• Steel and Composite Structures
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• v.39 no.1
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• pp.65-80
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• 2021

Irregularities of a building in plan and elevation, which results in the change in stiffness on different floors highly affect the seismic performance and resistance of a structure. This study motivated to investigate the seismic responses of high-rise steel-frame buildings of twelve stories with various stiffness irregularities. The building has five spans of 3200 mm distance in both X- and Z-directions in the plan. The design package SAP2000 was adopted for the design of beams and columns and resulted in the profile IPE500 for the beams of all floors and box sections for columns. The column cross-section dimensions vary concerning the number of the story; one to three: 0.50×0.50×0.05m, four to seven: 0.45×0.45×0.05 m, and eight to twelve: 0.40×0.40×0.05 m. Real recorded ground accelerations obtained from the Vrancea earthquake in Romania together with dead and live loads corresponding to each story were considered for the applied load. The model was validated by comparing the results of the current method and literature considering a three-bay steel moment-resisting frame of eight-story height subject to seismic load. To investigate the seismic performance of the buildings, the time-history analysis was performed using ABAQUS. Deformed shapes corresponding to negative and positive peaks were provided followed by the story drifts and fragility curves which were used to examine the probability of collapse of the building. From the results, it was concluded that regular buildings provided a seismic performance much better than irregular buildings. Furthermore, it was observed that building with torsional irregularity was more vulnerable to seismic failure.

• Journal of Digital Convergence
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• v.10 no.10
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• pp.517-522
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• 2012

The work to be analyzed in this study is an animation showed in 2006, which was made by Director Satoshi Kon on the basis of a Japanese SF novel written by Yasutaka Tsutsui. The key point is to create a new meaning through showing imaginative power of audiences from the world flying across the borderland between reality and fiction. It regarded suitable for analysis of the borderland appearing in the unconscious world of dream and reality through "abjection". Therefore, this study intends to analogize the conclusion through analysis of the animation focusing on the theory of Julia Kristeva. Abject appears as the phenomenon which cannot be disappeared and the one threatening to disunite which the subject had already organized in the symbolic. The self-feeling of characters is not stable and it keeps watch constantly on the one which may neutralize his caution. They are looking for the power to strengthen the life granting to the subjecthood by chora as the resisting power against the symbolic order. That is, the dreaming space where revengeful power of primitive libido is working and shows mother as Paprika as well as enters through DC mini, works as the semiotic chora as "maternal body". The healing of mental lack in the symbolic caused from here is connected on the borderland to divide between meaning and meaningless as well as normality and abnormality in the semiotic and this is the maternal power of the semiotic. Therefore, "abjection", "abject" and "chora" as well as care and healing of the other self appearing in the subjectivization process in the can be regarded as the one caused from the love towards the subject to be analyzed.

• Journal of Korean Society of Steel Construction
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• v.19 no.1
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• pp.15-27
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• 2007

Over the past decade, labor costs have increased relative to the cost of material hardware according to analysts in the construction industry. Therefore, the minimum weight design, which has been widely adopted in the literature for the optimal design of steel structures, is no longer the most economical construction approach. Presently, although connection- related costs is crucial in determining the most cost-effective steel structures, most studies on this subject focused on minimum-weight design or engaged in higher analysis. Therefore, in this study, we proposed a fabrication scheme for the most cost-effective moment-resisting steel frame structures that resist lateral loads without compromising overall stability. The proposed approach considers the cost of steel products, fabrication, and connections within the design process. The optimal design considered construction realities, with the optimal trade-off between the number of moment connections and total cost was achieved by reducing the number of moment connections and rearranging them using the combination of analysis that includes shear, displacement and interaction value based on the LRFD code and optimization scheme based on genetic algorithms. In this study, we have shown the applicability and efficiency in the examples that considered actual loading conditions.

• The Korean Journal of Archival Studies
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• no.45
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• pp.121-153
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• 2015

Struggles to gain acknowledgement of identity have a characteristic of movement to recover human dignity. Participants in this movement come to confirm themselves as the subject of rights and communicate one another, free from oppression. Being guaranteed the opportunity to participate in the public opinion formation process is an indispensable element of human rights. In 1980, though it was short and incomplete, Gwangju experienced communal autonomy under the condition that state power was temporarily stopped. The contents and memories of the Gwangju Democratization Movement that intended to protect autonomy of civil society, resisting pillage of state power, remain intact in the 1980 Archives for the May 18th. The 5.18 archives were registered in UNESCO's Memory of the World in 2011, with its value of human rights and protection of democracy being acknowledged. The 5.18 archives have memories of resistance and struggles for justice, and sacrifices and pains of citizens under oppressive political authority in Gwangju, 1980. Thus, these archives are related to the historical struggles for democracy, and suggest a lesson on the transition process towards democracy to us. Preservation and utilization of the documentary heritage constantly lead the memories of historical events to the present, and enable exchanges of experiences and ideas between the present and the future. This study, through the process of UNESCO's Memory of the World registration and post-registration process, beyond the value of archives, tries to examine how historical events are led to the present, through the archives and to discuss the other values of archives.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.325-330
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• 2021

This study set out to investigate the forms, attributes, and escape methods of post-subjects projected on the investigator's works in connection with rhizomatic thinking proposed as a way of social transformation by Deleuze and Guattari and examine their social connotations. Post-subjects projected on the investigator's works are not completed wholes of some sort, but like materials whose constant premise is change and creation. In the investigator's works, post-subjects have conscious and unconscious desire. It is the desire of creation with positive attributes including Deleuze's and Guattari's pursuit of changes in a contradicting society. When desire is deployed in post-subjects, they will carry out an escape. This way of escape is rhizomatic proposed by Deleuze and Guattari. It deconstructs contradicting things and repeats connection, contact, and severance with the outside world, building a new order. Rhizomatic post-subjects appearing in the investigator's works depict the escape process and method in abstract ways through the variable installation of objets combined with a color field of repeating brushes. In this work, the goal of post-subjects is to make a safe landing in a space where beings are recognized for their values and free and creative lives. These post-subjects are nomads creating a new landscape continuously, wandering around vast plains, and also artists and literary figures resisting a contradicting society. That is, they are connected to the concept of a war machine proposed by Deleuze and Guattari as a concept of social transformation and to the concept of Nietzsche's Agon to devise and create new values and politics based on street passion. They seek after a space where they can co-exist with otherness recognized rather than the complete deconstruction of the old order.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.251-265
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• 2020

The Drone shot is moving images captured by a remotely controlled unmanned aerial vehicle, takes usually bird's eye view. The hand-held shot is moving images recorded by literal handheld shooting which is specialized to on-the-spot filming. It takes a walker's viewpoint through vivid realism of its self-reflexive camera movements. The purpose of this study is to analyze comparatively aesthetic functions of the drone shot and the hand-held shot. For this, the study understood Certeau's concepts of 'place' and 'space,' chose World Travel 'Peninsula de Yucatan' episode as a research object, and analytically applied two concepts to the scenes clearly presenting two shots' aesthetic characteristics. As a result, the drone shot took the authoritative viewpoint providing the general information and atmosphere as it overlooked the city with silent movements removing the self-reflexivity. This aesthetic function was reinforced the narration and subtitles mediating prior-knowledge about proper rules and orders of the place. The drone shot tended to project the location as a place. Conversely, the hand-held shot practically experienced the space with free walking which is free from rules and orders inherent in the city. The aesthetics of hand-held images represented the tactic resisting against the strategy of a subject of will and power in that the hand-held shot practiced anthropological walking by means of noticing everyday lives of the small town and countryside than main tourist attraction. In opposition to the drone shot, the hand-held shot tended to reflect the location as a space.

• Journal of Nutrition and Health
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• v.45 no.4
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• pp.324-335
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• 2012

The purpose of this study was to examine the relationship of dietary self-efficacy and illness beliefs, perceived benefits, and perceived barriers for the reduction of sodium intake in the elderly. A cross-sectional study was performed on 252 elderly people, aged 65 yrs and above, living in Daejeon Metropolitan city and Jecheon city, Chungbuk from March 21 to March 30, 2011. Dietary self-efficacy of three factors (resisting relapse, reducing salt and behavioral skills), perceived benefits and barriers, accurate and inaccurate illness beliefs were measured by 5 or 4 point Likert scale. With the increasing education level of the elderly, dietary self-efficacy, and accurate illness belief score increased and perceived barrier score decreased. Perceived benefits score was higher in the subject living alone compared to those living with siblings or spouses. Among three factors of dietary self-efficacy, reducing salt was scored highest and behavioral skills scored lowest in the elderly. Recording meal diary and reading labels for salt content in the items of behavioral skills showed lower score than other items. Accurate illness beliefs and perceived benefits were more scored than inaccurate illness beliefs and perceived barriers respectively in the subjects. The subjects with higher accurate illness beliefs, lower inaccurate illness beliefs, higher perceived benefits, and lower perceived barriers for the reduction of sodium intake showed higher dietary self-efficacy. In summary, accurate illness beliefs and perceived benefits positively correlated with dietary self-efficacy for the reduction of sodium intake in the elderly, whereas inaccurate illness beliefs and perceived barriers are negatively correlated.

• 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.

• Cartoon and Animation Studies
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• s.37
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• pp.361-392
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• 2014

Regarding works that express objects realistically in painting, Gustave Courbet advocated realism in the mid-19th century, France, resisting the then academist style of painting, and works in realist style were produced in earnest by painters such as H. Daumier or Jean F. Millet, who went along with him. Later, realism has expanded into the realm of general literature, including fine art, which has had profound impacts on works of art and literary works. In comics, too, in the same historical context as a form of painting, realistic comics began to be produced by painters or cartoonists at the time. These realism comics are those dealing with stories based on facts, and in terms of contents, objective description and representation of the social realities of the times is one of the most important objectives, but it could not be concluded that in their visual aspect, that is, that of expressing the objects, they were realistic. In the meantime, a graphic novel was born, which was the intermediate form between comics and novels around the United States and Europe since the 1980s. Graphic novels appeared in forms and styles with strong literary and artistic values in the comics market in the U.S. which was full of the superhero genre (comics around heroes), and their major characteristics are very realistic expressions in terms of contents and visual aspect. They are complex and delicate and even have artistic, literary values as if readers read a fiction or literary work of which its narrative structures or pictures are produced with graphics. The characteristics of realistic expressions shown in graphic novels are very different from the previous works of comics. It is noteworthy that they began to be acknowledged as works of art like painting or illustration, thanks to their features of strongly individual auteurist painting style, a fairly high degree of completion of the works, and creative and experimental expression techniques or methods, instead of following the fashion of the times. In recent years, in South Korea, Hollywood blockbuster films have been released one after another and become box office hits, there are increasing interest and demand for the original graphic novels. Accordingly, many original graphic novels have been translated and started to be sold, and keeping pace with this global flow of fashion, some writers in Korea began to produce works of graphic novels. However, to look into the domestic works produced claiming to be graphic novels, there are various opinions on their format and authenticity. In this sense, this study focused on Ga-ya Kwon's Namhansanseong, one the representative works of Korean style graphic novels, and in particular, it attempted to analyze their characteristics and commonalities focusing on the visual aspect of realistic expressions of objects. It is expected that there would be an opportunity to seek for ways so that Korean style graphic novel can be further developed as a genre of comics, with competitiveness by looking back on the identity and present state of domestic graphic novels and developing and applying Korea's original subject matters differentiated from those of graphic novels in the U.S., Europe or Japan through this study. In addition, it is desired that they will be a new energizer for the stagnant domestic comics market.