• Journal of KIISE:Databases
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• v.31 no.5
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• pp.468-478
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• 2004

It is essential in various application areas of data mining and bioinformatics to effectively retrieve the occurrences of interesting patterns from sequence databases. For example, let's consider a network event management system that records the types and timestamp values of events occurred in a specific network component(ex. router). The typical query to find out the temporal casual relationships among the network events is as fellows: 'Find all occurrences of CiscoDCDLinkUp that are fellowed by MLMStatusUP that are subsequently followed by TCPConnectionClose, under the constraint that the interval between the first two events is not larger than 20 seconds, and the interval between the first and third events is not larger than 40 secondsTCPConnectionClose. This paper proposes an indexing method that enables to efficiently answer such a query. Unlike the previous methods that rely on inefficient sequential scan methods or data structures not easily supported by DBMSs, the proposed method uses a multi-dimensional spatial index, which is proven to be efficient both in storage and search, to find the answers quickly without false dismissals. Given a sliding window W, the input to a multi-dimensional spatial index is a n-dimensional vector whose i-th element is the interval between the first event of W and the first occurrence of the event type Ei in W. Here, n is the number of event types that can be occurred in the system of interest. The problem of‘dimensionality curse’may happen when n is large. Therefore, we use the dimension selection or event type grouping to avoid this problem. The experimental results reveal that our proposed technique can be a few orders of magnitude faster than the sequential scan and ISO-Depth index methods.hods.

• Communications of Mathematical Education
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• v.20 no.2 s.26
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• pp.295-326
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• 2006

Despite the importance of mathematics education, many students in high school have lost their interests and felt difficulties and they don't have 'mathematical' experience with meanings attached because of the entrance examination. This paper attempted to resolve these problems and find the teaching-method with which students can study by themselves with more confidence. Nowadays students' use of Internet is very popular. After develop 'the development of mathematical power' program based on mathematics history, history, science, the application of problems in real world, and self-evaluation, I made students repeat them after making teaching lessons in classroom as moving pictures. Through this processes, I attempted to develop the Self-Directed Learning' ability by making public education substantial. First of all I analyzed the actual conditions on 'Self-Directed Learning' ability in mathematics subject, the conditions of seeing and hearing in Internet learning program, and students' and their parents' interests in Internet education. By analyzing the records, I observed the significance of the introducing mathematics history in mathematics subject in early stager, cooperative-learning, leveled-learning, self-directed learning, and Internet learning. Actually in aspect of applying 'the development of mathematical power' program, at first I made up the educational conditions to fix the program, collected the teaching materials, established the system of teaching-learning model, developed materials for the learning applying Internet mail and instruments of classroom, and carried out instruction to establish and practice mathematics learning plan. Then I applied the teaching-learning model of leveled cooperation and presentation loaming and at the same time constructed and used the leveled learning materials of complementary, average, and advanced process and instructed to watch teaching moving pictures through Internet mail and in the classroom. After that I observed how effective this program was through the interest arid attitude toward mathematics subject, learning accomplishment, and the change of self-directed learning. Finally, I wrote the conclusion and suggestion on the preparation of conditions fur the students' voluntary participation in mathematics learning and the project and application on 'the development of mathematical power' program and repeated learning with the materials of moving pictures in classroom.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.226-245
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• 2019

Beopjusa Gwaebultaeng (Large Buddhist Painting), designated as Treasure No. 1259, was painted in 1766 and featured Yeorae (Buddha) at the center in the style of a single figure. It is the longest existing buddhist painting and was created by Duhun, a painter who was representative of 18th century Korean artists. His other remaining work is Seokgayeorae Gwaebultaeng (1767) in Tongdosa Temple. Considering their same iconography, they are assumed to have used the same underdrawing. Duhun had a superb ability to maintain a consistent underdrawing, while most painters changed theirs within a year. The Beopjusa painting carries significance because it was not only painted earlier than the one in Tongdosa, but also indicates possible relevance to the royal family through its records. Beopjusa Temple is also the site of Seonhuigung Wondang, a shrine housing the spirit tablet of Lady Yi Youngbin, also known as Lady Seonhui. Having been built only a year before Beopjusa Gwaebultaeng was painted, it served as a basis for the presumption that it has a connection to the royal family. In particular, a group of unmarried women is noticeable in the record of Beopjusa painting. The names of some people, including Ms. Lee, born in the year of Gyengjin, are recorded on the Bonginsa Temple Building, the construction of which Lady Yi Youngbin and Princess Hwawan donated money to. In this regard, they are probably court ladies related to Lady Yi Youngbin. The connection of Beopjusa Gwaebultaeng with the royal family is also verified by a prayer at the bottom of the painting, reading "JusangJusamJeonhaSumanse (主上主三殿下壽萬歲, May the king live forever)." While looking into the historical characteristics of this art, this study took an approach based on scientific analysis. Damages to Beopjusa Gwaebultaeng include: bending, folding, wrinkles, stains due to moisture, pigment spalling, point-shaped pigment spalling, and pigment penetration to the lining paper at the back. According to the results of an analysis of the painting pigments, white lead was used as a white pigment, while an ink stick and indigo were used for black. For red, cinnabar and minium were used independently or were combined. For purple, organic pigments seem to have been used. For yellow, white lead and gamboge were mixed, or gamboge was painted over white lead, and gold foil was adopted for storage. As a green pigment, atacamite or a mixture of atacamite and malachite was used. Azurite and smalt were used separately or together as blue pigments.

• Journal of Korean Society of Forest Science
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• v.76 no.1
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• pp.11-16
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• 1987

With the purpose of pursuing the increase and decrease of chlorophyll a and chlorophyll b caused by application of the simulated acid rain treatment on Pinus koraiensis seedlings and Ligustrum obtusifolium cuttings, the experimental design of randomized block arrangement with three replications was implemented in the experimental field of Yesan National Agricultural Junior College, during the growing season of 1985. Pinus koraiensis seeds stratified in cool and moist condition were sown on pots, and in case of Ligustrum obtusifolium, C1/1 cuttings were potted for experimental use in the early spring. The regime of artificial acid rain, based upon precipitation frequency and density, was simulated from the learning of climatological data averaged from 30 years records. The spray of acid water containing pH values of 4.0 and 2.0 was initiated from the 1st of May and ended on the 31st of August. As control, ground water was also treated at the same time. To analyse the chlorophyll content, those leaves looking representative and unaffected by other harmful agents were sampled on the 18th of September, and UV-visible spectrophotometer was used. With decrease in pH values of acid rain, the content of chlorophyll a and chlorophyll b decreased in both species. The decrease in chlorophyll a could be confirmed through statistical significance, but not in chlorophyll b. And when we discussed the chlorophyll decrease index which was explained in detail in the paper, an attention might be given to similarly decreasing values in both chlorophyll a and chlorophyll b, according as pH levels of acid rain decreased. The ratios of chlorophyll a to chlorophyll b in both species were not affected by different pH leaves of acid rain.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.102-123
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• 2013

This paper is a study about the Gang Sehwang's (姜世晃 1713~1791) Ink Orchid Painting. Gang Sehwang is a representative literati gentleman who painted Four Gentlemen, for the first time, during the late Joseon Dynasty. There are 20 pieces of Ink Orchid Painting of his in Korea. His recognition of the Ink Orchid Painting can be understood through his records and analysis of his Ink Orchid Painting. He considered the sketch from the nature (寫生), practice of old paintings (古畵), and copy-training of the manual of paintings (畵譜). Particularly, Gang Sehwang focused on the copy-training of old paintings (古畵臨倣) which integrates the will and spirit of old literati gentlemen. This means that he had recognized the picture as a means of 'literature carrying morality (載道). Also, we could read self-discipline (修己的) values from his continuative copy-training of the manual of paintings (畵譜臨倣). Next, his Ink Orchid Painting were divided into the first half of the term (his 30s to 40s) and the second half of the term (his 60s to 78 years old). He had polished up on the Jieziyuanhuazhan ("芥子園畵傳") during the first half of the term and on the Shizhuzhaishuhuapu ("十竹齋書畵譜") or the Maejuknanguksabo ("梅竹蘭菊四譜") during the second half of the term. Therefore, it could be understood that he had depended on the manual of paintings (畵譜) for a long time. Nevertheless, he had completed the elegant and graceful Pyeoam Orchid (豹菴蘭)' based on his skill of the manual of paintings (畵譜) in his 70s. Finally, the 18th century Ink Orchid Painting and painters who lived (worked) at that time were investigated. He made?? the Albums of Calligraphy and Painting (書畵合壁帖) with Shim Sajeong (沈師正) and Choi Buk (崔北). They also interacted with each other by Calligraphy and Painting (書畵). Also, Yi Insang (李麟祥) and Im Heeji (林熙之) contributed to the diversification of the 18th century Ink Orchid Painting style by imitating Ink Orchid Painting with the manual of paintings (畵譜). Moreover, it is meaningful that the Ink Orchid Painting of Gang Se-hwang and the18th century Ink Orchid painters influenced the foundation of the 19th century Ink Orchid Painting fashion.

• (The)Study of the Eastern Classic
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• no.68
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• pp.145-171
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• 2017

This study aims to clarify the meaning of the Anapji which was one of the scenic places of historical interest during Silla Dynasty and of the Anapbupyeong(雁鴨浮萍) which was one of the greatest seven miracles (Dong-do-chil-gue(東都七怪) through appearance of the Anapji in poems. Anapji lies its original meanings on Anhaji(安夏池) and then it was shortened to Anji(雁池), apji(鴨池) while Dongho(東湖) has also been called since it is located in the South of Gyeongju. As of July 2011, the Ministry of Culture officially renamed Anapji and Imhaejeon Hall Site(臨海殿址) as the palace of Crown Prince-Gyonegju Donggung(慶州 東宮) and Wolji(月池) (Historical Site No. 18) and Wolji became the current name. While pond was made during Munmu of Silla, the name Anapji did not exist. Kim Si-Seup (1465~1471) in the early Chosun period referred to the pond as Anhaji(安夏池) and its name started being called as Anapji in the Geography of Korea (Sinjeung dongguk yeoji seungnam,(新增東國輿地勝覽)(Jungjong 25, 1530). Though modern scholar states that it was being called Anapji since there are always many ducks and wild geese in the pond, they fails to present the literature evidences. The author found the line in the poem -Anapji composed by writer Kim Chul Woo, which means that a wild duck and water bird get in and off the pond on their own and the record saying which means Dong-ho(東湖) from the phrase of Dongho-saw-sar-gi(東湖書社記) of Lee Su In(李樹仁)(1739-1822)-Confucian Scholar of Gyeongju was created due to the fact that many wild geese and ducks are flying over. Based on the facts foresaid, the literature evidences for the name of Anapji are presented in the paper. Anapji is a combined word between the Anapbupyeong(雁鴨浮萍) which is a flooding weed and Dong-do-chil-gue(東都七怪). Dong-do-chil-gue is an ancient form of Modern Eight Scenic Views. Eight Scenic Views -Gyeongju Parlgyong is just well-known as scenic places without grotesque elements Dong-do-chil-gue had before. However, the author also found the passage of Ilseongnok: Records of Daily Reflections saying that Anapji has a clod that is as wide as rock(盤石) and the clod also has moneywort on, which are undulating in the wind and clarified how the Anapbupyeong became one of the one of the greatest-seven miracles Dong-do-chil-gue and why the Anapbupyeong frequently appears in the poems of many writers.

• Trans-
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• v.15
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.

• Journal of Intelligence and Information Systems
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• v.23 no.1
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• pp.95-108
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• 2017

Recently, AlphaGo which is Bakuk (Go) artificial intelligence program by Google DeepMind, had a huge victory against Lee Sedol. Many people thought that machines would not be able to win a man in Go games because the number of paths to make a one move is more than the number of atoms in the universe unlike chess, but the result was the opposite to what people predicted. After the match, artificial intelligence technology was focused as a core technology of the fourth industrial revolution and attracted attentions from various application domains. Especially, deep learning technique have been attracted as a core artificial intelligence technology used in the AlphaGo algorithm. The deep learning technique is already being applied to many problems. Especially, it shows good performance in image recognition field. In addition, it shows good performance in high dimensional data area such as voice, image and natural language, which was difficult to get good performance using existing machine learning techniques. However, in contrast, it is difficult to find deep leaning researches on traditional business data and structured data analysis. In this study, we tried to find out whether the deep learning techniques have been studied so far can be used not only for the recognition of high dimensional data but also for the binary classification problem of traditional business data analysis such as customer churn analysis, marketing response prediction, and default prediction. And we compare the performance of the deep learning techniques with that of traditional artificial neural network models. The experimental data in the paper is the telemarketing response data of a bank in Portugal. It has input variables such as age, occupation, loan status, and the number of previous telemarketing and has a binary target variable that records whether the customer intends to open an account or not. In this study, to evaluate the possibility of utilization of deep learning algorithms and techniques in binary classification problem, we compared the performance of various models using CNN, LSTM algorithm and dropout, which are widely used algorithms and techniques in deep learning, with that of MLP models which is a traditional artificial neural network model. However, since all the network design alternatives can not be tested due to the nature of the artificial neural network, the experiment was conducted based on restricted settings on the number of hidden layers, the number of neurons in the hidden layer, the number of output data (filters), and the application conditions of the dropout technique. The F1 Score was used to evaluate the performance of models to show how well the models work to classify the interesting class instead of the overall accuracy. The detail methods for applying each deep learning technique in the experiment is as follows. The CNN algorithm is a method that reads adjacent values from a specific value and recognizes the features, but it does not matter how close the distance of each business data field is because each field is usually independent. In this experiment, we set the filter size of the CNN algorithm as the number of fields to learn the whole characteristics of the data at once, and added a hidden layer to make decision based on the additional features. For the model having two LSTM layers, the input direction of the second layer is put in reversed position with first layer in order to reduce the influence from the position of each field. In the case of the dropout technique, we set the neurons to disappear with a probability of 0.5 for each hidden layer. The experimental results show that the predicted model with the highest F1 score was the CNN model using the dropout technique, and the next best model was the MLP model with two hidden layers using the dropout technique. In this study, we were able to get some findings as the experiment had proceeded. First, models using dropout techniques have a slightly more conservative prediction than those without dropout techniques, and it generally shows better performance in classification. Second, CNN models show better classification performance than MLP models. This is interesting because it has shown good performance in binary classification problems which it rarely have been applied to, as well as in the fields where it's effectiveness has been proven. Third, the LSTM algorithm seems to be unsuitable for binary classification problems because the training time is too long compared to the performance improvement. From these results, we can confirm that some of the deep learning algorithms can be applied to solve business binary classification problems.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

• Korean Journal of Weed Science
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• v.13 no.4
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• pp.210-233
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• 1993

The herbicide has become indispensable as much as nitrogen fertilizer in Korean agriculture from 1970 onwards. It is estimated that in 1991 more than 40 herbicides were registered for rice crop and treated to an area 1.41 times the rice acreage ; more than 30 herbicides were registered for field crops and treated to 89% of the crop area ; the treatment acreage of 3 non-selective foliar-applied herbicides reached 2,555 thousand hectares. During the last 25 years herbicides have benefited the Korean farmers substantially in labor, cost and time of farming. Any herbicide which causes crop injury in ordinary uses is not allowed to register in most country. Herbicides, however, can cause crop injury more or less when they are misused, abused or used under adverse environments. The herbicide use more than 100% of crop acreage means an increased probability of which herbicides are used wrong or under adverse situation. This is true as evidenced by that about 25% of farmers have experienced the herbicide caused crop injury more than once during last 10 years on authors' nationwide surveys in 1992 and 1993 ; one-half of the injury incidences were with crop yield loss greater than 10%. Crop injury caused by herbicide had not occurred to a serious extent in the 1960s when the herbicides fewer than 5 were used by farmers to the field less than 12% of total acreage. Farmers ascribed about 53% of the herbicidal injury incidences at their fields to their misuses such as overdose, careless or improper application, off-time application or wrong choice of the herbicide, etc. While 47% of the incidences were mainly due to adverse natural conditions. Such misuses can be reduced to a minimum through enhanced education/extension services for right uses and, although undesirable, increased farmers' experiences of phytotoxicity. The most difficult primary problem arises from lack of countermeasures for farmers to cope with various adverse environmental conditions. At present almost all the herbicides have"Do not use!" instructions on label to avoid crop injury under adverse environments. These "Do not use!" situations Include sandy, highly percolating, or infertile soils, cool water gushing paddy, poorly draining paddy, terraced paddy, too wet or dry soils, days of abnormally cool or high air temperature, etc. Meanwhile, the cultivated lands are under poor conditions : the average organic matter content ranges 2.5 to 2.8% in paddy soil and 2.0 to 2.6% in upland soil ; the canon exchange capacity ranges 8 to 12 m.e. ; approximately 43% of paddy and 56% of upland are of sandy to sandy gravel soil ; only 42% of paddy and 16% of upland fields are on flat land. The present situation would mean that about 40 to 50% of soil applied herbicides are used on the field where the label instructs "Do not use!". Yet no positive effort has been made for 25 years long by government or companies to develop countermeasures. It is a really sophisticated social problem. In the 1960s and 1970s a subside program to incoporate hillside red clayish soil into sandy paddy as well as campaign for increased application of compost to the field had been operating. Yet majority of the sandy soils remains sandy and the program and campaign had been stopped. With regard to this sandy soil problem the authors have developed a method of "split application of a herbicide onto sandy soil field". A model case study has been carried out with success and is introduced with key procedure in this paper. Climate is variable in its nature. Among the climatic components sudden fall or rise in temperature is hardly avoidable for a crop plant. Our spring air temperature fluctuates so much ; for example, the daily mean air temperature of Inchon city varied from 6.31 to $16.81^{\circ}C$ on April 20, early seeding time of crops, within${\times}$2Sd range of 30 year records. Seeding early in season means an increased liability to phytotoxicity, and this will be more evident in direct water-seeding of rice. About 20% of farmers depend on the cold underground-water pumped for rice irrigation. If the well is deep over 70m, the fresh water may be about $10^{\circ}C$ cold. The water should be warmed to about $20^{\circ}C$ before irrigation. This is not so practiced well by farmers. In addition to the forementioned adverse conditions there exist many other aspects to be amended. Among them the worst for liquid spray type herbicides is almost total lacking in proper knowledge of nozzle types and concern with even spray by the administrative, rural extension officers, company and farmers. Even not available in the market are the nozzles and sprayers appropriate for herbicides spray. Most people perceive all the pesticide sprayers same and concern much with the speed and easiness of spray, not with correct spray. There exist many points to be improved to minimize herbicidal phytotoxicity in Korea and many ways to achieve the goal. First of all it is suggested that 1) the present evaluation of a new herbicide at standard and double doses in registration trials is to be an evaluation for standard, double and triple doses to exploit the response slope in making decision for approval and recommendation of different dose for different situation on label, 2) the government is to recognize the facts and nature of the present problem to correct the present misperceptions and to develop an appropriate national program for improvement of soil conditions, spray equipment, extention manpower and services, 3) the researchers are to enhance researches on the countermeasures and 4) the herbicide makers/dealers are to correct their misperceptions and policy for sales, to develop database on the detailed use conditions of consumer one by one and to serve the consumers with direct counsel based on the database.