• KOMUNHWA
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• no.68
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• pp.41-57
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• 2006

The purpose of this study is to review educational value of cultural heritage sites first and then, to examine the importance of interpretation and interpretation methods and process briefly to utilize cultural heritage sites as important resources for public education and cultural tourism. The educational value of cultural heritage sites is not limited to provide visitors with various information on historical facts and events related to the cultural heritage site, but to provide the public with a new recognition of the importance of the preservation of cultural heritage sites by understanding the site well. In order to utilize the educational value of the cultural heritage site, interpretation must be emphasized as an important element of cultural heritage sites management and much attention should be given on the development and practice of interpretation programs in each cultural heritage site. In order to develop an interpretation program of the site, a specific target audience must be defined first to find most resonable scope and direction of an interpretation program and then, site specific interpretation themes (or a theme) should be developed from the interpretive topic. According to these defined elements, an interpretation program(s) is established by using various interpretation methods and techniques in order to provide visitors with useful information and knowledge on the site efficiently. Interpretation methods and techniques are various as defined by various ways and most effective methods or techniques are employed as a specific interpretation program is presented most effectively. The evaluation processes in planing stage, during developing stage, and after completion of interpretation program development are important processes to find out any problems of planed interpretation program and to revise or update the interpretation program. Conclusively, the direction of cultural heritage sites management in Korea has focused on the conservation and restoration of cultural heritage sites to preserve the original conditions of cultural heritage sites so far. This direction on current practice on cultural heritage sites management should he changed to more active utilization of the sites and interpretation of the sites is a way to accomplish the this goal.

• The Journal of Art Theory & Practice
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• no.14
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• The Journal of Art Theory & Practice
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• no.13
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• pp.73-95
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• 2012

In terms of element and process, art today has already been fully systemized, yet tends to become even more systemized. All phases of creation and exhibition, appreciation and education, promotion and marketing are planned, adjusted, and decided within the order of a globalized, networked system. Each phase is executed, depending on the system of management and control and diverse means corresponding to the system. From the step of education, artists are guided to determine their styles and not be motivated by their desire to become star artists or running counter to mainstream tendency and fashion. In the process of planning an exhibition, the level of artist awareness is considered more significant than work quality. It is impossible to avoid such systems and institutions today. No one can escape or be freed from the influence of such system. This discussion addresses a serious distortion in the selection system as part of the system connotatively called "art museum system," especially to evaluate artistic achievement and aesthetic quality. Called "studio system" or "art star system," the system distinguishes successful minority from failed absolute majority and justifies the results, deciding discriminative compensations. The discussion begins from work by Hunter Jonakin and Dan Perjovschi. The key point of this discussion is not their art worlds but the shared truth referred by the two as the collusive "art market" and "art star system." Through works based on their experiences, the two artists refer to these systems which restrict and confine them. Jonakin's Jeff Koons Must Die! is avideo game conveying a critical comment on authoritative operation of the museum system and star system. In this work, participants, whether viewer or artist, are destined to lose: the game is unwinnable. Players take the role of a person locked in a museum where artist Jeff Koons' retrospective is held. The player can either look around and quietly observe the works, which causes a game-over, or he can blow the classical paintings to pieces and cause the artist Koons to come out and reprimand the player, also resulting in a game-over. Like Jonakin, Dan Perjovschi's some drawings also focuses on the status of the artist shrunken by the system. Most artists are ruined in a process of competition to survive within the museum system. As John Burger properly pointed out, out of the art systems today, public collections (art museums) and private collections have become "something unbearable." The system justifies the selection system of art stars and its frame of reference, disregarding the problem of producing numerable victims in its process. What should be underlined above all else is that the present selection system seriously shrinks art's creative function and its function of generating meaning. In this situation, art might fall to the level of entertainment, accessible to more people and compromising with popularity. This discussion is based on assumption and consciousness on the matter that this situation might cause catastrophic results for not only explicit victims of the system but also winners, or ones defined as winners. The system of art is probably possible only by desire or distortion stemmed from such desire. The system can be flourished only under the economic system of avarice: quantitatively expanding economy, abundant style, resort economy in Venice and Miami, and luxurious shopping malls with up-to-date facilities. The catastrophe here is ongoing, not a sudden emergence, and dynamic, leading the system itself to a devastating end.

• The Journal of Art Theory & Practice
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• no.7
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.18 no.3
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• pp.142-161
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• 2013

In order to enhance scientific interest and a sense of affinity about ocean, the programs of the oceanic camp 'oceanic summer school' were developed and applied to $4^{th}$ and $9^{th}$-grade elementary and middle school students for 9 years from 2004 to 2012. It was composed of oceanic training for snorkeling, a tour to oceanic institutes and museums near the camp academy place, experimental learning in oceanic-related field, field trips for ocean and earth sciences, and lectures on various subjects of ocean. We developed and implemented 9-kinds of inquiry surveys to evaluate changes in cognitive and affective characteristics, and ocean literacy of students participated at the present oceanic summer camp. Based on the statistical analysis, affective characteristics such as interest, inquisitiveness, passion, and so on, were enhanced. Analysis of ocean literacy revealed that cognitive characteristics of the students were increased by 40%. We presented parents' responses on the programs of oceanic summer school. Some students with less initial interest of ocean have positively changed to make up their minds to be a oceanographer in several years later. In light of this, the summer school can be evaluated to be successfully functioned as a long-term support system for potentially young-talented students in the field of ocean science. This study addresses that long-term implementation of the summer oceanic camp may trigger students with potential talent toward in-depth science in the near future even though it could not bring positive effect immediately. This addresses the necessity of policy supports in order that various programs like the scientific camp should be more constructively developed and executed for next-generation manpower in oceanographic fields.

• Korean Journal of Ecology and Environment
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• v.43 no.1
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• pp.44-54
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• 2010

In this study, a comprehensive exploration and evaluation of washland candidate locations by means of field monitoring as well as spatial analysis in six major river system (Han, Nakdong, Nam, Geum, Youngsan, and Seomjin Rivers). Washland(in other words, river detention basin) is an artificial wetland system which is connected to streams or rivers likely to riverine wetlands. Major purpose of washland creation is to control floodings, water supply and purification, providence of eco-cultural space to human and natural populations. Characteristics and functions of riverine wetlands can be expected as well, thus it is believed to be an efficient multi-purpose water body that is artificially created, in terms of hydrology and ecology. Geographical information and field monitoring results for the washland candidate locations were evaluated in 2009, with respect to optimal location exploration, ecosystem connectivity and educational-cultural circumstances. A total of $269\;km^2$ washland candidate locations were found from spatial analysis (main channel of Rivers South Han, 71.5; Nakdong 54.1; Nam, 2.3; Geum, 79.0; Youngsan 46.4; Seomjin 15.7), and they tended to be distributed in mid- to lower part of the rivers to which tributaries are confluent. Field monitoring at 106 sites revealed that some sites located in the Rivers Nam and Geum is appropriate for restoration or artificial creation as riverine wetlands. Several sites in the Nakdong and Seomjin Rivers were close to riverine wetlands (e.g., Upo), habitats of endangered species (e.g., otters), or adjacent to educational facility (e.g., museums) or cultural heritages (e.g., temples). Those sites can be utilized in hydrological, ecological, educational, and cultural ways when evidence of detailed hydrological evaluation is provided. In conclusion, determination of washland locations in the major river basins has to consider habitat expansion as well as hydrological function (i.e. flood control) basically, and further utility (e.g. educational function) will increase the values of washland establishment.

• KOMUNHWA
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• no.70
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• pp.63-88
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• 2007

The purpose of this writing is to examine the places and instruments of the dissection for deformed animal carcasses excavated in shellfish stacks of the period of the Proto-Three Kingdoms(삼한) and the Three Kingdoms(삼국). The remains were chosen, which had been excavated and finished in the analysis of the animal carcasses, and the main objects are all shells and deer, especially among Mammalia. As the result, the dissection of shells was not taken place in the habitats of the animals, but inside or around of the residence of the people. For deer, too, it was done in the public place or specific area around and inside the residence. As concerns the method of dissection for shells, for Pelecypoda(부족류), represented by Meretrix lusoria(백합), the inner meat was taken out by wrenching the shell with a kind of small knives, or by boiling, and sometimes by cracking the middle of the shell in the case of big Meretrix lusoria and Dosinorbis japonicus(떡조개). For Rapana venosa(피뿔고둥), representative of Gastropoad(배발류), the people broke the top or some parts of the body to get the inner meat or used some kind of needles and stylus to pick the inner meat out after boiling. Abalones‘ meat was attached firmly to the shell, so very sharp and proper metal instruments were used to take the meat out Relatively small-sized Reishia clavigera(대수리),Top shell(밤고둥) meats were taken out by breaking the top parts after boiling, then sucking the meats, or by picking them out by using needles and stylus in the original shape. In the case of large Mammalia like deer, in the full consideration of the point that deer itself are used in various ways, they were dissected in the order of skinning, taking out the internal organs, cutting front and rear legs, separating joint parts and meats, extracting bone-marrow by 철정, 철부, ironed hand knife in very delicate ways. It seems that skinning, and front and rear legs' cutting were taken place in the place around the residence, on the other hand joint parts' separating and bone-marrow extracting in the residence. The tools for the dissection were confirmed to be hand-knife, honed ax, hammer stone, bondstone, needles and stylus, and some other sharp instrument. They were used properly according to objects.

• KOMUNHWA
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• no.70
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• pp.133-161
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• 2007

It is judged that celadons with '○' pattern and '⊙' pattern have the indication of manufacturer by engraving mark at the internal center of the bottom. These celadons were produced at No.8.23.27 kiln sites located at Sadang-ri(사당리), Daegu-myon(대구면), Gangjin-gun(강진군), Jeollanamdo(전라남도), Korea and '⊙’ patterned celadon porcelain was found only at No. 23 and 27 kiln sites, so it is assumed that its production sites were limited. Kinds of celadons included bowl, dish, cup, bottle, case and vessel for emptied wine and there were a lot of dishes with a variety of patterns. These celadons were engraved by molded design technique using the same ceramic design as the pattern of celadons in the period of their prosperity and it was appropriate method to produce celadons of a good quality with production method to keep decorative design like pattern or size uniformly. It was also found that inlay method was not universalized in this period and similar celadons were produced with molded design in large quantities. These celadons had partially fire clay temper, but most of them were burnt by supporting the inner bottom of U-type base with quartzite after whole glazing. It was known through relics excavated at Seokreung(석릉) royal tomb of King Heejong(희종) at Ganghwa(강화) and Hyeeumwon(혜음원) temple site at Paju(파주) and military house at Wakamiyaoji(약궁대로) avenue Kamakura(겸창)-city, Japan(일본) that these celadons were manufactured at two quarters of the 13th century centering around 1230s. Therefore, these celadons will be significant materials to fill the gap of the celadons in the 13th century resulted from the record chronologically that green celadons were manufactured in the 12th century. And this period was invaded by Mongolia(몽고), but central control was achieved and green celadons were continuously produced. It was also considered that these celadons were excavated at Gabgot-ri(갑곶리) and Gwanchung-ri(관청리), Ganghwa(강화), Hyeeumwon temple, Paju which played the role of temporary palace, Bu1guksa(불국사) temple at Gyeongju(경주), Silsangsa(실상사) temple at Namwon(남원) and relics of Jangheung(장흥) adjacent to Daeguso(대구소) and these were produced for high class.

• Journal of Intelligence and Information Systems
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• v.19 no.2
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• pp.39-54
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• 2013

Recent explosive increase of electronic commerce provides many advantageous purchase opportunities to customers. In this situation, customers who do not have enough knowledge about their purchases, may accept product recommendations. Product recommender systems automatically reflect user's preference and provide recommendation list to the users. Thus, product recommender system in online shopping store has been known as one of the most popular tools for one-to-one marketing. However, recommender systems which do not properly reflect user's preference cause user's disappointment and waste of time. In this study, we propose a novel recommender system which uses data mining and multi-model ensemble techniques to enhance the recommendation performance through reflecting the precise user's preference. The research data is collected from the real-world online shopping store, which deals products from famous art galleries and museums in Korea. The data initially contain 5759 transaction data, but finally remain 3167 transaction data after deletion of null data. In this study, we transform the categorical variables into dummy variables and exclude outlier data. The proposed model consists of two steps. The first step predicts customers who have high likelihood to purchase products in the online shopping store. In this step, we first use logistic regression, decision trees, and artificial neural networks to predict customers who have high likelihood to purchase products in each product group. We perform above data mining techniques using SAS E-Miner software. In this study, we partition datasets into two sets as modeling and validation sets for the logistic regression and decision trees. We also partition datasets into three sets as training, test, and validation sets for the artificial neural network model. The validation dataset is equal for the all experiments. Then we composite the results of each predictor using the multi-model ensemble techniques such as bagging and bumping. Bagging is the abbreviation of "Bootstrap Aggregation" and it composite outputs from several machine learning techniques for raising the performance and stability of prediction or classification. This technique is special form of the averaging method. Bumping is the abbreviation of "Bootstrap Umbrella of Model Parameter," and it only considers the model which has the lowest error value. The results show that bumping outperforms bagging and the other predictors except for "Poster" product group. For the "Poster" product group, artificial neural network model performs better than the other models. In the second step, we use the market basket analysis to extract association rules for co-purchased products. We can extract thirty one association rules according to values of Lift, Support, and Confidence measure. We set the minimum transaction frequency to support associations as 5%, maximum number of items in an association as 4, and minimum confidence for rule generation as 10%. This study also excludes the extracted association rules below 1 of lift value. We finally get fifteen association rules by excluding duplicate rules. Among the fifteen association rules, eleven rules contain association between products in "Office Supplies" product group, one rules include the association between "Office Supplies" and "Fashion" product groups, and other three rules contain association between "Office Supplies" and "Home Decoration" product groups. Finally, the proposed product recommender systems provides list of recommendations to the proper customers. We test the usability of the proposed system by using prototype and real-world transaction and profile data. For this end, we construct the prototype system by using the ASP, Java Script and Microsoft Access. In addition, we survey about user satisfaction for the recommended product list from the proposed system and the randomly selected product lists. The participants for the survey are 173 persons who use MSN Messenger, Daum Caf$\acute{e}$, and P2P services. We evaluate the user satisfaction using five-scale Likert measure. This study also performs "Paired Sample T-test" for the results of the survey. The results show that the proposed model outperforms the random selection model with 1% statistical significance level. It means that the users satisfied the recommended product list significantly. The results also show that the proposed system may be useful in real-world online shopping store.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.22-43
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• 2016

State Ownership of Excavated Cultural Heritage System was originated from the legislations concerning cultural objects during the Japanese colonial period (1910~1945) and was succeeded by the present Buried Cultural Properties Act enacted in 2011. Despite the importance of the system that completes the outcomes of excavations and determines the state-owned cultural properties, the foundation of national heritage, it has been limitedly regarded as administrative area and neglected by the academic scholars or policy researchers. Recently the traditional culture has drawn increasing domestic interest and awareness that the cultural heritage contributes to building cultural identity and vitalizing tourism has led to increasing the demand of a local government's role in management of the state-designated cultural heritage and even fighting for hegemony in securing the cultural objects between the central and local governments. Despite the continuing efforts for improving the selection process of cultural heritage and its management institution, establishment of an advanced objective system has been requested. This paper is intended to suggest the policy direction through demonstrating the problem and assignment caused in the process of implementing the Buried Cultural Properties Act and reviews the State Ownership of Excavated Cultural Heritage System from the legal point of view accordingly. First, I suggest improving the selection process of the state-owned cultural properties. Even though current law states that Administrator of Cultural Heritage Administration reviews the research reports and selects the possible candidates for the state-owned cultural properties almost all the cultural objects listed on the reports are practically selected. In this regard, two possible resolutions can be made; newly establishing a separate process for selecting the state-owned cultural properties after publishing the report or adding the selection process of the state-owned cultural properties during the heritage selection meeting. Either way should contribute to strengthening the impartiality and objectivity of the policy. My second suggestion is improving the operating system of the heritage selection meeting in which the cultural properties to be listed on the reports are determined. Given the present extensive assessment criteria, there is much room for certain experts' subjective opinions. Therefore, in order to enhance the fairness and credibility of the heritage selection meeting, specifying the assessment criteria and advance review of the expert list are necessary. Third, this paper suggests increasing the local government's role in management of the state-owned cultural heritage and diversifying the heritage management institution. Development of a local self-governing system has led to the increased demand for delegating the authority of the state-owned heritage management to the local governments. Along with this, the gradual improvements of public museum management raises the need for expanding the cultural benefits through increasing the local government's role in management of the state-owned heritage. Considering the fact that overall majority of the art collections housed at national or public museums is owned by the central government, developing a variety of heritage contents and vitalizing the heritage tourism are crucial. The true meaning and value of the state-owned cultural heritage hidden at the storage of a museum can be found when they are shared together with the public.