• Cartoon and Animation Studies
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• s.49
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• pp.359-382
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• 2017

Content is the complex of art and technology of trend, so it is important to experience different technologies for content education. Today, many non-profit organizations plan and operate numbers of programs for disabilities, low-income, and minority families to enhance the quality of life and the realization of social integration. These programs are limited to museums and galleries, not so pro-actively in progressing. Various contend education is necessary to the expansion of cultural exchange for the culturally alienated area. Naver is running an outreach program named . It is an experience-based outreach program where current cartoon / webtoon writers come directly to the school to inform students about the basic story of comics and comic techniques. However, the fact that the is not centered on the marginalized area but is centered on the Seoul Gyeonggi area, has the limitation that they can not benefit from a wide range of programs because they have a space limit of 'school', and, has a spatial limitation that the experience of the work is excluded. 'Outreach programs in marginalized areas' must be reorganized into a fluid dimension, not a fixed, single-system program. You should be able to experience and experience your work by directly using various professional equipment of comics based on your capacity and experience, local culture, religion, and society. These program participants will gain the effect of attractive and effective learning with empathy with their comic experience. Meanings of Comics content outreach program are following: First, the rich cultural archive can be used efficiently by providing various contents to existing outreach programs with the educational limitation of museums and galleries. Second, Comics contents can be enjoyed as a part of our life by understanding diversity and technology of contents. Third, because it is the program of expertise' participation, it can remodel, and restructure the severed experience in remote areas for the continuous growth and development, and furthermore, it can enhance the understanding of society.

• Journal of Christian Education in Korea
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• v.62
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• pp.257-283
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• 2020

Our current society is experiencing a mass upheaval through globalization: mobility, hybridity, and cultural diversity are part of this world phenomenon. We can say that these changes are a result of people crossing borders due to international travel, immigration, emigration, studying abroad, labor, international marriages, fast and comfortable transportation, and the Internet. According to 2018 UNPD(Untied Nations Population Division)'s data, the international migrants have exceeded 258 million as of 2017. The increased number of migrants signifies that people with various backgrounds move from their own culture to a drastically different one. Interacting with different cultures can give people the chance to experience abundant lifestyles and improve life qualities. During that process, however, the differences between cultures can cause not only misunderstandings, conflicts, and violent collisions, but also xenophobia or radical nationalism. The current society is confronted with a problem: the people cannot stubbornly cling to a homogenous ethnicity anymore, which makes the coexistence between the citizens and immigrants necessary. Through these circumstances, I aim to suggest an educational model and a practical curriculum from a Christian perspective as the aim of this study. It seeks to encourage Christians to flexibly respond to these conflicts and collisions, and to fulfill their social responsibilities faithfully. For this reason, I will explore and seek sharing practical values through both shalom's communality as a theological approach and postconventionality in mature adults as a social-scientific approach. Consequently, I have few requests for the readers. First, approach with openness, understanding, and respect for other culture. Second, see this study as one step of confronting the global problem for coexistence and coprosperity of all social agents in the earth, a limited space. Third, notice that this study uses the interdisciplinary approach (theological and social scientific view) for a shareable, practical value that consistently leads the curriculum of my thesis, and a scientific method to eliminate bias. Lastly, understand that this study will eventually be used in educational practice, and as a result it prioritizes giving thought to the Christian educational environment. This study begins by exploring the conflicts and collisions between diverse cultures of our current society in international and national cases. Afterwards, I will reflect on how we can manage these conflicts and collisions by exploring the social-scientific view, postconventionality in mature adults, the theological view, and shalom's communality as a complement for the postconventionality's personal dimension. In conclusion, I suggest a curriculum that achieves peace as a practical value based on postventionality and shalom's communality for this study's goal.

• The Journal of Engineering Geology
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• v.26 no.2
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• pp.277-290
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• 2016

Deep geological cross-sectional data is generally not common nor easy to construct, because it is expensive and requires a great deal of time. As a result, geological interpretations at depth are limited. Many scientists attempt to construct geological cross-sections at depth using geological surface data and geophysical data. In this paper, we suggest a method for constructing cross-sections from limited geological surface data in a target area. The reason for this study is to construct and interpret geological cros-sections at depth to evaluate heat flow anomaly along the Yangsan fault. The Yangsan Fault passes through the south-eastern part of the Korean Peninsula. The cross-section is constructed from Sangbukmyeon to Unchonmyeon passing perpendicularly through the Yangsan Fault System trending NW-SE direction. The geological cross-section is constructed using the following data: (1) Lithologic distributions and main structural elements. (2) Extensity of sedimentary rock and igneous rock, from field mapping. (3) Fault dimension calculated based on geometry of exposed surface rupture, and (4) Seismic and core logging data. The Yangsan Fault System is composed of the Jain fault, Milyang fault, Moryang fault, Yangsan fault, Dongnae fault, and Ingwang fault which strike NNE-SSW. According to field observation, the western section of the Yangsan fault bounded by igneous rocks and in the eastern section sedimentary rocks are dominant. Using surface fault length we infer that the Yangsan Fault System has developed to a depth of kilometers beneath the surface. According to seismic data, sedimentary rocks that are adjacent to the Yangsan fault are thin and getting thicker towards the east of the section. In this study we also suggest a new method to recognize faults using core loggings. This analysis could be used to estimate fault locations at different scales.

• Journal of the Korean Society of Food Science and Nutrition
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• v.43 no.1
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• pp.162-171
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• 2014

As the foodservice industry is labor intensive, the efficient management of human resources is an essential element for improving operational efficiency. This study was designed to investigate the performance level of human resource management in self-operated school foodservices and to examine the relationship between human resource management, organizational commitment, and productivity. Whether these factors rated differently by employment and job types was also examined. Data were collected through questionnaires distributed to 60 dieticians and 240 cooks in Seongnam and Yongin. Frequency analysis, factor analysis, the t-test and multiple regression analysis were tested using Minitab. Human resource management practices rated highly in the dimension of employee training (3.51), followed by working environment (3.39), and turnover management (3.37). In contrast, reward management (1.73) and working condition (1.56) received the lowest score. Organizational commitment scored 3.65 points, and showed that dedication (3.82) was the highest score; however, self-esteem (3.50) was the lowest score. For human resource management, there were significant differences between employment types as full time workers (3.85) rated management more highly than part-time worker (3.43). Overall productivity was fairly high, especially in high school foodservices. Only the performance appraisal had an influence on organizational commitment (${\beta}$=0.292, P<0.05). Productivity was positively correlated with human resource management (r=0.432, P<0.001) and organizational commitment (r=0.36, P<0.01). In conclusion, school foodservices need to establish objective performance standards, and increase employee morale by enhancing reward systems and working conditions. In particular, irregular employees require training with job performance standards and given a proper reward program, depending on their performance, to improve organizational commitment.

• Journal of the Korea Computer Graphics Society
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• v.6 no.4
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• pp.1-7
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• 2000

Traditionally, three dimension model s have been used for building virtual worlds, and a data structure called the "scene graph" is often employed to organize these 3D objects in the virtual space. On the other hand, image-based rendering has recently been suggested as a probable alternative VR platform for its photo-realism, however, due to limited interactivity. it has only been used for simple navigation systems. To combine the merits of these two approaches to object/scene representations, this paper proposes for a scene graph structure in which both 3D models and various image-based scenes/objects can be defined. traversed, and rendered together. In fact, as suggested by Shade et al. [1]. these different representations can be used as different LOD's for a given object. For in stance, an object might be rendered using a 3D model at close range, a billboard at an intermediate range. and as part of an environment map at far range. The ultimate objective of this mixed platform is to breath more interactivity into the image based rendered VE's by employing 3D models as well. There are several technical challenges in devising such a platform : designing scene graph nodes for various types of image based techniques, establishing criteria for LOD/representation selection. handling their transition s. implementing appropriate interaction schemes. and correctly rendering the overall scene. Currently, we have extended the scene graph structure of the Sense8's WorldToolKit. to accommodate new node types for environment maps. billboards, moving textures and sprites, "Tour-into-the-Picture" structure, and view interpolated objects. As for choosing the right LOD level, the usual viewing distance and image space criteria are used, however, the switching between the image and 3D model occurs at a distance from the user where the user starts to perceive the object's internal depth. Also. during interaction, regardless of the viewing distance. a 3D representation would be used, if it exists. Finally. we carried out experiments to verify the theoretical derivation of the switching rule and obtained positive results.

• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.6
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• pp.101-110
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• 2014

This study analyzes the validity of the type classification of the type and design changes of apartment landscaping planting construction design changes that were completed in the private sector, efficiently manages the design changes that are displayed over landscaping planting work in general in the future, and performs research by placing the object underlying the presentation. The results are as follows. First, the percentage that occurred in the planting construction of design changes that have occurred in the apartment landscaping construction was carried out in the private sector and accounted for 61.8%. This indicates that part of the planting is a major design change. Second, as the cause of such a design change to be those associated with the field conditions such as lack of main construction period. In particular, due to a change in oral, appeared 7-48 times design changes of one review design change approval is complex, design changes of planting construction had shown a feature that occurs in multiple simultaneous. Third, the 7 types of Design Changes in planting design were delineated as 'design changes for consideration of the user', 'design changes for image improvement', 'design changes for ease of maintenance', 'design changes due to the mismatch of design statement', 'design changes due to the relationship with the engineering species of other', 'design changes due to lack of field study', and 'design changes due to the consideration of feasibility.' Fourth, 'design changes for consideration of the user' and 'design changes for image improvement' were found in more than half of the frequency of the overall changes. This differed from the results shown in public corporations. Fifth, if planting construction design change process, private companies, it was found that is showing the approval of the practice after the previous construction of the construction cost savings due to construction time. However, in the case of a public corporation, these exhibited a different aspect from the private sector and show a design change procedure that reflects the changes after the design change events in the field have occurred. The above results, the type of landscaping works in planting design change of public enterprises, regardless of the private sector, is the same in the seven types, the main reason of and procedures for design changes, indicating that there are other respects. In design change, it may be desirable to apply becomes liquidity rationality and efficiency of the dimension, depending on the nature of the landscape construction.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.8 no.4
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• pp.392-400
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• 2003

We used an oxygen microelectrode to measure the vertical profiles of oxygen concentration in sediments located near point sources of organic matter. The measurements were carried out between 13th and 17th May, 2003, in semi-closed bay and coastal sediments in the central part of the South Sea. The measured oxygen penetration depths were extremely shallow and ranged from 1.30 to 3.80 mm. This suggested that the oxidation and reduction reactions in the early diagenesis should be studied at the mm depth scale. In order to estimate the oxygen consumption rate, we applied the one-dimension diffusion-reaction model to vertical profiles of oxygen near the sediment/water interface. Oxygen consumption rates were estimated to be between 10.8 and 27.6 mmol O$_2$ m$\^$-2/ day$\^$-1/(average: 19.1 mmol O$_2$ m$\^$-2/ day$\^$-1/). These rates showed a positive correlation with the organic carbon of the sediments. The corresponding benthic organic carbon oxidation rates calculated using an modified Redfield ratio (170/110) at the sediment/water interface were in the range of 89.5-228.1 mg C m$\^$-2/ day$\^$-1/(average: 158.0 mg C m$\^$-2/ day$\^$-1/). We suggest that these results are maximum values at the presents situation in the bay because the sampling sites were located near point sources of organic materials. This study will need to be carried out at many coastal sites and throughout the seasons to allow an understanding of the mechanisms of eutrophication e.g. the spatial distribution of oxygen consumption within the oxic zone and hypoxic conditions in the coastal sea.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.70-95
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• 2013

The Tejaprabha Buddha painting, located in the Korai Museum in Kyoto, Japan, was made in 1569 when Joseon Dynasty was in his $14^{th}$ year under SeonJo's ruling, and is only one of Tejaprabha Buddha paintings from the early Chosun dynasty. With its well preserved state, the painting allows clear indications of all icons and list of names that were written, and the record region also has minimal deterioration. This Buddhist painting is a GumSeonMyoHwa which is drawn with gold lining on red hemp cloth and has a relatively small dimension of $84.8{\times}66.1cm$. With the Tejaprabha Buddha in the center, the painting has two unidentified Bodhisattvas, Navagrabha, Rahu, Keto, YiSipPalSoo (28 constellation of the eastern philosophy), SipYiGoong (12 zodiacs of the western philosophy), SamDaeYookSung, and BookDooChilSung (the Big Dipper), all of which provide resourceful materials for constellation worshipin the Joseon era. This painting has a crucial representation of the overall Tejaprabha Buddhism - a type of constellation worships - from the early Joseon dynasty. Even though the composition does seem to be affiliated with the paintings from the Koryo dynasty, there are meaningful transformations that reflect changes in content into constellation worship in Joseon dynasty. As a part of the Tejaprabha Buddha, SipIlYo has become a center of the painting, but with reduced guidance and off-centered 'Weolpe (star)', the painting deteriorates the concept of SipIlYo's composition. Furthermore, addition of Taoistic constellation beliefs, such as JaMiSung (The purple Tenuity Emperor of the North Pole), OkHwangDaeChae, and CheonHwangJae, eliminates the clear distinction between Taoistic and Buddhist constellation worships. Unlike the Chinese Tejaprabha Buddha painting, the concept of YiSipPalSoo (28 constellation of eastern philosophy) in this painting clearly reflects Korean CheonMoonDo's approach to constellation which can be applied to its uniqueness of the constellation worships. The fact that the Big Dipper and ChilWonSungKoon (Buddha of the Root Destiny Stars of the Northern and central Dipper) are simultaneously drawn can also be interpreted as the increase in importance of the constellation worship at the time as well.

• Proceedings of the KOR-BRONCHOESO Conference
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• 1982.05a
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• pp.17.2-19
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• 1982

The sinus tympani is subject to great variability in the size, shape and posterior extent. A heavy compact bony zone, especially in the posterior portion and the narrow space between the facial nerve and posterior semicircular canal are the limitation of surgical approach. The facial recess should be opened, creating a wide connection between the mesotympanum and mastoid in the Intact canal wall tympanoplasty with mastoidectomy. The surgically created limits of the facial recess are the facial nerve medially, the chorda tympani laterally and the bone adjacent to the incus superiorly. Using adult Korean's thirty-five temporal bones, the authors measured the osteologic reslationship in the posterior tympanum, especially sinus tympani and facial recess. The result was as followed. 1. The average distance from the anterior end of the pyramidal eminence. 1) to the edge of the sinus tympani directly posterior was 2.54(1.05-5.40)mm. 2) to the maximum posterior extent was 3.22(1.25-7.45)mm. 3) to the maximum cephaled extent was 0.67 (0.40-1.75)mm. 2. The boundary of the sinus tympani was 82.9% from the lower margin oval window to the upper margin round window niche. 3. The deepest part of the sinus tympani was 62.9% in the mid portion, between the ponticulus and subiculum. 4. The oblique dimension from the fossa incudis above to the hypotympanum below was 8.13(7.90-9.55)mm. 5. The transverse dimensions midway between the oval window above and round window below was 3.00(2.85-3.45)mm. 6. The transverse dimension at the level of the fossa incudis was 1.81(1.40-2.15)mm. 7. The facial nerve dehiscence was 14.3%. 8. Anterior-posterior diameter of the footplate was 2.98(2.85-3.05) mm. 9. The average distance from the footplate. 1) to the cochleariform process was 1.42(1.35-1.55) mm. 2) to the round window niche was 1.85(1.45-2.10) mm.