• Trans-
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• v.2
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• pp.95-130
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• 2017

In the 21st century, developing cultural industry is an important issue world-wide. Since the Kim Daejoong government, Korea has focused on cultural industry development and has thereby treated it as one of the basic, necessary industries. Therefore, the industry is being supported both financially and politically. This policy nurtured the development of quality and quantity within the cultural content industry. However, most of the reports and studies about Korean cultural content have shown it is still not strong enough to compete with leading countries in the field. Competitiveness of storytelling is especially weak. The goal of this study is to find the best direction for the funding policy to strengthen competitiveness in storytelling. Analysing the policies of the No Moo-hyun and Lee Myoung-park governments, we can see that they primarily focused on developing infrastructure in investment and the distribution environment. Support for producing content and distribution follows after confirmation of results. Moreover, policies for the support of developing ideas within culture content are vertical. Currently in the industry, a person or company decides how and where to use the moneys available for investment in the development of content. However, we need to invest more directly, initial funding is required. We analysed the market, studying its activity, achievement and limitations. As a result, we suggest a 'Storytelling Factory' like the group writing system adopted by US TV Shows.

• Journal of the Korean Society of Marine Environment & Safety
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• v.18 no.2
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• pp.167-174
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• 2012

Transport of marine debris between countries is a potential source of diplomatic conflicts. U-i Island in Shinan County, Jeonnam Province has been reported by media as being damaged by marine debris from foreign countries. However, scientific researches on those marine debris have not been published. So, the features of foreign marine debris on Seongchon Beach in U-i Island were surveyed on Feb. 2012. The ratio of marine debris from foreign countries was 34.7% by number of items, 56.3% by weight, and 48.5% by volume in $200m^2$ transacts. Most of them, 98.9% in number, were inferred to be originated from China. The most abundant items were plastic beverage bottles and black floats. The total number of black floats was 539 within the 1,100m beach. Fifteen of them had information on manufactured locations, of which 87.6% were Liaoning Province in northern China. As domestic policy cannot prevent the inflow of the marine debris from foreign countries, countermeasures should be sought out from the international cooperation with the neighboring countries. For the black floats, recycling method should be developed as lots of the same types of black floats are drifted ashore in winter. And, as the U-i Island is a National Park with its valuable natural heritages, methods should be designed to minimize impacts on dune topography and ecology.

• Journal of Plant Biology
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• v.38 no.1
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• pp.87-93
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• 1995

For understanding physiological nature of phototaxis in Synechocystis sp. PCC 6803 PTX(S. 6803 PTX), we examined the effects of some metabolic inhibitors and cation ionophore on the phototactic movement. In the presence of DCMU, which blocks the photosynthetic electron transport just after photosystem II acceptor, there was no inhibitory effect on the phototaxis up to $100\;\mu\textrm{M}$. Instead, the respiratory electron chain inhibitor such as sodium azide dramatically impaired the phototaxis in S. 6803 PTX. These observations indicate that the phototaxis is linked not to photo-phosphorylation, but to respiratory phosphorylation. When the cells were treated with un couplers such as CCCP or DNP, which dissipate the electrochemical gradient of proton($\Delta\mu_{H}+$) across the cytoplasmic membrane, these chemicals did not affect phototaxis. In contrast, when cells were treated with DCCD or NBD which deprive cells of A TP but leave $\Delta\mu_{H}+$ intact across the membrane, the phototactic movement was severly reduced. These results imply that ATP production, not proton motive force, is involved in the phototactic movement in this organism as a driving motive force. The application of specific calcium ionophore A23187 strongly impaired positive phototaxis. Calcium fluxes should be engaged in the sensory trans-duction of phototactic orientation. Finally, when ethionine was supplimented to culture media, the photomovement of this organism was inhibited. This implies that methylation/demethylation mechanism controls the process of phototaxis in S. 6803 PTX like chemotaxis in E. coli and Salmonella typhimurium.murium.

• Trans-
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• v.11
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• pp.65-95
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• 2021

Grotesque, which has often emerged as a breakthrough in Western art to protest rational and classical pure beauty, is often seen in modern art. Grotesque, along with the concept of pendulum, appears in infinitely expanded forms across cultures, arts, and society. In particular, transformed body images through deformatization and deformatization of the body are interpreted as strong rejections that seek to break away from formalized beauty. The main purpose of this study is how the body reproduced through body deformation, distortion, and bonding in Dimitris Papaioannou's work can be interpreted within the grotesque category. To this end, he examines the Grotesque discourse and modern meaning underlying the interpretation of the work and identifies how the fragmented and expanding body, which is currently actively discussed in the dance world, has an interaction with Grotesque. It selects , , , and , which are the main attributes of the grotesque, focus on conflicting familiarity, life, hatred, and beauty. Based on this, we would like to confirm that in contemporary dance, the reconstructed body reveals concealed things rather than expressing an unrealistic fictional world, and seeks new possibilities beyond boundaries as well as reconsider existing aesthetic views.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.

• Journal of Mushroom
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• v.13 no.1
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• pp.56-62
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• 2015

A lipase producing bacterium was isolated from button mushroom bed, which showing high clear zone on agar media containing Tributyrin as the substrate. The strain was identified as Burkholderia cepacia by analysis of 16S rDNA gene sequence. Crude lipase (CL) was partially purified from 70% ammonium sulfate precipitation using the culture filtrate of B. cepacia. Immobilized lipases were prepared by cross-linking method with CL from B. cepacia and Novozyme lipase (NL) onto silanized Silica-gel as support. Residual activitiy of the immobilized CL (ICL) and immobilized NL (INL) was maintained upto 61% and 72%, respectively. Biodiesel (Fatty acid methyl ester, FAME) was recovered by transesterification and methanolysis of Canola oil using NaOH, CL and ICL as the catalysts to compare the composition of fatty acids and the yield of FAME. Total FAME content was NaOH $781mg\;L^{-1}$, CL $681mg\;L^{-1}$ and ICL $596mg\;L^{-1}$, in which the highest levels of FAME was observed to 50% oleic acid (C18:1) and 22% stearic acid (C18:0). In addition, the unsaturated FAME (C18:1, C18:2) decreased, while saturated FAME (C16:0, C18:0) increased according to increasing the reaction times with both CL and ICL, supporting CL possess both transesterification and interesterification activity. When reusability of ICL and INL was estimated by using the continuous reaction of 4 cycles, the activity of ICL and INL was respectively maintained 66% and 79% until the fourth reaction.

• Cartoon and Animation Studies
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• s.39
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• pp.413-450
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• 2015

Although cartoons have been recognized for their great potential and value, they have failed to bloom in Korea. This is because wrong perception and irregular distribution of cartoons have been repeated for the last several years. Presently, however, cartoons are escaping from chronic problems they have had for long and welcoming splendid chances now. From the mid- and late-1990's, there have been large-scale events having cartoons as their theme, and social recognition on cartoons is becoming more and more positive. Their contents are diversified, readers are increased, and they are escaping from stereotypes through harmony with other media. Lately, either large or small exhibitions for cartoons are being planned, and Korean cartoons are going overseas and producing exhibitions there. Particularly, visitors' appreciative eye is getting keener, and they begin to see them not as a genre underestimated as low culture like in the past but as a kind of art on which independent research is being actively conducted. One of the biggest factors that have allowed cartoons to be positioned as visual art is the form of exhibitions that combine them with other genres artistically. Especially the cartoon exhibitions being held these days are aggressively introducing various elements of the cartoon genre through the medium of exhibitions not just as a mere tool of seeing to help understand cartoon writers or works. The genre of cartoons is now regarded as an active subject that can reflect its own unique essence in this rapidly changing cultural environment and extend the range of it itself. The latest cartoon exhibitions are characterized by trans-genre and complex aspects in terms of their direction or organization according to the contents, space, or theme. This trend of cartoon exhibitions implies that they are subdividing, analyzing, and planning various factors not in a horizontal way that was centered around image as in the past. It means that cartoon exhibitions are evolving as a form of mobilizing, combining, and reproducing various methods. Although a number of cartoon exhibitions are being held with a variety of themes, there is still lack of research on cartoon exhibitions concerning their forms and contents. Therefore, this researcher sees cartoon exhibitions as a factor that allows cartoons to escape from negative recognition and examines various cartoon exhibitions, from Seoul International Cartoon Animation Festival to the ones that are recently held, to figure out the meaning of Korean cartoon exhibitions. Furthermore, this researcher will find out the factors of planning and popularity in international exhibitions or personal cartoon exhibitions being presently held and figure out new directions and potentials for Korean cartoon exhibitions based on that. To meet the needs of visitors whose expectations have become even higher, it is needed to try not just previous methods but experimental and original planning as well constantly. To realize that, it is necessary to keep providing a field of opportunity where cartoon works, cartoon writers, and visitors can communicate as in an exhibition. It is expected that this study will trigger research on cartoon exhibitions to be performed multilaterally and produce new discourse on cartoon exhibitions afterwards.

• Trans-
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• v.9
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• pp.17-36
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• 2020

This study is aimed at discussing the possibility of content production, utilization and expansion, focusing on the exhibition case of Danwon Art Museum run by Ansan Cultural Foundation. In 1991, the Ministry of Culture, Sports and Tourism named Ansan as the City of Danwon since it is believed to be the hometown of Danwon Kim Hong-do (1745~?), a painter of the late Joseon Dynasty and a well-known master of genre painting. As a result, Ansan is making various efforts to utilize Danwon Kim Hong-do for its unique resource through internal and external business such as the creation of Danwon Sculpture Park, the operation of Danwon Art Museum, and the planning of Danwon Kim Hong-do Festival. However, the biggest problem with Ansan is that there are not many collections of Kim Hong-do. Ansan has owned a total of six works as of May this year: a deer and a boy, flowers and a bird, A view of clouds on the water, Daegwallyeong, Yeodongbin, A way to Singwangsa. Accordingly, Danwon Contents Center has set up a vision to systematically collect, preserve, and display various visual and artistic materials related to Kim Hong-do, offering high-quality information based on digital data. In other words, it is a complex cultural information agency of One-Source Multi-Use, which combines the functions of libraries, archives and art galleries so that visitors' desire is satisfied. It reflects the contemporary trend of overcoming the limitations of the ancient paintings and satisfying the role and function of the art museum. From the opening of the Danwon Contents Hall, the original work of Kim Hong-do has been interpreted and produced as media contents or recreated as a new form of art by modern artists. Exhibition using technologies such as touch screen and 'deep zoom' helps visitors to heighten their experience of the archives and get inside the world of the genius painter.

• The Korean Journal of Air & Space Law and Policy
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• v.33 no.2
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• pp.315-343
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• 2018

In the event of an air accident, the media and members of the general public pay attention to the victim of the accident and are deeply concerned about their actions and rewards. However, through the accident of Air China(CCA) Flight 129, which occurred in 2002, we were able to confirm that it is a real problem that the victims of the air accident as well as the victims suffer much suffering and serious aftermath. Nevertheless, Korea's system for assistance the families of victims of air accident is very poor. On the other hand, when Trans-World Airlines(TWA) Flight 800 exploded and crashed over the Atlantic Ocean in 1996, the United States enacted a law to assistance the families of the victims of the accident. According to this law, systematic assistance and management of not only the victims of the accident but also their families, minimize the additional damage of victims and victims' families and help them to get rid of the accident after the accident. In particular, the measures taken by the US authorities in response to an accident in which an Asiana Airlines flight(AAR) 214 crashed during a landing at San Francisco International Airport in 2013, made a lot of suggestions for us to assistance the victims and their families in an air accident. The purpose of this paper is to suggest the necessity of improving the system for victims and victim's family assistance in air accident. In this paper, we analyze the domestic and foreign legal systems and related cases in past accidents, identify the deficiencies of the Korean system, and derive the necessity to improve the related system. It is also important to make sure that victims' families are relieved from early psychological and economic shocks and that the results of accident investigations are reliable. Relevant ministries, airlines, and related agencies should recognize that prompt and systematic assistance and cooperation is needed to ensure that victims and families are relieved of the impact and confidence in the investigation, as is the case in the United States. In addition, efforts should be made to supplement the related laws for the assistance of aircraft victims and victims' families, to establish manuals for implementation, to plan and to implement them promptly in the event of an accident. To achieve this, it is necessary to establish regulations for the legal institutionalization of the roles and responsibilities of national and state agencies on victims of aviation accidents and family assistance. And the victim and family assistance plan that the airline has to submit to it, as specified in the current law, need to specify that item. In addition, new and supplemented contents should be integrated into a single clause or proposed as a separate special law for the purpose of applying a clear law.

• Journal of Intelligence and Information Systems
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• v.28 no.3
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• pp.259-278
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• 2022

With the spread of Artificial Intelligence (AI), various AI-based services are expanding in the financial sector such as service recommendation, automated customer response, fraud detection system(FDS), credit scoring services, etc. At the same time, problems related to reliability and unexpected social controversy are also occurring due to the nature of data-based machine learning. The need Based on this background, this study aimed to contribute to improving trust in AI-based financial services by proposing a checklist to secure fairness in AI-based credit scoring services which directly affects consumers' financial life. Among the key elements of trustworthy AI like transparency, safety, accountability, and fairness, fairness was selected as the subject of the study so that everyone could enjoy the benefits of automated algorithms from the perspective of inclusive finance without social discrimination. We divided the entire fairness related operation process into three areas like data, algorithms, and user areas through literature research. For each area, we constructed four detailed considerations for evaluation resulting in 12 checklists. The relative importance and priority of the categories were evaluated through the analytic hierarchy process (AHP). We use three different groups: financial field workers, artificial intelligence field workers, and general users which represent entire financial stakeholders. According to the importance of each stakeholder, three groups were classified and analyzed, and from a practical perspective, specific checks such as feasibility verification for using learning data and non-financial information and monitoring new inflow data were identified. Moreover, financial consumers in general were found to be highly considerate of the accuracy of result analysis and bias checks. We expect this result could contribute to the design and operation of fair AI-based financial services.