• Journal of Korean Theatre Studies Association
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• no.52
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• pp.61-115
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• 2014

Die vorliegende Arbeit macht die $Theaterst{\ddot{u}}cke$ von Park seit Mitte der 2000er Jahre zu ihrem Forschungsgegenstand. Park stellt nun mannigfaltige Verfahrensweise von dramaturgischer Technik und $Theater{\ddot{a}}sthetik$ zur $Verf{\ddot{u}}gung$, damit er den Zuschauer auf die gesamten $Zust{\ddot{a}}nde$ der $zeitgen{\ddot{o}}ssischen$ Gesellschaft aufmerksam macht und auch die Teilnahme daran beeinflusst. Indessen benutzt Park die Theorie des Lachens im breiten Spektrum. So verbindet er das Lachen jeweils mit der Komik des Grotesken, des Paradoxons und der Satire, um dessen Effekt zu maximalisieren. Und die $Theaterst{\ddot{u}}cke$ von Park mobilisieren die $Performativit{\ddot{a}}t$ aufgrund der Aisthetik, damit sie die Grenzen jener semiotischen Interpretation ${\ddot{u}}berwinden$, die auf der sprachzentrierten $Repr{\ddot{a}}sentation$ basiert. Infolgedessen wird jene Kommunikation aufgrund der sinnlichen Wahrnehmung aktiv $eingef{\ddot{u}}hrt$, die sich anhand des Austausches von Energie und $Atmosph{\ddot{a}}re$ zwischen $B{\ddot{u}}hne$ und Zuschauerraum vollzieht. Darum zeigt die $Theater{\ddot{a}}sthetik$ von Park jene mehreren gemischten Merkmale, die die traditionelle ${\ddot{A}}sthetik$ der $Repr{\ddot{a}}sentation$ mit der Verfahrensweise der ${\ddot{A}}sthetik$ der Postmoderne verbinden. Indem Park mit Hilfe von der mannigfaltigen Verfahrensweise von Dramaturgie und $Theater{\ddot{a}}sthetik$ zu einem experimentellen Versuch zu Theaterformen gelangt, treten in seiner Theaterkunst eben das $zeitgen{\ddot{o}}ssische$ verdinglichte Gesellschaftsbild und zugleich die $Negativit{\ddot{a}}t$ als eine $k{\ddot{u}}nstlerische$ Kritik daran in Erscheinung. Vor dieser Folie versucht die vorliegende Arbeit nicht nur die Dramturgie und $Theater{\ddot{a}}sthetik$ von Park zu erforschen, sondern auch das daraus resultierende $zeitgen{\ddot{o}}ssische$ Gesellschaftsbild wissenschaftlich zu $er{\ddot{o}}rtern$.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.11
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• pp.303-309
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• 2018

Internet of Things technology is an intelligent service that connects all objects to the Internet and interacts with them. It is a technology that can be used in various fields, such as device management, process management, monitoring of restricted areas for industrial systems, as well as for navigation in military theaters of operation. However, because all devices are connected to the Internet, various attacks using security vulnerabilities can cause a variety of damage, such as economic loss, personal information leaks, and risks to life from vulnerability attacks against medical services or for military purposes. Therefore, in this paper, a mutual authentication method and a key-generation and update system are applied by applying S/Key technology based on a hash chain in the communications process. A mutual authentication method is studied, which can cope with various security threats. The proposed protocol can be applied to inter-peer security communications, and we confirm it is robust against replay attacks and man-in-the-middle attacks, providing data integrity against well-known attacks in the IoT environment.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.44-57
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• 2019

As dance performances in the theater space are centered on text, they have plots and make characters stand out. They also emphasize expressivity and technique, and their recognition of space is very modern and typical of dichotomous Cartesian thinking. The museum space has many similarities with the theater space in that it is a result of modernity and granted authority to present arts. The performances in museums place value more on the presence than on the representation. For this reason, works in museums, which are frequently presented in recent years, are mainly works of site-specific or performative concepts. Now, rather than being able to obtain from aesthetics defined as works, the museum is assured its own aesthetic production and justification, paying attention to the performance as an event occurring now and here.

• International Journal of Computer Science & Network Security
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• v.22 no.6
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• pp.131-138
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• 2022

Novel Coronavirus (COVID-19) is viewed as one of the main general wellbeing theaters on the worldwide level all over the planet. Because of the abrupt idea of the flare-up and the irresistible force of the infection, it causes individuals tension, melancholy, and other pressure responses. The avoidance and control of the novel Covid pneumonia have moved into an imperative stage. It is fundamental to early foresee and figure of infection episode during this troublesome opportunity to control of its grimness and mortality. The entire world is investing unimaginable amounts of energy to fight against the spread of this lethal infection. In this paper, we utilized machine learning and deep learning techniques for analyzing what is going on utilizing countries shared information and for detecting the climate factors that effect on spreading Covid-19, such as humidity, sunny hours, temperature and wind speed for understanding its regular dramatic way of behaving alongside the forecast of future reachability of the COVID-2019 around the world. We utilized data collected and produced by Kaggle and the Johns Hopkins Center for Systems Science. The dataset has 25 attributes and 9566 objects. Our Experiment consists of two phases. In phase one, we preprocessed dataset for DL model and features were decreased to four features humidity, sunny hours, temperature and wind speed by utilized the Pearson Correlation Coefficient technique (correlation attributes feature selection). In phase two, we utilized the traditional famous six machine learning techniques for numerical datasets, and Dense Net deep learning model to predict and detect the climatic factor that aide to disease outbreak. We validated the model by using confusion matrix (CM) and measured the performance by four different metrics: accuracy, f-measure, recall, and precision.

• Journal of the Korea Society of Computer and Information
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• v.14 no.2
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• pp.221-229
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• 2009

The development of the Internet and telecommunication technology has lead to the diversification of the distribution channel of movies. Internet users can easily watch movies through the Internet VOD(Video On Demand) theaters without a restriction of time and space. In this study, we try to understand the intention to use of internet VOD movies using the concepts of Technology Acceptance Model and Flow Model. We also consider the concepts of sensitivity of holdback period and availability of various choice in movie genre, along with demographic factors such as age and gender. Through our study we enhance our understanding on how and when users use the Internet VOD for their movie watching.

• Asia Marketing Journal
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• v.12 no.1
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• pp.81-101
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• 2010

Lotte Shopping Co. started its business from Lotte Department Store. From the beginning, Lotte Shopping Co. opened the largest department store and, since then, has expanded its business size through the processes of active developments of its own stores and merges and acquisitions of other companies. Currently, it operates a variety of retail shops such as department stores, discount stores, movies theaters, shopping malls, and supermarkets along with a TV home-shopping station and an online shopping mall. Lotte group, a business conglomerate Lotte Shopping belongs to, has an objective of becoming TOP 10 business group in Asia by 2018. Lotte group declared its vision statements in 2009 and has spent its effort to accomplish the goal. Lotte Shopping is implementing the group-level growth strategy through merges and acquisitions and diverse marketing programs. We will briefly investigate the current situation of Lotte Shopping and will then analyze its 1) entertainment shopping center and multi-channel strategy, 2) global market entry, and 3) education system.

• (The) Research of the performance art and culture
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• no.32
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• pp.651-700
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• 2016

The keyword of contemporary art in 21st is audience participation. London has emphasized the importance of audience participation since 2000. The National Theater of London is trying a new method, which is live performance to search new audiences. Also, they are trying to cross the boundaries between 'stage' and 'spectator'. This leads the other theaters to search new audiences and try new genre of performance. Therefore, they establish a new form of performance, which is that audience actively moves and find a new story in a theater. For example, "environmental theater" is the one. This theater escapes from the traditional stage, but it is based on "site-specific performance." Lots of new forms of theater have emerged. In this study, I focused on one of these new forms of theater, which is "Punchdrunk." "Punchdrunk" was founded by few students graduated from London University's Laban Center in 1999. They started at an empty stage in small school with only three audiences. 7 years after, it became one of major theaters in London. 10 years after, it showed their performances in the United state. Since then, their performances in New York have never been stopped. More strikingly, for last decades, this theater has been always full. In this study, I reasoned that the key of "Punchdrunk" success is audience participation. Therefore, I investigated the features of Punchdrunk theater and how they engage their audience in this performance. In this study, I focused on one of their performances, . Also, I categorized the audiences in three different ways: narrative visitor, walking visitor, and engaging visitor with mask. Three-part transition of Disney Theme Park from Louis Marin was applied to study "narrative visitor." For "walking visitor", Normadism from Gilles Deleuze was applied. For "engaging visitor with mask", Voyeurism was applied.

• Asian Journal of Atmospheric Environment
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• v.5 no.2
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• pp.121-133
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• 2011

This study suggests criteria to conduct a risk assessment of VOCs and formaldehyde in uncontrolled public facilities. Pollutants and facilities were selected based on two years of monitoring data and exposure scenarios in 573 uncontrolled public facilities, composed of 10 types of public institutions. With the exception of social welfare facilities, lifetime ECRs of formaldehyde and benzene in each facility were higher in employees than in users, except in social welfare facilities. In social welfare facilities, the risk of benzene for users ($1{\times}10^{-5}$) was higher than that of workers ($1{\times}10^{-6}$) because facility users live in the facility 24 hours per day, compared to workers who spend an average of 8 hours per day in the facility. The risk of benzene to workers in restaurants, academies, performance halls, internet cafe and pubs were estimated as high as $1{\times}10^{-4}$ and the risk to workers in the theaters and karaoke bars were recorded as $1{\times}10^{-5}$. Because lifetime ECRs of carcinogens exceeded $1{\times}10^{-4}$ for workers and users in most facilities, risk management of formaldehyde and benzene in these facilities is necessary. Although HQs of toluene and xylenes did not exceed 1.0, their HQs did exceed 0.1 in some facilities, so they were evaluated as potentially harmful materials. Additionally, criteria for health protection in IAQ by facility are suggested at $60-100\;{\mu}g/m^3$ for formaldehyde, $400-500\;{\mu}g/m^3$ for TVOCs, $10-20\;{\mu}g/m^3$ for benzene, $150-170\;{\mu}g/m^3$ for toluene and $100\;{\mu}g/m^3$ for xylenes, based on the survey on IAQ and HRA methodology. The excess rates of IAQ to health protection criteria in all facilities were 16% for formaldehyde, 8% for TVOCs and benzene, 9% for toulene, and 5% for xylenes.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.638-649
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• 2013

This study focuses on analyzing the trend of Korean movies and the issues caused by industrialization and the alternatives. The results are as follows: first, there does not exist distinctive genre movie as most of the movie producers concentrate on thoughtless genre fusion of movie, simply hoping for box office success. Second, Giant companies that has large amounts of money and distributors tend to monopolize production, distribution, and running of movie. Consequently, the development of diversity and artistry is absolutely impeded. Third, the structure of Korean movie industry make some well-known movie stars survive the film world and staff members and actors except them face economic difficulty. The solution plans for the problems mentioned above can be drawn like this; first, genre film with distinctive features should be developed. Second, the monopolistic structure of the screen should be changed. Legal organizations are required to redesign the system of unfair Korean film industry. Third, it is suggested that quantitative expansion of special theaters of diversity film be urgently needed. Fourth, appearance fees given to popular movie stars, actors, and staff members have to be provided in a balanced way. Fifth, the way for revitalization of film production should be found through the legal examination of fund for film development. Last but not least, the profit from the additional film market ought to be made.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.305-322
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• 2016

With the multiplex and wide release strategy, the monopolies of four major distribution companies and three multiplex chain, the polarization of Korean movie's Box Office performance is deepening. The four major distributor of NEW, CJ CGV, Lotte Cinema distributed 290 movies of 538 movies produced from 2009 to 2014 in Korea. The audience market share of these four distributors is 85.74%, while other 248 movies covers only 14.26%, which are distributed by outsides of the four major distribution system. The concentration of film admission has been deepened in Gini Index from 0.53 in 2004 to 0.85 in 2014. The movies distributed by others rather than four major companies suffers inequality in numbers of secured screens, screening times, and secured seats of movie theaters. In the highest 10% of box-office ranking, there is only one movie distributed by others. The lowest 50% of box-office ranking, there are 186 movies by others, while four companies have 81 movies. However, Occupancy rate of seat of major companies is lower than 16.83% of that of the others in the lowest 50% section. Workers of Korean movie industry are suffered from this polarization and they seek their breakthrough by producing erotic movies for VOD in recent years.