• Archives of design research
• /
• v.20 no.3 s.71
• /
• pp.151-162
• /
• 2007

How can new media devices and networks provide an effective response to the world's growing sector of cultural and historically-minded travelers? This study emerged from the question of how mobile handsets can change the nature of cultural and historical tourism in ubiquitous city environments. As wireless network and mobile IT have rapidly developed, it becomes possible to deliver cultural and historical information on the site through mobile handset as a tour guidance system. The paper describes the development of a new type of mobile tourism platform for site-specific cultural and historical information. The central objective of the project was to organize this cultural and historical walking tour around the mobile handset and its unique advantages (i.e. portability, multi-media capacity, access to wireless internet, and location-awareness potential) and then integrate the tour with a historical story and role-playing game that would deepen the mobile user's interest in the sites being visited, and enhance his or her overall experience of the area. The project was based on twelve locations that were culturally and historically significant to Korean War era in Busan. After the mobile tour game prototype was developed for this route, it was evaluated at the 10th PIFF (Pusan International Film Festival). After use test, some new strategies for developing mobile "edutainment content" to deliver cultural historical contents of the location were discussed. Combining 'edutainment' with a cultural and historical mobile walking tour brings a new dimension to existing approaches of the tourism and mobile content industry.

• Archives of design research
• /
• v.20 no.3 s.71
• /
• pp.191-202
• /
• 2007

In these days, open signboard system is controlled by administrative policy and law, but there is no consideration for different types of building. As such, this study aims to propose planning criteria for streetside commercial buildings, such as elevation and mass design of buildings, layout of signboard attached to the building elevation with consideration for streetscape. In mass planning for streetside commercial buildings, the building type with front open space keeps lower open signboard density than the building type directly leading to the street. It is desirable that open signboard of lower floor part is attached by a horizontal type, open signboard of low medium floor part by a projected vertical type, open signboard of high medium floor part and roof part with a minumum attachment of open signboard. As for elevation planning relative to open signboard, it is desirable that an irregular wall type is more useful than a regular wall type to control open signboard. And in all cases, horizontal element facade has a handicap to control the quantity of signboard. If the building has a corner, the piloti should be used in the corner of lower story for smooth circulation of pedestrians and emphasizing the transparency of elevation. Specially, in the case of a round corner, the corner should be emphasized by the composition of high transparent mass.

• Proceedings of the KSPS conference
• /
• 1997.07a
• /
• pp.176-178
• /
• 1997

To make a long story short I made up my mind to experiment with a multimedia approach to my classroom presentations two years ago because my ways of giving instructions bored the pants off me as well as my students. My favorite ways used to be sometimes referred to as classical or traditional ones, heavily dependent on the three elements: teacher's mouth, books, and chalk. Some call it the 'MBC method'. To top it off, I tried audio-visuals such as tape recorders, cassette players, VTR, pictures, and you name it, that could help improve my teaching method. And yet I have been unhappy about the results by a trial and error approach. I was determined to look for a better way that would ensure my satisfaction in the first place. What really turned me on was a multimedia CD ROM title, ELLIS (English Language Learning Instructional Systems) developed by Dr. Frank Otto. This is an integrated system of learning English based on advanced computer technology. Inspired by the utility and potential of such a multimedia system for regular classroom or lab instructions, I designed a simple but practical multimedia language learning laboratory in 1994 for the first time in Korea(perhaps for the first time in the world). It was high time that the conventional type of language laboratory(audio-passive) at Hahnnam be replaced because of wear and tear. Prior to this development, in 1991, I put a first CALL(Computer Assisted Language Learning) laboratory equipped with 35 personal computers(286), where students were encouraged to practise English typing, word processing and study English grammar, English vocabulary, and English composition. The first multimedia language learning laboratory was composed of 1) a multimedia personal computer(486DX2 then, now 586), 2) VGA multipliers that enable simultaneous viewing of the screen at control of the instructor, 3) an amplifIer, 4) loud speakers, 5)student monitors, 6) student tables to seat three students(a monitor for two students is more realistic, though), 7) student chairs, 8) an instructor table, and 9) cables. It was augmented later with an Internet hookup. The beauty of this type of multimedia language learning laboratory is the economy of furnishing and maintaining it. There is no need of darkening the facilities, which is a must when an LCD/beam projector is preferred in the laboratory. It is headset free, which proved to make students exasperated when worn more than- twenty minutes. In the previous semester I taught three different subjects: Freshman English Lab, English Phonetics, and Listening Comprehension Intermediate. I used CD ROM titles like ELLIS, Master Pronunciation, English Tripple Play Plus, English Arcade, Living Books, Q-Steps, English Discoveries, Compton's Encyclopedia. On the other hand, I managed to put all teaching materials into PowerPoint, where letters, photo, graphic, animation, audio, and video files are orderly stored in terms of slides. It takes time for me to prepare my teaching materials via PowerPoint, but it is a wonderful tool for the sake of presentations. And it is worth trying as long as I can entertain my students in such a way. Once everything is put into the computer, I feel relaxed and a bit excited watching my students enjoy my presentations. It appears to be great fun for students because they have never experienced this type of instruction. This is how I freed myself from having to manipulate a cassette tape player, VTR, and write on the board. The student monitors in front of them seem to help them concentrate on what they see, combined with what they hear. All I have to do is to simply click a mouse to give presentations and explanations, when necessary. I use a remote mouse, which prevents me from sitting at the instructor table. Instead, I can walk around in the room and enjoy freer interactions with students. Using this instrument, I can also have my students participate in the presentation. In particular, I invite my students to manipulate the computer using the remote mouse from the student's seat not from the instructor's seat. Every student appears to be fascinated with my multimedia approach to English teaching because of its unique nature as a new teaching tool as we face the 21st century. They all agree that the multimedia way is an interesting and fascinating way of learning to satisfy their needs. Above all, it helps lighten their drudgery in the classroom. They feel other subjects taught by other teachers should be treated in the same fashion. A multimedia approach to education is impossible without the advent of hi-tech computers, of which multi functions are integrated into a unified system, i.e., a personal computer. If you have computer-phobia, make quick friends with it; the sooner, the better. It can be a wonderful assistant to you. It is the Internet that I pay close attention to in conjunction with the multimedia approach to English education. Via e-mail system, I encourage my students to write to me in English. I encourage them to enjoy chatting with people all over the world. I also encourage them to visit the sites where they offer study courses in English conversation, vocabulary, idiomatic expressions, reading, and writing. I help them search any subject they want to via World Wide Web. Some day in the near future it will be the hub of learning for everybody. It will eventually free students from books, teachers, libraries, classrooms, and boredom. I will keep exploring better ways to give satisfying instructions to my students who deserve my entertainment.

• Journal of Animal Environmental Science
• /
• v.14 no.3
• /
• pp.175-182
• /
• 2008

This research was conducted to examine proper manure treatment methods for a high-rise swine barn with results of the fact-finding survey on manure treatment methods used in high-rise swine barns and sawdust swine barns In Korea. The average temperatures on bedding of control, T1, and T2 were between $25.3{\sim}25.4^{\circ}C$ with little difference. Air flow rate of T2 was slower than those of control and T1. Dust generation in control was 54 cpm which was higher than T1 and T2. The average ammonia concentration in control was highest showing 6.0 ppm, ranged from 0.5 to 14.5 ppm, with statistical difference (p<0.05), compared to T1 (2.8 ppm) and T2 (2.6 ppm). Sawdust spreading used in control and T1 decreased ammonia concentration. T1 showed the lowest concentration of $CO_2$. Water contents of control and T2 were close to the proper water content, 65%. T1 had the highest water content and pH, and the lowest organic matter and C/N ratio. The volumes of sawdust spread per head were 0.26 and $0.27m^3$ in control and T2, respectively, which was less than T1. Operating cost such as an electricity bill for blowers was cheap in T2. Hence, T2 bedding sawdust up to 10 cm thick and periodically spreading additional sawdust from second story was recommended.

• Journal of Science of Art and Design
• /
• v.3
• /
• pp.145-177
• /
• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

• The Korean Journal of Ecology
• /
• v.27 no.3
• /
• pp.165-171
• /
• 2004

Weight loss and nutrients dynamics during decomposition of oak roots (diameter classes: R₁〈0.2㎝, 0.5㎝〈R₂〈1㎝, 1㎝〈R₃〈2㎝, 2㎝.〈R₄〈4㎝) (Quercus acutissima) were studied for 33-months in Kongiu, Korea. After 33-months, decomposition rate of R₁, R₂, R₃ and R₄ was 49.6%, 47.5%, 66.4% and 66.1%, respectively. The decomposition constant(k) for R₁, R₂, R₃, and R₄ was 0.249/yr, 0.234/yr, 0.397/yr and 0.393/yr, respectively. Larger diameter class of the root lost more weight than smaller diameter class. N concentration in decomposing oak roots increased in all diameter classes. After 33-months, remaining N in R₁, R₂, R₃ and R₄ was 66.5%, 80.7%, 84.4% and 44.4%, respectively. K concentration in decomposing oak roots decreased in early part of decomposition and then increased in later stage of decomposition. After 33-months, remaining P in R₁, R₂, R₃ and R₄ was 64.7%, 62.4%, 93.1% and 30.7%, respectively. K concentration in decomposing oak roots decreased rapidly in early stage of decomposition. Remaining K in R₁, R₂, R₃ and R₄ was 11.6%, 10.6%, 5.9% and 7.7%, respectively. Ca concentration in decomposing oak roots showed different among diameter classes. After 33-months, remaining Ca in R₁, R₂, R₃ and R₄ was 66.2%, 51.0%, 39.1% and 48.3%, respectively. Initial concentration of Mg in oak root was higher in smaller diameter class. After 33-months, remaining Mg in R₁, R₂, R₃ and R₄ was 15.3%, 29.9%, 24.5% and 69.4%, respectively.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.37 no.2
• /
• pp.104-113
• /
• 2009

Gyeong Po in Gangneung is highly recognized as a scenic area that is home to twelve traditional pavilions which are still in existence today. Since the modification of the Natural Park Act in 2007, there has been serious concern about the regulation of the heights of buildings surrounding Gyeong Po. In light of this, the present study aims to provide some guidelines for the regulation of building height in the modified Natural Park Act on the basis of investigations of landscape characteristics of Gyeong Po and the psychological influences of changing building heights. The analysis of the view from the pavilions located around Gyeong Po Lake indicated that the strategic landscape control points were Gyeong Po Dae and Bang Hae pavilions in terms of landscape management. These two landscape control points were considered as points from which people could view the greatest part of the landscape surrounding Gyeong Po Lake. The results of a preference analysis revealed that the views from Gyeong Po Dae to Juk Do were of relatively higher preference than the view from Bang Hae pavilion. This finding emphasized the importance of landscape management in Juk Do and its surroundings. A factor analysis resulted in three factors including attractiveness, tranquility, and orderliness. A comparison of the magnitude of influence of these three factors showed that the order of influence to preference was: attractiveness>tranquility>orderliness. These results highlight the need to introduce landmarks or unique buildings into the areas because the panoramic views of Gyeong Po Lake are relatively flat as lake views go. There should also be a variety of skylines harmonizing with the natural landscapes and landscape management for building groups, rather than individual building control, to enhance tranquility. Analysis of the psychological effects of building height suggests that, regardless of view points, preference was split at a 30 meter building height. This was indicative that viewer preference would drop when building heights are controlled to allow heights over 30 meters. The present study was not able to take varying view points and story heights into account. A more detailed study considering building types, the arrangement of buildings and the number of building stories is needed for effective landscape management in the Gyeong Po Dae area.

• Cartoon and Animation Studies
• /
• s.27
• /
• pp.31-49
• /
• 2012

This research aims at showing specificity of the 'fantastic' in the movie < Les temps morts (on 1964) > directed by Ren$\acute{e}$ Laloux (1929-2004 ), all over the world recognized director. This movie has a particular style by composing four forms of expression: the real recording (movie), the recording embellishes with images by image (animation), the drawing, the photo. This film is the most strange among his all films. Even if we could catch the key meaning of the film, it offer for the audience the sentiment incertain and unclear. If we consider 'the fantastic' as a hesitation between the real and the unreal, in diverse levels, this movie offers to the spectators the fantastic feelings. In order to present the way this film shows us the fantastic, we divide the film into 15 sequences according to the criteria of the visual elements and the auditive elements. We analyze specificities of this fantastic in diverse levels. At first, the first style of the drawing of Roland Topor, does not let us escape easily from the feeling of fantasy. The four representation formats(drawing, photo, animation, movie) are integrated into one whole by auditive elements(music, narration). On the other hand, certain parts incomprehensible are not integrated into the entire. are fully integrated into the unity that does not understand that part, leaving them can. Laloux leads the audience into a reality toward the end of the film, but he leave incertain sequences at the last moment. Through which the audience is again hesitant between the real and the unreal, the fantastic is strengthened as a result of the work. Finally, the fantastic of the film could be found at three levels. First, the fantastic drawing style of Roland Topor. In the second place, the fantastic exposed through the entire composition and structure of work. Overall, these by leaving through the availability of the story incomprehensible to the audience is to provide a fantastic sentiment.

• Cartoon and Animation Studies
• /
• s.29
• /
• pp.209-241
• /
• 2012

Is a failed blockbuster film? Is there no room for reconsideration of the value of the film in terms of its contents and forms? The purpose of this study is to answer these questions. In 2007, SHIM Hyung-rae's was in the limelight due to the nationalist discourse around the film rather than evaluation of the film itself. In terms of its narrative and formal properties, the film showed the difference from the Korean nationalist blockbuster films. It led to the disaccord and hard-to-understand results of having somewhat disappointed box-office success of 8,500,000 audiences in comparison to the input, of receiving well by a generous part of the audiences absorbed by nationalism, and of getting the critics' cynic criticism of the film's cinematic value. Eventually only provided the cultural battlefield of nationalism, was left as an unnoticed film in the realm of industry and criticism. However, it was interesting that there was a common ground between the film's supporters and the cynic critics. Both sides were being acknowledged that the spectacle of was way out of proportion to the degree that the spectacle was unbalanced with the story unfolding, achieved more than expected. Its spectacle overwhelming the narrative enfever a few audiences, and at the same time, it provided some reasons making critics face away from the film. In this context, the purpose of this study is to examine 's aesthetics that 'the spectacle dominating narrative' or 'the narrative as a pretext for showing spectacle,' leading to discussion of artistic/theoretical/critical value and to find out cinematic value of the film being regarded as a failure. In addition, this study is significant in that it suggests that is a new kind of moving image that it cannot be analyzed with existed critical methods of narrative film criticism; as a result, this study provides the chance to be evaluated through a new conceptual frame of the film. In order to grasp the narratological aesthetics, this study focuses on the concept of trickality that Andre Gaudreault suggests, and Tom Gunning's 'the cinema of attractions,' referring to the spectacle-oriented narrativity or the mode of production displaying the spectacle more than the narrative.

• Korean Journal of Cognitive Science
• /
• v.2 no.2
• /
• pp.405-428
• /
• 1990

Language has a social function to communicate information. Linguists have gradually paid their attention to the function of language since the nineteen sixties, especially to the relationship of form, meaning and the function. The relationship could be more clearly grasped through disciyrse-based analysis than through sentence-based analysis. Many researches were centered on the discourse functional notion of topic. In the early 1970's the subject was defined as the grammatiocalized topic the topic as a discrete single constituent of the clause. In the late 1970's several lingusts including Givon suggerted that the topic was not an atomic, disctete entity, and that the clause could have more than one topic. The purpose of the present study is, following Givon, to study grammatical coding devices of topic and to measure the relative topic continuity/discontinuity of participant argu, ents in Korean narratives. By so doing, I would like to shed some light on effective ways of communicating information. The grammatical coding devices analyzed are the following eight structures: zero-anaphora, personal pronous, demonstrative pronouns, names, noun phrases following demonstratives, noun phrases following possessives, definite noun phrases and indefinite referentials. The narrative studied for the count was taken from the KoreanCIA chief's Testiomny:Revolution and Idol by Hyung Wook Kim. It was chosen because it was assumed that Kim's purpose in the novel was to tell a true story, which would not distort the natural use of language for literary effect. The measures taken in the analysis wre those of 'lookback', 'persistence', ambiguity'. The first of these, 'lookback', is a measure of the size of gap between the previous occurrence of a referent and its current occurence in the clause. The meausure of persistence, which is a measure of the speaker's topocal intent, reflects the topic's importance in the discourse. The third measure is a measure of ambiguity. This is necessary for assessing the disruptive effects that other topics within five previous clauses may have on topic identification. The more other topics are present within five previous clauses, the more difficult is the task of correct identification of a topic. The results of the present study show that the humanness of entities is the most powerful factior in topic continutiy in narrative discourse. The semantic roles of human arguments in narrative discourse tend to be agents or experiences. Since agents and experiences have high topicality in discourse, human entities clearly become clausal or discoursal topics. The results also show that the grammatical devices signal varying degrees of topic continuity discontinuity in continuous discourse. The more continuous a topic argument is, the less it is coded. For example, personal pronouns have the most continutiy and indefinite referentials have the least continutiy. The study strongly shows that topic continuity discontinutiy is controlled not only by grammatical devices available in the language but by socio-cultural factors and writer's intentions.