• The Critical Review of Religion and Culture
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• no.32
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• pp.186-218
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• 2017

The ritual food is one of the indispensable elements in rituals of Korean folk beliefs. This is ascertained by the fact that a very simple ritual cannot be practiced and performed even without offering a bowl of water. In this regard, it is properly claimed that food is an essential medium of communications between man and gods if they spiritually meet and communicate each other by way of various rituals in Korean folk beliefs. It is possible to point out Gut, the typical ritual of Korean Shamanism as an example of serving the ritual foods among Korean folk beliefs. One of the striking phenomena in Gut(Korean Shamanism's rituals) is various ritual foods on the tables for Gut. There is no Gut performances without offering ritual foods, and the ritual food in Gut practices is more than just food offering to the gods. Moreover the ritual food tells that what kind of Gut it is and for what purpose it is performed, for whom it is set up. And even the invited gods of Musok are disclosed according to the ritual food in Gut. Also some parts of Musok's worldview are appeared and actualized through the ritual food in Gut. In this sense the ritual food in Gut is one of the important channels for understanding Gut and Musok, and one of the explanation systems about Musok. Even if recognized the importance of the ritual food in Gut, it still has not been draw proper attentions to deserving its importance in the researches on Musok and Gut. Upon the critical reviews on such tendencies of the previous studies this paper tries to clarify the characteristics and significances of the ritual food in Gut by examining the Jinjuk Gut in Seoul area as an case study. On the basis of this examination, the ritual food in Gut comes up to be one of the important paths to understanding Gut and Musok as an explanatory system on Musok in general.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.48-63
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• 2013

The results of the study on the space planning and landscape design of Unjoru(雲鳥樓) through the 'Jeolla Gurye Omidong Gado(全羅求禮五美洞家圖)' drawn using GyeHwa(界畵) technique are as follows. First, 'Omidong Gado' is believed to date back to the period when Unjoru(1776~1783) was established for the following reasons: (1) The founder, Yoo-IJu(柳爾?), sent the drawing for the house while he was serving as the governor of YongCheon county(龍川府史). (2) It shows the typical dwelling houses' space division and its location is in a good spot with mountain in the back and water in front(背山臨水) and there is every indication of scheme drawing. (3) Front gate was changed and remodeled to a lofty gate in 1804. Second, Nogodan & Hyeongjebong of Jiri Mountain sit at the back of Unjoru, and faces Obong mountain and Gyejok mountain. In addition, the Dongbang stream flowing to the east well illustrates the Pungsu theory of mountain in the back and water in the front. Third, the house is structured in the shape resembling the character 品, divided into 5 areas by hierarchical order in the cross line from all directions. The site, which includes the outdoor yard and the back garden, consists of 5 blocks, 6 yards and 2 gardens. Fourth, the outdoor yard with aesthetical value and anti-fire function, is an ecological garden influenced by Confucianism and Taoism with a pond (BangJiWonDo Type, 方池圓島形) at the center. Fifth, the Sarang yard(舍廊庭) is decorated with terrace garden and flower garden, and the landscaping components such as oddly shaped stone, crane, plum, pine tree, tamarisk tree and flowering plants were used to depict the ideal fairy land and centrally placed tree for metaphysical symbolism. The upper floor of Sarangchae commands distant and medium range view, as well as upwards and downwards. The natural landscape intrudes inside, and at the same time, connects with the outside. Sixth, pine forest over the northern wall and the intentionally developed low hill are one of the traditional landscaping techniques that promotes pleasant residential environment as well as the aesthetics of balanced fullness.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.334-365
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• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Journal of Science and Technology Studies
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• v.19 no.2
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• pp.169-206
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• 2019

This article seeks to explore new relationships and ethics of human and technology by analyzing a cultural imaginary produced by artificial intelligence. Drawing on theoretical reflections of the Feminist Scientific and Technological Studies which understand science and technology as the matter of care(Puig de la Bellacas, 2011), this paper focuses on the fact that artificial intelligence and robots materialize cultural imaginary such as autonomy. This autonomy, defined as the capacity to adapt to a new environment through self-learning, is accepted as a way to conceptualize an authentic human or an ideal subject. However, this article argues that artificial intelligence is mediated by and dependent on invisible human labor and complex material devices, suggesting that such autonomy is close to fiction. The recent growth of the so-called 'assistant technology' shows that it is differentially visualizing the care work of both machines and humans. Technology and its cultural imaginary hide the care work of human workers and actively visualize the one of the machine. And they make autonomy and agency ideal humanness, leaving disabled bodies and dependency as unworthy. Artificial intelligence and its cultural imaginary negate the value of disabled bodies while idealizing abled-bodies, and result in eliminating the real relationship between man and technology as mutually dependent beings. In conclusion, the author argues that the technology we need is not the one to exclude the non-typical bodies and care work of others, but the one to include them as they are. This technology responsibly empathizes marginalized beings and encourages solidarity between fragile beings. Inspired by an art performance of artist Sue Austin, the author finally comes up with and suggests 'artificial intelligence in wheelchair' as an alternative figuration for the currently dominant 'autonomous artificial intelligence'.

• Journal of the Korean Society of Radiology
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• v.13 no.4
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• pp.495-502
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• 2019

A typical cerebrovascular disease among cerebrovascular diseases is vascular diseases such as cerebral infarction, cerebral hemorrhage, cerebral aneurysm, cerebrovascular stenosis. If the disease occurs and causes cerebral damage, it may be difficult to recover completely. So that, Must continue to perform health care through examination early. In particular, Because most cerebrovascular disease examining use radiation equipment and Thus this study was to find out how to select about the optimal examining method and X-ray dose decrease method among different examining method though comparison and analysis for the entrance surface dose (ESD) on cerebrovascular examining with Trance Femoral Cerebral angiography (TFCA) and Cerebral Computed Tomographic Angiography (CCTA). Also, want to find out how to select about the optimal examining method for worried patient that contrast medium side effect though measuring and evaluating for contrast usage. Data were collected from 70 patients (43 males and 27 females) who underwent CCTA at Yeosoo region hospital from June 2018 to December 2018 and 61 patients (34 males and 27 females) who underwent TFCA at Pyeongtaek region hospital from June 2018 to November 2018. ESD analysis method collected retrospective data though M-view and PACS PLUS program, Used contrast usage measuring method did reality measuring method. In the analysis using SPSS, the ESD of TFCA was $245.74{\pm}71.91$, which was $32.05{\pm}7.74$ lower than the dose of $277.79{\pm}79.65$ of CCTA ESD, and statistically significant at t = 3.249, p = 0.017 (p<0.05). As a result of the comparison of the total amount of contrast agent, the mean contrast agent used in TFCA was $55.05{\pm}17.68ml$, which was about 14.95 smaller than the amount of contrast agent used in CCTA, and statistically significant t = -4.548, p<0.001. In conclusion, the ESD of TFCA was statistically significantly lower than that of CCTA, and also the used contrast usage was significantly tiny than that of CCTA. Therefore, Select the method to increase the utilization of TFCA for cerebral disease examining, we can consider X-ray dose decrease method at the same time as to decrease side effect of contrast medium.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.130-145
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• 2019

The palaces in South Korea are largely divided into primary palaces (法宮) and secondary palaces (離宮). In the early Joseon period, the primary palace was Gyeongbokgung Palace, and the secondary palace was Changdeokgung Palace. Additionally, there is the concept of imperial palaces (正宮). Gyeongbokgung Palace was the primary palace and the imperial palace. The topography of Gyeongbokgung is based on Mt. Baegak, which is the symbol of royal authority. The location of the palaces was chosen to highlight the king's dignity and authority. The three gates and three courts (三門三朝) were positioned on a straight line based on one axis along the ridge of Mt. Baegak to establish the legitimacy, hierarchy, and unity of the kingship. The secondary palace was built according to the demands of the king and the royal family or the political situation. It was created as a royal living space; thus, creating independent and diverse spaces along multiple axes. The primary palace was chosen to be built on the terrain of Yang, and the secondary palace was chosen to be built on the terrain of Yin; the criteria for laying buildings in the palace areas had to be different. The most important point in the formation of Joseon palaces was that the secret vital energy for the king (王氣) originated from the sacred mountain. Important elements of the palace were the secret vital energy chain of feng shui (風水氣脈) and the forbidden stream (禁川). The secret vital energy chain of feng shui was the gateway to the secret vital energy for the king, and the forbidden stream was a method of preventing the king from leaving the palace grounds. Gyeongbokgung Palace, which is on typical feng shui terrain, faithfully reflects the principles of feng shui. On the other hand, the secondary palace was built on incomplete and irregular feng shui terrain. Feng shui was part of the nature and the geography of the ruling classes in the Joseon Dynasty. By examining their geography, I believe that the perfection of traditional culture inheritance and restoration can be improved.

• The Journal of the Petrological Society of Korea
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• v.28 no.3
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• pp.195-215
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• 2019

Geopark is a new system for development of the local economy through conservation, education, and tourism that is an area of scientific importance for the earth sciences and that has outstanding scenic values. The Hwaseong Geopark, the candidate for Korean National Geopark is composed of 10 geosites: Gojeongri dinosaur egg fossils, Ueumdo, Eoseom, Ddakseom, Goryeom, Jebudo, Baengmiri Coast, Gungpyeonhang, Ippado and Gukwado geosites. In this study, geosites, geoheritages, and geotrails of the Hwaseong Geopark were described in detail, and the value and significane as a geopark were also discussed. The geology of the Hwaseong Geopark area belonging to the Gyeonggi Massif consists of the Precambrian metamorphic and meta-sedimentary rocks, Paleozoic sedimentary and metamorphic rocks, Mesozoic igneous and sedimentary rocks, and Quaternary deposits, indicating high geodiversity. The Gojeongri Dinosaur Egg Fossils geosite, designated as a natural monument, has a geotrail including dinosaur egg nest fossils, burrows, tafoni, fault and drag fold, cross-bedding. Furthermore, a variety of infrastructures such as eco-trail deck, visitor center are well-established in the geosite. In the Ueumdo geosite, there are various metamorphic rocks (gneiss, schist, and phyllite) and geological structures (fold, fault, joint, dike, and vein), thus it has a high educational value. The Eoseom geosite has high academic value because of the orbicular texture found in metamorphic rocks. Also, various volcanic and sedimentary rocks belonging to the Cretaceous Tando Basin can be observed in the Ddakseom and Goryeom geosites. In the Jebudo, Baengmiri Coast, and Gungpyeonghang geosites, a variety of coastal landforms (tidal flat, seastacks, sand and gravel beach, and coastal dunes), metamorphic rocks and geological structures, such as clastic dikes and quartz veins can be observed, and they also provide various programs including mudflat experience to visitors. Ippado and Gukwado geosites have typical large-scale fold structures, and unique coastal erosional features and various Paleozoic schists can be observed. The Hwaseong Geopark consists of outstanding geosites with high geodiversity and academic values, and it also has geotrails that combine geology, geomorphology, landscape and ecology with infrastructures and various education and experience programs. Therefore, the Hwaseong Geopark is expected to serve as a great National Geopark representing the western Gyeonggi Province, Korea.

• Korean Journal of Ecology and Environment
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• v.51 no.4
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• pp.268-286
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• 2018

The eutrophication and algal blooms by harmful cyanobacteria (CyanoHAs) and freshwater redtide (FRT) that severely experiencing in typical regulated weir system of the Nakdong River are one of the most rapidly expanding water quality problems in Korea and worldwide. To compare with the factors of rainfall, hydrology, and dominant algae, this study explored spatiotemporal variability of the major water environmental factors by weekly intervals in eight weir pools of the Nakdong River from January 2013 to July 2017. There was a distinct difference in rainfall distribution between upstream and downstream regions. Outflow discharge using small-scale hydropower generation, overflow and fish-ways accounted for 37.4%, 60.1% and 2.5%, respectively. Excluding the flood season, the outflow was mainly due to the hydropower release through year-round. These have been associated with the drawdown of water level, water exchange rate, and the significant impact on change of dominant algae. The mean concentration (maximum value) of chlorophyll-a was $17.6mg\;m^{-3}$ ($98.2mg\;m^{-3}$) in the SAJ~GAJ and $29.6mg\;m^{-3}$ ($193.6mg\;m^{-3}$) in the DAS~HAA weir pools reaches, respectively. It has increased significantly in the downstream part where the influence of treated wastewater effluents (TWEs) is high. Indeed, very high values (>50 or $>100mg\;m^{-3}$) of chlorophyll-a concentration were observed at low flow rates and water levels. Algal assemblages that caused the blooms of CyanoHAs and FRT were the cyanobacteria Microcystis and the diatom Stephanodiscus populations, respectively. In conclusion, appropriate hydrological management practices in terms of each weir pool may need to be developed.

• Korean Journal of Ecology and Environment
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• v.52 no.3
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• pp.245-265
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• 2019

Biotope, which represents the characteristic habitats of living organisms, need to be identified as essential for the efficient creation and sustainable management of urban ecosystems. This study was carried out to provide the basic information for ecological urban planning by analyzing types and attributes of the biotop established throughout the whole area of the Pohang city, a representative industrial city in Korea. The biotop established in Pohang city is composed of 12 types including forests (coniferous, deciduous, and mixed forests), agricultural fields (rice paddy and upland field), green facilities, river, reservoir, bare ground, residential area, public facilities, commercial area, industrial area, roads, and schools. As a result of analyzing the properties according to biotop types, industrial, commercial and residential areas, which represent urban areas, was dominated by introduced vegetation. Moreover the introduced vegetation is usually composed of exotic plants or modified forms for landscape architecture and horticulture rather than native plants, which reflects ecological property of both region and site. As the distance from the urban center increases, the agricultural field showed a form of typical farmland, whereas the closer it is, the more form of greenhouse farming. Natural green spaces were divided into riparian vegetation established along the stream and forest vegetation. Forest vegetation is consisted of secondary forests (seven communities) and plantations (three communities). The urban landscape of Pohang city is dominated by the industrial area. Among them, the steel industry, which occurs large amounts of heat pollution and carbon dioxide, occupies a large proportion. On the other hand, green space is very insufficient in quantity and inferior in quality. This study proposed several restoration plans and further, a green network, which ties the existing green spaces and the green space to be restored as a strategy to improve the environmental quality in this area.