• Korean Journal of Plant Taxonomy
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• v.51 no.1
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• pp.100-102
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• 2021

The chromosome number of myoga ginger (Zingiber mioga (Thunb.) Roscoe: Zingiberaceae) has been reported as 2n = 22 for Chinese plants and 2n = 55 for Japanese plants. We checked the chromosome number of Z. mioga in plants collected in Jeollabuk-do and Jeollanam-do, Korea, and counted 2n = 44, the first report of this number for the species. As the basic chromosome number of Z. mioga is thought to be x = 11, Z. mioga plants in China, Korea, and Japan appear to be diploids, tetraploids, and pentaploids, respectively. In finding the tetraploid race of Z. mioga in Korea, we can hypothesize that the pentaploid race in Japan is derived through the fertilization of reduced gametes of the diploid race and unreduced gametes of the tetraploid race.

• The Journal of Art Theory & Practice
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• no.2
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• pp.191-213
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• 2004

The trend of "Blockbuster Exhibitions" over the past decade has led to the unfortunate reality that museums, losing sight of their role as an Academic organization, are becoming increasingly influenced by the corporate world. In my dissertation entitled "The Commercialization of Blockbuster Exhibitions in Museums," I explore the modern tendency toward Blockbuster exhibitions in art museums and the negative impact of those exhibitions on the art world. Museums of the modern day have expanded their territory from the traditional venue of public education to the hybrid cultural space. This mission, evident in the museum's attempt to satisfy audiences with the offering of diverse activities, has changed the concept of the museum, giving priority to the desire for financial gain. From the viewpoint of this new museology, the museum considers Blockbuster exhibitions as the safest method to increase ticket sales. As a program that openly reveals the commercialism of the museum, I explore the Blockbuster show and its strategies as a means of exposing the influence of the corporate world on art. A key component to the Blockbuster exhibition is the "hype" that is created to attract an audience. This devotion to increased publicity distracts from what should be the goal of public education, as the primary focus leans towards the desire for a large number of visitors. Consequently, this unavoidably standardized exhibition is presented to the public in a manner that deprives the audience of a unique experience. With large crowds and increased ticket prices, it is difficult to form a genuine appreciation of the artwork. In addition to the profit gained by increased ticket prices and the commercial sales of "souvenirs" from the museum gift shop, Blockbuster shows are used as a means to attract the attention of corporate sponsors. As explained in my dissertation, the importance that the museum places on corporate sponsorship as a capital resource is evident, however the degree to which the museum allows itself to he influenced by the desire for capital gain poses a threat to its function as an academic organization. Circumstances in American museum history, in particular, have influenced the transition from academic resource to corporation within museology. In keeping with the nation's tendency towards capitalism, art museums in the United States were initially established and developed by individual capitalists who applied principals of corporate operation to museum management. As a result, in modern days, We witness the influence of enterprise on museum programs, while corporate management may be able to guarantee immediate fiscal benefits, however, it is unable insure the future of the museum. In Slim, my dissertation discusses the mechanism of the commercialized "Blockbuster Exhibition" and the impact that it has on the future of the museum as an industry. This research provides an opportunity to reconsider the role of the museum as an academic institution, particularly in regard to the need to decrease the capitalization of exhibitions and refocus their influence on the art world as an educational resource.

• Journal of the Korean earth science society
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• v.32 no.1
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• pp.124-139
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• 2011

This study was to explore epistemological features presented in texts of exhibit panels in the science museum located in Gyeonggi Province. Out-of-school or daily experiences allow more properly and potentially students to form informative science image, because the understandings of scientific epistemology were constructed tacitly through various experiences over a long period of time. The target for this study was panel texts of exhibits in a science museum as an of out-of-school context. The analytical framework was adopted from epistemological frameworks by Ryder et al. (1999). The research results were explored in the categories of relationship between scientific knowledge claims and the data, the nature of lines of scientific enquiry, and social dimension of science. It revealed that one exhibit might reflect the characteristics of one epistemological position: relating one data to one knowledge claim; generating knowledge claim from scientists' individual interests or from discipline's internal epistemology; scientists working as a community or an institution. Findings suggested that the exhibits of a science museum including panel texts and medium need to reflect the wide ranges of scientific epistemology.

• Journal of Science of Art and Design
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• v.7
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• pp.105-127
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• 2005

This research is on the characteristics and roles of important cities of Germany based on the history of the modern art museum and its possessions. Especially, it is focusing on the modern art museums in the western Germany including Dusseldorf, Koln, and Frankfrut that have shown economic recovery from the Miracle of Rhine; the capital city of Germany, Berlin, as well as Munich, the second capital city of Germany. Here, it harmonizes with the tradition of the past and simultaneously, it spreads the concept and role of the new museum as a forerunner. After the WWII, this is the most active of supporting investment for art museums and authors from the economic development. Also, it represents Germany with its national promotion of culture and arts. The modern art museums of Germany emphasize the mission that they exist for the people and the nation as well as creation of new art culture. These art museums working for national culture and art development do not simply collect and preserve arts. They induce active involvement from the public and keep in mind of national objectives. Here, art museums become and educational setting for the people and a room for new art culture. This research is on Germany modern art museum and it is composed of important 'public institutions' of Germany that critically influence the growth of world-renown authors. After the unification of Germany, Munchen and the western region became an important places centering around new Berlin modern art museum. They are the best places that show the national objectives and regional characteristics. Also, there are art museum educational curriculum and open space for the people by explaining exhibition plans and contents. Furthermore, there are two characteristics of German modern art museums that are noteworthy. Firstly, there are Berlin's Neue Nationalgalerie, Munchen's Pinakothek de Moderne, and Dusseldorf's 'K20' (Kunstsammlung N-Westfalen K20) that are the roots of modern art. These modern art museums exhibit popular author's collection repeatedly. This has a tendency to standardize audiences' view or to make audiences bored. It is becoming more like a trend for art work to appear and disappear. Despite these problems, German modern art museums play a critical role for a new cultural art creation and for the national identity by attempting to show the works of domestic authors as well as an intensive collection of world-renown authors' works. Secondly, there is a role as a new art museum to work together with people. It strives to continuously educate difficult modem arts, exhibits in an open space stimulating interest, participation, and conversations. From these roles, Hamburger Bahnhof Museum fur Gegenwart or Dusseldorf's 'K21, Frankfurt Museum $f\"{u}r$ Moderne Kunst, $Kf\"{o}ln$ Museum Ludwig are given new attention. Here, they emphasize the importance of communicating with the audiences and provides experiences that are different from the original spaces by showing the architecture tecture style of the art museum. In conclusion, German modern art museums attempt various changes by connecting to art education. With art museum activities, there forms a connection between arts and the lives of people, and from this, creative cultural art focused on the art museum borns. This is not only limited to Germany, the U.S., etc. We, too, should pay attention to new art culture creation from changes of role and function of modern art museums.

• Journal of the Korean Institute of Rural Architecture
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• v.11 no.1
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• pp.67-74
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• 2009

A new possibility for helping regional residents to establish the identity based on the history, culture and environment of the region and harmonizing art and culture in daily life can be seen from eco-museum. Unique cultural inheritances for each region exist not only in our nation but everywhere around the world, and Cheonan region is continuously attracting tourists from other regions as a home of the Independence Hall, Yu Gwan Sun Memorial, and live branches of independent activists with important inheritances such as tourist attractions and national treasures. However, despite unique environment of the region and inheritances with high academic values, lack of basic guides and explanations place the region in an environment that is difficult to approach. The purpose of this study is to systematically investigate regional inheritances based on the concept of eco-museum as an alternative for such problem recognition and to examine problems of inheritances scarred around Cheonan region based on their current status. The author of this study aims to analyze the investigated regional inheritances, rearrange their values and suggest possibilities for continued preservation and utilization.

• Journal of Conservation Science
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• v.25 no.3
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• pp.317-322
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• 2009

Nicobium castaneum belonging to the family Anobiidae of Coleoptera was found in Jeju Folk Museum in 2006, Miribeol Folk Museum in 2007, and a bier preserved in the bier house of Jeju in 2008. We found that this species did considerable damage to the several wooden cultural properties. For Identification and pest management to conserve wooden cultural properties from this anobiid species, we report morphology of adult and damage pattern (shape of exit holes from the host, tunnels and their excrements etc).

• SUVANNABHUMI
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• v.12 no.1
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• pp.7-47
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• 2020

This article is a sub-section of a comparative analysis of depictions of violence in Jakarta's Museum of the Indonesian Communist Party's Treachery, Ho Chi Minh City's War Remnants Museum, and Phnom Penh's Tuol Sleng Genocide Museum. In comparing these public history sites, I analyze how memories of mass violence were central to state formation in both Suharto's anti-Communist New Order (1966-1998), the Socialist Republic of Vietnam (1976-present), and Cambodia since the collapse of Democratic Kampuchea (1979-present). While this comparison points out specific distinctions about the role of the military, the nature of revolution, and conceptions of gender, it argues for a central similarity in the use of a mythology of victimization in building these post-conflict nation-states. This article focuses on my gendered analysis of the use of images of women and children in each museum. Depending on context and political purpose, these museums cast women as tragic victim, revolutionary heroine, or threat to the social order. My analysis of gender places stereotypical images of violence against women (the trope of women and children as the ultimate victims) in conversation with dark fantasies of women as perpetrators of savage violence and heroic images of women liberated by participation in violence.

• Korea Science and Art Forum
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• v.6
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• pp.67-78
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• 2010

The purpose of this study was to examine the educational methods and the educational effects using the cloud chamber in order to help young people to understand the nuclear energy and the ionizing radiation. In this study, we surveyed not only the history and the value of the cloud chamber as an hands-on exhibit in the science museum, but the case study on the nuclear hands-on education and the nuclear out-of-school education using the cloud chamber. And we analysed the satisfaction degree of participants in the out-of-school education using the cloud chamber in the science museum.

• Journal of Convergence for Information Technology
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• v.8 no.5
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• pp.121-129
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• 2018

The university museum is working to discover, research, and exhibit cultural artifacts as well as use them as resources of education and academic researches as one of the important organizations of the university. Current, however, university museums have the low-level usability caused by the reduction of financial and administrative supports of the university. One approach to solve this problem may be the design of mobile docent app for improving the accessibility of the museum. The app enables users get artifacts and education programs without the restriction and learn artifact-related knowledge easily. In this paper, we design and implement a new mobile docent app according to the analysis of content of the Chosun university museum as a real case study. In addition, we evaluate the functionality and usability of the proposed app by affordance-based questionnaire.

• Smart Media Journal
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• v.11 no.8
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• pp.21-28
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• 2022

Currently, as we enter the 21st century, the level and interest of society, culture, economy, and science are rapidly developing, but science education is still struggling. In order to increase the efficiency of science education, it is most important to focus on elementary education based on basic science. Therefore, this study aims to analyze the main causes of Korea's science museum's regression as a museum focusing on experience, interest, and fun such as simple science experience centers and science theme parks. To this end, the influencing factors were identified by applying the algorithm of the actor-based model based on the data on the exhibition space and the exhibition movement of the science museum completed and operated in Korea over the past 5 years, and the problem of the visitor movement in the exhibition space was analyzed through the space system. In this study, it was confirmed that the exhibition environment was the best when the linear plot movement system and the picalesque plot were applied simultaneously in the museum's exhibition narrative theory, and the arrangement of major exhibition spaces, width of exhibition spaces, and separation of spaces for exhibition purposes were derived.