A new taxon, Hymenophyllum wrightii f. serratum C.S. Lee & K. Lee (Hymenophyllaceae), forma nov. was collected and described from forests in Mt. Halla, Jeju-do, Korea. This taxon, H. wrightii f. serratum C.S. Lee & K. Lee (vernacular name: 'Gu-reum-cheo-nyeo-i-kki') was distinguished from H. wrightii f. wrightii by having smaller leaves, broader basal part of leaf blade, broad-ovate laminae, larger sori and serrate margins of lips of involucres. The new taxon's name is based on serrate margin shape of the lips. A Korean name, 'Gu-reum-cheo-nyeo-i-kki', was newly given based on its habitat. Descriptions and its photograph in the habitat are provided along with a key to the species of Hymenophyllum from Korea.
The Journal of the Convergence on Culture Technology
/
v.1
no.2
/
pp.1-19
/
2015
The history of modernization of Korea is divided into two folds of the colonial era in the 20's and the economic development era in the 60's. Most of the spaces built in the process of modernization were public spaces developed by the drive of the government. These spaces of modernization are functionality-oriented public places of production and at the same time, and they are the spaces of national power to symbolize the identity of national authorities. Along with changes in the society, modern spaces were reduced down to monument buildings without functionality and this requires new definition to renew the identity of modern spaces. Small stations, power plants, mines, warehouses, abandoned factories, and etc... the study has paid attention to the process of changing thought, one of the main characteristics of modernization, the relations of modern concepts projected in the spaces, framework of modern society, and placeness in the process of framework building and relations of people in the spaces with video records on the process of rebuilding new identity of modern spaces and memories of the spaces. The relations of modern spaces and memory were explored in < Seoul Station > while the relations between modern spaces and records and place identity were explored in < Onyang Folk Museum > and < Okpo Shipyard > respectively. In the relations between space identity and memory in each space, the ironic relations of power in modern spaces (placeness) and personal narrative (memories) were explored with oral narrative and video footage.
Today, the growing number of international architects enters the open market of South Korean architecture and interior from exhibition spaces such as art galleries to buildings of major companies. Establishing new local landmarks, their works have a considerable influence on the development of architecture. Among many, French architect Jean-Michel Wilmotte has worked consistently in South Korea. The purpose of this study is to analyze and put together the expression characteristic of the interior design in his exhibition spaces including Gana Art Gallery. Jean-Michel Wilmotte has designed based on the history, culture, society, and arts in France and other European countries, and is influenced by architects like Charles Rennie Mackintosh, Josef Hoffmann, and Carlo Scarpa. Such an influence is shown in the form of contrast between verticality and horizontality as well as the fortification in his modern classical characteristic, which is one of his expression characters. In his work of improving the ancient architecture, Wilmotte is good at creating a modern space through contextual expression, and the textural contrast between materials of the past and the present. Thus I performed an analysis of the expression characteristic of the interior design in National Museum of Contemporary Art of Chiado in Lisbon, Cognac Hennessy Museum in France, Gana Art Gallery in Korea, Mus$\acute{e}$e du Pr$\acute{e}$sident Jacques Chirac in Sarran, France, Ullens Center for Contemporary Art (UCCA) in Beijing, and lastly Mus$\acute{e}$e d'Orsay in Paris. The results show that he maintains the spatial context by applying contemporary design to the preserved existing structure, continues the flow of exhibition through the lightings in the corridors and on the ceiling, and seeks for a balance by adding vertical or horizontal elements to the elevation. In the interior, the staircase and exhibition structure are turned into objects, and the contrasting texture of the wall vitalizes the space. Wilmotte redesigns the space of the past and the present by using indirect joint that allows an organic connection of the old and new structures, and by minimizing the conflict between the two elements through prefabrication. The expression character of his interior design will be potential resources for architects and interior designers to develop their own design languages.
In the early 20th century, the efforts for design standards for industry and the new aesthetic of Functionalism began from the Deutcher Werkbund, an English German Association of Craftsmen. In the similar vein, the Bauhaus, founded in 1919 at Weimar, provided the definition of Good Design, as a contemporary concept, that combines art with technology. From 1950 to 1955, the modern usage of the term 'Good Design' was derived from a series of exhibitions and consumer education programs conducted by the MOMA(Museum of Modern Art, New York). The mission was to bring modern design to the attention of the general public. From the second half of the 20th century, many specialists in different areas, such as designers, manufacturers, enterprises, and scholars, began to give various definitions of 'Good Design'. That's why it could be interpreted and applied to unique and various methods by them. Meanwhile, Rams and Norman argued that the Good Design has to be not only considered within function, aesthetic, technology, etc, but also interpreted from both the physical and psychological point of views. Accordingly, this study tried to find out the historical investigation and the definition of Good Design in detail, and to figure out that the user-centered design from both physical and psychological approaches is eventually synonymous to 'Good Design'.
Journal of the Korean Society of Earth Science Education
/
v.14
no.2
/
pp.95-111
/
2021
This study introduces the new role of science museums. The practitioners from seven domestic science museums and four overseas ones participated in this study and responded the questionnaires. I identified what kind of science culture programs there are, if those programs were successful or not, and if unsuccessful, what kind of improvements can be made to be successful. The participating practitioners in science museums also developed an ideal and realistic community cooperation-based science culture programs and I explored the role of a new science museum for this purpose. In the case of current science culture programs, the most successful or not was the participation of visitors according to public relations, and the importance of public relations were mentioned as improvements. For a successful community cooperation-based science and culture program, active promotion, pre-operation team, dedicated personnel, open mind, and same purpose of other institutions, the will of both institutions, and economic support sponsors are important variables. In the case of the domestic science museums, the actual development and operation of the program showed that a successful community based program must have cooperation with other institutions in the same region, win-win connections, the dedicated human resources, and that each science museum's strengths were maximized. The science culture programs in the 21st century will enhance the innovative role of science museums making the use of local human and physical infrastructure, reflecting the needs of citizens, taking the initiative in the community, fostering cooperation-based professional human resources, and communicating smoothly with the government or local governments.
Journal of The Korean Association For Science Education
/
v.32
no.1
/
pp.46-63
/
2012
The purpose of this research is to explore factors which influence visitors' attention on exhibition panels by analyzing visitors' attention according to topic types and visitor group types. The subjects of this research are exhibition panels of a Tesla Coil exhibition in the Gwacheon National Science Museum. The exhibition panels' topic are basic concepts, explanations of phenomena, operating principles, applications and historical background. These topics are selected through a survey of visitors' intellectual needs for a Tesla Coil. Five new exhibition panels according to the topics are developed and visitor groups' behaviors in front of the panels are recoded in natural situations. The total participant groups are 586 groups, which includes individual student (30.0%), individual adult (20.6%), student group (28.2%), adult group(2.4%), and family group (18.8%). Visitors' attention to exhibition panels is sub-categorized into attracting power and holding power. Attracting power is defined by the percentile of group numbers who attend to an exhibition panel more than 3 seconds to the total group numbers who attend to an exhibition panel for more than a glance. Holding power is defined by average attention time and decay time. The attracting powers of historical background and application panels are 72.3% and 68.8% respectively, while that of the basic concept panel is 47%. Average attention times of explanation of phenomena and operating principle are 37.0 and 34.2 seconds, while those of historical background and application panels are 25.4 seconds. The decay times of each panel shows the same patterns of average attention times. Attracting powers of panels easy to approach and holding powers of panels with in-depth scientific concepts seems to be high. Attracting powers of the individual adult, family, and student group are 66.9%, 66.4% and 62.4% respectively, while the attracting power of the adult group and individual student are 57.1%, and 55.7%. Average attention times of the student group, family, adult groups are 34.0, 33.0, 31.6 seconds respectively, while that of individual student is 19.5 seconds. The decay times of each group shows the same patterns of average attention times. Both of attracting powers and average attention times of the student group and family group are high, while both of individual student are low. Tentatively, attracting powers of exhibition panels seems to be influenced more by topic types of panels, and holding power seems to be influenced more by group type. But these results are very limited and further studies are needed.
Scholar Byeoksu in a Pavilion by An Jung-sik (1861-1919; sobriquet: Simjeon) was first shown to the public in the exhibition Art of the Korean Empire: The Emergence of Modern Art at the National Museum of Modern and Contemporary Art, Deoksugung. This painting bears poems and inscriptions composed by Kim Taek-yeong (1850-1927; sobriquet: Changgang) and written by Kwon Dong-su (1842-?; sobriquet: Seokun). A rare example of an actual-view landscape painting by An Jung-sik, this painting is significant in that it depicts upper-class houses in Seoul in the early twentieth century. More importantly, it demonstrates an association among intellectuals of the time. Yun Deok-yeong (1873-1940; sobriquet: Byeoksu), who asked An Jung-sik to create this painting, was an uncle of Empress Sunjeonghyo (1894-1966), the consort of Emperor Sunjong. He was one of the most prominent collaborators who promoted the Japanese colonization of Korea. When Emperor Sunjong bestowed Yun Deok-yeong with a hanging board with an inscription reading "Scholar Byeoksu in a Pavilion," Yun requested the production of this painting to mark the event. Kim Taek-yeong, a master of Chinese literature during the late Korean Empire period, sought asylum in Nantong, Jiangsu Province in China with his family a month before the Protectorate Treaty was signed between Korea and Japan in 1905. In 1909, he returned to Korea. His decision to return was greatly influenced by Yun Deok-yeong and Yi Jae-wan (1855-1922). Upon his return, Kim Taek-yeong intended to gather materials for publishing a history book. Also, Kim continuously met his old acquaintances, made new friends, and socialized with them. He built relationships with people from various backgrounds, including those living in regions like Gurye, and even in other countries like Japan. This indicates that intellectuals of the time were still forming networks through poems and prose regardless of their political inclination, social rank, or nationality. Scholar Byeoksu in a Pavilion is of great value in that it shows an aspect of the intellectual exchanges among the learned people of the late nineteenth and early twentieth centuries.
Recently, the Japan Cultural Agency announced a plan for revitalizing the art market represented by reading museums (advanced art museums) to promote industry through strengthening the sustainability and economics of art museums. Along with these policy announcements, the Japanese cultural system and Bypyeongje are divided into pros and cons, and there has been a heightened opposition, which is now in a state where policy promotion has been temporarily suspended. The opposite reason is that it does not meet the museum's inherent purpose of preservation and lore, and the reason for favoring that commercialism can ruin the art world is that the Japanese art society is other than art museums and museums Also, it consists of non-profit organizations, art festival administration organizations, support staff, volunteers, etc., but because of the high subsidy bias, no real labor costs are paid, which means that it is virtually neglected. Also, there is a vigilance that the art society itself, which reduces its reliance on subsidies in response to social changes, can survive. Seeing that the situation is not much different from Japan, Korea is also actively discussing new establishments of the National Art Bank, performing art appraisal and evaluation functions for revitalizing art works, art loan, art trust, etc. There is. As it is difficult to solve realistic problems with subsidies from the future situation, it is difficult for us to expand investment in culture, and culture and economy are united and linked. You will find a plan to make it operational. In this regard, it is thought that the examination of the cultural and economic agency's strategy, represented by the Japanese advanced art museums, gives us a meaningful suggestion.
The most common conception of a work of art is as a unique object. In conservation the prevalent notion of authenticity is based on physical integrity, this guides judgements about loss. For the majority of traditional art objects, minimising change to the physical work means minimising loss, where loss is understood as compromising the (physical) integrity of a unique object, and this forms the focus of conservation. Fundamental to conservators' approach to the conservation of contemporary art is the notion that the artist's intent should guide conservators' practice. Since most of the artists creating installation art are living, it is possible to interview them about the details of the installation, attitudes to changing technology, parameters of acceptable change and their views about what aspects of the installation are essential to preserve. Conservation is no longer focused on intervening to repair the art object but has become concerned with documentation and determining what change is acceptable and managing those changes. In order to accurately install works in the future it is necessary to broaden our focus to include elements of an installation that affect the viewer's experience. This might mean documenting the space, the acoustics, the balance of the different channels of sound, the light levels and the way one enters and leaves the installation. These are as important as the more tangible or material elements in the conservation of the work. It is also necessary to work with industry and specialists outside the field of conservation to develop new skills to preserve and manage new types of objects in our care. We can also document the less tangible details of an installation such as the light levels, the character of the sound etc. This is a new area of conservation and as a profession our understanding and knowledge will deepen with time. All of these strategies work together to help to limit the risk of not being able to accurately install these works in the future. Deciding what can be changed and how to best care for any element of an installation will depend on its meaning and role. For both contemporary and traditional objects such decisions are documented by conservators and although the focus of the conservator may have moved away from the material object, the approach is still rooted in traditional notions of collection care.
The findings of this study indicate that intangible cultural properties are worth preservation and transmission and should be considered as very important as tangible cultural properties. If the studies of intangible cultural properties are continued focusing on their characteristics and formational system, they can be expressed more properly by adding new interactive elements to database and expressive requisites. New techniques introduced in this study are believed to provide people with most reasonable and developmental motives for expression of the existing intangible cultural properties. Concerning Korea's cultural properties centered on intangible cultural properties, information construction should be made with a new idea of information based on database from the previous studies. The result will be able to set an important factor to give wide publicity to our cultural identity, which is currently shown in the process of background communication, and serve as a foothold to deliver exact information to our descendants. The intangible cultural properties are our people's mental cultural heritage resources. If museums or initiator groups, which are organized to spread cultural heritages, can use them as the subjects of exhibition through information construction and visualization, it will function to maximize the educational effect of transmitting our national mental world. The development of digital environment will provide the optimum conditions and tools making it possible to visualize intangible forms and ideas in a virtual cyber space. Given these viewpoints, steady studies and efforts for the improvement of Korea's cultural image should be made in the way of intangible cultural properties as well as tangible ones. They start from the country's accurate appreciation of cultural properties and are embodied in systematic adjustment and relationship between interdependent elements.
본 웹사이트에 게시된 이메일 주소가 전자우편 수집 프로그램이나
그 밖의 기술적 장치를 이용하여 무단으로 수집되는 것을 거부하며,
이를 위반시 정보통신망법에 의해 형사 처벌됨을 유념하시기 바랍니다.
[게시일 2004년 10월 1일]
이용약관
제 1 장 총칙
제 1 조 (목적)
이 이용약관은 KoreaScience 홈페이지(이하 “당 사이트”)에서 제공하는 인터넷 서비스(이하 '서비스')의 가입조건 및 이용에 관한 제반 사항과 기타 필요한 사항을 구체적으로 규정함을 목적으로 합니다.
제 2 조 (용어의 정의)
① "이용자"라 함은 당 사이트에 접속하여 이 약관에 따라 당 사이트가 제공하는 서비스를 받는 회원 및 비회원을
말합니다.
② "회원"이라 함은 서비스를 이용하기 위하여 당 사이트에 개인정보를 제공하여 아이디(ID)와 비밀번호를 부여
받은 자를 말합니다.
③ "회원 아이디(ID)"라 함은 회원의 식별 및 서비스 이용을 위하여 자신이 선정한 문자 및 숫자의 조합을
말합니다.
④ "비밀번호(패스워드)"라 함은 회원이 자신의 비밀보호를 위하여 선정한 문자 및 숫자의 조합을 말합니다.
제 3 조 (이용약관의 효력 및 변경)
① 이 약관은 당 사이트에 게시하거나 기타의 방법으로 회원에게 공지함으로써 효력이 발생합니다.
② 당 사이트는 이 약관을 개정할 경우에 적용일자 및 개정사유를 명시하여 현행 약관과 함께 당 사이트의
초기화면에 그 적용일자 7일 이전부터 적용일자 전일까지 공지합니다. 다만, 회원에게 불리하게 약관내용을
변경하는 경우에는 최소한 30일 이상의 사전 유예기간을 두고 공지합니다. 이 경우 당 사이트는 개정 전
내용과 개정 후 내용을 명확하게 비교하여 이용자가 알기 쉽도록 표시합니다.
제 4 조(약관 외 준칙)
① 이 약관은 당 사이트가 제공하는 서비스에 관한 이용안내와 함께 적용됩니다.
② 이 약관에 명시되지 아니한 사항은 관계법령의 규정이 적용됩니다.
제 2 장 이용계약의 체결
제 5 조 (이용계약의 성립 등)
① 이용계약은 이용고객이 당 사이트가 정한 약관에 「동의합니다」를 선택하고, 당 사이트가 정한
온라인신청양식을 작성하여 서비스 이용을 신청한 후, 당 사이트가 이를 승낙함으로써 성립합니다.
② 제1항의 승낙은 당 사이트가 제공하는 과학기술정보검색, 맞춤정보, 서지정보 등 다른 서비스의 이용승낙을
포함합니다.
제 6 조 (회원가입)
서비스를 이용하고자 하는 고객은 당 사이트에서 정한 회원가입양식에 개인정보를 기재하여 가입을 하여야 합니다.
제 7 조 (개인정보의 보호 및 사용)
당 사이트는 관계법령이 정하는 바에 따라 회원 등록정보를 포함한 회원의 개인정보를 보호하기 위해 노력합니다. 회원 개인정보의 보호 및 사용에 대해서는 관련법령 및 당 사이트의 개인정보 보호정책이 적용됩니다.
제 8 조 (이용 신청의 승낙과 제한)
① 당 사이트는 제6조의 규정에 의한 이용신청고객에 대하여 서비스 이용을 승낙합니다.
② 당 사이트는 아래사항에 해당하는 경우에 대해서 승낙하지 아니 합니다.
- 이용계약 신청서의 내용을 허위로 기재한 경우
- 기타 규정한 제반사항을 위반하며 신청하는 경우
제 9 조 (회원 ID 부여 및 변경 등)
① 당 사이트는 이용고객에 대하여 약관에 정하는 바에 따라 자신이 선정한 회원 ID를 부여합니다.
② 회원 ID는 원칙적으로 변경이 불가하며 부득이한 사유로 인하여 변경 하고자 하는 경우에는 해당 ID를
해지하고 재가입해야 합니다.
③ 기타 회원 개인정보 관리 및 변경 등에 관한 사항은 서비스별 안내에 정하는 바에 의합니다.
제 3 장 계약 당사자의 의무
제 10 조 (KISTI의 의무)
① 당 사이트는 이용고객이 희망한 서비스 제공 개시일에 특별한 사정이 없는 한 서비스를 이용할 수 있도록
하여야 합니다.
② 당 사이트는 개인정보 보호를 위해 보안시스템을 구축하며 개인정보 보호정책을 공시하고 준수합니다.
③ 당 사이트는 회원으로부터 제기되는 의견이나 불만이 정당하다고 객관적으로 인정될 경우에는 적절한 절차를
거쳐 즉시 처리하여야 합니다. 다만, 즉시 처리가 곤란한 경우는 회원에게 그 사유와 처리일정을 통보하여야
합니다.
제 11 조 (회원의 의무)
① 이용자는 회원가입 신청 또는 회원정보 변경 시 실명으로 모든 사항을 사실에 근거하여 작성하여야 하며,
허위 또는 타인의 정보를 등록할 경우 일체의 권리를 주장할 수 없습니다.
② 당 사이트가 관계법령 및 개인정보 보호정책에 의거하여 그 책임을 지는 경우를 제외하고 회원에게 부여된
ID의 비밀번호 관리소홀, 부정사용에 의하여 발생하는 모든 결과에 대한 책임은 회원에게 있습니다.
③ 회원은 당 사이트 및 제 3자의 지적 재산권을 침해해서는 안 됩니다.
제 4 장 서비스의 이용
제 12 조 (서비스 이용 시간)
① 서비스 이용은 당 사이트의 업무상 또는 기술상 특별한 지장이 없는 한 연중무휴, 1일 24시간 운영을
원칙으로 합니다. 단, 당 사이트는 시스템 정기점검, 증설 및 교체를 위해 당 사이트가 정한 날이나 시간에
서비스를 일시 중단할 수 있으며, 예정되어 있는 작업으로 인한 서비스 일시중단은 당 사이트 홈페이지를
통해 사전에 공지합니다.
② 당 사이트는 서비스를 특정범위로 분할하여 각 범위별로 이용가능시간을 별도로 지정할 수 있습니다. 다만
이 경우 그 내용을 공지합니다.
제 13 조 (홈페이지 저작권)
① NDSL에서 제공하는 모든 저작물의 저작권은 원저작자에게 있으며, KISTI는 복제/배포/전송권을 확보하고
있습니다.
② NDSL에서 제공하는 콘텐츠를 상업적 및 기타 영리목적으로 복제/배포/전송할 경우 사전에 KISTI의 허락을
받아야 합니다.
③ NDSL에서 제공하는 콘텐츠를 보도, 비평, 교육, 연구 등을 위하여 정당한 범위 안에서 공정한 관행에
합치되게 인용할 수 있습니다.
④ NDSL에서 제공하는 콘텐츠를 무단 복제, 전송, 배포 기타 저작권법에 위반되는 방법으로 이용할 경우
저작권법 제136조에 따라 5년 이하의 징역 또는 5천만 원 이하의 벌금에 처해질 수 있습니다.
제 14 조 (유료서비스)
① 당 사이트 및 협력기관이 정한 유료서비스(원문복사 등)는 별도로 정해진 바에 따르며, 변경사항은 시행 전에
당 사이트 홈페이지를 통하여 회원에게 공지합니다.
② 유료서비스를 이용하려는 회원은 정해진 요금체계에 따라 요금을 납부해야 합니다.
제 5 장 계약 해지 및 이용 제한
제 15 조 (계약 해지)
회원이 이용계약을 해지하고자 하는 때에는 [가입해지] 메뉴를 이용해 직접 해지해야 합니다.
제 16 조 (서비스 이용제한)
① 당 사이트는 회원이 서비스 이용내용에 있어서 본 약관 제 11조 내용을 위반하거나, 다음 각 호에 해당하는
경우 서비스 이용을 제한할 수 있습니다.
- 2년 이상 서비스를 이용한 적이 없는 경우
- 기타 정상적인 서비스 운영에 방해가 될 경우
② 상기 이용제한 규정에 따라 서비스를 이용하는 회원에게 서비스 이용에 대하여 별도 공지 없이 서비스 이용의
일시정지, 이용계약 해지 할 수 있습니다.
제 17 조 (전자우편주소 수집 금지)
회원은 전자우편주소 추출기 등을 이용하여 전자우편주소를 수집 또는 제3자에게 제공할 수 없습니다.
제 6 장 손해배상 및 기타사항
제 18 조 (손해배상)
당 사이트는 무료로 제공되는 서비스와 관련하여 회원에게 어떠한 손해가 발생하더라도 당 사이트가 고의 또는 과실로 인한 손해발생을 제외하고는 이에 대하여 책임을 부담하지 아니합니다.
제 19 조 (관할 법원)
서비스 이용으로 발생한 분쟁에 대해 소송이 제기되는 경우 민사 소송법상의 관할 법원에 제기합니다.
[부 칙]
1. (시행일) 이 약관은 2016년 9월 5일부터 적용되며, 종전 약관은 본 약관으로 대체되며, 개정된 약관의 적용일 이전 가입자도 개정된 약관의 적용을 받습니다.