• Transactions of the Korean Society of Mechanical Engineers B
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• v.34 no.5
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• pp.523-529
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• 2010

Recently, several research groups have been investigating the motion of flagellated bacteria, with the aim of examining the feasibility of using bacterial chemotaxis as an efficient power source for microactuators. In this study, microparticle-tracking velocimetry ($\mu$-PTV) is used for investigating the motion of fluorescent microbeads propelled by bacterial chemotaxis. Flagellated bacteria, Serratia marcescens, are spontaneously attached to the surface of the fluorescent polystyrene (PS) microbeads in an aqueous culture. The microbeads thus treated are injected into the test medium, which contains the solidified chemoattractant L-aspartate. With time, the particles slowly move toward the zone in which the L-aspartate concentration is high. This study shows that chemotaxis of flagellated bacteria can be applied as an efficient power source for microactuators.

• Journal of the Korean Society for Library and Information Science
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• v.51 no.1
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• pp.289-306
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• 2017

This study explores the concepts and programs of 'makerspaces' at public libraries. It examines the extended and sustainable service outreach strategies of 14 Korean public libraries whose makerspaces were identified as "infinite imagination spaces." Through interviews with staff members, the study identifies the needs, effects, limitations, and future direction of makerspaces. The study also evaluates the development, types, funding sources, and outcomes of makerspaces in public libraries through related literature reviews and case studies. The study's findings suggest that strategies with stable and varied funding, staffing, and training are crucial to fostering makerspaces that not only become communal gathering spots, but also become gateways to technological tinkering that 'make' spaces for community archives.

• Fashion & Textile Research Journal
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• v.25 no.5
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• pp.560-567
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• 2023

This study aims to rediscover the industrial value of a borderless service in the hyper-connected era by producing fashion content at the forefront of the cultural industry as XR content and contributing to developing fashion content for edutech. The research method employed design aesthetic theory, while the empirical proposal utilized scientific knowledge information to build a framework for 3D convergence content. The characteristics of fashion content exhibitions that apply the neumorphism technique are as follows: The first is a virtual space that produces clothing culture by type. Africa, where dyeing and crafts are developed, selects a product-oriented exhibition type; Asia, where weaving and textiles are excellent, selects a random movement type; and Europe, where the evolution of clothing design over time is evident, selects a guided movement type to create a three-dimensional fashion edutech. The goal was to produce content. The second is creative reproducibility, which combines a new fashion design that embraces the aura of the original with a trendy sense. The realistic folk costume style of the original allowed for its implementation in the AR exhibition space using historical traditional style techniques such as weaving and textiles. The third is building organic, modular content. By designing and then saving/editing/arranging the basic VP zone for each style, learners and instructors can freely edit the content for each fashion class topic and create various presentations to ensure that it functions as non-face-to-face edutech content around the world.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.43-56
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• 2015

Amidst various efforts which have been made to revive a city, the potential discovery related to the development of public design based on copious cultural heritages is extremely significant. Therefore, in this study, qualitative researches were conducted based on bibliographic data and image materials centered on public design of Theme Park in Daechon-dong, Gwangju Metropolitan City. The case studies verifying the identity of Korean public design through countless numbers of research materials. However, it's necessary to pay attention to a common fact because it's essential to find the national legitimacy and regional identity by tiding over problems in standardized urban development through well-designed development plan for history, living and economy bloc among the regional traditional cultural assets while rejecting the meaning in an excessively broad sense. The spaces assigned with significance are cultural contents embedded with cultural original form of the region and there is room for creative development in order to generate city brand value and to activate the space. This study is significant in that the spatial interpretation of Daechon-dong's Theme Park and the methodology of semiotic spatial planning can not only be applied but also in that this study has demonstrated positive effects on space.

• Journal of Fisheries and Marine Sciences Education
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• v.9 no.1
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• pp.1-30
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• 1997

The results of this study were summarized as follows : 1. In the field of general subjects, the compulsory courses are composed of 10 courses(14.3%) in 9 subjects and show only one course in one subject in Korea, while those in Japan are composed of 11-12 courses(18.3-20.0%) in 8 subjects and present each level course of primary and deepening in course. 2. In the field of general subjects, the elective courses are composed of 60 courses(85.7%) in 12 subjects in Korea, while those in Japan are composed of 48-49 courses in 8 subjects. 3. In the field of specialized subjects, the compulsory courses for streams have 3 courses(10.7%) in Korea, while those in Japan have 4 courses (16.7%) 4. In the field of specialized subjects, the compulsory courses for departments are composed of 2-4 courses in Korea, while specialized courses for departments are composed of 4 courses in Japan. 5. In the field of general subjects, unit allotment of the compulsory courses requires the completion of 70 units (37.2%) out of total 188 units(excluding extracurricular activites) in Korea, while that in Japan requires the completion of 70-90 units(38.9-50.0%) out of total 180 units (excluding extracurricular activites). 6. In the field of general subjects, unit allotment of the elective courses requires the completion of 12-36 units(6.4-19.2%) out of total 188 units in Korea, while that in Japan requires the completion of30-50 units(16.7-27.8%) out of total 180 units. 7. In the field of specialized subjects, unit allotment of the major courses requires the completion of more thar 82 units in Korea, while that in Japan requires the completion of more than 60 units, so that the units of the complusory courses for stresms of both of the countries tend to show many differences and diversity in both zone and school. Based on these results, the research concluded that the Fisheries High Schools in the two countries make up nearly similar curricula, while in Japan general subjects carry more extensive choice of courses and higher unit allotment is provided for general subjects than in Korea. It was also concluded that the curriculum for vocational education in Japan intends to develop spontaneous, creative, and soft personalities for job. This study suggests that Fisheries High School curriculum in Korea needs to be improved to give students more opportunities for course selection and to help students adapt themselves to various kinds of job groups.

• Korean Association of Arts Management
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• no.49
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• pp.149-176
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• 2019

It is a known fact that the spread of multiplexes has contributed to movie industry flourish and extending public rights for enjoying movies. However, in terms of Urban Discourse, Multiplexes centered in new downtown have given rise to Doughnut Phenomena in old downtown. It is especially regrettable that the local theaters which have been symbolic cultural spaces storing the 'memory of life' of local communities are disappearing due to a recession of business zone in old downtown. Japan has long been worked in various activities spotlighting on movie/image contents as the major means of creative urban regeneration. Among them, the 'Community Cinema' has made a contribution to regional revitalization by improving movie screening environment of the local community through renewal of local theaters and further creating related culture and industry in the local area. In this study, I focus on 'Fukaya Cinema' which started from NPO(Non-Profit Organization) and reused a closed industrial facility to a movie theater in cooperation with local TMO(Town Management Organization). Fukaya Cinema, which operates in the form of a business community, plays important roles as the core cultural facility in the local community and is regarded as a significant case showing a possibility of urban regeneration using movie/image contents. I investigate the specific founding process and activities of Fukaya Cinema and intend to derive the implications from that. Through this, I aim to provide the basic urban regeneration data utilizing movie/media contents.

• The Journal of Natural Sciences
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• v.10 no.1
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• pp.209-216
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• 1998

The results of the study of diving the 21st century's Korea fashion market into consumer market, fashion market, and a new marketing strategy are as follows. The 21st consumer market is First, a fashion democracy phenomenon. As many people try to leave unconditional fashion following, consumer show a phenomenon to choose and create their own fashion by subjective judgements. Second, a phenomenon of total fashion pursuit. Consumer in the future are likely to put their goals not in differentiating small item products, but considering various fashion elements based on their individuality and sense of value. Third, world quality-oriented. With the improvement of life level, it accomplishes to emphasize consumers' fashion mind on the world wide popular use of materials, quality, design and brand image. Fourth, with the entrance of neo-rationalism, consumers show increasing trends to emphasize wisdom, solidity in goods strategy pursuing high quality fashion and to demand resonable prices. Fifth, concept-oriented. Consumers are changing into pursuing concept appropriate to individual life scene. Prospecting the composition of the 21st century's fashion market, First, sportive casual zone will draw attention more than any other zone. This is because interest in sports will grow according to the increase of leisure time and the expasion of time and space in the 21st century, and also ecology will become the important issue of sports sense because of human beings's natural habit toward nature. Second, the down aging phenomenon will accelerate its speed as a big trend. Third, a retro phenomenon, a concept contrary to digital and high-tech, will become another big trend for its remake, antique, and classic concept in fashion market with ecology trend. New marketing strategy to cope with changing fashion market is as follows. First, with the trend of borderless concept, borders between apparels are becoming vague, for example, they offer custom-made products to consumers. Second, as more enterprises take the way of gorilla and guerrilla where guerrillas who aim at niche market show up will develop. Basically, they think highly of individual creative study, and pursue the scene adherence with high sensitiveness. However this polarization becomes mutually-supplementing relationship showing gorilla's guerilla movement, and guerilla's gorilla high-tech. Third with the development of value retailing, enterprises pursuing mass merchandising of groups called category killers are expanded and amplified to new product fields, and expand business' share. Fourth, using outsourcing, the trend to use exterior function leaving each enterprise's strength by inspecting its own work is gradually strong. Fifth, with the expansion of none store sale, the entrance of the internet and the CD-ROM sales added to communication sales such as catalogues are specified. An eminent American think tank expect that 5-5% of the total sale of clothes and home goods in 2010 will be done by none store sale. Accordingly, to overcome the problems, First international, global level marketing, Second, the improvement of technology, Third, knowledge-creating marketing are needed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.32-45
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• 2014

The study attempts to interpret original location and landscape composition of Yowol-pavilion Garden under the premise that tablet and poetry are important criteria for inference of unique location and landscape composition of a pavilion garden. The study raises the meaning, status, and value of Yowol Pavilion Garden as a cultural asset. The results of the study are as follows. First, Yowol-pavilion Garden was a place where famous Confucius scholars in Joseon Dynasty in 16th Century, including Kim, Kyung-Woo, the owner of the garden, used to share the taste for the arts and poetries with their colleagues. Along with a main characteristic of Yowol Pavilion Garden as a hideout for the Confucius scholars who stayed away from a political turmoil, the new place characteristic of the garden, a bridgehead for the formation of regional identity, was discovered in the record of "Joseon-Hwanyeo-Seungram Honam-Eupji JangSeong-Eupji", As described in "The first creative poetry of Yowol-pavilion", the intention for the creation of Yowol-pavilion Garden and the motive for its landscape composition is interpreted as a space of rivalry where the world, reality and ideals are mixed up. Second, related to outstanding scenic factors and natural phenomena when taking a view from the pavilion, the name of the house 'Yowol', which means 'Greeting the moon rising on the Mt. Wolbong' is the provision of nature and taste for the arts, and is directly connected to the image of leaving the worldly. In other words, the name was identified to be the one that reflected the intention for landscape composition to follow the provision of nature separating from joy and sorrow of the mundane world. Third, as for the location, it was confirmed through "YeongGwang-Soksu-Yeoji-Seungram" that Yowol-pavilion Garden was a place where the person who made the pavilion prepared for relaxation after stepping down from a government post, and literature and various poetry show that it was also a place of outstanding scenic where Yellow-dragon River meandered facing Mt. Wolbong. Especially, according to an interview with a keeper, the visual perception frequency of the nightscape of Yowol-pavilion Garden is the highest when viewing by considering the east, the direction of Yellow-dragon River, as Suksigak[normal angle's view], towards Yowel-pavilion from the keeper's house. In addition, he said that the most beautiful landscape with high perception strength is when the moon came up from the left side of Yowol-pavilion, cuts across the Lagerstroemia india heal in front of Yowol-pavilion, and crosses the meridian between Mt. Wolbong peaks facing Yowol-pavilion. Currently, the exposure of Yowol-pavilion Garden is $SE\;141.2^{\circ}$, which is almost facing southeast. It is assumed that the exposure of Yowol-pavilion Garden was determined considering the optimized direction for appreciating the trace of the moon and the intention of securing the visibility as well as topographic conditions. Furthermore, it is presumed that the exposure of Yowol-pavilion Garden was determined so that the moon is reflected on the water of Yellow-dragon River and the moon and its reflection form a symmetry. Fourth, currently, Yowol-pavilion Garden is divided into 'inner garden sphere' composed of Yowol-pavilion, meeting place of the clan and administration building, and 'outer garden sphere' which is inclusive of entrance space, Crape Myrtle Community Garden and Pine Tree Forest in the back. Further, Yowol-pavilion Garden has been deteriorated as the edge was expanded to 'Small lake[Yong-so] and Gardens of aquatic plants sphere' and recently-created 'Yellow-dragon Pavilion and park sphere'. Fifth, at the time it was first made, Yowol-pavilion Garden was borderless gardens consisting of mountains and water taking a method of occupying a specific space of nearby nature centering around pavilion by embracing landscape viewed from the pavilion, but interpreted current complex landscapes are identified to be entirely different from landscapes of the original due to 'Different Changes', 'Fragmentation' and 'Apart piece' in many parts. Lastly, considering that Yowol-pavilion Garden belongs to the Cultural Properties Protection Zone, though not the restoration to the landscapes of the original described in tablet and literature record, at least taking a measure from the aspect of land use for minimizing adverse effect on landscape and visual damage is required.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.