• Proceedings of KOSOMES biannual meeting
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• 2008.05a
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• pp.205-211
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• 2008

Those days, not only many peoples are killed and the wounded by effective of disaster sea wave in Indonesia, but also our country effected by disaster in adjoining sea to japan. At this point, preparation to disaster and the point of quickly communication by happened disaster. For this reason perceptible observation post are making so quickly communication system to zone by effective range of disaster, acd develope than more quality observation tool, contribute to keep citizens property acd life to a minimum by disaster damaged.

• Journal of Korean Philosophical Society
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• v.137
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• pp.225-247
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• 2016

This research examines the philosophy of Toegye and Spinoza in the postneo-Confucian and post-modern perspective in emphasizing the activity of Ri(理) and reason beyond the similarities of system in their thought. There is no disagreement in viewing Toegye and Spinoza as balanced opposites in their attempts to harmonize man and nature. In this discussion, I will infer the similarities of Toegye and Spinoza in terms of an 'activity-passivity' thesis.

• International Journal of Advanced Culture Technology
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• v.9 no.4
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• pp.194-203
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• 2021

Virtual reality is being increasingly used for healing and therapy for mental health. In this study, we developed VR-based immersive content that enables virtual travel without the limitations of time and physical conditions. We aim to develop and produce VR content for relaxation and meditation using the beautiful natural scenery. To make realistic and immersive content, we took a video of natural sceneries with a small UAV connected to a VR camera. The content was developed through stitching, video editing and post-processing of the initially captured video data, and then the created VR video was inserted into the VR device. The produced content will be helpful for stress and used to heal the mind and body of exhausted modern people by providing the place with great scenery and sound in an immersive way at any time.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.181-191
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• 2023

This study suggests a revised model of Lévi-Strauss' culinary triangle, which is frequently cited in food-related articles. To scrutinize how the media shares content about food and to remediate food discourse, this study conducted a focus group interview and targeted food program viewers and classified discoursal elements or nodes by Nvivo qualitative tools. In the process of classification, it found what seems to be hard to explain in the current food culture with Lévi-Strauss' culinary triangle, even if it still depicts appropriately, in the post-modern era implied complexity. Then, it arranged obtained discoursal nodes and analyzed the relationship between them. Interestingly, food in media plays as an important role beyond food itself, such as it can trigger memories, create social divides, play a role in economic invigoration, etc. Consequently, this paper suggests the revised culinary triangle model expanded from Lévi-Strauss' in which traces the molding process of food remediation with discoursal nodes in stages.

• Cross-Cultural Studies
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• v.43
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• pp.405-428
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• 2016

The purpose of this paper is to examine the narrative-building method and the post-historical descriptive aspects of the movie Paradise in Service, which deals with the modern history of Taiwan. Although Paradise in Service tells the history of a certain time period, it focuses on the anguish and agony felt by people who lived during that age rather than on the meaning of historical events or interpretation of the past in terms of official historical discourse. That is, as it avoids looking at the present by composing a narrative in the descriptive historical context and from bearing weight from the viewpoint of realism, it gains the possibility of establishing a new field of discourse through a post-historical discussion using descriptive historical texts. However, the movie tries to create fantasy through a special type of licensed prostitution as a means of post-historical description. In other words, when this movie tries to reproduce the microscopic history of common people in trouble because of a historical tragedy, it considers only men and excludes "weak" women. Thus, although Paradise in Service has meaning in that it gives an example of how movies can disrupt official historical discourse and group memory and rewrite history by focusing on individuals, it is limited by its male-centrism.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.4
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• pp.1-19
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• 2022

This study aims to discover the implications through the analysis of the characteristics and design strategies of the regeneration of the post-industrial sites in the metropolitan the Beijing-Tianjin-Tangshan region. This study provides a basis for future research and theoretical strengths for post-industrial site regeneration practices. The results of the study are as follows. First, post-industrial site regeneration projects pursue diverse goals such as industrial heritage preservation, cultural creativity, and neighborhood revitalization in the Beijing-Tianjin-Tangshan region. Second, in the design process, the characteristics and spatial levels of the space are enhanced by utilizing the original industrial space, incorporating transitional space, and using industrial facilities of varying heights. Third, old and new landscape elements are harmoniously integrated through the rational use of industrial relics and the appropriate addition of new elements. Fourth, the design emphasizes ecological soil restoration and the use of native and adaptable plants that have the capacity to remediate polluted soil. Fifth, the design combines modern artistic elements, such as sculpture and graffiti art to enrich the site and promote the revival of the post-industrial site. Sixth, urban events and public activities are actively programmed to vitalize the regenerated site.

• 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.

• Korean Security Journal
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• no.26
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• pp.121-144
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• 2011

The Framework Act on the Management of Disasters and Safety 2004(FAMDS) currently underpins Korean civil protection system, and under this FAMDS, Korean civil protection establishes a three-tiered government structure for dealing with crises and disasters: central government, provincial & metropolitan government, and local government tiers. In particular, the concept of Integrated Emergency Management(IEM) emphasizes that emergency response organizations should work and act together to respond to crises and disasters effectively, based on the coordination and cooperation model, not the command and control model. In tune with this trend, civil protection matters are, first, dealt with by local responders at the local level without direct involvement of central or federal government in the UK or USA. In other words, central government intervention is usually implemented in the UK and the USA, only when the scale or complexity of a civil protection issue is so vast, and thus requires a degree of central government coordination and support, resting on the severity and impact of the event. In contrast, it appears that civil protection mechanism in Korea has adopted a rigid centralized system within the command and control model, and for this reason, central government can easily interfere with regional or local command and control arrangements; there is a high level of central government decision-making remote from a local area. The principle of subsidiarity tends to be ignored. Under these circumstances, it is questionable whether such top-down arrangements of civil protection in Korea can manage uncertainty, unfamiliarity and unexpectedness in the age of Risk Society and Post-modern society, where interactive complexity is increasingly growing. In this context, the study argues that Korean civil protection system should move towards the decentralized model, based on coordination and cooperation between responding organizations, loosening the command and control structure, as with the UK or the USA emergency management arrangements. For this argument, the study basically explores mechanisms of civil protection arrangements in Korea under current legislation, and then finally attempts to make theoretical suggestions for the future of the Korean civil protection system.

• Cross-Cultural Studies
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• v.25
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• pp.775-798
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• 2011

From Post-Modern Edo-language of Japan, it is possible to find expression formats related to current Tokyo language. However, in some cases, Tokyo language and Edo-language has the same format but different usage. One example is the ending portion of a sentence. This research investigates conclusive expressions of Edo-language in literary works excluding the usage of "ダ". Various formats of conclusive expressions appear in a conversation, and the usage is closely related to the speaker's sex, age, and social status. Also from the study, it was possible to see that the social relationship between a speaker and a listener and a conversation circumstance has an effect on the usage of conclusive expressions. In addition, usage does not conform to the current standard Japanese. 1. Currently "である(dearu)" format is seldom used in speaking, it is used with "だ" only in writing. The study found no case of "である(dearu)" in conclusive expressions but some use of "であろうて(dearoute) であらうな(dearouna)" "であったのう(deattanou) であったよ(deattayo)" only in old aged male. 2. "であります(dearimasu)" format is a typical Edo-language used by society-women (Japanese hostess who has a good education and an elegant speaking skills). This format was used once in "浮世風呂"(ukiyoburo) and 14 times in "梅?"(umegoyomi), but speakers were always a female. The reason for 14 occurrences in "梅?" is closely related to the fact that the main characters are society-women and genre is "人情本(ninjoubourn)" which is popular type of cultural literature (based on humanity and romance) in late Edo period. 3. "でござる" format is originally used as a respect-language but later changed to a polite language. The format is always used by male. It is a male language used by old aged people with a genteel manner such as a medical doctor, a retired man, or a funny-song writer. 4. "ございます(gozaimasu) ごぜへます(gozeemasu)" The study found the speaker's social status has a connection with the use of "ごぜへます(gozeemasu)" format. Which is "ございます(gozaimasu)" format but instead of [ai], long vowel [eː] is used. "ごぜへます(gozeemasu)" is more used by a female than a male and only used by young and mid-to-low class people. The format has a tough nuance and less elegant feel, therefore high class and/or educated ladies have a clear tendency to avoiding it

• Journal of Korean Philosophical Society
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• v.123
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• pp.87-110
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• 2012

The kitsch was emerged from the people's cultural desire in the conditions of the various duplicating technology, the capital economy system, and the civil revolution in the western modern mass society. But it is underestimated constantly because of the conspicious consumption and the aesthetic inadequacy. Even though some kitsches are elevated to the 'kitsch arts' in the historical description of the modern arts, still the most of kitsches are remained as 'just kitsches' and excluded from the aesthetic research according to the double standard. In this essay, I research for whether anti-kitsch theory is convincing theoretically and practically. Anti-kitsch theory criticizes the kitsch on the basis of the modernist aesthetics, in which the 'fine art' provokes the aesthetic pleasure in the disinterested contemplation. But kitsch purposes for the sensual gratification and the sentimentality. So the anti-kitish theorists conclude that the kitsch is the bad taste. In critically analyzing the argumentation of Greenberg's. Kaplan's and $C{\tilde{a}}linescu^{\prime}s$, I refute the privileged prejudice of the ideal critic. They don't justify the criteria of the classification of 'art'/ 'kitsch'. They supplement the economical and the political grounds for the evaluative theory of the kitsch. But the argumentation of the kitsch is consumed conspicuously and results in the unlettered masses is not sufficient. People produce and enjoy the kitsches in the various ways. People envelope the genres, styles and media of the kitsches and they try to suggest the new horizon of the popular aesthetics. So anti-kitsch theories cannot be accepted because they adhere to the elitism and formalism. The exclusion of the kitsch is the derogation for people's taste. Also they didn't reflect the contemporary cultural practice and the aesthetic needs in the system of post-art. The alternative aesthetics of the kitsch is the topic of my next essay.