• Korean Journal of Remote Sensing
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• v.38 no.5_1
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• pp.497-510
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• 2022

Agricultural reservoirs are essential structures for water supplies during dry period in the Korean peninsula, where water resources are temporally unequally distributed. For efficient water management, systematic and effective monitoring of medium-small reservoirs is required. Synthetic Aperture Radar (SAR) provides a way for continuous monitoring of those, with its capability of all-weather observation. This study aims to evaluate the applicability of SAR in monitoring medium-small reservoirs using Sentinel-1 (10 m resolution) and Capella X-SAR (1 m resolution), at Chari (CR), Galjeon (GJ), Dwitgol (DG) reservoirs located in Ulsan, Korea. Water detected results applying Z fuzzy function-based threshold (Z-thresh) and Chan-vese (CV), an object detection-based segmentation algorithm, are quantitatively evaluated using UAV-detected water boundary (UWB). Accuracy metrics from Z-thresh were 0.87, 0.89, 0.77 (at CR, GJ, DG, respectively) using Sentinel-1 and 0.78, 0.72, 0.81 using Capella, and improvements were observed when CV was applied (Sentinel-1: 0.94, 0.89, 0.84, Capella: 0.92, 0.89, 0.93). Boundaries of the waterbody detected from Capella agreed relatively well with UWB; however, false- and un-detections occurred from speckle noises, due to its high resolution. When masked with optical sensor-based supplementary images, improvements up to 13% were observed. More effective water resource management is expected to be possible with continuous monitoring of available water quantity, when more accurate and precise SAR-based water detection technique is developed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.24-33
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• 2022

The travel notes and nature poems found in historic literary men's works can be considered historical records related to scenic sites. Such travel notes and nature poems are based on the writers' personal characters, experiences, learning and etc. Such works clearly show the characters of each literature, information of the related objects and the writers' thoughts of the objects. This study, thus, looked into Euisang on Xīsāishān Mountain that could be the origin of Eobusa(漁父詞) loved and sung by Korean historic literary men, and found that the Korean and Chinese literary men's thoughts were shown through their ways to enjoy Xīsāishān Mountain and their Euisang on the mountain, which was different between the Korean and Chinese literary men depending on the geographical locations described in their poems. In detail, the study results are: 1. Such difference of the ways to enjoy Xīsāishān Mountain, the scenic site described in historic Korean and Chinese literary men's work is broadly classified into the ways to enjoy the scenic site by seeing it in person and the ways to enjoy it under the mental structure of speculation. 2. Xīsāishān Mountain in Wuxing is the background of Yújiāzi(漁家子) of the painting Zhāngzhìhé, is boasting its distinguished beautiful nature, and is the place where the Confucian Study of Hú(湖學) was originated. It is also the place known of its warmhearted climate. Therefore, Euisang on Xīsāishān Mountain under such beautiful and warmhearted circumstance are realized as the complete freedom and seclusion in Taoism and the satisfaction with the given environment and position in Confucianism. 3. Xīsāishān Mountain in Wǔchāng is a military strategic point with rugged mountain terrain and scenery that has been a historic ferocious battlefield and related with the loyal civil servant Qū Yuán. The Euisang on Xīsāishān Mountain in Wǔchāng, therefore, represents the nature scenery of a rugged fortress and patriotism of Confucianism. 4. The Korean literary men's way to enjoy Xīsāishān Mountain is Shinyu(神遊: spiritual travel), so that their Euisang is formed according to the direction of the writer's values. Especially it is noted that Korean Euisang on Xīsāishān Mountain is originally based on the painting Zhāngzhìhé that shows the complete free mood of Taoism; and the Euisang on Xīsāishān Mountain that came from the mindful image by the poet monk Qíjǐ of Tang dynasty and Kim Si-seup appears with such Buddhist ways to seek the truth as SakGongIlYeo(色空一如: Being full is essentially as same as being vacant) and GyeonSeongSeongBul(見性成佛: Everybody can become Buddha by enlightenment).

• (The) Research of the performance art and culture
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• no.41
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• pp.219-255
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• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.

• (The) Research of the performance art and culture
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• no.41
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• pp.257-284
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• 2020

Goseong Ogwangdae started academic research in the late 1950s and was designated as a national intangible cultural asset in 1964. From the time of the academic survey to the time of designation, it was recorded as using paper masks, but when the recording image was filmed in 1965, it was already changed to wooden masks. In 1960, before being designated as an intangible cultural asset, the number of masks, which was 9 points, gradually increased to 19 points in 1964. It is necessarily included in the leper, Chorani, Malttuki, Cheongbo-Yangyang, Halmi, and Jemilju, but the character of the yangban is not yet clearly differentiated. Hwangbongsa and Sangju appeared as bare faces, and consumption, milling, Cheongbo-Yangyang are used together with Bibi and inspiration. It can be guessed that Bibi was not the appearance of a foreign object with horns as it is now, considering that Bibi and Madangsoi were used together. Since 1965, shortly after the designation, the whole of the Goseong Ogwangdae mask has been changed to a wooden mask. All the characters except for resident, courtyard, and top-of-the-line are wearing masks. Bibi, Hongbaek, and service masks have never appeared until 1964. The Yangban was changed to the closing ceremony with six people in the order of Won-Yangban, Baekje, Heukje, Cheongje, Hongbaek, and Jonggadoryong. Starting in 1969, the mask enters the stable period where the kind is the same as the present. Bibi-Yangban uses both the Won-Yangban and the Jemilju uses the Somu, but all other characters use the individual mask to use a total of 18 masks. The Yangbans are clearly differentiated, and a total of seven Yangban appear. The reason why the change in the type of mask and the expression of material is so large is that the first generation of mask makers died and the tradition of mask production was cut off, but there is also a cause of the extreme change in the environment of the drama that the performers who joined after the designation had to face. Also, it is closely related to the change of the times when the meaning and weight of masking in masking has changed. At that time, the performers were not so tied to the current concept of 'original form' that they preserved the appearance of the designated time. Originally, Goseong Ogwangdae was centered on improvisation dance, not the formalized dance as it is now, and there was a certain fluid aspect in the retelling, so it was flexible in the use of masks even before the designation of cultural assets. Strict rules did not apply in the details, as it was a self-sufficient play by the performers, not an offer event. The form and contents of this fluid play are changed to preparation for the performance while preparing for the folk art contest. As the subject of the contest in self-sufficient play, dance, costumes, and props became more and more colorful as well as dancing, costumes, and props. As a result, participation in the contest brought about changes in the overall performance and changed the mask, which was accepted within the preservation society.

• Journal of the Daesoon Academy of Sciences
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• v.42
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• pp.75-108
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• 2022

This paper aims to newly investigate the meaning of life in this era when various discussions on life and ethical living are commonly raised by comparing and examining the theories of life proposed by Confucianism and Daesoon Thought. Both Confucianism and Daesoon Thought explain the creation of all things as having been based on the principles of life in heaven and earth. Specifically, there is the will to live (生意 saengeui) and also divine beings (神明 sinmyeong). For this reason, everything in heaven and earth is created by obtaining the same principle of life such that it is an equal being with the same intrinsic value. Here the consciousness of being one body amid all things as one living thing is established. The consciousness of being one body forms an organic worldview in which all things are one. As a result, all things in heaven and earth exist within a mutual organic relationship, and that makes oneself and others precious life partners that coexist rather than separate beings. Nevertheless, both Confucianism and Daesoon Thought define humans as outstanding beings, set aside for a higher purpose than other beings. The excellence of humans is that by constantly engaging in self reflection and completing tasks through independent efforts, they thereby achieve the great moral doctrine of coexistence and symbiosis. In this process, cultivation of character (修養 suyang) and cultivation of the Dao (修道 sudo) are presented as means to realize one's nature and establish the right human image. By realizing nature or humanity through the cultivation of character and cultivation of the Dao, humans fulfill their responsibilities and missions by independently participating in being nourished by Heaven and Earth (天地化育 cheonjihwayuk) or the Reordering Works of Heaven and Earth (天地公事 cheonjigongsa), both being based in the concept of the three generative forces of Heaven, Earth, and Humanity (天·地·人 cheon·ji·in). In the end, the theories of life posited by Confucianism and Daesoon Thought are based on a consciousness of being one body. Both emphasize the characteristics and roles of humans who are distinguished from other beings and phenomena. At this time, human characteristics and roles are revealed as the reasons for which humans have a responsibility and mission take care of all things. From this point of view, it can be seen that the theoretical structure of Neo-Confucianism and Daesoon Thought, in regards to their theories of life, is rather similar.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.263-288
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• 2019

Barrier-free films enhance accessibility to audiovisual image contents by providing specific information on screen and through sound so that people with vision or hearing loss can receive the same amount of information as those without disabilities and immerse themselves in the audiovisual images. This study pays attention to barrier-free audiovisual contents in relation to the cultural civil rights of people with vision or hearing loss in South Korea. While institutional efforts have been made in the 2010s to improve the access to audiovisual media of people with vision or hearing loss, the goal of enabling people with vision or hearing loss to fully enjoy all audiovisual contents at a level equal to the non-disabled has not yet been realized. Amid the lingering conflict between disabled groups and multiplexes that has lasted years, the global video streaming service Netflix has aggressively threatened the dominance of local multiplexes with the launch of its Korean service. As Netflix, which is subject to U.S. regulations guaranteeing the rights of people with vision or hearing loss, has produced original dramas and movies involving Korean production teams, the cultural civil rights discourse of the disabled has transitioned to the issue of the rights of cultural consumers crossing national borders in the era of globalization. Changes in the media environment raise the issue of civil rights guarantees in which disabled people enjoy the right to simultaneously watch movies and comment on movies by participating in a common discourse, equally with non-disabled people. The "right to be part of the audience for Korean cinema" for Korean deaf people, which has long been neglected, should also be considered as a cultural civil right that crosses the boundaries of language, nation and disabilities. This essay examines the current issues surrounding the right to cultural entertainment of people with vision or hearing loss in South Korea in conjunction with the contemporary trend of rapid changes in the media environment and the global spread of the movement for cultural civil rights of people with disabilities, and suggests the need for visual culture studies to take a serious step toward disability studies.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.22-43
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• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.

• Asia Marketing Journal
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• v.12 no.4
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• pp.165-181
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• 2011

In 2005, Yuhan Kimberly found interesting points in the existing customers' U&A survey on the kitchen towel. The usage of Korean consumers is usually restricted to getting rid of the oil from the fans and the fried food. This usage limits could be the barrier to the diffusion of kitchen towel. Although consumers were worried about the hygiene situations about the dishcloth, they also percieved that the existing paper kitchen towels were short of something to soothe their inconveniences. As a result, the company made a decision to seek out the solution for the consumers' worries. The relative shortage of the paper kitchen towel compared to that of the unhygienic and inconvenient dishcloth was its lack of water-endurance. The dishcloth could be reliable in the wet environment which is very common in Korean kitchen, whereas the paper kitchen towel was perceived as very weak and unreliable in removing water form the dishes and the sink. To overcome the common sense of the consumers, it is important to shift the consumers' perception of the kitchen towel category. It is needed to expand the usage time from one time to several times in a day. So it is needed to redesign the customers' kitchen life. The company adopted the brand "Scott^®" to meet the global brand strategy of the parent company, Kimberley Clark. This brand was also adopted and made a succesful launch of the similar product lines in Latin America. Furthermore, to make an emphasis on the differentiation from the existing paper kitchen towels, the company made the slogan, "Scott^® washable kitchen towel." This slogan was designed to expand the familiar product image of convenient paper towels to water-resistance. As a result, consumers show the changes in usage behavior of paper towels and apply them for more various purposes such as cleaning the decks and tables. This change results in the rapid sales increase of "Scott^® washable kitchen towel."

• Korean Journal of Agricultural and Forest Meteorology
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• v.25 no.4
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• pp.258-266
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• 2023

This study analyzed methodologies for estimating carbon stocks of perennial woody crops and the research cases in overseas countries. As a result, we found that Australia, Bulgaria, Canada, and Japan are using the stock-difference method, while Austria, Denmark, and Germany are estimating the change in the carbon stock based on the gain-loss method. In some overseas countries, the researches were conducted on estimating the carbon stock change using image data as tier 3 phase beyond the research developing country-specific factors as tier 2 phase. In South Korea, convergence studies as the third stage were conducted in forestry field, but advanced research in the agricultural field is at the beginning stage. Based on these results, we suggest directions for the following four future researches: 1) securing national-specific factors related to emissions and removals in the agricultural field through the development of allometric equation and carbon conversion factors for perennial woody crops to improve the completeness of emission and removals statistics, 2) implementing policy studies on the cultivation area calculation refinement with fruit tree-biomass-based maturity, 3) developing a more advanced estimation technique for perennial woody crops in the agricultural sector using allometric equation and remote sensing techniques based on the agricultural and forestry satellite scheduled to be launched in 2025, and to establish a matrix and monitoring system for perennial woody crop cultivation areas in the agricultural sector, Lastly, 4) estimating soil carbon stocks change, which is currently estimated by treating all agricultural areas as one, by sub-land classification to implement a dynamic carbon cycle model. This study suggests a detailed guideline and advanced methods of carbon stock change calculation for perennial woody crops, which supports 2050 Carbon Neutral Strategy of Ministry of Agriculture, Food, and Rural Affairs and activate related research in agricultural sector.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.17 no.4
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• pp.57-71
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• 2022

The purpose of this study was to analyze the perception and demand of local youth and to find ways to support universities in order to create an youth start-up ecosystem. To this end, 509 young people living in Seoul were analyzed to recognize and demand young people in the region for youth start-ups, and to support universities. The findings are as follows. First, as a result of analyzing young people's perception of youth start-ups in the region, the "Youth Start-up Program" was analyzed the highest in terms of the demand for regional programs by university. In addition, there was a high perception that the image of youth startups in the region was "challenging" and "good for changing times." Second, after analyzing the demand for support for youth start-ups in the region, it appeared in the order of mentoring, start-up education, and creation of start-up spaces. And it showed different needs for different ages. Third, the results were derived from analysis of the demand for university support for the creation of a regional youth start-up ecosystem, the criteria for selecting local youth start-up support organizations, and the period of participation in local youth start-up support. Based on the results of the above research, the implications and suggestions of university support for the creation of a community of youth start-up ecosystem are as follows. First of all, it is necessary to develop and operate sustainable symbiosis mentoring programs focusing on university's infrastructure and regional symbiosis. Second, it is necessary to develop and utilize step-by-step systematic microlearning content based on the needs analysis of prospective youth start-ups. Third, it is necessary to form an open youth start-up base space for local residents in universities and link it with the start-up process inside and outside universities. The results of this study are expected to be used as basic data for establishing policies for supporting youth start-ups and establishing and operating strategies for supporting youth start-ups at universities.