• 대한인간공학회지
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• 제34권5호
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• pp.455-467
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• 2015

Objective: The present study suggested practical measures for successful patent registration based on a review of success and failure cases of patent application filed based on inventions obtained from physical ergonomics research. Background: The protection of intellectual property (IP) contributes to economic growth and competitiveness and facilitates innovation and creativity. IP rights are pursued on research findings for effective technology transfer and commercialization; however, a patent application can be rejected if patentability requirements such as patent eligible subject matter, utility for industrial application, novelty, or non-obviousness are not satisfied. Method: Three successful and three failed cases of patent applications based on physical ergonomics research were reviewed, critical reasons for their successes and failures were examined, and measures were proposed to avoid failures in patent registration. Results: The following measures were identified based on the patent application case review. First, abstract ideas including logical procedures and/or mathematical formulas need to include use of tangible apparatus and methods in idea realization. Second, the provision of grace period inventor disclosure exception needs to be properly followed in case an invention is disclosed before filing of patent application. Lastly, a comprehensive analysis of prior art published or publicly known anywhere in the world and a claim preparation of distinguished, non-trivial features compared to prior art solutions are needed to avoid possible violation of novelty and non-obviousness. Application: The proposed measures can help to prepare a patent application with patent eligibility.

• 한국의상디자인학회지
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• 제17권2호
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• pp.185-205
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• 2015

The modern trend in costumes, influenced by postmodernism, is to use of various patterns and images borrowed from diverse cultures of many ethnic groups. The Yi tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery or $appliqu{\acute{e}}$ pattern have a high artistic value in that its shapes are diverse, splendid and each one has its own peculiar elegance. As for the research method, I examined the Yi tribe's history, culture, traditional costumes and patterns through related books, research papers and inter web sites. As for the result, the Yi tribe's costumes consisted of a jacket, trousers or a skirt, an apron and a belt. Although the favorite color of the costume is black color, there are splendid embroidery or $appliqu{\acute{e}}$ decorations with the colors of red, yellow, green and purple on the chest or shoulder part of a jacket, the adjusting lines, cuffs or a part of a trousers and aprons. Patterns in their traditional clothing also show details that depict traditional cultural ideas that have long been formed in various fields, such as aesthetics, religion, philosophy, and customs. Moreover, most patterns displayed in their traditional clothing contain nature motifs and represent unique and beautiful designs; some patterns are even reminiscent of abstract paintings by modern artists. In conclusion, the traditional patterns of Chinese ethnic minorities reflect the values and notions of these races as well as decorative magnificence and a unique spiritual image. In other words, traditional patterns indicate the spiritual depth or symbolic stories beyond mere formative beauty.

• 대한수학교육학회지:수학교육학연구
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• 제19권1호
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• pp.25-43
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• 2009

이 연구는 분수 개념의 여러 가지 의미에 대해 우리나라 교과서와 싱가포르의 교과서를 비교 분석하여보고, 그 교육적 시사점에 대해 논의한 것이다. 논의의 결과, 등분할 활동을 한 결과를 확인할 수 있는 활동 위주로 구성하는 것이 교사나 학생들에 혼란을 주지 않을 것으로 기대되었다. 분할분수의 정의도 두 나라 모두 상대적인 크기를 갖는 수로서의 분수를 드러내도록 다듬어야할 필요가 있음을 알았다. 또한 몫분수나 비율분수를 도입하는 상황이 우리나라가 싱가포르보다 자연스럽지 못하다. 양분수를 좀 더 비중 있게 다루는 것이 실생활과의 관련성 뿐 아니라, 가분수를 도입할 때에 이해를 쉽게 해주며, 분수를 절대적인 크기를 갖는 수로 받아들이도록 하는데도 무리가 없음을 알았다. 그 뿐 아니라 두 나라 교육과정을 비교해본 결과 이산량의 등분할을 통한 분수 도입을 제외하고는 대체로 지도 순서가 우리나라보다 싱가포르가 더 빨리 도입되지만, 단계를 더 세분하여 지도할 뿐 아니라 다루는 분수에 대한 제한이 많음을 알 수 있었다. 우리나라에서도 불필요한 계산에 시간을 소비하지 않도록 이와 같은 제한을 두는 것이 바람직한 대안이라고 판단된다.

• 정보화정책
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• 제25권3호
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• pp.52-74
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• 2018

2018년 2월, 우리나라 정부는 '국민이 주인인 정부'를 실현하고자 정부혁신 종합추진계획을 수립하였다. 종합계획의 핵심은 국민 참여이며, 정부 내부의 역량만을 통해 가치를 창출하는 것이 아닌 시민, 기업의 아이디어와 역량을 함께 모아 정부가 해결할 수 없는 사회 현안을 해결한다는 관점에서 개방형 혁신(Open Innovation)과 매우 유사하다. 이에 따라 본 연구에서는 개방형 혁신이 처음 발표된 2003년부터 2018년 4월까지의 영문 초록 데이터로 LDA(Latent Dirichlet Allocation) 기반의 토픽모델링을 이용하여 개방형 혁신 연구 주제들을 도출하고, 도출된 주제간 토픽 네트워크 분석을 실시하였다. 도출된 결과를 바탕으로 정부혁신 종합추진계획의 추진과제와 비교 분석하였다. 본 연구의 시사점은 개방형 혁신에 대한 연구 주제와 주제간 관계를 도출하고, 그 결과를 정부혁신 종합추진계획과의 비교를 통해 개방형 혁신 관련 우리나라 정책의 향후 발전방향을 제시하였다는 점에서 의의가 있다.

• 디자인학연구
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• 제17권3호
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• pp.393-402
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• 2004

프뢰벨이 1837에 창안한 은물(Gifts)은 유아교구에서 구체적이고 체계적인 놀이감을 이용한 최초의 교수매체였다. 프뢰벨이 은물의 형태에서 제시하고 있는 육면체, 원기둥, 구의 형태와 점선면의 개념, 그리고 6개 색채 등의 조형적 개념은 근대디자인에서 시각적 조형요소의 기초를 이루게 된다. 그러나 프뢰벨 유아교육사상을 현실적으로 교육현장에 적용하기 위하여 제시된 교육적 놀이감인 은물교구에 대한 디자인적 고찰과 분석은 거의 이루어지고 있지 않은 실정이다. 본 연구에서는 프뢰벨 은물에 대한 시각적 조형성을 분석하여 봄으로써 프뢰벨 교육사상이 은물의 조형적인 형태생성에 끼친 구조적 원리를 고찰하고자 한다. 따라서 은물이 가지고 있는 조형원리에 대한 분석을 통하여 추상적이고 철학적인 사상체계가 시각적으로 어떻게 형태에 적용되었는지를 연구하였다. 본 연구는 은물교구에서 제시되고 있는 조형성에 대한 탐색적 고찰로서, 기하조형에 대한 형태생성원리의 연구이며, 그에 대한 영향력과 유아교구의 조형성에 대한 문제점을 디자인적 시각에서 분석하여 본 것이다.

• 한국수학교육학회지시리즈A:수학교육
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• 제60권3호
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• pp.321-340
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• 2021

본 연구에서는 롤플레이 게임(Role-play Game) 개념을 차용한 역할연기발표(Role-play Presentation) 기법을 적용하여 미래 교육에서 인간 교사-인공지능 교사 간의 상호작용성에 대한 교사의 인식과 기대감을 시각화함으로써 교사들의 협업과정에서 성과 있는 토론활동을 수행할 수 있도록 하였다. 분석 결과 교사는 수업 상황에서 인간 교사가 수업의 주도권과 학생과의 상호작용 활성화를 전제로 수업의 질적 향상과 개별학습을 지원할 수 있는 보조 도구로써의 인공지능 교사의 상호작용 요인들을 제안하고 있었다.

• 영어영문학
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• 제56권3호
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• pp.543-555
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• 2010

In his early poems, Wallace Stevens shows us different gestures, compared with his later poems, when he acquires reality by faculty of imagination. The former is made of ontological violence while the latter is revealed by bareness of less sensuality. However, they are the identical gestures, though from different angles, to accomplish things as they are rather than the ideas of things. In "Sunday Morning," ontological violence occurs in such epistemological couples as thought and thing, mind and world, and imagination and reality. Especially, in order to recuperate his poetic reality, Stevens undermines the traditional hierarchy between heavenly divinity and earthly divinity. In the poem, Christianity faces a critical challenge and then it is disempowered by the earthly divinity. Additionally, by disadvantaging religion, he wants to raise his poetic issue of the faculty of imagination to acquire reality. Stevens' concept of imagination is less subjective and more transcendental than Kantian one. After the ontological violence, Christian divinity and mythic gods leave ontological boundary for earthly divinity in an ambiguous way. In other words, between "Sunday" and "sunny day," the ontological conflicts haunt us throughout the poem as if the violence would happen between imagination and reality. For Stevens, both Christian divinity and mythic gods are mere obstacles to real divinity; both play a mere role of imagination before reality is revealed. Whatever reality is, imagination is always ready to draw an ontological line of reality in an ambiguous way, regardless of how long it lasts. In general, most ontological violence requires such physical remnants of conflicts as borderline, deaths, and pains which still prevail in the poem. Those ontological remnants remain to be found on earth. The sky is an abstract borderline between heaven and earth because in a sense, it belongs to both earthly landscape and heavenly sphere. Without any ontological borderline or threshold, there is no recognition of the divinity because the vitality of divinity is inflamed in continuous transgression of the other. After the final ontological conflict between heaven and earth, there remains only ambiguous borderline near the earth beside the friendlier sky.

• 한국과학교육학회지
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• 제38권1호
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• pp.27-42
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• 2018

본 연구는 기술의 본성(NOT: Nature of Technology)에 대한 개념 정리를 위하여 최근 수행된 NOT 관련 문헌 연구를 통하여 포괄적인 NOT 개념 틀을 제안하고 이를 바탕으로 국내외의 과학기술공학 전문가들의 기술 개념에 대한 인식을 탐구하고자 하였다. 과학과 기술교육 영역의 다양한 NOT 관련 선행연구를 분석하여 제시된 NOT 영역은 1. 인공물로서의 기술(Technology as artifacts), 2. 지식으로서의 기술(Technology as knowledge), 3. 실행으로서의 기술(Technology as practice), 4. 시스템으로서의 기술(Technology as system), 5. 사회적 역할의 기술(The role of technology in society), 그리고 6. 기술의 역사(History of technology) 6가지로 제안되었다. 또한 제안된 6개의 NOT 영역을 기준으로 과학기술공학 전문가들 30명의 인식 분포를 조사한 결과 전문가들은 다양한 NOT 개념 중에서 3. 실행으로서의 기술, 4. 시스템으로서의 기술, 그리고 5. 사회적 역할의 기술의 3가지 영역을 주로 인식하고 있는 것으로 나타났다. 이것은 NOT 선행연구에서 대중이나 학생들이 주로 기술을 '인공물로서의 기술' 또는 '응용 과학으로서의 기술'로 이해하고 있다는 결과와는 달리 과학기술공학 전문가들은 기술의 개념을 기술철학적 차원의 복잡하고 추상적인 '인간의 총체적 지식과 행위'로 이해하고 있다는 것을 보여주었다.

• 미술이론과 현장
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• 제7호
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• 복식문화연구
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• 제8권5호
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• pp.648-659
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• 2000

Through this study I would like to examine the meaning system of the symbolized codes related with real costume figures of the abstract concept of the style of the mourning ceremonial dress in Chosun Dynasty as a variable cause of communication through non-language method by the structural analysis of coding of the ceremonial dress style and the meaning system of the codes centering on the traditional book of funeral etiquette dealing with hueneral cereony in the period. To achieve this purpose, I have used the symbolic theory of constructive concept by F. de Saussure, cultural notation theory of Roland Barthes & Umberto Eco, and structural style of costumes by Myung-Sook Han. The result of the study is as follows. 1. As Chosun Dynasty was a society in which people considered courtesy so much important and practiced the basic Confucian ideas of the three bonds and five moral disciplines in human relations, the characteristic of funeral rites in Chosun Dynasty consists in expression of the thoughts of moral ethics & relative systems and systems of clan rules, etc which was a langue determining the symbols of mourning ceremony dress because the mourning ceremony dress in the period should have the feature of a langue. The mourning ceremonial dresses in the period had five grades of the consume and the grades were determined to be classified into five levels according to the clan system of the chief mourner with sang, ha bang. And the method of the association of the mourning ceremonial dress codes had the six principles of Chinchin, Jonjon, Myoungboon, Chulip, Changyu, and Jongbok. 2. Regarding the mourning ceremonial costumes in Korean society, the meaning of funeral ceremony was expressed by the signifier and materials of the mourning costumes in the society. During the process of the funeral, the intangible feeling of condolence was the expression of mourning and the tangible mourning ceremonial dress was the signal with the lamentation meaning. Especially, characters and patterns were removed from the mourning ceremonial dresses in spite of their function of symbols and the styles of costumes were emphasized. Especially the meaning of condolences was symbolized by attachment of some small pieces of cloth on the upper garments. Hemp was mainly emphasized to be the material of the costumes and some different meanings showed according to the quality of the material hemp. The mourning ceremonial dresses were distinguished from ordinary dresses, which were emphasized because they gad some symbolic meaning of the mourning. 3. Considering the association of the synthetic relations of the costumes from the viewpoint that the mourning ceremonial dresses would be classified according to a system, the symbolization of them were avaliable by sex according to how to combine them and there were no distinction between social classes in the society.