• Korean Journal of Remote Sensing
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• v.38 no.5_3
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• pp.939-951
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• 2022

The most important factor in designing autonomous driving systems is to recognize the exact location of the vehicle within the surrounding environment. To date, various sensors and navigation systems have been used for autonomous driving systems; however, all have limitations. Therefore, the need for high-definition (HD) maps that provide high-precision infrastructure information for safe and convenient autonomous driving is increasing. HD maps are drawn using three-dimensional point cloud data acquired through a mobile mapping system (MMS). However, this process requires manual work due to the large numbers of points and drawing layers, increasing the cost and effort associated with HD mapping. The objective of this study was to improve the efficiency of HD mapping by segmenting semantic information in an MMS point cloud into six classes: roads, curbs, sidewalks, medians, lanes, and other elements. Segmentation was performed using various machine learning techniques including random forest (RF), support vector machine (SVM), k-nearest neighbor (KNN), and gradient-boosting machine (GBM), and 11 variables including geometry, color, intensity, and other road design features. MMS point cloud data for a 130-m section of a five-lane road near Minam Station in Busan, were used to evaluate the segmentation models; the average F1 scores of the models were 95.43% for RF, 92.1% for SVM, 91.05% for GBM, and 82.63% for KNN. The RF model showed the best segmentation performance, with F1 scores of 99.3%, 95.5%, 94.5%, 93.5%, and 90.1% for roads, sidewalks, curbs, medians, and lanes, respectively. The variable importance results of the RF model showed high mean decrease accuracy and mean decrease gini for XY dist. and Z dist. variables related to road design, respectively. Thus, variables related to road design contributed significantly to the segmentation of semantic information. The results of this study demonstrate the applicability of segmentation of MMS point cloud data based on machine learning, and will help to reduce the cost and effort associated with HD mapping.

• Journal of Christian Education in Korea
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• v.66
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• pp.113-145
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• 2021

As a contemporary exponent of Bauderillard's Simulation and Simulacra, this paper aims to reflect on the 'consumer culture' criticized by Baudrillard from the lens of Christian Education in reading the Drama, Penthouse related to the notions of the consumption-ideology, the desire and violence of image in the post-Covid 19 era. As Baudrillard begins to realize that the concept of simulation rooted from mass media in the modern society, he explains mass media as the emerging of Simulation or the process of Simulation will lead to the impulsion of reality, which ends up with vanishing the original reality. Baudrillard is explaining in his argument that the process of Simulation proceeds among various areas of the contemporary society being manipulated by mass media. While Simulation is the process of producing the hyperreality characterized by the excess of images that seems more real than the original reality, Simulation brought about Simulacra as excess reality or consequently exploding reality. Christian educators in the post-Covid 19 must know how to deal with critical theory by considering positive ways of avoiding questioning of how to articulate what the norm of universal consensus is in the specific situation. In other words, it should be noted that the nature of the ruling ideology and the ideology of consumption has been influenced or manipulated by mass media. Christian educators especially have to help young people in seeing the messages from the images of the screens, television, soap-opera, and commercial advertising making reality as Simulacre which is more real than the original reality. When the medium becomes the message, the power of medium makes the consumer not reach communication with it. This is the main reason in the controversy about the images on television drama, Penthouse and the impact of images on people's mind. As an exponent of McLuhan's belief that "the medium is the message", Baudrillard argues although the message and a subject of Simulacra(excessive reality) is unexpectedly disappearing, the medium itself is vanished through the silence of image. However, the task of Christian education has to fuel how we teach, learn, share and pass on the Word of God as the Message. Furthermore, it is worth noting that the Message of God cannot be vanished or burst with the impulsion of it, but exists forever. With Baudrillard's ideas of Simulation and Simulacra in mind, the work of Christian education as an observation platform can better engage the reflection on a consumer society of consumerism that makes Church community and a consumer irresistible against the Fake world.

• Journal of the Korean Society of Marine Environment & Safety
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• v.27 no.2
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• pp.275-285
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• 2021

COVID-19 is threatening the safety of ships and seafarers by delaying seafarer rotation. Shipping companies and governments have a blindspot in case of the onboard environment of seafarers. An effective, alternative plan should be devised to eliminate the possibility of human accidents in an emergency that threatens the safety of seafarers. According to the survey of former and current seafarers, the most important factor in boarding life was safety, and the most necessary thing during emergencies was to secure smooth seafarer rotation rather than improve wages and welfare. By analyzing the major routes of national shipping companies by continent, ports with a large number of calls and a high Air Connectivity Index were selected as the base port. In addition, the route was designed for effective, domestic seafarer rotation during international shipping. Other countries must be consulted to establish a travel route linking ships, ports, and airports for the safe return of sailors to their home countries during an emergency. In addition, it is necessary to work together for the seafarers who are in trouble of seafarer rotation through cooperation with the International Maritime Organization(IMO). Starting with this, the government should have a monitoring system for the return and non-return routes as well as the number of seafarers on board. If such a system is established, it will be able to determine the response direction of our country's policy in case of an emergency. Along with the shipping company's ef orts to improve the treatment of seafarers, national and social attention will be needed to review domestic laws and improve awareness about seafarers.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.123-160
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• 2020

Manga develops by reflecting a change of society, reader's needs, and their thoughts and changes of tastes, sensitively. Shojo manga and Jyosei manga also do. We can find several kinds of meaningful changes in Japanese Jyosei manga in the 2010s. The works which represent preciousness of daily life, women's narrative and self-realization are gradually increasing. In addition, the works that deal with very touchy issues such as sex discrimination at work, sexual harassment begin to emerge. It has never been found in the manga of the former era. While this paper analyzes the social and cultural causes of these changes of the works that exclude romance and treat gender issues focusing on recent works, it examines changes of Japanese Jyosei manga in the 2010s and their meanings. I investigate the current trends of Japanese Jyosei manga in the 2010s through Umimachi Diary that represents a precious everyday life with woman-centered narrative, Metamorphose no engawa that deals with women's story from a new perspective, Good-bye My Miniskirt that tackles gender issues. Furthermore I intensively analyze how Nagi's Long Vacation and Darucyan, which win popularity from women in their 20s~30, represent lives and troubles of contemporary Japanese women. Nagi's Long Vacation represents the heroine's quest for a self throwing everything out. While Darucyan deals with self-realization, it forms of a bond of sympathy of readers by representing the heroine who suffers sexual harassment and inequal conditions very realistically. Nagi's Long Vacation and Darucyan have something in common with portraying troubles and self-realization of the working women in their 20s based on a indigenous reality to Japanese society very realistically. However they are unusual in that it is different from the manga of the former era in dealing with heroine's troubles and their solutions. The most distinctive changes of Jyosei manga since 2010 are that real issues surfaced with social changes. In addition, these social contradictions result from irrational discriminations and old customs of Japanese society for a long time. Manga reflects subtly the portraits of the times, their images of women, and their values. These changes of Jyosei manga also show the concerns of readers at that time, and it means that women began to be aware of the issues.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.107-142
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• 2021

Emergence of new media platform had changed relationship between the broadcaster and the viewer, which used to form 'performer-audience' structure. This research has focused on the transition of 'streamer-viewer' role in single-media broadcasting, such as Youtube or Twitch, and identify how they progress group storytelling as a team. Walter Benjam and Leslie Marmon Silko's notion of 'story and storyteller' and Erving Goffman's 'social role theory' was used to define participants' role in new media broadcasting. channel, on Youtube, was selected and analyzed as example case. The domain of 'front stage' was broadened in recorded contents comparing to live streaming. The audience of live streaming is included to the front stage during the expansion. The role of streamer, game participant, and live stream contents viewer is also adjusted during the change, which leads to group-creation of the contents. Streamer plays a role of main-storyteller and suggest identity of the community. Game participants work as sub-storyteller, filling in the blank space in game storytelling and making it sophisticated. They also perform based on community's identity, which streamer has built in advance. Lastly, live steam viewers are intermittent sub-storyteller, which seldom add up the narrative. Though, their main role is to preserve identity of game broadcasting community by reacting according to community's identity. As a result, the game broadcasting narrative is developed by combining and adding up pieces of story made in different level and role of participants. The research redefine the role of viewer and storytelling method in new media, especially in single-person broadcasting. Considering the rapid shift in recent media and contents, a new approach to the streamer-veiwer role and group storytelling of this research can be one of the new method to analyze contents produced in new media, such as Youtube.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.143-177
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• 2021

In the history of Korean literature, evaluations on 『Jirisan』 (Lee Byeong-ju) are bisected. Some evaluate it as a novel of authentic records which reproduces the history before and after the emancipation objectively while others say it takes advantage of anti-communistic ideology. This study analyzes that difference is resulted not from the distinction of perspectives but from cracks in the text. This is associated with the process of 『Jirisan』's publication. 『Jirisan』 was published serially in 『Sedae』 from 1972, and then, part of the manuscript was published in 1978 and the whole edition published in a series came to be republished in 1981. After that, in 1981 and 1985, part of the follow-up story was printed on the magazine, and then, with the memoirs of those two years as materials, the sixth and seventh volumes were again published through 'revision'. In other words, the publication of 『Jirisan』 is divided into that of the edition published in a series and that of the edition published in 1985 including the contents of revision. The theme of the work, 『Jirisan』 differs according to the point of its completion you may think of. This researcher pays attention to the difference of perspectives between the contents up to the fifth volume and those of the sixth and seventh volumes. Particularly, his evaluation on 'partisans' seems to have changed. In the edition published in a series, he extended 'partisans' into the independence movement in the Japanese colonial era under the Revitalizing Reforms system and adopted the representation of 'partisans' three-dimensionally whereas in the sixth and seventh volumes, he reproduced 'partisans' as beings that were the 'doctrinaire' and 'vicious' 'Reds' and had to be punished. In brief, with 『Jirisan』, he represented 'partisans' in the background of history before and after the emancipation and segmented the discourse, representation and ideology of the Cold War system, but in the process of revision, he stitched up 'partisans' as beings that were evil and losers. Consequently, with 『Jirisan』, he revealed the process of division and contention that proceeded around anti-communism/capitalism within the abyss of the 1970's to 80's and reproduced 'partisans' as beings that were either 'hostile (the Reds)' or 'unknown (losers)

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• Journal of the Korean Society of Floral Art and Design
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• no.43
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• pp.123-138
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• 2020

This study found Flower Jewelry works in the monthly magazine specializing in flower decoration for nine years from 2011 to 2019. Based on the analysis of the type of expression, method of expression, type and number of plant materials used, and the type and number of non-plant materials used for the flower jewelry found, it was conducted to find out the trend of flower jewelry in Korea. By expression type, a total of 96 works were analyzed as 20.83% for headdresses, 57.29% for necklaces, 5.21% for earrings, 6.25% for lists, and 10.42% for other works(χ²=94.833, p<.001). According to the analysis of the frequency of use of expression techniques, headdresses, necklaces, and lists for each work were produced using five to six different expression techniques and earrings were produced using two to four expression techniques. Material coupling techniques 34.43%, flower and leaf utilization 30.17%, visual techniques 16.63%, collectivization techniques 14.12%, technical highlighting techniques 4.26%, and other 0.39% (χ²=455.222, p<.001). The most frequently used techniques were framing techniques 16.63% and knotting techniques 16.44%. Plant materials used in flower jewelry were found to be 22.61% for Phalaenopsis spp., 13.48% for Gomphrena globosa, 9.57% for Gloriosa rothschildiana, 7.39% for Epidendrum cinnabarinum, 6.96% for Chamelaucium uncinatum and 4.78% for Craspedia globosa (χ²=718.104, p<.001). In the case of branch, the most common was used with 70.00% of the Cornus walteri, and 10.00% of Actinidia arguta, Celastrus orbiculatus, and Salix pseudolasiogyne were used respectively (χ²=10.800, p=.013). In the case of foliage, 24.65% Aspidistra elatior, 24.62% Asparagus asparagoides, 11.54% Senecio rowleyanus, and 6.15% Ceropegia woodii (χ²=269.385, p<.001). In the case of berries, 44.44% of the fruits of the Smilax china, 33.33% of the Hypericum patulum, and 11.11% of the Phytolacca americana were found (χ²=11.444, p =.022). Non-planting materials used in the manufacture of flower jewelry were found to be 47.34% of 2mm aluminium wire, 33.73% of copper wire and 10.06% of 1mm aluminum wire (χ²=186.704, p<.001). The figure was 53.57% for pearls, 12.50% for ribbons, and 4.14% for spangles and feathers.

• Iberoamérica
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• v.22 no.1
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• pp.73-109
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• 2020

In the tourism industry, emotional labor-related problems are highly likely because workers cannot avoid frequent face-to-face contacts with customers. Emotional labor, however, is not always recognized in the same pattern by every worker in similar situations. As can be see in this research, emotional labor appears to vary depending on individual characteristics and sociocultural and economic conditions. In fact, there are so many factors affecting emotional labor, and the level of influence concerning these factors can vary depending on when and where they are. Psychological and mental pains and stress from emotional labor depend on a number of factors. The expression of emotional labor, depending on age, length of employment and gender, shows a clear difference. In particular, for those who are planning to participate in international labor migration to the United States in the future, emotional labor was often not recognized as a serious problem or rather a positive social and cultural experience. In fact, there are various types of tourism workers in Oaxaca, and their experiences vary greatly depending on individual and economic and sociocultural environments. The emotional labor of the workers in the tourism sector of Oaxaca also has various forms depending on various conditions. Positive or negative perceptions and consequences of emotional labor vary depending on the circumstances of the individual and working conditions. In other words, socioeconomic conditions, individual personality or experiences, sociocultural characteristics, and autonomy in the workplace, have a significant impact. As a result, the forms and effects of emotional labor expressed and understood by tourism workers vary considerably and may vary depending on the situations. Considering these problems, the way emotional labor emerges is greatly influenced by sociocultural or personal factors as well as economic factors. In addition, rather than considering the existence and seriousness of emotional labor as given depending on the nature of a particular industry or work, it should also be recognized that the expression of emotional labor differ considerably from individual to individual. Also, the seriousness of problems caused by emotional labor can be diversified. In this sense, it is necessary to clearly understand the meanings of the dynamism, diversity and multidimensionality of emotional labor from a new perspective.