• The Journal of Art Theory & Practice
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• no.13
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• pp.35-71
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• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• The Journal of Art Theory & Practice
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• no.7
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• The Korean Journal of Quaternary Research
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• v.23 no.2
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• pp.34-47
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• 2009

AMS radiocarbon dates indicated that Eurimji reservoir, located at Jecheon City, Chungbuk Province, has been formed during the late Holocene Epoch. The sedimentary sequence at bottom reveals histories in hydrology, climate conditions and past vegetation dynamics. Ages controlled sedimentological and palynological analyses on ER 3-1 Core contribute to reconstruct paleoclimate and past hydrological conditions. These analyses suggest that lower interval (307.5m~309.5m elevations) of the ER 3-1 Core was deposited in stable from 1,920 yrBP to 1,420 yrBP, but upper layer sediment above these elevations was composed of reworked sediments during the pre and post 2,000 yrBP. Pollen assemblage indicates that watershed vegetation of the Eurimji reservoir, during the period of 1,920 yrBP~1,420 yrBP, was closely comparable to modern vegetation dominated Pinus and Quercus mixed vegetation. Also, riparian including Alnus, Fraxinus and Salix were inhabited along the banks of stream, and aquatics such as Typha, Nymphaea and Persicaria flourished at shore of the reservoir. According to cultural chronicle, it infers that the Eurimji reservoir was formed from the Bronze Age to the Iron Age or the beginning of ancient society. An integrated data suggested that Quercus-Pinus-Abies mixed forest flourished under cool and dry climate conditions during 3,200 yrBP~200 yrBP.

• Physical Therapy Rehabilitation Science
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• v.6 no.2
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• pp.83-89
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• 2017

Objective: Computers and smartphones have become a necessity for modern people, and the use of these things in an inappropriate position has increased the number of people who complain about neck problems. The purpose of this study was to compare the changes of cervical angle, range of motion (ROM) and pain threshold according to the McKenzie stretching and dry cupping therapy. Design: Cross-over design. Methods: We included 12 male and 6 female college students in their twenties, and conducted a pre- and post-test to evaluate the changes of each variable after the application of the McKenzie stretching and dry cupping therapy. Results: Neither the cervical spine angle nor the turtle neck angle showed any change in both the McKenzie stretching and the dry cupping treatment. In the McKenzie stretching, the pain threshold decreased, and the ROM of the cervical spine increased in all directions but there was no significant difference. The pain threshold was increased in the dry cupping treatment, and the ROM of the cervical spine was significantly increased in all directions (p<0.05). Comparisons of the McKenzie stretching and cupping treatment showed that the cupping treatment produced significantly greater pain thresholds and improvements in ROM of the cervical spine than the McKenzie stretching technique (p<0.05). Conclusions: Cupping treatment is more effective in improving ROM of the cervical spine and pain thresholds than the McKenzie stretching technique. In the future, cupping treatment will be one of the treatment options for pain and ROM impairments of the cervical spine.

• Journal of Digital Convergence
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• v.14 no.9
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• pp.571-577
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• 2016

Recently problems and issues of career-interrupted women were emerging as major social agenda in modern general and female society. This study modified and restructured REBT career group counseling and intended to testify the effects of REBT career group counseling program on self-efficacy and career attitude maturity of career discontinued married women in thirties. The subjects were career-interrupted married women in thirties living in J city, who have elementary school students as their children and applied to our study with 3 groups. 45 subjects were randomly assigned to experimental group(REBT Group), control group1(education group for vocational counselor) and control group2(general parental education group) by the number of 15. To assess effects of 3 groups, pre-test and post-test were carried out. Results showed that the participants of REBT group showed more self-efficacy, social efficacy and total self-efficacy scores than them of 2 control groups. And they had tendency to have more sense of reality, preparedness and total career attitude maturity scores. It seems that REBT career counseling program changed their irrational beliefs into rational beliefs about course and career, increasing their self-efficacy and career attitude maturity. The meaning, limitation and future tasks were discussed.

• Journal of The Korean Association For Science Education
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• v.35 no.1
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• pp.143-157
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• 2015

The purpose of this study is to examine the possibility of science education using Korean TSK(Traditional scientific knowledge). In this study, we have developed five Korean TSK units including science concepts, historical knowledge and cultural experience and applied them to 10th graders. The five units are as follows: (1) Calendars(western and eastern), (2) Our traditional sundial, Angbuilgu, (3) A great scientist in the King Sejong Era, (4) Data interpretation of ancient record of natural phenomenon in Korea, and (5) Gyeongbokgung Palace. The analyses included a pre- and post test of students' perception, classroom observation, students' activity sheets, and interview. The results show that the students' perception of Korean TSK has changed toward recognizing the value of Korean TSK as a kind of natural science. They expressed their expectation of Korean TSK in scientific, practical, and emotional perspectives, wherein some students thought the practical and emotional perspectives of Korean TSK as non-scientific characteristics. Students showed five types of worldview about the relationship between Korean TSK and WMS(western modern science). Most students favored and cherished the Korean TSK but at the same time, they were confused about its scientific value. The results support the rethinking of the meaning of science and what students learn in school. We should consider how we teach the Korean TSK to students. It is important that a profound research of the Korean TSK should be continued to make our science education varied.

• International Journal of Railway
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• v.2 no.3
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• pp.124-126
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• 2009

Energy savings can be achieved with optimum energy consumptions, brake energy regeneration, efficient energy storage (onboard, line side), and primarily with light weight vehicles. Over the last few years, the rolling stock industry has experienced a marked increase in eco-awareness and needs for lower life cycle energy consumption costs. For rolling stock vehicle designers and engineers, weight has always been a critical design parameter. It is often specified directly or indirectly as contractual requirements. These requirements are usually expressed in terms of specified axle load limits, braking deceleration levels and/or demands for optimum energy consumptions. The contractual requirements for lower weights are becoming increasingly more stringent. Light weight vehicles with optimized strength to weight ratios are achievable through proven design processes. The primary driving processes consist of: $\bullet$ material selection to best contribute to the intended functionality and performance $\bullet$ design and design optimization to secure the intended functionality and performance $\bullet$ weight control processes to deliver the intended functionality and performance Aluminium has become the material of choice for modern light weight bodyshells. Steel sub-structures and in particular high strength steels are also used where high strength - high elongation characteristics out way the use of aluminium. With the improved characteristics and responses of composites against tire and smoke, small and large composite materials made components are also found in greater quantities in today's railway vehicles. Full scale hybrid composite rolling stock vehicles are being developed and tested. While an "overdesigned" bodyshell may be deemed as acceptable from a structural point of view, it can, in reality, be a weight saving missed opportunity. The conventional pass/fail structural criteria and existing passenger payload definitions promote conservative designs but they do not necessarily imply optimum lightweight designs. The weight to strength design optimization should be a fundamental design driving factor rather than a feeble post design activity. It should be more than a belated attempt to mitigate against contractual weight penalties. The weight control process must be rigorous, responsible, with achievable goals and above all must be integral to the design process. It should not be a mere tabulation of weights for the sole-purpose of predicting the axle loads and wheel balances compliance. The present paper explores and discusses the topics quoted above with a view to strengthen the recommendations and needs for the weight optimization by design approach as a pro-active design activity for the rolling stock industry at large.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.1-12
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• 2008

Since the late 20th century, post-modern society has needed new styles in environmental design. The land art begun during that time supplied the momentum for the birth of the hybrid environmental design. The new design approach, focusing on land form and landscaping begun with land-form architecture, raised a powerful current of hybridization in the environmental design genres. The new picturesque landscape design distinguished by manipulated land forms and sublimated aesthetics appeared under the influence of land art and land-form architecture. Similarly, landscape urbanism was formed by the fusion of landscape architecture and urbanism. Therefore, the representative hybrid styles in environmental design appear as new picturesque landscape design, land-form architecture and landscape urbanism. With the new, strong interest in land and landscape, this same new interest was given to 'time' on account of the dynamics and indeterminacy of urban society. This new interest in land and time gave rise to new hybrid methodologies for environmental design such as mapping, diagramming and folding. These three tools have been applied most comprehensively in landscape urbanism. The 'fold' is the most popular design tool for most of the hybrid genres. The 'diagram' is the second-most popular design tool mostly for landscape urbanism and land-form architecture. Mapping is being actively applied to landscape urbanism and passively applied in new picturesque landscape design. In general, landscape urbanism seems to be a timely and suitable alternative for contemporary urban society. It displays very high potentials in the regeneration of the locality through the comprehensive hybrid methodology. It is necessary to actively engage in and develop landscape urbanism fit the local needs.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.1 s.114
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• pp.92-106
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• 2006

The process of designing Cheonggyecheon Entrance Plaza began with researching four keywords: plaza, restoration. modernity and icon. The outcome of the research was reinterpreted into and informed the design. An urban plaza must not only be a stage for civic life but should also be a portrait of the city to which it belongs. Many Korean plazas, however, are treated as if they are parks. Yeouido Park, which was originally a vast urban void, and Seoul Plaza, recently paved with grass, are good example. The strong 'green myth' can hinder socio-political activities. Cheonggyecheon cannot be said to have been 'restored', since it is still disconnected from its origin and upper streams, and the water is circulated by electricity. So it is better understood as an artificial urban waterfront, rather than an ecologically restored stream. This fact might diminish its ecological value, but not its recreational one. The entrance plaza therefore should reflect that the new stream brings back an 'experience', not only water itself. At the same time, the catch phrase of this restoration project was 'post-modern'. The demolished Cheonggye Expressway represents the 'economy drive' of the 1970s, so the newly opened Cheonggyecheon serves as a perfect counterpart to it. But modernity in Korea is the spirit that made many of the good things, not only its shortcomings, we have now. And from the philosophy of this restoration project, we can see that it is still an ongoing attitude in a way. Remnant of Cheonggye Expressway can evoke our nostalgia for the era. There are plenty of symbols in Seoul, both as architecture and objects. But none of them provide citizens with experience, other than the experience of looking at them. Cheonggyecheon Entrance Plaza is a good place to serve as an icon for a dynamic Seoul. From the research, the designer concluded that this plaza should commemorate the incomparable horizontal experience of Cheonggyecheon and the old expressway, amid the vertical metropolis. The Pedestrian Sculpture, which people can stroll on and look out over Cheonggyecheon, is to be made of steel cladding with a core structure and represents the dynamism of the stream, Seoul and contemporary Korea. The choice of material and the steel structure are also ways of creating the icon. The Water Plaza, the space underneath the ramp, will accommodate people and their urban activities, providing an opportunity to play with water. The Waterblades will be a device for the dramatic beginning of the stream, simultaneously camouflaging ugly openings in the outlets. The Wall of Archaeology is to be made with pre-fab resin blocks, translucent enough so that people can see through any archaeological findings of the site. The strong water-resistant character of resin makes the wall steady throughout the flood season as well. Cheonggyecheon restoration project is an effort to combine contemporary urban demand with the once-existing physicality by evoking our nostalgia for it. The project itself shows many socio-political issues of present-day Korea. The entrance plaza design thus is focused on suggesting an icon for the metropolis, simultaneously celebrating the stream itself. Within this space, people will be exposed to a unique experience that any 'green myth' cannot offer.

• Journal of Navigation and Port Research
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• v.37 no.2
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• pp.165-171
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• 2013

YoungDo bridge is the first suspension bridge in Busan which experienced several times repair and reinforcement after completion in 1934. The bridge is under demolition for extension and restoration work since 2011. The purpose of this research is to establish data base about modern concrete. The mix design of the concrete is like that cement : fine aggregate : coarse aggregate = 1 : 2 : 4 or 1 : 3 : 6 by the parts. The compressive strength is in the ranges from 50 to 55 MPa and the elastic modulus is in the ranges from 25 to 35 GPa. From the fact that the deviation is less than 10 %, considerably high quality control was conducted in those days. The carbonation depth is 5.92 cm at the bridge post and 14.3 cm at the machine room. That is why ocean environment keeps the high humidity. The diffusion coefficient of chloride ion through the pores in concrete is 1.052e-12 $m^2/s$ from the regression analysis using the experiment data. The water cement ration is estimated at approximately 35 % in case if the concrete using ordinary Portland cement.