• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.8 no.9
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• pp.265-273
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• 2018

In this paper, we propose an acoustic event detection method in tunnels using non-negative tensor factorization (NTF) and hidden Markov model (HMM) applied to multi-channel audio signals. Incidents in tunnel are inherent to the system and occur unavoidably with known probability. Incidents can easily happen minor accidents and extend right through to major disaster. Most incident detection systems deploy visual incident detection (VID) systems that often cause false alarms due to various constraints such as night obstacles and a limit of viewing angle. To this end, the proposed method first tries to separate and detect every acoustic event, which is assumed to be an in-tunnel incident, from noisy acoustic signals by using an NTF technique. Then, maximum likelihood estimation using Gaussian mixture model (GMM)-HMMs is carried out to verify whether or not each detected event is an actual incident. Performance evaluation shows that the proposed method operates in real time and achieves high detection accuracy under simulated tunnel conditions.

• Journal of Animal Science and Technology
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• v.62 no.4
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• pp.495-503
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• 2020

The purpose of this study was to evaluate effects of replacing soybean meal with perilla seed meal (PSM) on growth performance, proximate composition of meat, meat quality, and fatty acids composition of meat in broilers. A total of 60 one-day-old chicks of ROSS 308 (initial body weight of 44.8 ± 0.4 g) were randomly allotted to four treatment groups (15 replicate cages with 1 broilers per cage) in a period of 5 weeks. Dietary treatments included control (CON) basal diet (corn-soybean meal-based diets) and test diets in which PSM was included at 0.5% (T1), 1% (T2), or 2% (T3) to gradually replace soybean meal. At the end of experiment, all broilers were slaughtered for collecting breast and thigh meat. At 5 weeks, T2 and T3 treatment groups had higher (p < 0.05) body weights than CON and T1 treatment groups. Weight gain was increased (p < 0.05) in T2 and T3 treatment groups. Feed intake was decreased (p < 0.05) in T3 treatment group. Broilers in T2 treatment group had lower (p < 0.05) feed conversion ratio than those in other treatment groups. In proximate composition of breast meat, there was no significant (p > 0.05) difference in moisture and ash. Fat composition of breast meat was significantly (p < 0.05) increased in T2 and T3 treatment groups. Regarding meat quality, broilers fed T3 diet had higher (p < 0.05) water holding capacity than those fed other diets. Regarding fatty acids composition of thigh meat, broilers fed T3 diet had higher (p < 0.05) linolenic acid than those fed other diets. In conclusion, soybean meal replaced by 2% perilla seed meal in broiler diet can improve growth performance, meat quality, and fatty acids composition of thigh meat in broilers. Perilla seed meal can be a lot of potential alternatives feedstuff for soybean meal in this study.

• Journal of Environmental Impact Assessment
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• v.4 no.3
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• pp.41-48
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• 1995

In former times the protection of our environment didn't play an important role due to the fact that emissions and effluents were not considered as serious impacts. However, opinions and scientific measurements meanwhile confirmed that the impacts are more serious than expected. Thus measures to protect our earth has to be taken into consideration. A part of these measures in the Environmental Impact Assessment (EIA). One of the most important parts of the EIA is the collection of basic datas and the following evaluation. Experience out of the daily business of Gerling Consulting Group shows that the content of the EIA has to be revised and enlarged in certain fields. The historical development demonstrated that in areas in which the population and the industrial activities reached high concentration there is a high necessity to develop strict environmental laws and regulations. Maximum values of the concentration of hazardous materials were fixed concerning the emission into and water. Companies not following these regulations were punished. The total amount of environmental offences increased rapidly during the last decade, at least in Germany. During this development the public consciousness concerning environmental affairs increased as well in the industrialized countries. But it could clearly be seen that the development in the field of environmental protection went into the wrong direction. The technologies to protect the environment became more and more sophisticated and terms as: "state of the art" guided more and more to lower emissions, Filtertechnologies and wastewater treatment for example reached a high technical level-but all these sophisticated technologies has one and the same characteristic: they were end-of-the pipe solutions. A second effect was that this kind of environmental protection costs a lot of money. High investments are necessary to reduce the dust emission by another ppm! Could this be the correct way? In Germany the discussion started that the environmental laws reduce the attractivity to invest or to enlarge existing investments within the country. Other countries seem to be not so strict with controlling the environmental laws which means it's simply cheaper to produce in Portugal or Greece. Everybody however knows that this is not the correct way and does not solve the environmental problems. Meanwhile the general picture changes a little bit and we think it changes into the correct direction "End-of-the-pipe" solutions are still necessary but this word received a real negative touch and nobody wants to be brought into connection with this word received a real negative touch and nobody wants to be brought into connection with this word especially in connection with environmental management and safety. Modern actual environmental management starts in a different way. Thoughts about emissions start in the very beginning of the production, they start with the design of the product and modification of traditional modes of production. Basis of these ideas are detailed analyses of products and processes. Due to the above mentioned facts that the public environmental consciousness changed dramatically a continous environmental improvement of each single production plant has to be guarantied. This question is already an important question of the EIA. But it was never really checked in a wholistic approach. Environmental risks have to be taken into considerations during the execution of an EIA. This means that the environmental risks have to be reduced down to a capable risk-level. Environmental risks have to be considered within the phase of planning, during the operation of a plant and after shut down. The experience shows that most of the environmental relevant accidents were and caused by human fault. Even in highly protected plants the human risk-factor can not be excluded during evaluation of the risk-potential. Thus the approach of an EIA has to regard technical evaluations as well as organizational thoughts and the human factor. An environmental risk is a threat to the environment. An analysis of the risk concerning the organizational and human aspect however never was properly executed during an EIA. A possible solution could be to use an instrument as the actual EMAS (Environmental Management System) of the EC for more accurate evaluation of the impact to the environment during an EIA. Organizations or investors could demonstrate by an approved EMAS or even by showing their installment of EMAS that not only the technical level of the planned investment meets the requested standards but as well the actual or planned management is able to reduce the environmental impact down to a bearable level.

• Strategy21
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• s.30
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• pp.99-142
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• 2012

Withe increased North Korea's security threats, the South Korean navy has been faced with deteriorating security environment. While North Korea has increased asymmetric forces in the maritime and underwater with the development of nuclear weapons, and China and Japan have made a large investment in the buildup of naval forces, the power of the Pacific fleet of the US, a key ally is expected to be weakened. The biggest threat comes from China's intervention in case of full-scale war with North Korea, but low-density conflict issues are also serious problems. North Korea has violated the Armistice Agreement 2,660 times since the end of Korean War, among which the number of marine provocations reaches 1,430 times, and the tension over the NLL issue has been intensifying. With tension mounting between Korea and Japan over the Dokdo issue and conflict escalating with China over Ieo do Islet, the US Navy has confronted situation where it cannot fully concentrate on the security of the Korean peninsula, which leads to need for strengthening of South Korea's naval forces. Let's look at naval forces of neighboring countries. North Korea is threatening South Korean navy with its increased asymmetric forces, including submarines. China has achieved the remarkable development of naval forces since the promotion of 3-step plan to strengthen naval power from 1989, and it now retains highly modernized naval forces. Japan makes an investment in the construction of stat of the art warship every year. Since Japan's warship boasts of its advanced performance, Japan's Maritime Self Defense Force is evaluated the second most powerful behind the US Navy on the assumption that submarine power is not included in the naval forces. In this situation, naval power construction of South Korean navy should be done in phases, focusing on the followings; First, military strength to repel the energy warship quickly without any damage in case of battle with North Korea needs to be secured. Second, it is necessary to develop abilities to discourage the use of nuclear weapons of North Korea and attack its nuclear facilities in case of emergency. Third, construction of military power to suppress armed provocations from China and Japan is required. Based on the above naval power construction methods, the direction of power construction is suggested as follows. The sea fleet needs to build up its war potential to defeat the naval forces of North Korea quickly and participate in anti-submarine operations in response to North Korea's provocations. The task fleet should be composed of 3 task flotilla and retain the power to support the sea fleet and suppress the occurrence of maritime disputes with neighboring countries. In addition, it is necessary to expand submarine power, a high value power asset in preparation for establishment of submarine headquarters in 2015, develop anti-submarine helicopter and load SLAM-ER missile onto P-3C patrol aircraft. In case of maine corps, division class military force should be able to conduct landing operations. It takes more than 10 years to construct a new warship. Accordingly, it is necessary to establish plans for naval power construction carefully in consideration of reality and future. For the naval forces to safeguard maritime sovereignty and contribute to national security, the acquisition of a huge budget and buildup of military power is required. In this regard, enhancement of naval power can be achieved only through national, political and military understanding and agreement. It is necessary to let the nation know that modern naval forces with improved weapon system can serve as comprehensive armed forces to secure the command of the sea, perform defense of territory and territorial sky and attack the enemy's strategic facilities and budget inputted in the naval forces is the essential source for early end of the war and minimization of damage to the people. If the naval power construction is not realized, we can be faced with a national disgrace of usurpation of national sovereignty of 100 years ago. Accordingly, the strengthening of naval forces must be realized.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.78-103
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• 2020

Transcribed Buddhist sutras generally consist of a frontispiece illustration, sutra illustrations, and sutra text, although some parts may be lost over time. Most transcribed sutras originally include an official record of the transcription (saseonggi) at either the beginning or end of the volume, which document various details of the production, including who commissioned the sutra and when it was transcribed. If such records are unavailable or difficult to decipher, the date of the sutra can only be estimated by comparison to other works with known production dates. This is the case with Korean Treasure #978, the "Transcription of the Avatamsaka Sutra (Zhou Version) in Gold on White Paper" (hereinafter, "Avatamsaka Sutra, Volume 29"), which does not contain any details of its production. Based on formal comparisons, the volume has been estimated to date from the early Joseon period. Important criteria for estimating the production date include the type of calligraphy script and the overall expression of the sutra illustrations. However, these features are missing from some early Joseon sutras, making it difficult to definitively assert which characteristics are representative of the period. Also, transcribed sutras from the late Goryeo period (after 1350) and early Joseon period are often very similar in terms of the expression of the frontispiece illustrations and sutra illustrations. From the late Goryeo period through the early Joseon period, the illustrations of transcribed sutras, which had previously been relatively detailed and realistic, gradually became more formalized and stylized. Significantly, Avatamsaka Sutra, Volume 29 includes illustrations showing both styles of expression (i.e., realistic and formalized). Moreover, the hemp leaf design on the frontispiece and the border around the sutra illustrations are unique features that have never been seen on any other transcribed sutras. Notably, however, Avatamsaka Sutra in Gold on White Paper, Volume 26 (hereinafter, "Avatamsaka Sutra, Volume 26"), which has not yet been introduced in academic research, is complete with frontispiece, sutra illustrations, and sutra text. This sutra is identical to Avatamsaka Sutra, Volume 29 in size, composition, and details, and is thus estimated to have been produced at the same time and by the same patrons. According to the record at the end of the volume, Avatamsaka Sutra, Volume 26 was commissioned in 1348 by Gi Cheol (d. 1365), which corresponds to the estimated date of Avatamsaka Sutra, Volume 29 derived by formal comparison. Based on this new information, Avatamsaka Sutra, Volume 29 was likely produced in the late Goryeo period rather than the early Joseon period, as has previously been presumed. The new study of Avatamsaka Sutra, Volume 26 also seems to confirm that both sutras were transcribed by highly skilled artisans in 1348 of the late Goryeo period, a transitional phase in the expression of sutra illustrations.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.186-205
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• 2013

${\ll}$Three Purities Album${\gg}$ in the Kansong Art Museum is an album of poems and pictures of apricot tree, orchids and bamboos drawn by Lee Jeong. Given that the poems and pictures in the album were drawn by Lee Jeong who has been recognized as a person who established the standards of ink bamboo drawings in the Joseon Dynasty, the album is highly valuable. Nevertheless, there are more values and meanings that Three Purities Album has. The production circumstances and transmission processes of Three Purities Album include the historical characteristics and meanings of the time so that it is also worthwhile as a historical material. During the Japanese Invasion of Korea in 1592, Lee Jeong was stabbed with a sword by Japanese invaders and got injured. After he suffered, he tried to make his masterpiece in his lifework and finally created Three Purities Album. For the work, Lee Jeong received memorial writings from Choi Rip, Cha Cheon-ro and Han Ho, and asked them writings. They were the best literary men in the poem and calligraphy fields at that time. Yu Geun, Lee An-nul, and Yu Mong-in made writings and poems to praise his work. Likewise, ${\ll}$Three Purities Album${\gg}$ is the 'treasure of the time' created through the participation of the best literary men at that time. Given the aspects, it is fair to say that ${\ll}$Three Purities Album${\gg}$ is not simply a personal artwork of Lee Jeong, but is a comprehensive artwork and also a cultural monument created through the skills and capabilities of the literary artists in the middle of the Joseon Dynasty. After the death of Lee Jeong, Three Purities Album was handed over to Hong Ju-won. But, during the second Manchu Invasion into Korea in 1636, the album was in danger of disappearance by fire. As of now, there are still signs of fire in it, which vividly shows the urgent situation at that time. After the second Manchu Invasion into Korea in 1636, Hong Ju-won recovered some damaged writings with the help of Yoon Shin-ji. Since then, the album had been handed down as a family treasure over the next 7 generations. It can be found in the writings by Song Si-yeol and Uh Yu-bong. Unlike the literary men who praised Three Purities Album in terms of its work when Lee Joeng was alive, they focused on the transmission courses of the album and involved persons. That seems to be because the stories and characters appearing in Three Purities Album impressed the later literary men and were meaningful to them rather than the album itself. It strongly reflected the positions of Hong Jung-gi and Hung Sang-han who asked for writings as the descendants of Hong Ju-won. That is because the traces of the persons involved in Three Purities Album are the causes for admiring their ancestors and enhancing their political legitimacy and family dignity. Therefore, in this aspect, it is possible to witness the fundamental causes of the unique artistic awareness by East Asian people who consider their historical meanings as well as the aesthetic value of artworks significant. Unfortunately, during the Japanese invasion at the end of the Joseon Dynasty, Three Purities Album was handed over to Japanese Tzuboikouso. But, fortunately, Jeon Hyeong-pil who made an effort to regain our cultural assets by investing his entire property during the Japanese Imperialism regained the album, which is now preserved in the Kansong Art Museum. ${\ll}$Three Purities Album${\gg}$ truly includes the whole processes to overcome national crises that Korean people experienced during the Japanese Invasion in 1592, the second Manchu Invasion of Korea in 1636, and the Japanese Imperialism, and it shows the sufferings of our cultural assets and the history of preservation. Also, the album shows that one artwork is able to accumulate its historical meanings in the process of transmission and thus enhances its meanings and values. ${\ll}$Three Purities Album${\gg}$ features accumulative and constant historical meanings and it is a typical case showing that an artwork is plenty of aesthetic and historical values. It is expected that this work will contribute to promoting more studies on finding historical meanings and hysteresis of artworks.

• Journal of Science of Art and Design
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• v.11
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• pp.221-249
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• 2007

Today, photography is facing to the crisis of identity and dilemma of ontology from the digital imaging process in the new technology form. It is very important points to say rethinking of the traditional photographic medium, that has changed the way we view the world and ourselves is perhaps an understatement and that photography has transformed our essential understanding of reality. Now, no longer are photographic images regarded as the true automatic recording, innocent evidence and the mirror to the reality. Rather, photography constructs the world for our entertainment, helping to create the comforting illusions by which we live. The recognition that photographs are not constructions and reflections of reality, is the basis for the actual presence within the contemporary photographic world. It is shock. This thesis's aim is to look for the problems of photographic identity and ontological crisis that is controlling and regulating digital photographic imagery, allowing the reproduction of the electronic simulations era. Photography loses its special aesthetic status and becomes no more true information and, exclusively evidence by traditional film and paper that appeared both as a technological accuracy and as a medium-specific aesthetic. The result, photography is facing two crises, one is the photographic ontology(the introduction of computerized digital images) and the other is photographic epistemology(having to do broader changes in ethics, knowledge and culture). Taken together, these crises apparently threaten us with the death of photography, with the 'end' of photography and the culture it sustains. The thesis's meaning is to look into the dilemma of photography's ontology and epistemology, especially, automatical index and digital codes from its origin, meaning, and identity as the technological medium. Thus, in particular, thesis focuses on the analog imagery presence, from the nature in the material world, and the digital imagery presence from the cultural situations in our society. And also thesis's aim is to examine the main issues of the history of photography has been concentrated on the ontological arguments since the discovery of photography in 1839. Photography has never been only one static technology form. Rather, its nearly two centuries of technological development have been marked by numerous, competing of technological innovation and self revolution from the dual aspects. This thesis examines recent account of photography by the analysis of the medium's concept, meaning, identity between film base image and digital base image from the aspects of photographic ontology and epistemology. Thus, the structure of thesis is fairy straightforward to examine what appear to be two opposing view of photographic conditions and ontological situations. Thesis' view contrasts that figure out the value of photography according to its fundamental characteristic as a medium. Also, it seeks a possible solution to the dilemma of photographic ontology through the medium's origin from the early years of the nineteenth century to the raising questions about the different meaning(analog/digital) of photography, now. Finally, this thesis emphasizes and concludes that the photographic ontological crisis reflects to the paradoxical dynamic structure, that unsolved the origins of the medium, itself. Moreover, even photography is not single identity of the photographic ontology, and also can not be understood as having a static identity or singular status from the dynamic field of technologies, practices, and images.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

• (The)Study of the Eastern Classic
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• no.55
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• pp.115-145
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• 2014

In this paper, the transition of the status of Chinese novels and the change of the knowledge field in the modern times from the end of 19th century to the early 20th century, the transition period between the tradition and the modern times, have been investigated based on Liang Qichao's assertion of the Revolution of the Novel World. How the traditional novels have been evaluated, how modern novels enlightened a people and changed the political society, and what role novels acted in the change of the knowledge field are investigated. Especially I looked into the accumulations of knowledge and changes inside China which were overlooked in the previous researches which focused on the inflow of the Western culture and its impact on Chinese culture. Firstly the evaluation and classification of the traditional novels are considered. Because the transition of the status of novels and the classification method of the catalog of books are tightly coupled with the change of academic ideologies. Later I tried to understand novels as a way of thinking the modern times with a discussion on the changes of modern knowledge society and the consideration of Liang Qichao's Revolution of the Novel World in the two viewpoints, i.e. the relationship between novels and political society, and novels and the style of writing. Liang Qichao raised novels to the topmost position of literature. He pushed the traditional poetry off the top position and replaced it with popular novels. As the outside impact of Western culture made Chinese novels a tool for enlightening the ignorant people and the medium of propagating the knowledge, the status of novels was elevated to the highest level which novels had never reached in the past. With the limitation that the valuation was not based on the aesthetic appreciation of art but based on the value for politics and society, novel was a discourse of life and death to save the country and a container of knowledge to rebuild the people's mind and convert the crisis of the national ruin.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.94-113
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• 2013

Donggwanwangmyo[East Shrine of King Guan Yu] is the shrine for General Guan Yu from the Shu Dynasty, China. This type of shrine was begun to be built from the Tang Dynasty in China and from 1598 in Korea when the Japanese invaded Korea for the $2^{nd}$ time. Donggwanwangmyo is historically significant because it was jointly constructed by China and Korea in the spring of 1602 after the end of Japanese invasion of Korea. However, almost no research has been conducted about the sculptures standing at Donggwanwangmyo and there are many mistakes concerning the names and materials of these sculptures. This study is conducted to resolve these issues as follows: First of all, it was found that the main building of Donggwanwangmyo enshrines those which were moved from the North Shrine of Guan Yu and the West Shrine of Guan Yu during the Japanese colonial rule of Korea in addition to what was initially placed in Donggwanwangmyo during construction. These relics are assorted and each line of them is displayed in the center and to the east or west of the building. Among the relics, seven sculptures are standing at the center of the main building, among which one sculpture of Guan Yu is made of gold and two sculptures of maids and four sculptures of guards are made of clay. It is particularly noted that the sculptures of Guan Yu and his guards, Guan Ping, Zhou Cang, Wang Fu, and Zhao Lei, represent the portraits of historical characters that actually existed. Moreover, the sculptures of guards are characterized by the fact that they are unlike those in China, but have two pairs of literary men and warriors that stand facing each other as is the case in the royal mausoleums constructed during the Joseon Dynasty. Second of all, the sculptures from Donggwanwangmyo were carved in 1602, but their costumes and equipment were derived from the paintings from the Tang and Song Dynasties. Some decorations from the Ming Dynasty are also reflected in the sculptures. It implies that Donggwanwangmyo was partially modeled after the Shrine of Emperor Guan Yu[Gwanjemyo] in Jiezhou which was rebuilt in 1593 by Emperor Sinjong of the Ming Dynasty and that the secular and dramatic patterns of the Qing Dynasty are prevalent in the said sculptures based on the patterns of the Ming Dynasty because all the sculptures at the Shrine in Jiezhou were constructed when the Qing Dynasty ruled between the $18^{th}$ and the $19^{th}$ Centuries. In conclusion, it was found that sculptures from Donggwanwangmyo were created in 1602, that they follow the ancient traditions attested by the paintings of Korean and Chinese sculptures, and that they are very valuable in art history since they retain the original forms of the Shrine of Guan Yu built during the Joseon and Ming Dynasties.