• 화약ㆍ발파
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• 제22권3호
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• pp.85-95
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• 2004

국가의 발파진동과 소음에 대한 규제 기준은 공학적인 기술검증 절차에 의해 설정되어져야 한다. 발파진동에 의한 공해는 인체에 미치는 영향과 구조물이나 시설물에 미치는 영향이 전혀 다르게 나타나므로 각각의 특성에 맞는 기술적인 검증을 거쳐 규제기준이 설정되어져야한다. 현재 국가에서 규정하고 있는 발파진동에 대한 규제 기준은 환경부의 소음 진동 규제법과 건설교통부의 터널시방서의 발파진동허용기준이 전부이다. 환경부의 발파진동 규제기준은 사람의 주거환경을 대상으로 설정하였으므로 인체에 대한 발파진동의 반응현상을 근거한 선진국의 연구자료와 법규정 등을 인용하여 부분적으로는 문제점이 있으나 비교적 타당성이 있는 기준이 설정되었다고 사료된다. 그러나 건설교통부에서 발파진동 규제 기준으로 제시한 터널시방서의 발파진동허용기준은 발파공학적인 기술특성을 알지 못한 상태에서 부실하게 규제 기준을 만들어 정상적인 발파 공사를 방해할 뿐만 아니라 선진국과 국내에서 지극히 정상적으로 발파 공사를 수행하고 있는 공법까지도 발파진동허용기준에 저촉되어 공법을 폐기해야하는 문제점이 발생되었다. 본고는 건설교통부의 발파진동허용기준에 대한 문제점을 지적하고 합리적인 발파진동허용기준에 대한 방안을 제시하고자 한다.

• 한국실내디자인학회논문집
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• 제13권4호
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• pp.92-101
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• 2004

A rational and logical sense of design often found in modernism(including minimalism) sometime deal with the criticism that such characteristics which derived from those of modernism, lack emotion31 qualities(arises from human feelings). It consequently took them to adopt traditional designs in the past, creating such conditions that constantly escapes from‘present’ one and back to the‘new’. This mode develops a trend in current interior design which decorative elements such as art work: traditional arts, folk crafts, flowers and green are much evident. Thus, using many decorative elements of the past(what was once banned since modernism), brings up the interesting point of view that needs to be discussed a new decorative trend if today's interior design. It will approach by comparing significances of past decorative expressions with present through which investigation, will show a better understanding of recent characteristics in interior designing, a.k.a, a current trend since minimalism, embracing important qualities of culture, ecology and people - against today's less-inspired, standardizing spaces.

• 한국실내디자인학회논문집
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• 제23권3호
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• pp.100-107
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• 2014

Traditional architectural space, which is a historical cultural heritage must be connected mutually as a organic flow of various elements such as the environment of the time, political background and values, rather than approaching with fragmentary point of view. The Silhak Philosophy, the basis of late Chosun society developed equity thoughts on the basis of ideology of humanism, and it asserted the promotion of technology and industry as a measure to realize the pursuit of truth which is practically useful. Thus, we could verify the possibility of convergent interpretation of cultural technology of Hwaseong architectural space through the humanistic viewpoint of pioneer spirit of Silhak Philosophy which regards human as a main agent of desire of life, and the pursuit of truth which is useful for reality, and the realization of ethical value by aesthetic practicalism. Based on this, the ontological meaning and value of Suwon Hwaseong by the viewpoint of convergence of culture and technology have been drawn as the construction of planned new town by the practice of filial duty, the plan of city space based on rational values, the realization of a metropolis where self-sufficient economic activities are possible, the introduction of thorough construction management system, the introduction of advanced culture and its creative application, and the application of scientifical knowledges and cutting-edge technology.

• 대한안전경영과학회지
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• 제16권3호
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• pp.23-34
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• 2014

With a view to analyzing the influential factors and their prioritization in association with the loss from construction disasters, this study has presented relative weighted value and importance for each category of loss by making a systematic classification of costs for non-insured categories (indirect costs) and conducting AHP analysis based on results of a survey of specialists. Through the study, first, I have divided the larger classification of loss factors into human loss factor, financial loss factor, special cost factor, and managerial loss factor, and, second, have presented prioritization of loss categories by allotting scores based on weighted values after calculating weighted value through pairwise comparison of loss levels. Based on these results of the study, we should be able to qualitatively calculate the loss costs that construction disasters inflict on business, promote rational decision-making and efficiency in spending related to a disaster, and compare it against safety investment designed to reduce disaster loss from the perspective of business strategy.

• 디자인학연구
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• 제20권2호
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• pp.17-28
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• 2007

Despite a current fascination with East Asian iconography such as Zen Style among contemporary designers, there is a lack of genuine cross-cultural discourse that could enable us to share essential design experiences. To bring the discussion a deeper level, traditional Japanese tea-house in its design philosophy of body-mind interplay is explored. Tea-house is a superb manifestation to reveal a holistic understanding of the world. Nondualistic realization is generally associated with the dominant tendency of traditional East Asian philosophy, namely the view that the self and environment, and that the mind and the body exist in unity. The essence of tea-house is not in its poetic style or meticulous details, but in its unmistakably monistic approach of creating inseparable form, function and meaning. Tea-house bestows dignity upon restraint, imperfection, discomfort, poverty, and even humility. This concept offers a tremendous insight since it implies that the rational and effective design solution to the greatest degree is not sufficient. Perhaps the most challenging question about tea-house is: How does our experience with human-made 'design' in the broadest sense help both our body and mind attain a full harmony of being? It is the heading which this research inquires.

• 비교문화연구
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• 제34권
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• pp.93-114
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• 2014

Gaston Bachelard had a revolutionary progress in the field of human understanding by proposing his theory of image and imagination. His theory of the new image was so powerful, almost all areas of human science, particularly that of literary criticism, were strongly influenced and this influence continues until today. Today almost everyone accepts his theory of the image without much objection, but not rarely asked where began his transfer from the philosophy of science to the images. We propose a hypothesis that the beginning of the new concept of Bachelard's image was inspired by studies of contemporary science, especially quantum mechanics. The Heisenberg's uncertainty principle was the core of quantum mechanics, and opens new perspectives on the material world. We could summarize the message of the uncertainty principle : the material world is made up of various layers, and the material can not be measured by the location and movement at the same time. So we must have a new point of view of another dimension to know this material world. Bachelard had accepted this view of Heisenberg and developed his own theory of epistemological rupture. What is revolutionary in the theory of Bachelard's image is the fact that he looked at the images with the new perspective. The human psyche is another world compared to the rational world that dominates our daily lives. Bachelard insists that the image can not be explained by the concept. The fantasy world is a totally different world to that of rationality. That is why it can not be explained by the language of rationality as the concept. The imaginary world exists independently of the real world, but it is superimposed on the real world. These two worlds are influencing each other, and it is between these two world where our daily lives continues. The declaration of Bachelard 'image is a specific reality' is never a metaphor or rhetorical expression. This is an ontological expression that must truthfully. The imaginary world is a world built on the image and it works according to its own law. It is not a representation or copy of the real world. But the world of imagination are not alone. It exists in the same time and space with the world of science. It is superimposed with the world of science. Both two world influence each other. Bachelard has made a revolutionary change by studying the images. He gave them their own place. It has changed the views on the images that were treated as mere representations of reality. Thanks to him, the image can have its own value, that of a factor that creates reality. Bachelard shows how we can go deep into the source of being and the universe if we look at the pictures with the eyes of other dimensions.

• 유통과학연구
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• 제14권11호
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• pp.75-82
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• 2016

Purpose - In order for actively pursuing medium and long term policies of Gangwon region to be effectively and efficiently driven, efficacious and practical development strategies are needed. In terms of regional revitalization in most regions that are dependent on the primary industry like Gangwon-do Province, the maintaining of local community becomes difficult and there are limitations on the support from the central government and local governments. Therefore, local communities need to implement measures not only to be financially independent but also maintain and activate themselves. And community business can be adopted to be a proper strategy to cope with this change. This study drew importance of a community business model appropriate for Gangwon-do region to figure out success factors. Research design, data, and methodology - This study aimed to come up with importance of community business model for Gangwon-do region by using AHP Method. AHP Method, which was developed by Professor Saaty in 1970', is a methodology to simplify complex problems for a rational decision making. A survey targeting related public officials and expert group was carried out and a total of 30 questionnaires were collected for the analysis. Results - Analysis model used in this study was to prioritize community business models of Gangwon-do region. The second hierarchy was divided according to local restoration type, local resource utilization type, environment improvement type, and life support type. The third hierarchy consisted of 5 items such as network, the middle structure, program, government support, and human resources to measure each importance. As a result, in the second hierarchy, local resource utilization type had the highest importance. In the third hierarchy, the middle structure had the highest importance, followed by government support, program, network, and human resources. Collectively, the results suggested that important critical factors of community business model of Gangwon-do region was the importance of local resource utilization model and the middle structure. Conclusions - Not only should projects that are already operating in the region but next community business projects that are planning in the Gangwon-do region should be practically operated in view of the importance and the models derived from this study.

• 한국과학교육학회지
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• 제36권3호
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• pp.485-498
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• 2016

본 연구에서는 동아시아 지역과 서양의 자연의 의미와 자연에 대한 관점을 문헌분석을 통하여 비교하였다. 서양에서는 자연과 인간이 분리되어 있는 것으로 인식한다. 자연을 규칙적이고 합리적인 것으로 바라보며, 입자론, 기계론적 관점을 취한다. 반면, 동아시아에서는 자연과 인간이 상호작용하며 타협적 관용성을 지니고 있는 것으로 생각한다. 자연을 계속 변화하는 존재로 인식하기 때문에 파동론적 입장을 취한다. 서양 자연관의 특징은 자연을 규칙성을 지닌 존재로 보고, 인간 중심의 입장에서 자연을 바라본다는 것이다. 그리고 사물의 구성 요소가 되는 원자나 입자들 사이의 관계를 규명하고 인과율적인 법칙을 찾아 자연의 규칙을 밝혀내어 자연을 설명하고자 한다. 동아시아 자연관의 첫 번째 특징은 논리적이고 비타협적인 서양의 자연관과 달리, 서정적인 자연관을 갖고 있다는 점이다. 천지와 만물, 인간이 서로 조화롭게 연관되어 서로 영향을 주고받는 다는 유기체적 자연관은 동아시아 철학의 기본이 되는 음양이원론과 오행설의 바탕이 된다. 그리고 또 하나의 특징은 직관적 자연중심 사상이다. 동아시아는 천(天) 중심사상을 갖고 있다. 하늘 아래에서 인간은 차별이 없다. 서양의 과학정신이 매우 엄밀하고 비타협적인데 비하여 동아시아 지역은 관용적이어서, 모든 것을 등가치적으로 다루는 타협적인 관용성이 사고의 패턴을 이루는 경우가 많다. 그런데 과학 지식과 개념은 개인의 자연관에 따라 다르게 받아들여진다. 한국의 학교 과학교육에서는 현대 서양과학의 자연관을 따르고 있으며, 자연관에 대한 인지유형에 대한 고려를 충분히 하지 못한 채 과학 교육이 이루어지고 있다. 따라서, 동 서양의 자연과 자연관에 대한 다양한 관점을 학교 과학교육에 접목하여 학생들이 갖는 다양한 문화와 과학에 대한 생각을 함께 나눌 수 있도록 해 주어야 한다.

• 비교문화연구
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• 제29권
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• pp.113-131
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• 2012

In our days, we live in the world of image and imagination. Now we think that the images and imaginations are no more selective but indispensable elements in our life. The status of imagination is dramatically changed since 20 century. Many philosophers like G. Bachelard, G. Durand, Paul Ricoeur, H. Corbin, G. Deleuze made great contributions and we think that the studies of imagination began since 20 century. But the change of the status of imagination was not made in one day. In the long history of human life, the imagination kept his own value, and never stopped to give his influence to the human mentalities. The concept of imagination was born from the Plato's notion of phantasia. Plato thinks that the phantasia is a kind of drawing capacity in mind in the process of recognition. But the image which phantasia makes is not real one but pseudo one. So it is necessary to banish those false images from our recognition. Aristotle thought phantasia as an afterimage of object of sense. The sense is always true, but the phantasia is very possible to be an error. After Plato and Aristotle, the notion of phantasia developed into that of imagination, but it was always a problem full of contradictions. According to G. Durand, we can say, in some sense, the history of western philosophy is a kind of struggle against the image and imagination. In Middle Age, the iconoclasm tried to exclude image from their religion. Thomas Aquinas tried to explain the image by the rationalistic christianisme. In 16-17C Galilei and Descartes solidified the exclusion of imagination from the philosophy in the name of science and reason. The empiricism and positivism was the final and the most conclusive philosophies which exclude the imagination definitively from the field of philosophy. But the imagination continued his influence in the field of art. In the age of Renaissance, the imagination found his way of liberal expression, and this trend was inherited to Baroque. From the middle of 17c many philosophical theories supported the imagination by many philosophers like J.-B. Dubos, Baumgarten, A. Becq, J.-J. Rousseau etc. The Romanticism was the first significant wave which made the imagination come forward in front the art. The romanticism broke the narrow frame of rationalism and expand human's view of the world to the cosmos. From the romanticism, the imagination became a faculty which expresses the unity of human and nature. That was impossible by the rational thinking of rationalism. The concept of new imagination made a new future of human, 'the imagining conscious' and this imagining conscious provided a solid base of next generation's symbolism and surrealism.

• 인문언어
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• 제8집
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• pp.151-173
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• 2006

Even in this current high-tech industrial age, mythological imagination is considered important. Although each mythology scattered all across the world may have an insignificant origin, to understand that particular society fully, one must not mistakenly assume that the mythology itself is a production of a primitive mind. Ultramodern physics and futurology professor Freeman Dyson has also acknowledged this opinion. He insists that in order for human kind to survive into the far future it most keep in touch with its far past. Levi-Strauss also observes that mythology and science aren't a entirely separate domains. The scientific mind is regarded as a source of understanding the intrinsic qualities of mythology. Taking mythology and science as a binomial opposition, and only weighing their prospects, should be put to the past as we should recognize the need for mythology and science's qualitative unification. In this new point of view, regarding mythology as a meaningless irrationality should cease, while finding out why the inevitably related world of mythology needs metaphoric, ideological consideration. By utilizing 'Whale Rider' by Witi Ihimaera(2004) we will discover why our lives require an 'image' that is borrowed from our experience. The author, Witi Ihimaera, is originally from the Maori tribe, who approaches the world with a mythological imagination, which is not easy to understand with scientific thinking nor in modern civilization. When looking into the mythology of the ocean which still lives in modern civilization, while noting that the world is one, the author indicates that reality and unreality, nature and the super-natural, present and the past, science and fantasy, were not divided from the beginning. However, overtime humans have divided the borders. To do this, the author interprets the ancient emotions of the Maori tribe which have been traditionally accumulated in the group identity in a new literary way by introducing the Maori tribe's ancestral god, Paikia, who can converse with the ocean and the whales. This piece, which has been made into a movie and won awards in 5 international film festivals, including the Toronto International Film Festival, regards primitive emotions as a rational concept instead of an instrumental concept. Also these primative emotions are continuing their attempts to communicate with nature. Furthermore, it advises contemporary human beings who seek for eternal life to not exploit the cultural differences that have been formed naturally, and it is vital for human beings to transcend the ethnic boundaries and to think rationally. In the story, we can find "the dissimilar us" that philosopher E. Levinas mentioned in his sayings, which refers to responsible human beings who devote their lives for the sake of other people instead of fulfilling their own needs.