• Cross-Cultural Studies
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• v.41
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• pp.351-379
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• 2015

In the Andes regions of Latin America continents, groups of diverse native tribes are intensively distributed.Among these tribes, the Aymara compose the most representative group of natives along with the Quechua. Especially, the Aymara who are concentrated on the border areas of Peru and Bolivia centered on Lake Titicaca have pursued common identity forming the same cultural area although they belong to different nations. In the meantime, the Aymara have maintained a sense of fellowship while emphasizing historicity and specialty, which are differentiated with groups of other natives based on a language constituting identity of the tribe. However, recently, focused on Puno State as the center of the border areas of both countries, the tribe's conflicts come to the surface. After being divided by the artificial boundary line, which was formed in the course of building modern countries after the independence, natives of Latin America started to emphasize differences simultaneously with cultural similarity in the frame of cooperation and competition. Together with the historical contexts, lately, focused on the border areas of Peru and Bolivia, as the same tribe came to be bound by the frameworks of different nations respectively, a new tribal conflict is being developed. Though the Aymara unite emphasizing cultural and historical specialty and recognizing them as one tribe, when they conflict with each other over inner interest, a tendency to form the identity of differentiation and distinction appeared even in the inside of the tribe. Usually, disorder between tribes seems to be originated from intertribal strife, which coexists in one region. In case of the Aymara of Peru and Bolivia, centered on Puno State where both countries maintain the border, an aspect that the fellowship of the tribe, which was established through old history changes into conflict structures by realistic conditions comes out. In understanding this point, this study analyzed the historical origin of the conflict of the Aymara and the deepened cause of the tribal disorder.

• Journal of Korea Water Resources Association
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• v.56 no.6
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• pp.403-417
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• 2023

In this research, a methodology was developed for constructing an appropriate rainfall image database for estimating rainfall intensity based on CCTV video. The database was constructed in the Large-Scale Climate Environment Chamber of the Korea Conformity Laboratories, which can control variables with high irregularity and variability in real environments. 1,728 scenarios were designed under five different experimental conditions. 36 scenarios and a total of 97,200 frames were selected. Rain streaks were extracted using the k-nearest neighbor algorithm by calculating the difference between each image and the background. To prevent overfitting, data with pixel values greater than set threshold, compared to the average pixel value for each image, were selected. The area with maximum pixel variability was determined by shifting with every 10 pixels and set as a representative area (180×180) for the original image. After re-transforming to 120×120 size as an input data for convolutional neural networks model, image augmentation was progressed under unified shooting conditions. 92% of the data showed within the 10% absolute range of PBIAS. It is clear that the final results in this study have the potential to enhance the accuracy and efficacy of existing real-world CCTV systems with transfer learning.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.100-121
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• 2023

This paper examines the interior settings of a chamber and of a temporary place of enshrinement at Yeonghuijeon (永禧殿, Hall of Eternal Happiness), the representative official portrait hall in which portraits of early and late Joseon kings were enshrined. Also, it discusses the features of the Five Peak screens used therein. The physical environment of a chamber at Yeonghuijeon mainly consisted of a four-panel folding screen with a painting of Five Peaks and a large wooden platform, which was adorned with dragon and lion patterns and attached to lotus-leaf column balustrades. The Five Peak screen was installed on a large platform in the shape of ⊓, spreading across the second and third panels on the back and folding out on the first and fourth panels on the right and left sides. When a portrait was enshrined in a temporary place, a simpler and smaller platform with railings was used. A four-panel folding screen of the Five Peak painting was installed in the same way as in a chamber, but was unfolded around a smaller platform behind it. A royal portrait was displayed in each chamber, whereas a case in which a portrait was rolled up was put on the smaller platform in a temporary place. The Five Peak screens for a chamber and a temporary place were all large four-panel folding screens with two wide panels in the middle and two narrow panels on each side, and only strips of silk were mounted on the four edges of the screens without additional wide lower-side mountings. While screens for the chamber used patterned silk for mounting and white paper for backing on screen frames, screens for the temporary place used plain silk and recycled failed test papers for mounting and backing, respectively. By examining records in the literature on the Five Peak screens for Yeonghuijeon, this paper highlights two Five Peak screens, both of which lost their provenance from the hall. The structures of the two screens reflected the way they were to be installed at the hall. Furthermore, this paper assumes that a Five Peak screen, which had been unfolded on the throne in the main hall of Changdeokgung Palace after the 1960s, was produced in 1858 for the purpose of temporarily enshrining King Sunjo's portrait due to the fact that failed test papers of the 1840s were laid taut over the frame.