• Journal of the Korean association of regional geographers
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• v.22 no.1
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• pp.151-167
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• 2016

Conventional social science typically regards the idea of a 'mountain' as part of 'nature' and a physical environment existing separately from, or prior to, human society and culture. However, in Korea, which is 70% mountainous land, the 'mountain' is part of a unique 'social nature'. This research develops the idea that in this context the mountain is a social nature and a cultural landscape which are tied heavily to the idea of travel. The article interrogates why the scenic beauties of Mt. Kumgang have been perceived and conveyed through multiple generations since the Chosun Dynasty period. Focusing on Mt. Kumgang, this article illustrates how strongly people have held dreams of mountain travel, for the whole life-time. Travel writings(or accounts of trips to the mountain) and artwork have played a particularly important role in creating Mt. Kumgang's reputation as the most beautiful mountain in the country. At the same time, the access to the mountain was often a dangerous adventure, with many travelers facing hunger and extreme physical challenges. As portrayed in writings and artwork, the overall effect of these dynamics was the creation of a socionatural place of striking beauty that even seemed to have mystical or magical fantasy. According to Confucian ideals, full appreciation of nature and its beauty was key to understanding the logics of the universe and to achieving a high moral standard, which contributed to decide to leave for the mountain as well. The essays, poems, and paintings of Mt. Kumgang since the Chosun Dynasty period that portrayed the mountain's beauty collectively served to produce the mountain as a socionatural landscape engendered with potent place-myths, important historical meaning, and strong aesthetic associations. Thus, the travel to the mountain seemed never completed over until travelers had completed various artistic representations to record and to memorize what they'd done and seen in Mt. Kumgang, which had been performed for the strong purpose of social sharing of the real the mountain's beauties and itinerary.

• The Journal of Korean Institute of Electromagnetic Engineering and Science
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• v.13 no.7
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• pp.667-678
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• 2002

In this paper, a new radiating structure with a multi-layered two-dimensional metallic disk array was proposed for shaping the flat-topped element pattern. It is an infinite periodic planar array structure with metallic disks finitely stacked above the radiating circular waveguide apertures. The theoretical analysis was in detail performed using rigid full-wave analysis, and was based on modal representations for the fields in the partial regions of the array structure and for the currents on the metallic disks. The final system of linear algebraic equations was derived using the orthogonal property of vector wave functions, mode-matching method, boundary conditions and Galerkin's method, and also their unknown modal coefficients needed for calculation of the array characteristics were determined by Gauss elimination method. The application of the algorithm was demonstrated in an array design for shaping the flat-topped element patterns of $\pm$20$^{\circ}$ beam width in Ka-band. The optimal design parameters normalized by a wavelength for general applications are presented, which are obtained through optimization process on the basis of simulation and design experience. A Ka-band experimental breadboard with symmetric nineteen elements was fabricated to compare simulation results with experimental results. The metallic disks array structure stacked above the radiating circular waveguide apertures was realized using ion-beam deposition method on thin polymer films. It was shown that the calculated and measured element patterns of the breadboard were in very close agreement within the beam scanning range. The result analysis for side lobe and grating lobe was done, and also a blindness phenomenon was discussed, which may cause by multi-layered metallic disk structure at the broadside. Input VSWR of the breadboard was less than 1.14, and its gains measured at 29.0 GHz. 29.5 GHz and 30 GHz were 10.2 dB, 10.0 dB and 10.7 dB, respectively. The experimental and simulation results showed that the proposed multi-layered metallic disk array structure could shape the efficient flat-topped element pattern.

• Korean Business Review
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• v.17 no.2
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• pp.63-87
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• 2004

To create and maintain comparative supremacy as a strategic tool of business, many organizations have introduced informational technology and system. By using this system, Some companies got a beneficial value for achieving organizational goals but others could not obtain their effectiveness and efficiency. In particular, a lot of organizations that tried to make strategic supremacy with e-commercial trade are under hard condition because of poor profit. It implies that it is essential to identify and analyse the consumer who uses e-commercial trade. This paper, therefore, focusing on internet shopping malls between business and consumer as one of areas of e-commercial trades, shows the difference between consumer expectation and performance. The results of this study are as follows: First, as for the significant difference of influencing factors to consumer satisfactions according to the types of internet shopping malls, there is a meaningful difference in consumer anxiety and internet usefulness, but not in consumer service. Prior to verify the differences in detail on consumer's anxiety and internet usefulness, we examined that there is any difference between expectation and performance. T-test was used for the variants of consumer anxiety and internet usefulness, and its meaningful probability was 0.000, which means that both showed statistically significant difference. Based on the results, we also found that regardless of the types of internet shopping malls, consumer expectation was greater than performance. although the difference between expectation and performance was not equal according to the internet shopping malls. Second, a regression analysis was performed to understand the relation between consumer service, internet usefulness, consumer anxiety, and consumer satisfaction, it was found that consumer service, internet usefulness, consumer anxiety had significantly effected on consumer satisfaction. Third, To verify the relation between consumer satisfaction and repurchase-intentions, intentions to spread out, Pearson correlation analysis was used. it was found that consumer satisfaction had positive effect on both intentions. This study has some limitations because of the shorts of money and time. since the sample of this study was consumers who have ever bought one or more products via internet shopping mall, this sample was appropriate. but the major parts of sample were college students, and the sample size was so small. therefore this results should carefully be generalized. For further study, it is required to select more precise samples and to include more variables.

• Journal of Digital Convergence
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• v.9 no.3
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• pp.69-79
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• 2011

This study is the text discourse of agenda setting through media policy on the three communities. The materials of subjects are the 71 text discourses that appeared in the columns, the special manuscripts, and the comments on the contemporary topics in 33 media. The subjects focuses on the metaphor, metonymy, and binary transposition. This kind of connotation tends to be imploded into people through media, so that it produces hyperreality. This process produces the regulation and strengthens the reality through the circuit of culture. Thus this research tries to develop the theoretical foundation for analysing the text discourse produced by the media. Also it focuses on widening the research scope to study the effects that the circuit of culture provides on the politics, society, and economics. Therefore The first, the objective meanings(denotation)which the referents of the community as T'PALACE, I'PARK, and STARCITY are 'larger scale', 'high and skyscraper', 'the rich people and the plutocrats who have very high academic career' and ' the residence place for the famous stars and successful CEOs', etc. and the subjective meanings, connotations which the referents of the community are 'The first street' transposes '1%' 'their own space' into the characteristics of the wealth of Gangnam district or Korean wealth', the additional significations which the metaphors such as 'the noble community', 'the sample for the high -level residential space', and 'the greed of 1%'. Conclusion, The significations of the symbols became imploded into the population and circulated along with the cultural streams through the media. The referents are recreated and consumed among the other communities such as the named 'PALACE', 'I'PARK', 'STARCITY' in the other areas. This kind of ideology tends to create the myths such as 'the 1% rich people of Gangnam', 'the first street of Korean wealth', and create the regulation such as 'the compound taxes for the real-estates', 'the policy of reducing the taxes for the rich', 'the policy of reducing the taxes for the 1% of the rich'. Also these regulations make the politicians operate new policies and are being utilized as 'slogan' for the politicians.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.120-126
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• 2010

As the importance of an historical area is getting increased in these days, the reconstruction of an bell chamber in Namhansansung has significant historial, educational and cultural meaning. The purpose of this study, as a study on an bell chamber in Namhansansung, is to assume an original location of the bell chamber and identify the size and shape of the original bell chamber through literature study, site inspection, and analysis on old maps. In addition, this study could provide useful information when new bell chamber is constructed. According to the literature study, site inspections(5 times) and analysis on old maps, the original bell chamber is assumed to locate near current Oroji tea house at the rotary, where was in the area of Hanggung. With regard to the traffic system, it is assume that there was an old road along with the current local road No.342 connecting the South Gate with North Gate and a Y or T shape intersection connecting the site of old bell chamber with the north. In addition, there was a government office street from the old bell chamber to Hanggung. The shape of old bell chamber is assumed to have Paljak or Woojingak roof. Samo roof was not found in all the five maps. Regarding the direction of bell chamber, three maps indicate that it faces the East and two maps show that it faces the South. Therefore, it is assumed that the length and width of the roof have similar size. However, a new bell chamber should face the East, which is the same direction with Hanggung. As there is a record which states that a bell in the Cheonheoungsa, Seonggeosan, Cheonan was used as a Namhansansung's bell when the Cheonheoungsa was closed, this study suggests that new Namansansung's bell should be built, considering histroical value and artistry of Cheonheoungsa's bell. This study is a basic research for the reconstruction of Namhansansung in 2009. However, as reconstruction of historical assets should be based on thorough historical evidences. Therefore, more detail researches by a indicator analysis are left for the topic of future studies.

• Journal of Intelligence and Information Systems
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• v.21 no.1
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• pp.99-118
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• 2015

Object-oriented programming languages have been widely selected for developing modern information systems. The use of concepts relating to object-oriented (OO, in short) programming has reduced efforts of reusing pre-existing codes, and the OO concepts have been proved to be a useful in interpreting system requirements. In line with this, we have witnessed that a modern conceptual modeling approach supports features of object-oriented programming. Unified Modeling Language or UML becomes one of de-facto standards for information system designers since the language provides a set of visual diagrams, comprehensive frameworks and flexible expressions. In a modeling process, UML users need to consider relationships between classes. Based on an explicit and clear representation of classes, the conceptual model from UML garners necessarily attributes and methods for guiding software engineers. Especially, identifying an association between a class of part and a class of whole is included in the standard grammar of UML. The representation of part-whole relationship is natural in a real world domain since many physical objects are perceived as part-whole relationship. In addition, even abstract concepts such as roles are easily identified by part-whole perception. It seems that a representation of part-whole in UML is reasonable and useful. However, it should be admitted that the use of UML is limited due to the lack of practical guidelines on how to identify a part-whole relationship and how to classify it into an aggregate- or a composite-association. Research efforts on developing the procedure knowledge is meaningful and timely in that misleading perception to part-whole relationship is hard to be filtered out in an initial conceptual modeling thus resulting in deterioration of system usability. The current method on identifying and classifying part-whole relationships is mainly counting on linguistic expression. This simple approach is rooted in the idea that a phrase of representing has-a constructs a par-whole perception between objects. If the relationship is strong, the association is classified as a composite association of part-whole relationship. In other cases, the relationship is an aggregate association. Admittedly, linguistic expressions contain clues for part-whole relationships; therefore, the approach is reasonable and cost-effective in general. Nevertheless, it does not cover concerns on accuracy and theoretical legitimacy. Research efforts on developing guidelines for part-whole identification and classification has not been accumulated sufficient achievements to solve this issue. The purpose of this study is to provide step-by-step guidelines for identifying and classifying part-whole relationships in the context of UML use. Based on the theoretical work on Meta-model Formalization, self-check forms that help conceptual modelers work on part-whole classes are developed. To evaluate the performance of suggested idea, an experiment approach was adopted. The findings show that UML users obtain better results with the guidelines based on Meta-model Formalization compared to a natural language classification scheme conventionally recommended by UML theorists. This study contributed to the stream of research effort about part-whole relationships by extending applicability of Meta-model Formalization. Compared to traditional approaches that target to establish criterion for evaluating a result of conceptual modeling, this study expands the scope to a process of modeling. Traditional theories on evaluation of part-whole relationship in the context of conceptual modeling aim to rule out incomplete or wrong representations. It is posed that qualification is still important; but, the lack of consideration on providing a practical alternative may reduce appropriateness of posterior inspection for modelers who want to reduce errors or misperceptions about part-whole identification and classification. The findings of this study can be further developed by introducing more comprehensive variables and real-world settings. In addition, it is highly recommended to replicate and extend the suggested idea of utilizing Meta-model formalization by creating different alternative forms of guidelines including plugins for integrated development environments.

• Journal of Broadcast Engineering
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• v.24 no.5
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• pp.836-848
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• 2019

This paper aims at providing a critical view over the cybernetics theory especially of first generation on which the artificial intelligence heavily depends nowadays. There has been a commonly accepted thought that the conception of artificial intelligence could not has been possible without being influenced by N. Wiener's cybernetic feedback based information system. Despite the founder of contemporary cybernetics' ethical concerns in order to avoid an increasing entropy phenomena(social violence, economic misery, wars) produced through a negative dynamics of the western modernity regarded as the most advanced form of humanism. In this civilizationally changing atmosphere, the newly born cybernetic technology was thus firmly believed as an antidote to these vices deeply rooted in humanism itself. But cybernetics has been turned out to be a self-organizing, self-controlling mechanical system that entails the possibility of telegraphing human brain (which are transformed into patterns) through the uploading of human brain neurons digitalized by the artificial intelligence embedded into computing technology. On this background emerges posthuman (or posthumanism) movement of which concepts have been theorized mainly by its ardent apostles like N. K. Hayles, Neil Bedington, Laurent Alexandre, Donna J. Haraway. The converging of NBIC Technologies leading to the opening of a much more digitalizing society has served as a catalyst to promote the posthuman representations and different narratives especially in the contemporary visual arts as well as in the study of humanities including philosophy and fictional literature. Once Bruno Latour wrote "Modernity is often defined in terms of humanism, either as a way of saluting the birth of 'man' or as a way of announcing his death. But this habit is itself modern, because it remains asymmetrical. It overlooks the simultaneous birth of 'nonhumaniy' - things, or objects, or beasts, - and the equally strange beginning of a crossed-out God, relegated to the sidelines."4) These highly suggestive ideas enable us to better understand what kind of human beings would emerge following the dazzlingly accelerating advancement of artificial intelligence technology. We wonder whether or not this newly born humankind would become essentially Homo Artificialis as a neuronal man stripping off his biological apparatus. However due to this unprecedented situation humans should deal with enormous challenges involving ethical, metaphysical, existential implications on their life.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.101-110
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• 2020

This study was conducted through the analysis of literature and on-site research as a case study of 14 artists' gardens with traditional themes presented at the garden fair. With Focusing on the design process for determining traditional reproduction, the following characteristics and implications were derived by analyzing the design goals, selection of subjects for traditional reenactment, determination of methods for reproduction, and design stages of landscape components. First, the pattern of selecting traditional structures as subjects for reproduction in many artist gardens can be understood as an advantage of being suitable for narrow sites and having remarkable topic communicability. They directly delivered the design intent by adding the names of traditional structures such as Madang, Wool, Buttumak, Jangdokdae, Chuibyeong and Seokgasan. Works expressed indirectly, such as Wall, Korean Garden, Suwon, and Seoul craftsmen, have relatively weak topic communicability. There were also symbolic representations of objects to be reproduced, such as Seonbi, marginal spaces, and Pung-lyu. Second, while reproducing Hanok Madang, separate the gardens paved with grass and stone, the fortress wall of Suwon Hwaseong and the northwest Gongsimdon of the watchtower. Also the garden with a miniature version of the extraneous Yong-yeon and the garden, which was reproduced as a low decorative wall in the rest area based on Nakan-Eupseong Fortress, shows the need for a deep understanding of tradition. On the other hand, the reproducting works of choosing the location of the traditional garden, the Korean Garden showed the importance of systematic arrangement with the surrounding environment, the beauty of the space in the courtyard of Hanok, the beauty of the slowness enjoyed by the scholars and the reenactments of the Pung-lyu culture of Moonlight boating are not only imitating traditional structures but also spreading understanding of tradition to garden culture and sentiment. Third, there were many works that reconstructed the real-size traditional structure in a straightforward way in relation to design. The garden was divided into Chuibyeong and the living space was decorated with Buttumak, chimneys, and gardens, and facilities representing Gyeongbokgung Palace, Soswaewon, and Seoseokji were systemically arranged. However it recognized the importance of selecting the key design elements, constructing the elevation of the structure, and the sense of scale of the space from works that reproduced the large Suwon Hwaseong and Nakan-Eupseong in an abstract way. While there are examples gardens of Hanok yards and Bazawul, which are far from the original image among the gardens that chose the dismantling method, the Blank-space garden expressed only by a frame composed of cubes, and Seonbi's Sarangbang garden, that permeated the moonlight with many traditional structures are the positive examples. The Seoul Artisan Garden, Jikji Simche Garden and Pung-lyu Garden, which display modernly designed landscape components, need an explanation to understand the author's intention.