) was obtained with 8.7 mol% TiO$_2$addition. $\varepsilon$r and Q$\times$f$_{0}$ values were 22.3 and 21400 GHz, respectively. It was believed that the decrement of Q$\times$f$_{0}$ value with TiO$_2$addition was resulted from increasing grain boundary. In order to improve Q$\times$f$_{0}$, various amounts of B$_2$O$_3$and CuO were added to the 0.913PbWO$_4$-0.087TiO$_2$mixture. The optimum amount of CuO was 0.05 wt%. At this addition, the 0.913PbWO$_4$-0.087TiO$_2$ceramic showed $\varepsilon$$_{r}$=23.5, $\tau$$_{f}$ =-2.2ppm/$^{\circ}C$, and Q$\times$f$_{0}$=32900 GHz after sintered at 8$50^{\circ}C$. In case of B$_2$O$_3$addition, the optimum amount range was 1.0~2.5 wt% at which we could obtain following results; $\varepsilon$$_{r}$=20.3~22.1, Q$\times$f$_{0}$=48700~54700 GHz, and $\tau$$_{f}$ =+2.4~+8.2ppm/$^{\circ}C$.

• Journal of the Korean association of regional geographers
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• v.20 no.2
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• pp.163-175
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• 2014

This study is to explain social capital characteristics of Filipino immigrant women at the level of neighborhood. This research targeted Filipino immigrant women in the metropolis, small town and rural area in Korea to find out the relevance of individual property and characteristics of the community and social capital of neighboring communities- school community, cathedral community, etc- through measurement of the participants' recognition. This study reveals that differences exist in the relationship between length of residence and social capital in the school community and the catholic church community. There is a significant positive relationship between length of residence and political factors in the catholic church community, thereby having a better relationship with longer period of stay, while length of residence and confidence show a negative trend in the school community, leading to less confidence. The catholic church community holds a dominant position in homogeneity, cohesion, and the amount of social capital. According to the findings, social capital 'relation' is more closely related to homogeneity of the community, 'norms' to cohesion. 'Relation and norms' and 'confidence and politics' factors are recognized similarly in both communities, thus resulting in the recognition that decision making within the community, the share of value, and observance of social norms approximate a friendly relationship among members, and satisfaction level, emotional support, and confidence among members approach politics that members can talk about their personal matters. It is noted in the research process that the symbolism of the cathedral community as a transnational circuit behavior occurs where collective culture and personal desires of Filipino immigrant women were combined with production of social capital. Filipino immigrant women's awareness of community and social capital appearing in the cathedral community show that not only residence, along with the cultural identity of Filipino immigrant women, but also collective social and cultural characteristics, such as 'family reunion' can not be overlooked. In particular, at this time when discussion and debate on the interculturalism over multiculturalism is heating up, communal spirit and social capital based on the ethnic identity are important in that they can be a crucial path to the cross-cultural interaction with our society, therefore, a study on the social capital of the ethnic community needs to be encouraged and extended to more diverse communities, to the space of the multilayered scale.

• Cross-Cultural Studies
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• v.44
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• pp.87-121
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• 2016

Daehoon Ham's novel 'Cheongchunbo' features a studier as the main character who majored in Russian literature and admired the culture of the Soviet Union. From his viewpoint, the novel reproduces North Korean society before and after its independence from Japan. In this regard, it shows multilayered presence related to Russian culture and Soviet Russia. Such an aspect is based on the sense of sympathy that the main character has. The sense of sympathy is originated from the main character's admiration for the exoticism of Soviet culture which was forbidden during the late Japanese occupation. After Korea's independence from Japan, Russian was replaced by English. Such change also occurred in the main character's viewpoint. He underwent a change in his integrative viewpoint on Russian and Soviet under the name of Red Army. After defecting to South Korea, he began to put Russia down as a den possessed by the devil called 'communism.' In the meantime, Russia and Soviet have been separated from each other in ideological terms. The novel 'Cheongchunbo' stresses that the decisive cause of such changes is argued over trusteeship. The main character, fascinated by the presence of exotic Soviet, predicates that Soviet is a political symbol around the national division caused by the trusteeship. His change alluded to the life path of Korean authors who translated Russian literature after independence. During the Japanese occupation, Russian literature translated into Korea was a longing for forbiddance and admiration for Russia. However, the Russia presented in Daehoon Ham's novel before and after independence implies that the romantic translation has ended.

• (The)Study of the Eastern Classic
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• no.69
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• pp.179-204
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• 2017

Hojil(虎叱) and Yangbanjeon(兩班傳) reveal the characteristic styles of Park Jiwon(朴趾源)'s writing, which is combining styles of unofficial history/biography(外傳) and allegory(寓言), and full of the senses of satire and humour which form another characteristc of his writing style or tone. This paper reexamines narrative styles, meaning structures and themes of these two works which combine the styles of unofficial history/biography and allegory, and researches methods and techniques of allegory and satire which presents the subversive and critical themes and thoughts of the author. In Hojil, combining of the two styles, the author constructs the narrative world and plot, manipulates allegoric figures to symbolize and present multilayered meaning, and criticize the decadence of confucian aristocracy [Sadaebu: 士大夫] and it's abuses. In Yangbanjeon by combining of two styles, the author weave a biography of Yangban(兩班) in general, which presents the attributes and historical position of the Yangban class. And by the nonsensical fictional event which caricatures crisis of the Yangban class, and tedious description of the manners and behaviors of the Yangban, the author and satires the snobbery of the Yangban and the absurdity of their classical privileges. As he did in Hojil, the author urges the self-examination of the reader raising a question about the position and the function or duty of the Yangban class in the changing world. And the various skills of satire together with the irony, paradox, parody and pun were used dexterously in above two works.

• Korean Journal of Environmental Biology
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• v.38 no.4
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• pp.658-666
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• 2020

The purpose of this study was to select a suitable planting substrate for multilayered plantings in an apartment landscape space. The experiment was conducted between May to October 2019, at the National Institute of Horticultural and Herbal Science. Planting substrate was prepared in six repetitions of eight treatment zones using mulching material, horticultural soil, bottom ash, and subgrade soil. Rosa hybrid 'Barkarole' and Hydrangea macrophylla 'Nikko Blue' were selected as the experimental plants. We investigated the monthly variation and effect of the substrate type on the growth (plant height, number of branches, leaf length, leaf width, and plant area of the substrates) of the plants. In R. hybrid 'Barkarole' grown in 20 cm of horticultural soil and 10 cm of bottom ash, the plants were taller(102.2±5.8 cm), had more branches (5.5±0.6 each), longer leaves (10.9±1.0 cm), and greater leaf width (6.2±0.5 cm) and plant area (4077.1±416.6 cm²)(p<0.05). H. macrophylla 'Nikko Blue' showed the best growth from 3cm of mulching, 20cm of horticultural topsoil, and 10cm of bottom ash, which resulted in taller plants (43.6±2.1 cm), more branches (4.9±0.8 each), longer leaves (7.2±0.5 cm), and greater leaf width(4.3±0.3 cm) and plant area (344.5±43.2 cm²). Through this study, it was possible to propose an optimal planting substrate for shrubs for multi-layered landscaping.

• Current Research on Agriculture and Life Sciences
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• v.1
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• pp.67-83
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• 1983

The new microsporidia S80 isolated from, Bombyx mori L. in Korea showed ovoid in the morphology of the spores and the size were measured $2.9{\pm}0.28{\mu}$ in length and $1.7{\pm}0.29{\mu}$ width. No other microsporidian spore like this has not been so far isolated from Silkworm. The length of the polar filament extruded in hydrogen peroxide ($H_2O_2$) at $30^{\circ}C$ was $26{\mu}$ of a round cytoplasm on the top. The spores were partly stained with Giemsa, Safranin-O and Gram as the same staining properties as Nosema bombycis, Microsporidia K 79 and other microsporidian spores. The fine structures were observed under scanning eleceron microscope through ultrathin sectioning. The spore wall was composed of three layers ; the thin exospore of an electron dense rippled layer, the thick electron lucent endospore which was thinning considerably at the polar filament insertion point, and the inner limiting membrane. Polar cap present at the sporeapex, with a long polar filament of 12-13 coils, subtending angle of $60^{\circ}$ to spore axis, which is tubular made up of a multilayered and are a benes core, light ring structure enclosing the dance core, the dark ring structure enclosing the inner light ring structure and the other than and light ring structure bounded from cytoplasm. Lamellate polaroplast occupied the anterior part of the spore, and the two neclei with dense nucleoplasm bounded by a double nuclear envelope were cited in the slight downer middle portion of spore. From the characteristics of the shape, size and fine structures, it is certain to reason the Microsporidia S80 belong to the phylum Microspora, class Microspora, order Microsporida, order Microsporida. The shape of two nuclei cited seems to be genus Nosema, but in the classification for the suborder it should be defined wheather pansporoblasts be formed or not and for the genis especial attempts have been made to define the characters which distinguish the disporous genera in the life cycle. Survey through the infection of the bad cocoons during 1980 to 1982 in South Korea the areas contaminated with new microsporidia were revealed 5 provinces of Kyung-Gi, Kang-Won, Chung-Nam and Chun-Nam. Pathological effects inoculated per os at second instar larvae of silkworm, the LD 50 was $7.1{\times}10^7/ml$ as lower pathogenecity than that of Nosema bombycis Naegeli of $1.2{\times}10_7/ml$. While on the other hand the inoculation of the microsporidia at fourth instar larvae lowerd the whole cocoon weight and cocoon shell weight and significant at 1% level. The microsporidia S80 defined it can not be transmitted transovarially from the result of predictive and collective examination of 21 egg batches from the infected female moth.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.123-154
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• 2019

Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.