• 드라이브 ㆍ 컨트롤
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• 제19권4호
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• pp.19-28
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• 2022

This paper introduces an automatic steering system for straight traveling capable of being mounted on drivable agricultural machinery which user can handle it such as a tractor, a transplant, etc. The modular automatic steering device proposed in the paper is composed of RTK GNSS, IMU, HMI, hydraulic valve, and wheel sensor. The path generation method of the automatic steering system is obtained from two location information(latitude and longitude on each point) measured by GNSS in advance. From HMI, a straight path(AB line) can be created by connecting latitude and longitude on each point and the device makes the machine able to follow the path. During traveling along the reference path, it acquires the real time position data every sample time(0.1s), compares the reference with them and calculates the lateral deviation. The values of deviation are used to control the steering angle of the machine using hydraulic valve mounted on the axle of front wheel. In this paper, Pure Pursuit algorithm is applied used in autonomous vehicles frequently. For the analysis of traveling characteristics, field tests were executed about these conditions: velocity of 2, 3, 4km/h which is applied to general agricultural work and ground surface of solid(asphalt) and weak condition(soil) such as farmland. In the case of weak ground state, two experiments were executed about no-load(without work) and load(with work such as plowing). The maximum average deviations were presented 2.44cm, 7.32cm, and 11.34cm during traveling on three ground conditions : asphalt, soil without load and with load(plowing).

• 로봇학회논문지
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• 제17권2호
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• pp.198-208
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• 2022

In this paper, an autonomous driving system is implemented for the Segye AI Robot Race Competition that multiple vehicles drive simultaneously. By utilizing the ERP42-racing platform, RTK-GPS, and LiDAR sensors provided in the competition, we propose an autonomous driving system that can drive safely and quickly in a road environment with multiple vehicles. This system consists of a recognition, judgement, and control parts. In the recognition stage, vehicle localization and obstacle detection through waypoint-based LiDAR ROI were performed. In the judgement stage, target velocity setting and obstacle avoidance judgement are determined in consideration of the straight/curved section and the distance between the vehicle and the neighboring vehicle. In the control stage, adaptive cruise longitudinal velocity control based on safe distance and lateral velocity control based on pure-pursuit are performed. To overcome the limited experimental environment, simulation and partial actual experiments were conducted together to develop and verify the proposed algorithms. After that, we participated in the Segye AI Robot Race Competition and performed autonomous driving racing with verified algorithms.

• 미술이론과 현장
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• 제16호
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• pp.107-137
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• 2013

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.

• 조형예술학연구
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• 제3권
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• pp.87-144
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• 2001

This study looks into historical genealogy of autonomy in art criticism on modernism and presents the view of the judgment and correction about that. A matter of autonomy in art appeared in the attempt to totally reconsider and upset the theory of 'Mimesis' or 'Representation' which was the basis of traditional aesthetic theory. In the traditional theory of representation, they assumed primary image exists first and then tried to obtain visual similarity to it through art works. However, in the theory of autonomy in modernism, they maintained the reduction to pure form' or medium', regarding what art works represents and how similar to primary image are not the true essence of art. In the early 20th century, C. Bell laid the foundation stone of the theory of Formalism', providing that a matter of autonomy is significant form', which is the combination of lines and colors Aesthetic autonomy theory came to a climax by C. Greenberg, who systemized art criticism on modernism in the middle 20th century. According to his theory, the pursuit of the essence of form resulted in the specificity of medium' and flatness. They thought that the autonomy of art would be achieved by eliminating outward social factors from art works. This theory ended by Minimalism preventing the instructive function of art work and only emphasizing its material property. Since the middle 20th century, the autonomy theory was confronted with the limit and intense attack because it resulted in this fixed canon and materialism, so they began laying emphasis on those extrinsic factors around art works such as human life, society, history, and so on. This study focuses on arguing and complementing the limit of autonomy such as the adhesive and fixed canon, and then defining the more dynamic area of it. For this, first, I introduced the view of T. J. Clark and T. Crow who criticized the aesthetic autonomy theory. They denied the transcendental structure of form, and found form only in the association with substantial life and society. And they insisted the dynamism of form by emphasizing form as a result of negation insisted by avant-garde. Second, I researched the view of A. C, Danto and M. Fried, who complemented the traditional autonomy theory. They made autonomy emerge from the fixation of form like flatness through connecting essentialism with historical view. In conclusion, I insist that autonomic position of art make it possible to connect or mediate between material form and human or social elements. Therefore, autonomy should not be reduced to the axis of form or that of society but make interaction between two heterogeneous axes.

• 복식문화연구
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• 제21권1호
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• pp.57-65
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• 2013

With environmental pollution becoming a serious problem, recently there has been increased interest in the environment and health. In addition, the development of materials for environmentally friendly and functional clothing has increased. Environmentally friendly products that use bark fibers of the mulberry(dak) tree are expressed in terms of dak fiber and Hanji yarn. This research analyzed consumer's perceived images of Hanji and Hanji yarn infant clothing. The research results are as follows. Based on analyzing images of Hanji and Hanji yarn, Hanji was categorized into four images that can be described as natural, pure, decorative, and functional, and Hanji yarn infant clothing was categorized into three images that can be described as natural, decorative, and functional. Based on the analysis of well-being elements in subjects' lifestyles, the following four inclinations were found: environmental friendliness, pursuit of novelty, life care, and environmental protection. On this basis, the subjects were categorized into three groups: the trend-pursuing group, the life-care group, and the social responsibility group. Subjects' perceived images of Hanji and Hanji yarn infant clothing were investigated, and these products were found to have a strong image of being Korean, traditional, and natural, while being weakly perceived as comfortable, functional, and practical. Analyzing the correlation between images of Hanji and Hanji yarn infant clothing and lifestyle groups revealed that these products were not perceived differently according to group. This study showed that Hanji and Hanji yarn are terms that are commonly associated with positive clothing material. However, both Hanji and Hanji yarn are perceived negatively in terms of functional image, which is an important factor in clothing material. In addition, even among consumers who pursue a lifestyle based on well-being, the functional image of Hanji yarn was not perceived highly. Hence, it is necessary to further examine the effect of terms such as Hanji and Hanji yarn on consumer choices. Therefore, caution is considered needed when using such terms in the marketing of related products.

• 동의생리병리학회지
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• 제18권1호
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• pp.1-7
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• 2004

Oriental Medicine has long been centered around Qi[vital force], hence adopting Qigong and the art of regimen for training the body and relaxing the mind so as to prevent and heal illness. It has not been such a long time since Qigong method had been performed and spot-lighted out of numerous methods in Oriental Medicine. In China and Korea alone, diverse cases and papers are published, only revealing so many steps toward the establishment of diachronic description, theoretical foundation, and clinical practice. Historical approach is an essential part of recognizing a subject. When you step along its path and comprehend what it were, you can also grasp what it is and what it will be. Establishment of Qigong history is also vital to research Qigong in theory and practice. Generally, Qigong was transmitted from China to Korea, whereas the opposite explanation, that it originated from Korean Taoism, is supported by the minority based on certain texts concerning ancient history. In this paper, I support the theory of Korean originality based on the following grounds: First, the location of Qi and Van, the motherland of Chinese Taoism provides a strong evidence that Korean tradition had been absorbed by them and formed the tradition of mystic hermits(shenxian). Second, Guangchengzi, the originator of mystic hermits, is from Dongyi tribe according to Cheonghakjib. Third, the myth of Dangun has pure form of unique Korean folklore possessing the distinctive feature of mystic hermits tradition, uninfluenced by Chinese Taoism. Fourth, in ideographical aspect, the character 'xian(仙)', was invented as the Korean concept of mystic hermits[xian] was flowed in to China. Moreover, There is high probability that it was based on the concept of mystic hermits shown in the myth of Dangun in Its original formation. Fifth, considering the relation between wild ginseng and the tradition of mystic hermits, that tradition can be formed very naturally in Korean area. Sixth, the analogical similarity between archetype of Korean tradition and Taoistic trilogy, the foundational idea of the tradition, gives genealogical basis to its origin. Seventh, the tradition of mystic hermits and Shamanism, which constitues the prototype of Korean mind as an original religious tradition, are undiscernible in their root In Conclusion, We can reach the idea that the origin of Qigong derives from Korean tradition, not that of China. The tradition of mystic hermits was transformed to ego-centric seclusionism when it faced the anarchy of Warring states period in China, whereas it was developed into humane proriety and worship of Heaven base on the programme of 'universal fraternity in pursuit of interst for man'. In prospect, it is highly required to develop and interpret traditional discipline methods in Korea so as to utilize them for clinical Qigong in practice.

• 한국전통조경학회지
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• 제34권3호
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• pp.38-49
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• 2016

본 연구는 기문과 시문이 장소성의 함의와 원형경관의 유추 및 향유양상을 탐색할 수 있는 근거가 될 수 있다는 전제로 임실 만취정의 원래 위치 및 이건된 위치에서 입지 및 원형경관을 탐색하고 그 의미를 추론하였다. 임실 만취정의 이건 전 후의 장소적 가치와 원형경관 보존을 위해 시도된 연구 결과는 다음과 같다. 첫째, 정자의 당호 만취(晩翠)는 작정자 김위가 자신의 호로 삼았으며, 소나무를 마주보게 심고 만취라 편액하였는데, 시문에 근거하면 푸른 소나무와 같은 꿋꿋한 기개를 상징하고 있다. 특히 정자에 내재된 의미와 도입된 상징식물 등을 살펴보았을 때 당호는 절개, 가문의 장생, 생명력 등을 반영한 것으로 해석된다. 둘째, 만취정은 풍수적으로 강 건너 제비형국과 마주한 사두형에 자리잡아 팽팽한 균형을 갖고 있어 절개와 가문 번영을 염원하는 장소성을 지니고 있다. 한편, 이건된 만취정은 풍수적 복치형(伏雉形) 형국으로 해석되는데, 학문과 가문 번영에 대한 계승노력이 전승되고 있음을 유추할 수 있다. 셋째, 만취정은 1572년에서 1582년 사이에 건립되었으며, 이건은 1880년대 말에 이루어졌을 것으로 추정하였다. 넷째, 만취정은 변치 않는 절개와 가문번영의 염원을 장소적 언어로 대입시켰으나 후손들에 의해 만취 김위의 묘 옆으로 이건 됨으로서 조상 추모, 후손 학문번영이라고 하는 가치이동 양상이 추적된다. 다섯째, 이건된 만취정은 온돌방에 비중을 둔 사계절 활용, 공간 확장성을 고려한 툇마루, 주련의 내용 등으로 볼 때 강학공간으로서의 의미를 공유, 전승한 것으로 추론된다. 여섯째, 제영시에 나타난 소나무, 연못, 식물, 계곡, 시냇물 등을 통해 절개, 지조, 깨긋한 심성, 유유자적한 삶, 자아성찰, 인생무상 등의 의미가 투영되는 경관향유 양상이 드러나고 있다. 마지막으로 십영의 제영 언어는 원운과 차별성이 인정되지만 의미나 감흥을 통해 원운십영이 지닌 원형경관 향유양상은 전승되고 있는바 관련 시문분석에 따른 경관탐색은 원형경관 보존 및 활용을 위한 근거가 될 수 있음을 보여준다.

• 동양고전연구
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• 제36호
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• pp.163-202
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• 2009

이 논문은 15세기 후반 한시의 특성을 조명하고자 하기 위한 작업의 일환으로 신숙주 시에 나타난 시인의 의식을 고찰한 것이다. 신숙주의 시는 작가의 문학적 명성에도 불구하고 그의 처신, 소위 '변절'의 문제로 인해 연구자들의 관심권 밖에 밀려나 있었다. 그러나 신숙주에 대한 객관적 평가를 위해서도 그의 시는 자세히 검토할 필요가 있다. 신숙주의 시는 세조의 정변이 일어났던 시기를 중심으로 양분할 수 있다. 그의 전기 시는 시인이 자족적인 세계 속에서 충만한 자긍심과 여유로운 정신을 지니고 있었다는 점을 드러낸다. 그런데 그의 경세이상은 실은 불후(不朽)의 공명(功名)을 성취하려는 영웅의식(英雄意識)의 소산이었다. 이 영웅의식(英雄意識)과 평생 그의 의식을 지배했던 순명의식(順命意識)에 의해 그는 세조의 정변에 동조하게 된다. 그러나 후기 시는 공명(功名)을 성취했던 시인의 삶이 그 자신에게 정신적 만족과 행복을 가져다주지 못하였다는 사실을 또렷이 보여준다. 그는 세조의 정변에 동조함으로 인해 배태된 양심의 괴로움을 호소하였고 자신이 성취한 공업(功業), 나아가 인생 자체가 허무함을 토로하고, 세상에서 말하는 시비(是非) 진위(眞僞) 선악(善惡) 등이 주관적이고 허망한 것이라는 인식에 도달하였다. 더 나아가 세상 만물 자체도 환영(幻影)에 불과하다는 것을 깨달았다. 그의 이러한 인식은 불가의 공(空) 사상(思想)을 기반으로 한 것이다. 그러한 사유 과정을 거쳐 시인은 허명(虛明)한 마음과 한가로운 삶에 대한 지향을 노래하게 된다. 신숙주의 시에 나타난 영웅의식, 불가적 사유, 허명(虛明)한 마음에 대한 지향 등은 서거정을 비롯하여 15세기 후반에 활동했던 주요 문인들의 시에서 자주 나타나는 사유들이다. 결국 양심의 괴로움과 인생에 대한 허무감을 넘어서려 했던 시인의 진지한 모색은 15세기 관료문인들의 인생태도와 그들의 문학에 영향을 끼쳤다고 할 수 있다. 당대 주요 문인들이 신숙주 문학의 전통을 이었다는 성현(成俔)의 진술은 의례적인 수사가 아니었던 셈이다.