• Journal of the Korean earth science society
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• v.44 no.6
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• pp.655-674
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• 2023

This study examined whether the "self-guided interpretation" media in the Yeoncheon area of the Hantangang River UNESCO Geopark are intelligible for visitors. Accordingly, two on-site investigations were conducted in the Hantangang River Global Geopark in September and November 2022. The Yeoncheon area, known for its diverse geological features and the era of geological attraction formation, was selected for analysis. We analyzed the readability levels, graphic characteristics, and alignment with science curriculum of the interpretive media specific to geological sites among a total of 36 self-guided interpretive media in the Yeoncheon area. Results indicated that information boards, primarily offering guidance on geological attractions, were the most prevalent type of interpretive media in the Yeoncheon area. The quantity of text in explanatory media surpassed that of a 12^th-grade science textbook. The average vocabulary grade was similar to that of 11^th- and 12^th-grade science textbooks, with somewhat reduced readability due to a high occurrence of complex sentences. Predominant graphic types included illustrative photographs, aiding comprehension of the geological formation process through multi-structure graphics. Regarding scientific terms used in the interpretive media, 86.3% of the terms were within the "Solid Earth" section of the 2015 revised curriculum, with the majority being at the 4^th-grade level. The 11^th-grade optional curriculum terms comprised the second largest portion, and 13.7% of all science terms were from outside the curriculum. Notably, variations in the scientific terminology's complexity was based on geological attractions. Specifically, the terminology level on the homepage tended to be generally higher than that on information boards. Through these findings, specific factors impeding visitor comprehension of geological attractions in the Yeoncheon area, based on the interpretation medium, were identified. We suggest further research to effect improvements in self-guided interpretation media, fostering geological resource education for general visitors and anticipating advancements in geology education.

• Journal of Korean Society of Forest Science
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• v.112 no.4
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• pp.426-441
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• 2023

This study investigated the predictive accuracy of a model of landslide displacement in Jecheon-si, where a great number of landslides were triggered by heavy rain on both natural (non-clear-cut) and clear-cut slopes during August 2020. This was accomplished by applying three flow direction methods (single flow direction, SFD; multiple flow direction, MFD; infinite flow direction, IFD) and the degree of root cohesion to an infinite slope stability equation. The application assumed that the soil saturation and any changes in root cohesion occurred following the timber harvest (clear-cutting). In the study area, 830 landslide locations were identified via landslide inventory mapping from satellite images and 25 cm resolution aerial photographs. The results of the landslide modeling comparison showed the accuracy of the models that considered changes in the root cohesion following clear-cutting to be improved by 1.3% to 2.6% when compared with those not considered in the area under the receiver operating characteristics (AUROC) analysis. Furthermore, the accuracy of the models that used the MFD algorithm improved by up to 1.3% when compared with the models that used the other algorithms in the AUROC analysis. These results suggest that the discriminatory application of the root cohesion, which considers changes in the vegetation condition, and the selection of the flow direction method may influence the accuracy of landslide predictive modeling. In the future, the results of this study should be verified by examining the root cohesion and its dynamic changes according to the tree species using the field hydrological monitoring technique.

• Journal of the Korean Society of Marine Environment & Safety
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• v.29 no.6
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• pp.552-561
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• 2023

The seafloor topography of Gomso Bay on the west coast of Korea was investigated using subtidal bathymetry and tidal-flat altimetry. Gomso Bay consists of 80% tidal flats and 20% subtidal zone, and is divided into an outer bay and an inner bay by the Jujincheon esturary channel. The outer bay tidal flat, has few tidal channels, has a concave topographic profile, and is characterized by the development of chenier and intertidal sand bars, giving it the appearance of gently sloping, dissipative beaches. The inner bay tidal flat has wide upper and middle tidal flats with a well-developed tidal channel system without cheniers. Moreover, the topographical cross-section between these tidal channels is convex upward, and shows the characteristics of a depositional environment greatly influenced by tidal channels and tidal action. An analysis of the horizontal movement of the tidal flat environment over the past 37 years investigating changes in the iso-depth lines in the Gomso-Bay tidal flat between 1981 and 2018 revealed that the Gomso-Bay tidal flat retreated gradually landward. As a result of analyzing the erosion and sedimentation characteristics of Gomso Bay, assuming that most of the water depth changes were due to changes in the elevation of the sea floor and sea level, an average of 1 cm (0 mm/y) of sediment was eroded in the outer bay over the past 37 years (1981-2018), In the inner bay, an average of 50 cm (14 mm/y) was deposited. Notably, the high tidal flats of the outer bay were largely eroded. Monitoring photographs of the coast showed that most of the erosion of the high tidal flats in the outer bay occurred in a short period around 1999 (probably 1997-2002), and that the erosion resulted from the erosion of sand dunes and high-tide beaches caused by temporarily greatly raised high tide levels and storms.

• Korean Association of Arts Management
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• no.50
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• pp.101-146
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• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.

• Journal of Science of Art and Design
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• v.11
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• pp.221-249
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• 2007

Today, photography is facing to the crisis of identity and dilemma of ontology from the digital imaging process in the new technology form. It is very important points to say rethinking of the traditional photographic medium, that has changed the way we view the world and ourselves is perhaps an understatement and that photography has transformed our essential understanding of reality. Now, no longer are photographic images regarded as the true automatic recording, innocent evidence and the mirror to the reality. Rather, photography constructs the world for our entertainment, helping to create the comforting illusions by which we live. The recognition that photographs are not constructions and reflections of reality, is the basis for the actual presence within the contemporary photographic world. It is shock. This thesis's aim is to look for the problems of photographic identity and ontological crisis that is controlling and regulating digital photographic imagery, allowing the reproduction of the electronic simulations era. Photography loses its special aesthetic status and becomes no more true information and, exclusively evidence by traditional film and paper that appeared both as a technological accuracy and as a medium-specific aesthetic. The result, photography is facing two crises, one is the photographic ontology(the introduction of computerized digital images) and the other is photographic epistemology(having to do broader changes in ethics, knowledge and culture). Taken together, these crises apparently threaten us with the death of photography, with the 'end' of photography and the culture it sustains. The thesis's meaning is to look into the dilemma of photography's ontology and epistemology, especially, automatical index and digital codes from its origin, meaning, and identity as the technological medium. Thus, in particular, thesis focuses on the analog imagery presence, from the nature in the material world, and the digital imagery presence from the cultural situations in our society. And also thesis's aim is to examine the main issues of the history of photography has been concentrated on the ontological arguments since the discovery of photography in 1839. Photography has never been only one static technology form. Rather, its nearly two centuries of technological development have been marked by numerous, competing of technological innovation and self revolution from the dual aspects. This thesis examines recent account of photography by the analysis of the medium's concept, meaning, identity between film base image and digital base image from the aspects of photographic ontology and epistemology. Thus, the structure of thesis is fairy straightforward to examine what appear to be two opposing view of photographic conditions and ontological situations. Thesis' view contrasts that figure out the value of photography according to its fundamental characteristic as a medium. Also, it seeks a possible solution to the dilemma of photographic ontology through the medium's origin from the early years of the nineteenth century to the raising questions about the different meaning(analog/digital) of photography, now. Finally, this thesis emphasizes and concludes that the photographic ontological crisis reflects to the paradoxical dynamic structure, that unsolved the origins of the medium, itself. Moreover, even photography is not single identity of the photographic ontology, and also can not be understood as having a static identity or singular status from the dynamic field of technologies, practices, and images.

• Journal of Distribution Science
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• v.10 no.4
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• pp.47-53
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• 2012

Businesses make use of advertising strategy using models to give consumers efficient product information. Modern advertisements often make use of models for greater reminiscence to create messages and remind viewers of the product. The purpose of this study was to examine the characteristics of each type of model. The subjects were 230 college students in their twenties or older, and the material was collected from October 20, 2011 to November 5, 2011 to examine the effects of model characteristics on buying intention as well as attitude toward a brand. A questionnaire survey was used; investigators gave one copy to each interviewee. The study investigated the characteristics of each model using a questionnaire of each 40 copies with five kinds of photographs. The characteristics of models had great influence on buying intention and attitude toward the brand: First, factor 2 (being honest and virtuous and having good credit and a good press assessment) and factor 3 (being interesting and a good communicator and creating good memories) had great influence on buying intention. Factor 2 was explained by reliability, and factor 3 by the efficiency of the model in creating a feeling. Second, factors 1 (being attractive, smart, unique, friendly, loved by others, and popular), 2, and 3 influenced attitude toward brand. Factor 1 encapsulated the outgoing characteristics of a model, factor 2 was based on reliability, and factor 3 was based on the efficiency of the model in creating a feeling. The model's positive effects on buying intention and attitudes toward brand shall be examined. For their positive influence on buying intention, reliability and efficiency shall be given attention. For their positive influence on attitude toward brand, creating a good impression, having outgoing characteristics, being reliable, and efficiency shall be given attention. The findings were as follows: Model characteristics influencing buying intention were similar to those influencing attitude toward brand. The differences were as follows. First, reliability and efficiency influenced buying intention. When customers were asked to consider the influence on buying intention of an advertisement, regardless of the strength of the buying intention, they considered these two characteristics. Customers decided to buy based not only on the credibility of the product as presented in the advertisement but also the transmission of the contents of the advertisement. Second, outgoing characteristics, reliability, and efficiency influenced attitude toward a brand. The attitude toward a brand was said to be the attitude toward the business. The attitude is produced even after buying, so businesses view it as very important. The attitude might vary depending upon the model used rather than the brand. Therefore, a model with outgoing characteristics was thought to be important. Therefore, attitude toward a brand whose model influenced buying intention as well as attitude toward brand had outgoing characteristics. The result is that an image the model was related to attitude toward the brand. As such, customers would buy the goods advertised. However, an outgoing image of a model was also important to create a positive attitude toward a business brand. For instance, talent Park Gyeong-Rim's photo was used to promote cosmetics about 10 years ago. When she worked as a model of cosmetics products, she had to make compensation for losses and damages because she made a mistake on a talk show program. At that time, customers who had bought the cosmetics product asked for refunds of several billion won. As such, models who are said to be the face of the businesses they represent can play an important role. To advertise in the most attractive and effective way, the current image of a model should be investigated by examining current activities and news articles after selecting the model, and the model's efficiency and attitude toward the brand should be examined. Factors that stimulate customers' buying decisions can be used to plan advertisement that have positive influence on a brand. This study had the limitation of investigating mainly college students and there were insufficient copies of the questionnaire. The investigation was not done widely but in detail so that a concrete investigation could not be done. Further studies shall supplement these shortcomings and discuss new directions.

• Restorative Dentistry and Endodontics
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• v.25 no.3
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• pp.390-398
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• 2000

The purpose of this study was to evaluate the apical fitness of non-standardized gutta-percha cones in root canals prepared with rotary Ni-Ti root canal instruments of various tapers and apical tip sizes. Simulated sixty curved root canals of plastic blocks were prepared with crown-down technique using rotary root canal instruments of Maillefer ProFile$^{(R)}$ .04 and .06 taper (Maillefer Instrument SA, Switzerland). Specimens were divided into six groups and prepared as follows: Group 1, prepared up to size 25 of .04 taper ; Group 2, prepared up to size 30 of .04 taper ; Group 3, prepared up to size 35 of .04 taper ; Group 4, prepared up to size 25 of .06 taper ; Group 5, prepared up to size 30 of .06 taper ; Group 6 ; prepared up to size 35 of .06 taper. After cutting off the coronal portion of plastic, blocks perpendicular to the long axis of the canal with the use of a diamond saw, apical 5mm of canal space was analyzed. Prepared apical canal spaces were duplicated using rubber base impression material to evaluate two dimensional total area of apical canal space. Various sized gutta-percha cones were applied in the 5mm-apical canal space, which were size 25, size 30 and size 35 standardized gutta-percha cone, Diadent Dia-Pro ISO-.04$^{TM}$ and .06$^{TM}$(Diadent, Korea), and medium-fine (MF), fine (F), fine-medium (FM) and medium (M) sized non-standardized gutta-percha cones (Diadent, Korea). Coronal excess gutta-percha were cut off with a sharp blade. Photographs of impressed apical canal spaces and gutta-percha cones were taken with a CCD camera under a stereomicroscope and stored in a computer. Areas of the total canal space and gutta-percha cones were calculated using a digitalized image analysing program, CompuScope (Sungjin Multimedia Co., Korea). Ratio of apical fitness was obtained by calculating the area of gutta-percha cone to the total area of the canal space. The data were analysed statistically using One-way Analysis of Variance and Duncan's Multiple Range Test. The results were as follows: 1. In canals prepared up to size 25 ProFile$^{(R)}$ of .04 taper, non-standardized MF and F cones occupied significantly more canal space than Dia-Pro ISO-.04$^{TM}$ or size 25 standardized ones (p<0.05). 2. In canals prepared up to size 30 ProFile$^{(R)}$ of .04 taper, non-standardized F cones occupied significantly more canal space than Dia-Pro ISO-.04$^{TM}$ or size 30 standardized ones (p<0.05), and non-standardized MF cones occupied more canal space than size 30 standardized ones (p<0.05). 3. In canals prepared up to size 35 ProFile$^{(R)}$ of .04 taper, there was no significant difference in canal space occupation among non-standardized MF and F, size 35 standardized, and Dia-Pro ISO-.04$^{TM}$ cones (p>0.05). 4. In canals prepared up to size 25 ProFile$^{(R)}$ of .06 taper, non-standardized MF and F cones occupied significantly more canal space than Dia-Pro ISO-.06$^{TM}$, or size 25 standardized ones (p<0.05), and Dia-Pro ISO-.06$^{TM}$, cones occupied significantly more space than size 25 standardized ones (p<0.05). 5. In canals prepared up to size 30 ProFile$^{(R)}$ of .06 taper, non-standardized FM cones occupied significantly more canal space than Dia-Pro ISO-.06$^{TM}$ or size 30 standardized ones (p<0.05), and non-standardized F cones occupied significantly more canal space than size 30 standardized ones (p<0.05). 6. In canals prepared up to size 35 ProFile$^{(R)}$ of .06 taper, non-standardized M and FM, Dia-Pro ISO-.06$^{TM}$ occupied significantly more canal space than size 35 standardized ones (p<0.05). In summary, in both canals prepared with .04 or .06 taper ProFile$^{(R)}$, non-standardized cones showed better fitness than Dia-Pro ISO$^{TM}$ or standardized ones, which was more characteristic in smaller canals.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.4-19
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• 2016

Jangkei(狀啓) made to the Royal Court by Yi Sun-sin during the Japanese invasions of Korea is handed down under the names of Jangcho(狀草), Keicho(啓草), Keibon(啓本) and others depending on copying patterns of those times and later times as it was copied out by a third person. In particular, "YimjinJangcho(壬辰狀草)" which Yi drew up during his service as the director of the naval forces in Jeolla Jwasooyeong is known as the most popular Jangkei. "ChungMinKongKeicho" which has been re-located recently after loss is a national treasure level cultural property as valuable as "YimjinJangcho" and should be treated as a model of Yi Sun-sin's other Jangkeis by next generations. As of now, however it is not confirmed if it is a totally new book related to Yi Sun-sin or is supplementary to the lost Jangkei, this study decided to ascertain relevant information through a bibliographic discussion on the question. "Chungmin(忠愍)" was the title that was used after the death of Yi Sun-sin, and "ChungMinKongKeicho" was completed when Jangkei was copied in 1662. 12 books that would not be found in YimjinJangcho are included in the book and such books are also present in the Jangkei supplement which has been known lost so far. What should be especially focused on here is that the forms and contents of these (11) photographs that Japanese shot from "ChungMinKongKeicho" in 1928 turned out to be completely identical to those of the original copy. The point that Korean History Compilation Committee added the 12 books to Jangkei as referring to the book as "One Keicho(啓草) partially copied(抄寫) in separation" and that Cho Sung-do categorized the 12 books into a supplement and others can be solid proofs to make the Jangkei supplement called "ChungMinKongKeicho". In terms of "ChungMooKongKeicho", since it consists of 62 books in total, it is not reasonable to see the book as Jangkei supplement which has the extra 12 more books for itself. "ChungMooKongKeibon" in "ChungMooKongYusa" was written with a total of 16 books. In the body, Yidumun is only clearly present, and the three books in the later part are same with the original copy of "ChungMooKongKeicho". "YimjinJangcho" by Korean History Compilation Committee has been the only book in which Yidumun was observed so far but now, it is assumed that the publication date of "ChungMooKongKeibon" goes before that of the former. The counterargument to the opinion that "ChungMinKongKeicho" is the supplement to Jangkei is based on Lee Eun-sang's comment "One page of a log in the Jangkei copy supplement." At first Seol Ui-sik introduced a piece photo of the rough draft of "MoosulIlki" in a drawing form through "Nanjung Ilkicho by Yi Sun-sin" in 1953. Lee Eun-sang also added two pages of the handwritten Yilkicho in the Jangkeichobon supplement to "MoosulIlki" and for the second time, the phrase "One page of a log written during the last 10 days after the Jangkei copy supplement" and "Supplement" were used. Those views are originated from the comment "One photograph of the rough draft of "MoosulIlki"" which Seol Ui-sik introduced without knowledge of the exact source. Lee Eun-sang said, "One page of a log in the Jangkei copy supplement" because Lee mistook "ChungMooKongYusa" for a book related to Jangkei. Since it is the wrong argument different from the actual situation of the original copy, if it has to be corrected, it should be rephrased "One page of a log in ChungMooKongYusa." After all, the source of the counterargument is the mistake because there has never been the Jangkei supplement with one page of a log included. All the Jangkeis other than "YimjinJangcho" can be said as the Jangkei supplements but still, they are separated from the other Jangkeis for the extra 12 more books are present in the commonly-called Jangkei supplement. Due to that reason, the argument on how "ChungMinKongKeicho" with the 12 books added is the popular Jangkei supplement should be considered more reasonable.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.36-73
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• 2024

The Tomb of Jang Mui located in Bongsan-gun, Hwanghae-do Province has attracted much attention since its first investigation due to the inscribed bricks found there that have allowed the guessing of the name and official title of its occupant and construction date. Inscriptions on these bricks, such as the "Prefect of Daebang Commandery Jang Mui" and the "Mu" (戊, the fifth sign of the Chinese calendar), and "Sin" (申, the ninth sign of the Chinese zodiac), have become the basis for believing the location of the government office of Daebang Commandery to be in Bongsangun, Hwanghae-do Province rather than somewhere in the Hangang River region. From the early days of its investigation, the tomb was suggested as historic remains of the Daebang Commandery along with the Earthen Fortress in Jitap-ri. Inscribed bricks excavated from the Tomb of Jang Mui were featured in several books and articles in the form of photographs and rubbings, leading to a vast body of studies on its construction period and the characteristics of its occupant that drew upon interpretations of the inscriptions. However, the inscribed bricks themselves were not publicly available outside those held in the collection of the University of Tokyo, making it difficult to expect consistent research findings on the types of inscribed bricks and their contents. Following previous studies re-examining the structure of the tomb and the materials used for its construction, most scholars dated the Tomb of Jang Mui to 348, a period after the collapse of Daebang Commandery. However, there is still a lack of adequate examination of the bricks, which account for the majority of the artifacts excavated from the tomb. Among the bricks excavated from most brick chamber tombs, including the Tomb of Jang Mui, only those with inscriptions or designs have been collected. Moreover, among these, only those with inscriptions or designs on the stretcher faces have been documented. Accordingly, the bricks themselves have been notably understudied. This paper intends to reorganize the contents of the inscriptions on eleven types (out of sixty-one pieces) of bricks in the collection of the National Museum of Korea, which make up the majority of the bricks excavated from the Tomb of Jang Mui. It also classified them according to their shapes. Furthermore, it examined the bricks from the Tomb of Jang Mui as architectural materials by focusing on their production techniques, including their forming, drying, and firing. Taking a more specific approach, it then compared the results to other bricks from the second century through the fourth century: those from the brick chamber tombs of the Nangnang and Daebang Commanderies and those from the brick chamber tombs built after Nangnang and Daebang Commanderies were ousted. The examination of bricks from the Tomb of Jang Mui has revealed that these bricks were basically produced using the brick manufacturing techniques of Nangnang, but they incorporated new elements found in bricks from brick chamber tombs or brick-and-stone chamber tombs constructed around the mid-fourth century in terms of their size, the use of lime, and the number of inscribed bricks. This supports the prevailing view that the date of the construction of the Tomb of Jang Mui is 348. The Tomb of Jang Mui sustained the existing brick chamber tomb burial tradition, but its ceiling was finished with stone. It demonstrates a blending of the brick chamber tomb practice of the Nangnang and Daebang Commanderies by using bricks produced based on related techniques, but with new elements such as the addition of a lime layer to the bricks. This fusion reflects the political circumstances of its time, such as the expulsion of the Daebang Commandery and the advance of the Goguryeo Kingdom, leading to diverse interpretations. Given archaeological evidence such as the structure, materials, and location of the tomb, the Tomb of Jang Mui appears to be highly related to the Goguryeo Kingdom. However, the forms of the inscribed bricks and the contents of the inscriptions share similarities with brick chamber tombs constructed during the third and fourth centuries in the Jiangsu and Zhejiang regions in China. Further studies on whether the use of lime was an influence from Goguryeo or a continuation of the Daebang tradition and a comparative examination with contemporaneous stone ceiling tombs will provide a more refined understanding of the Tomb of Jang Mui.