• Journal of The Korean Association For Science Education
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• v.24 no.5
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• pp.1018-1027
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• 2004

The purpose of this study was to identify and compare the types of scientific questions which were generated by elementary students and preservice teachers on the tasks of scientific observation. To identify the types of scientific questions, 4 observing tasks, dry grapes contained in soda pop, candlelight, celery, and a rock were administered to 40 sixth elementary students and 20 elementary preservice teachers. And then, the types and frequency of scientific questions generated by them were compared. The results showed that the types of scientific questions were classified into conjectural questions, causal questions, predictive questions, methodical questions and applicative questions. Further more, subordinate questions to the above questions were classified into object exploration questions and object verification questions, explicans exploration questions and explicans verification questions, result exploration questions and result verification questions, example exploration questions and example verification questions. Subordinate questions did not come out from the methodical questions. The types of scientific questions generated by elementary students and preservice teachers were identical, however, there were differences in frequency. This study supports that elementary students also have cognitive capability to generate various scientific questions. The results of this study may be used as a teaching strategy for the guidance of the direction and the method of scientific inquiry.

• Weed & Turfgrass Science
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• v.4 no.4
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• pp.405-412
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• 2015

Forty schools having natural turf playgrounds were investigated by on-spot investigation and oral interviews with relevant school officials to find out basic information on turfgrass management practices of school playgrounds in Gyeonggi province. Average area of playground was $3,890m^2$ per school and $12m^2$ per student. Ninety five percent of turf playgrounds were managed by school staff and ninety percent of schools spent less than 5 million won per year for turf management. The difficulties in turfgrass management were considered as a major challenge for the schools, followed by turfgrass management cost. Among the management practices, school officials pointed out weed management as the most difficult work, followed by irrigation. The average number of fertilization and mowing was 2 and 6 times per year, respectively. About the half of playgrounds were irrigated only when there was wilting symptom. Zoysiagrass was the most popular choice for the school playgrounds and only three school playgrounds were established with pop-up irrigation system. Fourteen school playgrounds had good turf quality but the rest of school playgrounds had inadequate turf quality requiring minor or full renovation.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.20 no.1
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• pp.23-38
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• 2009

The purpose of this study was to suggest the collection codes and simplification of call numbers for children's easy access to the children's materials. The classification schemes, author tables, expansion of classification schemes, collections codes, classification numbers used in domestic and foreign children's libraries were surveyed through questionnaires and interviewing with librarians. As a result, in foreign children's libraries, it was common practice to shelve children's materials separately into various collections and sub-collections, to mark the spine with collection code and the lead characters of the author's last name, and not to stick with their classification scheme when it comes to highly circulated children's materials such as fiction, picture book, biographies and so on. Also, in domestic children's libraries, it was found that a collection code was used a few and each call number was almost assigned by KDC number. Therefore, it was suggested that the types and codes of collection and sub-collection were divided as non-fiction, fiction, fiction/mystery, fiction/science fiction, picture book, cartoon, language, folks and fairy tales, biographies, legend, concept book, holiday, award, dinosaur, insect, DIY, transportation, tall book, pop-up, story book, board book, reference, magazine, series, new book, video, and audio and were easily expanded by combining age tables or fiction genre. Also, new simplifying methods of building call numbers with collection codes were suggested.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.107-115
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• 2019

The roots of modern popular music have evolved from blues and jazz music. But now, due to various multimedia developments and the expansion of the online industry, these traditional music is gradually being shunned by the public. When measuring a nation's cultural scale, it does not value only a few genres of popular music. In many advanced countries, music, which has basic artistic value, is trying to support and grow more base expansion in government and businesses, and to meet the needs of consumers. At this time, local jazz and jazz clubs are gradually losing ground, out of dance, rock and ballad music. Everyone should recognize that it is not just a genre of music that is alienated from the trend of the times, but an important part of cultural art that we should develop and nurture systematically. And it should be handled by more media and recognized by the public. Although it is a small market, this paper analyzes the development of jazz music in Korea and various factors that jazz clubs can establish as part of the music industry through analysis of Korean jazz clubs. The artistry and popularity of jazz music, the development of music education programs, the revitalization of government-led performances and the operation of concert halls differentiated from those of broadcasting media will eventually lead to the development of jazz clubs due to the rise of many jazz music lovers. It is also hoped that through the direction of development, we will be able to succeed as a major part of pop culture.

• The Journal of the Acoustical Society of Korea
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• v.27 no.5
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• pp.229-238
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• 2008

Audio tuning improves not only the sound quality of the car audio but also the quality of the completed car itself. However without the subjective assessment on the users' preferences, it is hard to tune the car audio satisfying them. Even though there are lots of factors to be considered to assess the preferences, only a restricted number of factors should be included in the experiment because the total number of experiments increases rapidly as the number of factors in the experiment increases. A large number of factors make it hard to explore the relationship between the sound quality and the sound characteristics and also makes the panels exhausted. In this paper, 8 sound characteristics, each with 2 levels, are considered for the experiment. An orthogonal design of experiment is suggested to reduce the number of experiments from 256 to 16. The analysis of variance is applied to show that Treble is the most significant characteristic of the reproduced sound of the given pop music. Also Deep Bass, SAD, and the interaction between Treble and SAD are found to be significant. For the given classic music, SAD is the only characteristic which turns out to be significant.

• Restorative Dentistry and Endodontics
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• v.32 no.4
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• pp.313-326
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• 2007

The purpose of this study was to prove that an intermediate resin layer (IRL) oan increase the bond strength to dentin by reducing the permeability of single-step adhesives. Flat dentin surfaces were created on buccal and lingual side of freshly extracted third molar using a low-speed diamond saw under copious water flow. Approximately 2.0 mm thick axially sectioned dentin slice was abraded with wet #600 SiC paper. Three single-step self-etch adhesives; Adper Prompt L-Pop (3M ESPE, St Paul, MN, USA), One-Up Bond F (Tokuyama Corp, Tokyo, Japan) and Xeno III (Dentsply, Konstanz, Germany) were used in this study. Each adhesive groups were again subdivided into ten groups by; whether IRL was used or not; whether adhesives were cured with light before application or IRL or not; the mode of composite application. The results of this study were as follows; 1. Bond strength of single-step adhesives increased by an additional coating of intermediate resin layer, and this increasement was statistically signigicant when self-cured composite was used (p < 0.001). 2. When using IRL, there were no difference on bond strengths regardless the curing procedure of single-step adhesives. 3. There were no significant difference on bond strengths between usage of AB2 or SM as an IRL. 4. The thickness of Hybrid layer was correlated with the acidity of adhesive used, and the nanoleakage represented by silver deposits and grains was examined within hybrid and adhesive layer in most of single-step adhesives. 5. Neither thickness of hybrid layer nor nanoleakage were related to bond strength.

• The Journal of the Korea Contents Association
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• v.17 no.10
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• pp.394-405
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• 2017

The predominant concern of the study consist of: (1) the effect of young Chinese's consuming of Korean cultural wave contents including Korean TV drama, film, and K-pop on their anti-Korean sentiment; (2) the second-order mediating effects of both liking for Korean wave and positive perceptions of Koreans. The research is based on a survey conducted with 695 chinese people between high-teen and 20's, located in eleven cities of seven provinces. The notable findings are as follow: First, the higher consuming of Korean cultural wave contents, the higher anti-Korean sentiment. Second, young Chinese, consuming more Korean cultural contents, show more liking for Korean wave. The more favor of Korean cultural contents, the more positive perceptions of Koreans. The more liking for Koreans wave contests and the more positive perception of Koreans, the less anti-Korean sentiment. Therefore, it is proved that liking for Korean cultural wave contents and perceiving Koreans with a positive view are important mediator to reduce the anti-Korean sentiment. Some practical implications are discussed based on this study's findings above.

• Journal of Fashion Business
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• v.1 no.1
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• pp.71-83
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• 1997

The purpose of this study is to analyze the present fashion phenomenon by considering the types of street fashion, the center of avant-grade modern fashion, that shows the origination background and special feature concretely. The times was defined through the 1980's from World War II that street style originated, so the range of study was the 1990's when the street style was influenced by that of the past and was revived. The ways of study were to analyze the records of ideology, art and music connected with the street style from World War II to the present when it has risen. The summary of result is as follows. (1) In the 1940's, Zooties was the jet of desire suppressed by African-Americans that couldn't receive favors socially and economically and Hipsters pursued reformative bebop that made up of soft Jazz. In the 1950's, Modernists were running after Cool Jazz to the minimum. In the 1970's, Funk appered in the sexual desire and erotic strength, and was surfaced from Negro Getto. In the 1980's B-boys & Flygirls showed the street style by the scribble art of slum in the New York. As mentioned above, In the 1990's, Acid Jazz influenced by the Jazz of Negro has been the fashion added to the tradition of musical form that come from eclecticism of Jazz tended Neo-Jazz. (2) In the 1940's, Western style dreamed the country life because of rapid urbanization. In the 1950's, Beat obtained the feeling of liberation from the dissolute life and activity. In the 1960's, Psychedelics showed the freedom affected by the Pop-art and Op-art, and Hippies pursued the true individuality as 'love & peace' life style and the return to nature. In the 1990's, Grunge look influenced by the above has been fashion that shows the practical use of second-hand clothing or patchwork contrary to elitism. (3) In the 1940's, Caribbean style appered in the typical textile color with the center of West Indies. In the 1960's, Rude boys showed the magnificence and difficulty of Jamaica, and Rastafarians had a tendency to come back to the ancient civilization of America. In the 1970's, Two-tone was the simple clothing for harmonizing among human races. In the 1990's, Jamaica look influenced by the above has been the Lege fashion introduced to a high fashion, appearing in the special bright color, applique, unique hair style, and so on. (4) In the 1950's, Sufers pursued natural rhythm, getting out of everything. In the 1970' s, Skaters enjoyed the speed on the paved road. In the 1980's, Casuals emphasized the spirit of cooperation of young-things. In the 1990's, Casual look Influenced by the above has been the fashion that forms the activity, function and strong spirit of cooperation by pursuing comfortable life and sports in the tension of life and variety of modern society. (5) It was hard for Bikers to adjust themselves in society after the war. In the 1950's, Coffee bar cowboys were the reckless running boys in the leather jacket. In the 1960's, Rockers created the group originality as disobedient outsiders and Greasers imitated Rolling Stones. In the 1980's, Punks resisted the viewpoint of the old generation in offensive fashion. In the 1990's, Cyberpunk influenced by the above has pursued the classless structure, electronic music and metallic clothing that forebodes gloomily as the computer generation of ultra-modern science times. Accordingly, in understanding a complex modern fashion phenomenon, it was analyzed that the street styles of the past, from World War II to the 1980's, were reflected in that of the 1990's dividing into the five types in a word, namely Acid Jazz, Grunge look, Jamaica look, Casual look and Cyberpunk.

• 한국게임학회지
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• v.6 no.1
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• pp.70-72
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• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.

• Journal of Distribution Science
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• v.9 no.1
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• pp.29-38
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• 2011

Since a distribution market was opened in 1993 after the conclusion of the Uruguay Round (UR), various new businesses emerged in the Korean retail industry, such as convenience shops, supermarkets, specialty stores, non-store marketing methods, and cyber shopping malls, in addition to traditional markets and department stores. Competition among these retail businesses has intensified. According to the National Statistical Office (NSO), the growth rate of the total retail industry has shown a 32% increase in the past 5 years. While department stores, supermarkets, specialty stores, and other non-store retailing venues have shown signs of stagnation at a growth rate of 20-30%, which is similar to the growth rate of the entire retail industry, convenience shops and non-store marketing have shown 60-70% growth over the same period. By comparison, the growth rate of cyber shopping malls has nearly tripled. When applying development aspects of retail businesses through the competition to the retail life cycle, mom-and-pop stores and traditional markets have already entered the decline phase as specialty stores reach their maturity phase and demonstrate their limit of growth. Department stores are now in the latter part of the growth phase, which is still considered to have some growth potential. Big super markets are still in the early part of their growth stage although they were introduced 20 years ago. Meanwhile, retail businesses such as convenience stores, supermarkets, mail order houses, and warehouse stores are entering the middle growth phase and are expected to continue with their quantitative growth. At a time when most retail businesses in Korea are in a state of development or in the full growth stage, what kind of new innovative retailing will appear and develop? Moreover, what growth engine will drive it? This study analyzes the appearance of innovative retailing and its development process by establishing a discussable consumer's choice model through the interlocking mutual behavior of differentiated competitiveness and consumers' choice based on an awareness of this issue. The analysis of the results of this study can be summarized as follows. First, if a new vacuum zone emerges at the retail market level, innovative retailing such as low price/low service or high price/high service will emerge simultaneously. Second, if the number of new businesses in the vacuum zone increases, this will create competitiveness among the businesses, and each retailer will develop raising of level. Third, if a new business that raises the level develops, competition between the new and the existing retailer will occur, and an assimilation process between the existing retailing and the new retailing will be unfolded. Fourth, each retailing will promote distribution innovations in order to break the frontier of the existing distribution technology, and other retailing will follow the innovator. On the basis of an analysis of the abovementioned results, this study presents the following three suggestions. First, responding to the consumer's decision-making process on the attributes of retail shops that promote differentiation in strategies, this study established a consumer's choice model that can be discussed in relation to changes in market share. Second, this study provided an analysis of the emerging and developmental processes of innovative retail businesses using a more precise logical structure on the basis of the consumer's choice model described in this study. Third, the development process of retail businesses discussed in this study presented retailing solutions regarding management aspects on how to compose a strong retail mix that can help retail businesses gain competitive advantages in the market.