• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 International Costume Conference in Association with ICOM 2004 SEOUL
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• pp.37-46
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• 2004

달아나는 향기: 방향성 의복의 역사와 보관 그리고 전시 향기는 스타일과 마찬가지로 자주 우리가 보존하였더라면 하는 복식역사의 보이지 않는 한 측면이다. 옷에 향수를 뿌리는 것은 타인에게 좋은 인상을 심어주기 위해서거나 또는 가죽을 무두질하거나 염색하는 과정에서 발생되거나 오랜 사용으로 인해 풍겨져 나오는 역한 냄새를 막기 위해서 활용되었다. 레이스 달린 컬러나 실크 스타킹 및 숄뿐만 아니라 비싼 장갑은 전통적으로 향수를 입혔다. 전통적 기법이든 현대적 기법이든 모두 좀벌레를 막는 것에서 더 나아가 옷을 입은 사람을 즐겁게 하고 이성을 유혹하기 위한 향수를 만들기 위해 시도되었다. 때때로 운이 좋으면 박물관 소장품 중에서 비의도적인 2차적 방향처리된 것도 발견할 수 있다. 박물관 소장품의 유한한 냄새의 정체를 어떻게 밝혀내고 이를 보존하여 대중에게 선사하는데 드는 비용은 얼마인가? 이 강의는 덴마크 로열컬렉션에 전시되어 있는 의복에 남아 있는 역사적인 방향성분의 재현 샘플을 다루고 있다.

• 미술이론과 현장
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• 제1호
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• pp.23-48
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• 2003

Art theorists support art productions by, introducing them to the public, explaining their meanings, and playing a crucial part in the development of art. These tasks seem like their opus. Because the principles of art production and the artistic languages are quite different from the ordinaries, we need 'interpreters' who can mediate us and the artists. Art works need interpretation. And the interpretation includes not only the characteristics of the given art work, but the customs, history, and the unique qualities of the race that produced the art work. The former director of the Korean National Museum, Choi Soon-woo wrote on the characteristics of Korean art as those that stem from the poised, arbitrary, and non-elaborate state of mind. The statement of the former Director of the National Museum has its weight far greater than just a personal opinion. In fact, we encounter the same resonance of this statement over and over reproduced in the mass media. The problem lies on that it deals with not only a single art work, but the entire Korean art. And going further, this kind of remarks are already infused into every sector of our thought on art appreciation. In this paper, I argue for a re-reading of the characteristics of Korean beauty based on two reasons. First, the characteristic of art work is contemporary, thus we cannot define the characteristics of entire Korean art in a few words without the context of the period of its making. Second, Director Choi defined the characteristics that I pointed out above as 'natural' and 'nature-friendly.' Nature or being natural is not an usual word that defines the characteristics of art work, which stands for the opposite side of the nature in the binary opposition of nature/culture. To delve into these misunderstandings of Korean beauty in the popular notions of Korean art, I suggest the re-reading of three major articles on Korean art: Ryoo Jong-yeol's "Korean race and its art," Ko You-seup's reiteration of Ryoo's thesis called "Discourses in Korean Art History and Aesthetics," and Yoon Hee-soon's antithesis of Ryoo Jong-yeol titiled "Studies on Korean Art History."

• Parasites, Hosts and Diseases
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• 제57권6호
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• pp.607-612
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• 2019

The aim of this parasitological study is examining contemporary (the late 20th century) specimens of the arctic or subarctic areas in Western Siberia and comparing them with the information acquired from archaeological samples from the same area. In the contemporary specimens, we observed the parasite eggs of 3 different species: Opisthochis felineus, Ascaris lumbricoides, and Enterobius vermicularis. Meanwhile, in archaeoparasitological results of Vesakoyakha, Kikki-Akki, and Nyamboyto I burial grounds, the eggs of Diphyllobothrium and Taenia spp. were found while no nematode (soil-transmitted) eggs were observed in the same samples. In this study, we concluded helminth infection pattern among the arctic and subarctic peoples of Western Siberia throughout history as follows: the raw fish-eating tradition did not undergo radical change in the area at least since the 18th century; and A. lumbricoides or E. vermicularis did not infect the inhabitants of this area before 20th century. With respect to the Western Siberia, we caught glimpse of the parasite infection pattern prevalent therein via investigations on contemporary and archaeoparasitological specimens.

• 박물관보존과학
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• 제13권
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• pp.51-58
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• 2012

국립중앙박물관 보존과학팀에서는 동북아지석묘연구소에서 의뢰한 전라남도 여수 월내동 출토 비파형동검에 대한 보존처리를 실시하였다. 여수 월내동 비파형동검은 현재까지 출토된 비파형동검 중 가장 길이가 긴 동검에 해당되며, 1차적으로 보존처리가 이루어진 상태였다. 부식이 진행되어 매우 취약한 상태로 상단부와 하단부 2개체로 분리되어 있었고, 상단부는 표면에 노출된 형태로 하단부는 흙과 함께 응급 수습되었다. 보존과학팀에서는 흙 속에 있는 비파형동검 하단부를 노출시켜 상단부와 접합하고, 결실된 부위는 추정 복원하는 방법으로 보존처리를 진행하였다. 보존처리 시 취약한 유물을 강화하는 방법으로 유리섬유는 10 wt.% Paraloid B-72 (in Xylene)를 이용하였고, 성분을 확인하기 위해 X-선 형광분석기를 이용한 비파괴 분석을 실시하였다.

• 한국콘텐츠학회논문지
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• 제10권6호
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• pp.205-212
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• 2010

최근 놀라울 정도로 변화하고 있는 정보통신기술의 발달은 증강현실의 활용을 다양하게 하고 있고, 전 세계적으로 폭발적인 증가를 보여주고 있는 스마트폰의 사용은 생활을 보다 편리하게 변화시키고 있다. 이런 변화들은 교육변화의 필요성을 제기하고 있는데, 이런 변화들로 교실이 아닌 곳에서의 체험교육을 통한 학습이 가능해지고 있다. 최첨단 미래는 결국 과거에서부터 나온 것이기 때문에, 역사교육은 등한시해서는 안 되는 분야이다. 이에 과거의 생활, 문화, 역사 등을 배울 수 있는 박물관에 최첨단 기술을 활용한 교육콘텐츠를 접목시키면 학습효과가 증대될 수 있을 것이라는 가정을 먼저 하였다. 그리고 증강현실 기반의 복원영상을 이용하여 스마트폰으로 게임이나 해설을 들으며 박물관을 관람하면 학습흥미도와 학습성취도가 높아질 것이라는 제안을 하면서 국내 박물관에서 활용할 수 있는 게임 설계를 제시하였다. 증강현실 기반의 복원영상을 이용한 스마트폰의 어플리케이션은 박물관 문화재 교육뿐만 아니라 지역축제나 유적답사 등에도 활용가능하다. 스마트폰 이용자를 위한 증강현실 기반의 복원영상을 활용한 어플리케이션의 유의미한 활용분야와 활용 방법 등을 제안하였지만, 구체적인 실현을 위해서는 구체적인 프로그램 설계와 게임디자인, 매뉴얼 구성 등과 같은 분야에서의 전진적인 연구가 계속 되어져야 한다.

• Journal of information and communication convergence engineering
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• 제18권2호
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• pp.123-131
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• 2020

After observing that most tourists plan to complete their visits to multiple cultural heritage sites within one day, we surmised that for many museum visitors, the foremost thought is with regard to the amount of time is to be spent at each location and how they can maximize their enjoyment at a site while still balancing their travel itinerary? Recommendation systems in e-commerce are built on knowledge about the users' previous purchasing history; recommendation systems for museums, on the other hand, do not have an equivalent data source available. Recent solutions have incorporated advanced technologies such as algorithms that rely on social filtering, which builds recommendations from the nearest identified similar user. Our paper proposes a different approach, and involves providing dynamic recommendations that deploy social filtering as well as content-based filtering using term frequency-inverse document frequency. The main challenge is to overcome a cold start, whereby no information is available on new users entering the system, and thus there is no strong background information for generating the recommendation. In these cases, our solution deploys statistical methods to create a recommendation, which can then be used to gather data for future iterations. We are currently running a pilot test at Chao Samphraya national museum and have received positive feedback to date on the implementation.

• 복식
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• 제61권9호
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• pp.84-96
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• 2011

This paper investigates the formative features and the historical meaning of the Korean dress collection held in the Museum of Archaeology and Anthropology in Cambridge. The Museum holds a total of eleven items of koran dresses that were donated by two anthropologists in the first half of the twentieth century. Male dresses consist of a white cotton jacket (Jeogori), a under-vest (Deungbaeja) made of light wisteria rings, a headband (Manggeon) made of horsehair, a broad brimmed top hat (Gat) made of black horsehair gauze, an oilskin cover (Galmo) drawn over the hat in wet weather, and a hemispherical hat box (Gatjib). Female dresses comprise a pink silk jacket (Jeogori), a blue silk skirt (Chima) with pleats, a pair of woman's white cotton trousers (Sokgot), a black silk cap (Jobawi) decorated with pink tassels and imitation pearls, and a pair of green and magenta silk shoes (Danghye) with leather soles and metal rivets. Theses Korean dresses show what the western anthropologists had interests in. When collectors collect the folk objects, they thought much of the specificity of shape and material, the esthetic appreciation, and the representation of daily life. In terms of the value as the historical materials in the history of Korean dress, the under-vest of wisteria, the hat box, and the female dresses are worth paying attention to. The under-vest is one that was produced in earlier time among the remaining under-vests. The hat box represents that the hat belonged to the merchant classes. The female dress items show daily dresses worn by women of higher classes of the society in the 1920s.

• 한국실내디자인학회논문집
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• 제21권3호
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• pp.3-10
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• 2012

Vilhelm Wohlert is the Danish architect who designed Louisiana Museum of Modern Art near Copenhagen. Because of Louisiana Museum's popularity, Vilhelm Wohlert's name was started to be aware since 1990s. Although he is a well-known architect in Denmark, unfortunately his name is unknown in other countries. He designed various design projects from small scale furniture design to large scale museum and public projects. There are three programmatic categories in his architecture: exhibition programs including Louisiana Museum, residential program including private houses, and public programs including churches and schools. This thesis focuses on his residential design projects. Even though he designed a multi-family houses, Wohlert's house design consists of mainly one-off large private houses located in a nice natural environment. In chapter 3, the general history of his house projects was studied. Among them, the first exhibition house for Forum was explained more deeply to show Wohlert's early house design philosophy. In chapter 4, three built house projects were analyzed in detail. Analytical diagrams were used to show the key elements in the residential space. They are program composition, circulation, spatialization elements, final construction. His buildings have been compared with Alvar Aalto, Frank Lloyd Wright, and other Scandinavian architects. But there are some major differences that make Wohlert's design unique. In chapter 5, the case analysis results were summarized together to highlight the specific design characteristics found in Wohlert's residential design process. The universal spatial quality found in his residential projects can be applied in contemporary spatial designs.

• 한국기록관리학회지
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• 제19권4호
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• pp.211-219
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• 2019

본 논문은 한국 문학 아카이브의 미래를 탐색하기 위하여, 국립중앙도서관의 근대문학 아카이브를 소개하고 국립한국문학관의 아카이브 추진 방향에 대하여 논의하는 글이다. 국립중앙도서관의 근대문학 아카이브는 근대문학자료 원문 디지털화 및 전문적인 해제 정보 제공, 근대작가 및 근대문학사 관련 콘텐츠 구축 등을 중심으로 운영되고 있다. 2022년 개관을 목표로 하는 국립한국문학관의 문학자료 아카이브는 국립중앙도서관의 사례를 참고하되 보다 전문적인 큐레이션을 도입할 필요가 있다. 즉 아카이브된 자료를 바탕으로 문학의 창조적인 재생산이 가능하도록 기록의 맥락(context)을 기록하는 아키비스트의 태도를 가지고, 자료의 활용성을 확대할 수 있는 적극적인 아카이브 정책을 펼쳐야 할 것이다.

• 천문학논총
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• 제35권3호
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• pp.43-57
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• 2020

Hong, Dae-Yong manufactured the Tongcheon-ui (Pan-celestial Armillary Sphere) with cooperating clock researcher Na, Kyeong-Jeok, and its craftsman An, Cheo-In, in Naju of Jeolla Province in 1760 ~ 1762. Tongcheon-ui is a kind of astronomical clock with an armillary sphere which is rotated by the force generated by a lantern clock's weight. In our study, we examine the lantern clock model of Tongcheon-ui through its description of the articles written by Hong himself. As his description, however, did not explain the detail of the mechanical process of the lantern clock, we investigate the remains of lantern clocks in the possession of Korea University Museum and Seoul National University Museum. Comparing with the clocks of these museums, we designed the lantern clock model of Tongcheon-ui which measures 115 mm (L) × 115 mm (W) × 307 mm (H). This model has used the structure of the striking train imitated from the Korea University Museum artifact and is also regulated by a foliot escapement which is connected to a going train for timekeeping. The orientation of the rotation of the going train and the striking train of our model makes a difference with the remains of both university museums. That is, on the rotation axis of the first gear set of Tongcheon-ui's lantern clock, the going and the striking trains take on a counterclockwise and clockwise direction, respectively. The weight of 6.4 kg makes a force driving these two trains to stick to the pulley on the twine pulling across two spike gears corresponding to the going train and the striking train. This weight below the pulley may travel down about 560 mm per day. We conclude that the mechanical system of Tongcheon-ui's lantern clock is slightly different from the Japanese style.