• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.215-222
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• 2021

Duchamp chose readymades mainly for his denial of retinal painting and his desire and fluid thinking for changes inside him. His thinking is well presented in his readymade works. One of his early readymades, Bicycle Wheel, expresses correlations between beings and capital. Its essence is capital and the desire of beings. It is connected to Desire or Desire-Machine proposed as a social reform and creation model by Gilles Deleuze and Félix Guattari. Bicycle Wheel does not simply end in desire relations between capital and beings, though. When the desire of beings is converted into positive desire, it can keep inventing and creating something that is repetitive, fluid, and new. Duchamp tried to convey this positive desire through his readymade Fountain. Duchamp created a ready-made article toilet into a work of art in Fountain, being driven by desire flowing inside him. This is connected to the attributes of nomads that refused to settle down and continue to flow in search of new landscapes. This way of his thinking is clearly reflected in his Box in a Valise. He was motivated to create this work by his fluid thinking. In this work, various situations can unfold often according to the directions of two elements, place and arrangement. Here, place guarantees fluidity, and arrangement variability or desire. According to Gilles Deleuze and Félix Guattari, fluidity represents nomads with the characteristics of flow and variation, and desire represents productivity or production or creation. Box in a Valise represents nomads themselves. The nomads defined by Gilles Deleuze and Félix Guattari keep flowing and create a new world. They are in line with the thinking of Duchamp that refused to settle down at one place and escape from the old order to create a new artistic world. This type of nomads can be called revolutionists or creators that acknowledge differences and create. Nomads also contain the concept of resistance to the old order. Deleuze and Guattari proposed a war machine as a model of this resistance. Duchamp and his readymades can thus be called war machines.

• Journal of Korea Society of Industrial Information Systems
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• v.28 no.6
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• pp.53-62
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• 2023

This paper has suggested the necessity of introducing training contents using XR(Extended reality) technology as a way to lower the high rate of nursing accidents among unskilled technical personnel in domestic shipbuilding industry, focusing on cable pulling using winch. The occurrence rate of nursing accidents in the domestic shipbuilding industry was almost double(197.4%) (2017~2020) when compared with other manufacturing industries. In particular, it is worth noting that more than 31.8% of nursing accidents in the shipbuilding industry occurred among workers whose job experience is no more than 6 months. Most of new workers are seen to have hard time due to several factors such as lack of work information, inexperience, and unfamiliarity with the working environments. This indicates that it is essential to incorporate more effective training method that could help new workers become familiar with technical skills as well as working environments in a short period of time. Currently, education/training at the domestic shipyard is biased toward technical skills such as welding, painting, machine installation, and electrical installation. Contrary, even more important training required to get new workers used to the working environment has remained at a superficial level such as explaining ship building processes using 2D drawings. This may be the reason why it is inevitable to repeat similar training at OJT (On-the-Job Training) even at the leading domestic companies. Domestic shipbuilding industries have been attracting a lot of new workers thanks to recent economic recovery, which is very likely to increase the occurrence of disasters. In this paper, the introduction of training using XR technology was proposed, and as a specific example, the process of pulling cables using winches on ships was implemented as XR-based training content by using Unity. Using the developed content, it demonstrated that new workers can experience the actual work process in advance through simulation in a virtual space, thereby becoming more effective training content that can help new workers become familiar with the work environment.

• 월간산업보건
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• s.8
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• pp.4-30
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• 1988

Examination of working environments was conducted to get more detailed data about harmful working environments and to make a contribution to more effective management. Study was carried out on 722 factories located in Taegu city and eight counties in Kyungpook Province, Korea, for a period of one year, from February 1 to December 30, 1986. The total number and proportion of workers exposed to harmful material was 37,697, 45.2% among 83,368 workers. The results according to exposed material were as follows: 1. In the case of noise, proportion of exceeding the 8-hour TLV was 59%, Included were nail-cutting in assembly metal manufacturing industry and weaving process in textile. 2. Dust in mill process of coal manufacturing industries exceeded the TLV of second class of dust at all parts and exceeded the TLV at 6% as a whole.: 3. The fields of industry lower than 70 lux of illumination were storage equipment of food, auto-winder of textile, painting of wood wares and coal mixing, and 44% of all cases was lower than standard. 4. As a result of temperature index investigation(WBGT), about 12% of all sujects exceeded limit value. Included parts were rolling machine and reducing room. 5. In the case of organic solvents, TLV was exceeded at about 8%, The parts exceeded TLV according to materials belonged to this category were as follows. 1) Toluene: adhesive work in assembly metal manufacturing 2) Xylene: printing and paint mixing in chemical manufacturing 3) Methyl ethytl ketone: paint mixing in all parts examined and coating machine partially in chemical manufacturing 4) Methyl isobutyl ketone: printing in chemical manufacturing 5) Acetone: vapor polishing in assembly metal manufacturing 6. Among specified chemical materials, the concentration of HC1 in the air in metal assembly manufacturing factory exceeded TLV. in one of three assembly metal manufacturing examined. Others, such as benzene, acetic acid, formic acid, sodium hydroxide, formalin, ammonia, copper, chromate etc. were lower than TLV in its indoor atmospheric concentration. As a whole, the proportion of exceeding TLV was about 0.8% 7. The concentrations of inorganic lead were lower than TLV in all parts examined. The results of this investigation show the fact that current management of working environments is not satisfactory, and so more active management is needed.

• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.766-777
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• 2012

The 13 genre paintings by Junkeun Kim in the book "Korean Games(by Stewart Culin 1858~1929)" were used to study the late $19^{th}$ century's basic costumes and Games style in Korea. The people who appear in the paintings are 26 adult males, 2 minor males, 2 adult females and 3 kisaengs. Typical men wore 'Jeogori' which had various colors and white linings with a reached hip line, and knotted with a 'go-rum' on the right side. They also wore, white colored 'Baji' with colorful sash that were knot below knee or ankle together with 'Hang-jun' or 'Daenim'. They wore 'Beoseon'. Some men wore 'Po' whose colors were blue, green, indigo, white. The general women wore 'Jeogori' in deep green and light pink, indigo, green, red, and they matched with colors for 'Kit' and, 'Go-rum', 'Kut-dong' and its 'Go-rum' was short and narrow. It was so fit and short with narrow sleeve. It had 'Dunggun-kit'(round head collar) with white 'Dong-jung' and so it fit at neck. They wore 'Chi-ma' whose color was red, light green, or light indigo. It contrasted with 'Jeogori'. The width of 'Chi-ma' was big enough. Then white inner slacks came out under the skirt. Traditional Korean games can be classified according to age and gender. Then the games can be further classified into three categories : men's games, women's games, and games for all. The games for adult are an archery practice, hunting, shovel work with a karae, making a bow, drawing Jongkung-chart, Korean chess, playing paduk, and the Korean card game. A swing is a game for women. Games for both men and women are dice play, and domino game. Games for both adult and minor males are sledge, and tightrope walking. Through genre paintings in the $19^{th}$ century, I reached a conclusion that basic costumes are similar to 'Hanbok' at the present time and the method of wearing them has not changed much. It appears that the originality of traditional costumes has been maintained.

• Journal of the Korean Society of Costume
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• v.35
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• pp.17-44
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• 1997

Medieval European practical art and style of costume is studied through referring to the literatures. The type of clothing that was seen on tapestries arts and crafts paintings and wall paintings and appeared in the architecture such as church. There were symbolic aspects of color motifs at this period and some restraints for clothing according to the social class, It was a period that draped garments due to the War of Crusades is appeared. Be-cause the medieval taste and decorative character is not only 'formative art' but also the taste beyoud 'mode' and atomsphere of that times it could be seen the strong reflec-tion of customs in the clothing of that times which is shown in works of art. 1) The purpose of Christian art which was found in mosaics stained glasses wall pain-tings and statues of architecture was not just the revival of natural phenomena but visuali-zation of sacred and invisible things. It was valuable to understandin of the spiritual through the sense organ It was a monumental art that was combined with decorative func-tion and role of the Bible. It revealed what was about the religious spiritual miracle, 2) In the medieval European painting characteristic and beautiful creativity was the basis of an argument. Both "Worship of East-ern" that is painted ion a parchment and "Cor-onation of Charles VI" were described decor-ation motifs on the edge of buildings geo-metric patterns and others with outstanding skill. there were precise technologic skill of architect and glassmen and lots of patience of craftsmen. " The Labour of the Months" and the scene of"A Trial at the Court" is also de-scribed elaborately. 3) Tapestry was developed in France Ger-many Swiss at the 14th century. Religionary and historical themes unicorn lady bird flowering plants and others were major motifs. It was very important as decorative wall coverings and as practical door arch and bed hangings. It was made through patient hard work with simple technique and it was con-sidered as an art for practical use. Tapestry was what everyone wish to have. It is reckoned for the item of the best gift. The royalty and nobility ordered and used custom-made tapestries. Sometimes the subject of motifs consisted of series which were deeply related to living 4) Decorative arts and crafts was the art that used materials such as precious metals jewels and others and that accorded with the luxurious and gorgeous taste of the royalty and nobility. Christian considered splendid and beautiful color of light as a symbol of glory. They used also for church appliances, There were metal crafts wood crafts textile crafts and others, As was stated above the costume appeared on the arts and crafts for living revealed the process of changes saw how the politic econ-omic and social organizations were developed.and social organizations were developed.

• Conservation Science in Museum
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• v.8
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• pp.13-24
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• 2007

The Department of Fine Art requested the conservation science team to examine the technique of painting with gold powder on the gold painted porcelains, which were made in Korea and China, among the items possessed by National Museum of Korea in order to publish it in the research paper collection of the Exchange Exhibition of Korea and China Porcelains. Among the items possessed by National Museum of Korea, such items were included as, an item of Koryo inlaid celadon (No. Gaesung 106), called the celadon with inlaid work (Korean name: Cheongjasanggam suhawonmun geumchaepyunho), which was decorated in the layer of glaze using gold power, an items of tea cup called "Temmku da wan" (No. Bongwan 10011), which was manufactured in the time of Song dynasty of Chinese history, an items of gold cup called "Siyuchohwamun hwageumwan" (No. Bongwan 2027), and an items of a porcelain called "Siyuwan" (No. Duksoo 3322). As the result of the examination, the stabilizing method of baking the decorated porcelains is similar, after they are painted with the pigment mixed with fine gold powder and the glaze solvent, but the treatment method of the colors is a little different among them. In other words, there is a big difference between them, for example, in the case of Koryo celadon, because the gold coloring was painted carefully one by one on the splendid decorations of inlaid works, while in the case of Chinese porcelains, butterflies or arabesque designs are decorated on the layer of the glaze in the porcelains of no decoration, using the stencil skill. According to the result of this examination, the part of the porcelain, whose layer of gold color was peeled off, could be restored, and as the result of the restoration, it was confirmed how beautiful and splendid the gold porcelain had been at the time of being manufactured.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.2
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• pp.1-13
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• 2018

This work discusses the major roles of digital technologies in the history of landscape architectural drawing, and offers a critique of the dominant trend towards realism in recent digital landscape representations. During the period of transition from conventional drawing tools, computer technologies generally functioned as mechanical tools to imitate prior manual techniques. Specifically, the GIS was served as a mechanical tool to efficiently process the manual layer cake; CAD software generally functioned to translate physical models to two-dimensional construction documents while graphic software generally functioned as a tool to perform processes similar to those of manual collage and montage techniques. Recent digital landscape drawings tend to adopt a realistic depiction like the painting of landscape appearance. In the representations, discernible traces of cutting and assembling are removed via graphic software; thus, the complete representations are perceived as if they were a copy of an actual landscape. The realistic images are an easy way to communicate with the public. However, it is difficult to achieve a full embodiment of all of the multisensory characteristics of a landscape through these visuals. They often deceive viewers by visualizing idealized conditions of not-yet-actualized landscapes and production of the final images takes up a large portion of the overall design process. Alternatively, 3D digital modeling of landscape performance and creative uses of digital technologies during the overall design process, as well as hybridized techniques with different drawing techniques and technologies, provide the opportunity to explore various aspects of a landscape.

• Molecular & Cellular Toxicology
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• v.2 no.2
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• pp.134-140
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• 2006

Because shipyard workers are involved with various manufacturing process in shipyard industry, and they are exposed to many kinds of hazardous materials. Especially, painting workers were exposed polycyclic aromatic hydrocarbons (PAH). This study was conducted to assess the exposure status of PAH based on job-exposure matrix. We investigated the effect of genetic polymorphism of xenobiotic metabolism enzymes involved in PAH metabolism on levels of urinary metabolite. A total of 93 shipbuilding workers were recruited in this study. Questionnaire variables were age, sex, use of personal protective equipment, smoking, drinking, and work duration. The urinary metabolite was collected in the afternoon and corrected by urinary creatinine concentration. The genotypes of CYP1A1, CYP2E1, GSTM1, GSTT1 and UGT1A6 were investigated by using polymerase chain reaction-restriction fragment length polymorphism (PCR-RFLP) methods with DNA extracted from venous blood. Urinary 1-OHP levels were significantly higher in direct exposured group (spray and touch-up) than indirect exposed group. Urinary 1-OHP, concentration of the high exposure with wild type of UGT1A6 was significantlyhigher than that of the high exposure with other UGT1A6 genotype. In multiple regression analysis of urinary 1-OHP, the regression coefficient of job grade was statistically significant (p<0.05) and UGT1A6 was not significant but a trend (p<0.1). The grade of exposure affected urinary PAH concentration was statistically significant. But genetic polymorphism of xenobiotics metabolism enzymes was not statistically significant. Further investigation of genetic polymorphism with large sample size is needed.

• The Research Journal of the Costume Culture
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• v.12 no.5
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• pp.859-879
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• 2004

As a result of research, the characteristics of the general costumes from the king Young-Cho period to the king Jung-Cho period in Genre Paintings of Mung-Hyun Oho, Yong Yun, In-Sang Lee, Hee-Eon Kang follows. First, the typical man wore his hair in a topknot(sangtu), and put on 'Bung-gu-ji', 'Lip', or a scarf on his head. The length of the 'Jeogori'(Korean traditional jacket) was long enough to cover the waist. Dress for work had side slits, and had half length sleeve Jeogori, and short pants looked like 'Jam-bang-i'. They went barefoot and wore 'Jipsin'(Korean traditional straw shoes). Dress for outdoor was 'Po' that knot at front of chest by band. 'Baji'(slacks) were with knot below knee, worn 'Hang-jun'(ankle band) and the width of slacks was suitable. They were 'Beoseon'(Korean traditional socks) and shoes. Second those in the upperc1ass and those in the military put on 'Mang-geon', 'Gat', 'Sa-bang-gan', 'Tang-geon', 'Bok-geon' on their head on a topknot. Most of them wore 'So-chang-i', 'Jung-chi-mag' or 'Do-po'. The length of Jeogori covered the waist or the hip and were tied with 'Go-rum'(ribbon). Baji was tied with Hang-jun and 'Dae-nim'. The waist of the slacks were tied with a dark colored waist-band and folded down their waist of slacks. They wore white color Beoseon and 'Hye' or dark color leather shoes. They wore 'Sup'(assistant of arm) for bow. It showed the lifestyle of the 18C with fan, 'Be-ru', 'Mug', 'Yun-jug', teacup, pot, etc. Third, child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line, Git of Jeogori was 'Dunggurai-Kit'(shape of round) and other style Jeogori, which reached the hip line, had side-slit. Baji was tied with Dae-nim, and the width of the slacks is suitable. They hang 'Yum-nang'(Pocket). Final, most women worked outdoors wearing their hair in a high twisted style, or covered it with scarf. They wore Jeogori and 'Chima'(Korean traditional skirts), Bagi. They folded up the sleeves of the Jeogori. And they folded the 'Jambang-i-styled' pants to just above the knees, fastening at the waist. When they wore skirts, they also wore underpants under the skirt that went down to the knees. Most of them went barefoot and wore straw shoes, Jipsin. Through genre paintings, we can understand the ways and forms of our ancestor's clothing. And with our understanding, interest, and passion, we can be familiar with Hanbok in our daily life by succeeding and creating its peculiar style. And then we can promote the globalization of Hanbok.

• Journal of Conservation Science
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• v.28 no.2
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• pp.165-173
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• 2012

In this work, scientific and systematic analysis was conducted for finding out the methods and techniques of ancient ink stick making. Analysis the ancient ink stick on ancient documents and wooden writing as letter or painting, we concluded as followings. From the analysis of ancient wood by dendrochronology, wood was cut at 1899, which provided the information on the year of ink stick's made on writing on ancient wood. Single particle size for soot of ancient ink stick was 107 nm for ink on the roof-filling timber in Sinsunwonjeon of Changdeok Palace, compared to 38 to 86 nm on the letter on ancient 12 paper document. Aggregate particle size was 370 nm for ink on the roof-filling timber in Sinsunwonjeon of Changdeok Palace, but 206 to 318 nm for aggregate particle size on 12 paper documents. There was similar pattern between single particle size and aggregate particle size of soot, which might provide the information of raw material for ancient ink. From infra-red and Raman spectroscopic analysis of sheet of writing on paper or wood, there was severe interference from background material (paper or wood). From Raman spectroscopic analysis of ancient ink carefully separated from ancient wood, spectrum pattern was closer to ink stick made by the soot from pine burning.