• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.38-49
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• 2016

This study is based on the assumption that the documentations, and poetry form a basis for undertone of the location and original landscape explored by inference and enjoyment aspects; the significance has been inferred by investigating the original location, relocated location, and the original landscape of Imsil Manchwi Pavilion. The results of the attempted research for locational value, and preservation of the original landscape before and after the relocation of Imsil Manchwi Pavilion is as follows. Firstly, Manchwi, meaning evergreen, was made a pseudonym of KimWi. The name reflects an image two evergreen pine trees facing one another. The poetry form presents the eternal fidelity. In addition, considering the symbolic plant and the meaning of evergreen pine trees specified on the pavilion, the name is derived from the fidelity, longevity of the family, vitality and so on. Secondly, Manchwi Pavilion was founded in the location, known as the snakehead form, that represents the vitality. Snake faces the swallow form over the river, therefore, it connotes the wishes for fidelity and prosperity of the family. Manchwi Pavillion is prostrate pheasant form which is suitable for those who look for a hiding place or place for their study. It is noticeable that the location infers and hand down the efforts on succession for prosperity of the family and the study. Thirdly, it is estimated that Manchwi Pavilion was established between 1572 and 1582; and the relocation was conducted in the late 1880s. Fourthly, although eternal fidelity was presented in Manchwi Pavillion with locational language, the Manchwi Pavillion after its relocation next to KimWi's grave implies the tendency of the changed value: the commemoration of the ancestors, and prosperity of the family. Fifthly, after the relocation of the pavilion, the proportion of the rooms with Korean heating system, so-called'Ondol'has been increased for its best use in all seasons. And its veranda for extension and its verse couplet implies that this connote the original meaning and pursuit of the study. Sixthly, the way that the poetry portrays pine trees, pond, plants, valleys, and streams shows the aspect of enjoyment of the landscapes and the meaning of fidelity, pure mind, free and easy life, self-examination, the frailty of human life. Lastly, despite the difference between tenth poetic language of three Sipyoung and Wonwoon Sipyeong, exploring the landscape based on the analysis on the poetry can be a basis on the maintenance and restoration of the original landscape as the inspiration and the meaning show that Wonwoon Sipyeong maintains the aspect of the author enjoying original landscape.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.837-847
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• 2007

1,098 pieces of photographs($1995{\sim}2002$) of men's suit style have been classified according to fashion images in order to examine features and change aspects with statistical analysis. The findings of examining features of the trend by year with test of homogeneity, correspondence analysis, biplots, correlation analysis and regression analysis are as follows: (a) there are significant differences on fashion images as the trend by yew with test of homogeneity, (b) there are remarkable differences on the fashion trend by year with correspondence analysis and biplots. (c) There are significant correlations for appearance among fashion images by its frequency through correlation analysis, and (d) it is assumed that fashion images are going to be gradually outstanding according to regression analysis.

• Journal of Intelligence and Information Systems
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• v.18 no.1
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• pp.59-69
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• 2012

As exhibition industry, which is a part of 17 new growth engines of the government, is related to other industries such as tourism, transportation and financial industries. So it has a significant ripple effect on other industries. Exhibition is a knowledge-intensive, eco-friendly and high value-added Industry. Over 13,000 exhibitions are held every year around the world which contributes to getting foreign currency. Exhibition industry is closely related with culture and tourism and could be utilized as local and national development strategies and improve national brand image as well. Many countries try various efforts to invigorate exhibition industry by arranging related laws and support system. In Korea, more than 200 exhibitions are being held every year, but only 2~3 exhibitions are hosted with over 400 exhibitors and except these exhibitions most exhibitions have few foreign exhibitors. The main reason of weakness of domestic trade show is that there are no agencies managing exhibitionrelated statistics and there is no specific and reliable evaluation. This might cause impossibility of providing buyer or seller with reliable data, poor growth of exhibitions in terms of quality and thus service quality of trade shows cannot be improved. Hosting a lot of visitors (Public/Buyer/Exhibitor) is very crucial to the development of domestic exhibition industry. In order to attract many visitors, service quality of exhibition and visitor's satisfaction should be enhanced. For this purpose, a variety of real-time customized services through digital media and the services for creating new customers and retaining existing customers should be provided. In addition, by providing visitors with personalized information services they could manage their time and space efficiently avoiding the complexity of exhibition space. Exhibition industry can have competitiveness and industrial foundation through building up exhibition-related statistics, creating new information and enhancing research ability. Therefore, this paper deals with customized service with visitor's smart-phone at the exhibition space and designing mobile framework which enables exhibition devices to interact with other devices. Mobile server framework is composed of three different systems; multi-server interaction, server, client, display device. By making knowledge pool of exhibition environment, the accumulated data for each visitor can be provided as personalized service. In addition, based on the reaction of visitors each of all information is utilized as customized information and so the cyclic chain structure is designed. Multiple interaction server is designed to have functions of event handling, interaction process between exhibition device and visitor's smart-phone and data management. Client is an application processed by visitor's smart-phone and could be driven on a variety of platforms. Client functions as interface representing customized service for individual visitors and event input and output for simultaneous participation. Exhibition device consists of display system to show visitors contents and information, interaction input-output system to receive event from visitors and input toward action and finally the control system to connect above two systems. The proposed mobile framework in this paper provides individual visitors with customized and active services using their information profile and advanced Knowledge. In addition, user participation service is suggested as well by using interaction connection system between server, client, and exhibition devices. Suggested mobile framework is a technology which could be applied to culture industry such as performance, show and exhibition. Thus, this builds up the foundation to improve visitor's participation in exhibition and bring about development of exhibition industry by raising visitor's interest.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.2
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• pp.1-12
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• 2015

This study explores urban gardening and garden culture in residential area as an everydayness that has been overlooked during the modern period urbanization and investigates the meaning and value of urban gardening from the perspective of urban formations and growth in spontaneous urban residential area, Haebangchon. The result identified that urban gardening as a meaning of contemporary culture is a new clue to improving the urban physical environment and changing the lives and community network of residents. Haebangchon is one of the few remaining spontaneous habitations in Seoul, and was created as a temporary unlicensed shantytown in 1940s. It became the representative habitation for common people in downtown Seoul through the revitalization of the 60s and the local reform through self-sustaining redevelopment projects during the 70s through the 90s. This area still contains the image of times during the 50s to the 60s, the 70s to the 80s and present, with the percentage of long-term stay residents high. Within this context, the site is divided into third quarters, and the research undertaken by observation and investigation to determine characteristics of urban gardening as an everydayness. It can be said that urban gardening and garden culture in Haebangchon is a unique location culture that has accumulated in the crevices of the physical condition and culture of life. These places are an expression of resident's desires that seeking out nature and gardening as revealed in densely-populated areas and the grounds of practical acting and participating in care and cultivation. It forms a unique, indigenous local landscape as an accumulation of everyday life of residents. Urban gardens in detached home has retained the original function of the dwelling and the garden, or 'madang', and takes on the characteristic of public space through the sharing of a public nature as well as semi-private spatial characteristic. Also, urban gardens including small kitchen garden and flowerpots that appear in the narrow streets provide pleasure as a part of nature that blossoms in narrow alley and functions as a public garden for exchanging with neighbors by sharing produce. This paper provides the concept of redefining the relationship between the private-public area that occurs between outside spaces that are cut off in a modern city.

• Journal of radiological science and technology
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• v.33 no.4
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• pp.327-334
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• 2010

Exposure during childhood results in higher risk for certain detrimental cancers than exposure during adulthood. We measured entrance skin dose (ESD) under 7-year children undergoing chest imaging and compared the relationship between ESD and age, height, weight, chest thickness. Though it is important to measure chest thickness for setting up the exposure condition of chest examination, it is difficult to measure chest thickness of children. We set up exposure parameters according to age because chest thickness of children has correlation with age. In the exposure parameters, for chest A-P examination under 2 year-children, tube voltage (kVp) in hospital A was higher than that in hospital B while tube current (mAs) was higher in hospital B, thus the ESD values were about 1.7 times higher in hospital B. However, for chest P-A examination over 4 year-children, the tube voltage was 7 kVp higher in hospital B, the tube current were same in all two systems, and focus to image receptor distance (FID) in hospital B (180 cm) was longer than that in hospital A (130 cm), thus the ESD values were 1.4 times higher in hospital A. For same ages, the ESD values for chest A-P examinations were higher than those for chest P-A examinations. Comparing ESD according to age, ESD values were $154{\mu}Gy$, $194{\mu}Gy$ and $138{\mu}Gy$ for children under 1 year, 1 to under 4 years and 4 to under 7 years of age, respectively. These values were lower than reference level ($200{\mu}Gy$) recommended in JART (japan association of radiological technologists), however these were higher than reference values recommended by EC (european commission), NRPB (national radiological protection board) and NIFDS (national institute of food & drug safety evaluation). In conclusion, the values of ESD were affected by exposure parameters from radiographer's past experience more than x-ray system. ESD values for older children were not always higher than those for younger children. Therefore we need to establish our own DRLs (diagnostic reference levels) according to age of the children in order to optimize pediatric patient protection.

• Korean Journal of Remote Sensing
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• v.37 no.5_2
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• pp.1295-1305
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• 2021

Satellite-derived ocean color products are required to effectively monitor clear open ocean and coastal water regions for various research fields. For this purpose, accurate correction of atmospheric effect is essential. Currently, the Geostationary Ocean Color Imager (GOCI)-II ground segment uses the reanalysis of meteorological fields such as European Centre for Medium-Range Weather Forecasts (ECMWF) or National Centers for Environmental Prediction (NCEP) to correct gas absorption by water vapor and ozone. In this process, uncertainties may occur due to the low spatiotemporal resolution of the meteorological data. In this study, we develop water vapor absorption correction model for the GK-2 combined GOCI-II atmospheric correction using Advanced Meteorological Imager (AMI) total precipitable water (TPW) information through radiative transfer model simulations. Also, we investigate the impact of the developed model on GOCI products. Overall, the errors with and without water vapor absorption correction in the top-of-atmosphere (TOA) reflectance at 620 nm and 680 nm are only 1.3% and 0.27%, indicating that there is no significant effect by the water vapor absorption model. However, the GK-2A combined water vapor absorption model has the large impacts at the 709 nm channel, as revealing error of 6 to 15% depending on the solar zenith angle and the TPW. We also found more significant impacts of the GK-2 combined water vapor absorption model on Rayleigh-corrected reflectance at all GOCI-II spectral bands. The errors generated from the TOA reflectance is greatly amplified, showing a large error of 1.46~4.98, 7.53~19.53, 0.25~0.64, 14.74~40.5, 8.2~18.56, 5.7~11.9% for from 620 nm to 865 nm, repectively, depending on the SZA. This study emphasizes the water vapor correction model can affect the accuracy and stability of ocean color products, and implies that the accuracy of GOCI-II ocean color products can be improved through fusion with GK-2A/AMI.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.334-365
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• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.

• Journal of The Korean Association For Science Education
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• v.43 no.3
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• pp.253-263
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• 2023

This study explored the discrepancy between the text of a teacher's guide about straight and reflective light and the content knowledge of pre-service elementary teachers. A total of 455 questions and 543 answers generated by 279 pre-service elementary teachers after reading a 'Shadow and Mirror' unit in the teacher's guide were analyzed. The questions were classified according to the types of concepts and discrepancies, and the answers were analyzed for accuracy. The results of analyzing the concepts of questions revealed that the pre-service elementary teachers were most curious about the shadow in the straight concept, the mirror image in the reflection concept, and the light source in other concepts. The questions with a low correct answer rate due to incorrect- or non-answers, such as those concerning the superposition principle of light by reflection, the principle of experimental tools, and images by lenses, were only partially or not included in the teacher's guide. When the questions were classified according to the type of discrepancy, the frequency of questions due to knowledge deficit was higher than that due to knowledge clash. This demonstrates that the concepts that teachers need to know must be supplemented with the contents of the teacher's guide. Discrepancies due to knowledge clashes are often caused by conflicts between what is experienced in everyday life and what is presented in textbooks. Therefore, it is necessary to reduce the discrepancy between the texts of the teacher's guide and the knowledge of pre-service elementary teachers by including the differences between the actual context of everyday life and the context of the textbook in the teacher's guide.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.27-36
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• 2019

Today, the Korean wave headed by K-pop is newly named as 'New Korean Wave' in that it has been extended to United States, Europe and Russia. K-POP, the main player of the new Korean wave, has been successful in SNS marketing channels. Furthermore, the content of K-pop has attracted the attention of the global audience. The media and public attention on the Korean Wave is meaningful because it is not merely a cultural export. It also makes Korean people feel national pride, seeing the mental influence of its culture on other regions. Moreover, the development of the cultural industry in our society, which is different from industrial or material development, is a proof that Korean society is at the center of globalization. Until the 20th century, Korean culture had been rather receptive than dominant. In other words, it was focused more on acceptance of other cultures than active creation or outflow of its own. Now, however, K-POP is not anymore copying Western culture. It is creating its own unique characters, which makes K-pop very competitive. Korean culture has been formed for a long time in Korea's unique historical background. Korean popular culture also has to establish a solid foothold in world markets through its distinctive and traditional feature. The positive consumer response to Korean pop culture will create the added value of Korean contents and their derivatives, which will heighten Korea's national image also. In other words, if traditional art and K-POP are converged and equipped with our own unique and highly artistic culture, they will take the lead in the global cultural art market. In this study, we will recognize the possibility, growth and development of K-pop culture and analyze the cases of combining K-pop and Korean traditional art. First, we have to blend traditional art and other various genres to create diverse contents, and we have to actively utilize media channels. Second, we must improve people's awareness of the copyrights of traditional art. Also, we have to mitigate the copyrights of creative dance to expand the disclosure of contents which can be utilized. Third, we have to learn about traditional arts from younger age. Fourth, we will expand traditional arts to the whole of Korean cultural policies, which can enhance the nation's cultural value and create economic benefits. These four are expected to be effective ways to preserve the identity of traditional art and at the same time, globalize Korean culture.