• 한국지구물리탐사학회:학술대회논문집
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• 2004.08a
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• pp.70-83
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• 2004

The safety diagnosis of cultural assets is Primarily focused on its non-destructiveness. Research on the nondestructive diagnosis and conservation of masonry cultural heritage is the key which is considered by technologic kernel. Geophyscial Prospecting as nondestructive diagnostic technology plays an important role in the characterization of the foundation of stone pagodas. It is natural that understanding of shallow subsurface condition beneath them is essential for their structural safety diagnosis. As an example, the nondestructive geophysical methods were applied to two three-story stone pagodas, Seokgatap (height 10.8 m, width 4.4 m, weight 82.3 ton) and Dabotap (height 10.4 m, width 7.4 m, weight 123.2 ton) which were built in 791 at Bulkuksa temple. An earlier archaeological investigation shows that stone pagodas have experienced severe weathering process and are slightly leaning, which will threaten their stability At the base part of Dabotap, an offset of the stone alignment is also observed. Direct measurements of ultrasonic velocities was introduced for the mechanical properties of the stone The velocity ranges of ultrasonic waves for Dabotap and Seokgatap are 1217${\~}$4403 m/s and 584${\~}$5845 m/s, respectively, and the estimated averages of the uniaxial compressive strength are 463 kg/$cm^2$ and 409 kg/$cm^2$, respectively. Site characteristics, around the pagodas are determined by the measurement of multiple properties such as seismic velocity, resistivity, image of ground-penetrating radar, On the basis of the higher velocity structure, the site of Seokgatap appears to have solider stability than the Seokgatap site. Near the pagodas, higher(up to 2200 $\Omega$m) resistivity is present whereas their outskirts have as low as 200 $\Omega$m. By the combined results of each geophyscial methods, the subsurface boundaries of two stone pagodas are revealed. The Dabotap site is in the form of an octagon having 6-m-long side with the depth of ${\~}$4 m, whereas the Seokgatap site is the 8 ${\times}$ 10 m rectangle with the depth of 3 m. These subsurface structures appear to reflect the original foundations constructed against the stone load of ${\~}8 ton/m^2$. At the subsurface beneath the northeast of each pagoda, low seismic velocity as well as low resistivity is prominent. It is interpreted to represent the weak underground condition which Is the possible cause of the slightly leaning pagodas toward the NNW.

• The Korean Journal of Air & Space Law and Policy
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• v.29 no.2
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• pp.205-237
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• 2014

Last 50 years there were a lot of space subjects launched by space activities of many states and these activities also had created tremendous, significant space debris contaminating the environment of outer space. The large number of space debris which are surrounding the earth have the serious possibilities of destroying a satellite or causing huge threat to the space vehicles. For example, Chinese anti-satellite missile test was conducted by China on January 11, 2007. As a consequence a Chinese weather satellite was destroyed by a kinetic kill vehicle traveling with a speed of 8 km/s in the opposite direction. Anti-satellite missile tests like this,contribute to the formation of enormous orbital space debris which can remain in orbit for many years and could interfere with future space activity (Kessler Syndrome). The test is the largest recorded creation of space debris in history with at least 2,317 pieces of trackable size (golf ball size and larger) and an estimated 150,000 debris particles and more. Several nations responded negatively to the test and highlighted the serious consequences of engaging in the militarization of space. The timing and occasion aroused the suspicion of its demonstration of anti-satellite (ASAT) capabilities following the Chinese test of an ASAT system in 2007 destroying a satellite but creating significant space debris. Therefore this breakup seemed to serve as a momentum of the UN Space Debris Mitigation Guidelines and the background of the EU initiatives for the International Code of Conduct for Outer Space Activities. The UN Space Debris Mitigation Guidelines thus adopted contain many technical elements that all the States involved in the outer space activities are expected to observe to produce least space debris from the moment of design of their launchers and satellites until the end of satellite life. Although the norms are on the voluntary basis which is normal in the current international space law environment where any attempt to formulate binding international rules has to face opposition and sometimes unnecessary screening from many corners of numerous countries. Nevertheless, because of common concerns of space-faring countries, the Guidelines could be adopted smoothly and are believed faithfully followed by most countries. It is a rare success story of international cooperation in the area of outer space. The EU has proposed an International Code of Conduct for Outer Space Activities as a transparency and confidence-building measure. It is designed to enhance the safety, security and sustainability of activities in outer space. The purpose of the Code to reduce the space debris, to allow exchange of the information on the space activities, and to protect the space objects through safety and security. Of the space issues, the space debris reduction and the space traffic management require some urgent attention. But the current legal instruments of the outer space do not have any binding rules to be applied thereto despite the incresing activities on the outer space. We need to start somewhere sometime soon before it's too late with the chaotic situation. In this article, with a view point of this problem, focused on the the Chinese test of an ASAT system in 2007 destroying a satellite but creating significant space debris and tried to analyse the issues of space debris reduction.

• Cartoon and Animation Studies
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• s.22
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• pp.47-63
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• 2011

Recently, contemporary cultural contents have been shown its diversity changes followed by the birth of new media platforms with consumers' new needs in the global market. Also, developments of Internet and computer system networks are the main contributors of making this changes happened rapidly. This study aims to know that how to usefully use those new media platforms through the great example of stop-motion animation music video by analyzing its production and marketing process. The music video production had been focused to be completed with high quality by adjusting the production process economically in spite of the relatively short period(less than one month)from its crank-up to the deadline. Because the production was planned that main characters lead the whole story, the creative team had been tried to reduce the production hours by commonly use the same mold when they make original clay models by collecting the similarities of characters' appearances. By using CG technic, could overcome the visual monotonous from the similarities which inferred above. Also, the repeated rhythm in the music video, the similar scenes of backgrounds were commonly used by copy of the original scene. At the point of directing, the creative team considered both economical and art aspects for the quality work. In details, they divided the scenes into foreground and background, and removed unnecessary parts to save the production hours and budget but make depth of fields in the scenes. Except the viral marketing purposes, was searching for the methods to compensate the production cost. For this, the characters in the music video dressed the same T-shirts which are world-cup logo on, and those were designed for the sale after released the music video. Even the result of the sales was not enough to satisfied, it was estimated a great attempt to the domestic animation industry.

• Cartoon and Animation Studies
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• s.20
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• pp.75-86
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• 2010

Recently, as the number of female players has increased rapidly, the electronic gaming industry has begun to look at ways to appeal to the largely untapped female market. According to the latest game market investigative report by China Internet Network Information Center (CNNIC), the total number of game players in China increased by 24.8% in 2009, reached 69,130,000 people, and 38.9% of them are female players. This growth in the number of female player is corroborated by a series of investigative reports from IResearch Company in Shanghai, China: from 2003 to 2009, the number of female players grew from 8% to more than 49%. Therefore, no matter how much attention the game production companies have given to male players or how they have ignored the female players before, the companies would be sensible to face up this reality and adjust their marketing policy a bit more. This article analyzes gender preferences in video games which shows that male players are more likely to be attracted to elements of aggression, violence, competition and fast action in electronic game-playing, while female players are drawn to emotional and social aspects of the games such as an understanding of character relationships. The literatures cited indicates that female players also show apparent preference for games with familiar environments, games that allow players to work together, games that have more than one way to win, and games in which characters do not die. It also discusses the characteristics of female-friendly games from the aspect of emotion, pointing out that the simulation games involving pet, dressing-up, and social simulation games are very popular with female players. Because these are the most suitable game types to fill with emotions of love, share, jealousy, superiority, mystery, these are absolutely attractive to female players. Finally, in accord with the above, I propose some principles of designing female-oriented games, including presenting a good-looking leading character, making the story interesting with "live" NPCs(Non-Playing Characters), and finding ways to satisfy female nature instincts such as taking care of others and the inborn interest of classifying and selecting.

• Cartoon and Animation Studies
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• s.35
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• pp.29-65
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• 2014

Visual culture art education (VCAE) seems to be the new paradigm for art education after postmodernism. Getting beyond the traditional art education, VCAE has expanded its scope of interest to include the visual environment that surrounds our life, thus pushing the boundary of art education beyond the traditional fine arts to cover pop culture and visual art. VCAE shares the issues as well as a lot of elements of culture and art education and in fact serves as a major theoretic background for culture and art education, in that it pays attention to the sociocultural context of images and emphasizes visual literacy and constructionist learning. In this paper, I have reviewed the theoretical background and related issues of VCAE with a view to presenting a direction for animation education, which is gaining in importance coming into the Age of Digital Media. VCAE was born in the progressive cultural atmosphere from the 1970s and thereafter, and its gist consists in figuring out visual artifacts and their action in order to improve individual and social life. Yet, VCAE continues with its development according to the changing aspects of visual culture, and currently, it is expanding its scope of interest to cover the esthetic, experiential education in visual culture and construction of meaning through digital story-telling. In the visual environment of the Digital Age, animation is establishing itself as the center of the visual culture, being a form that goes beyond an art genre or technology to realize images throughout the visual culture. Also, VCAE, which has so far emphasized visual communication and critical reading of culture, would need to reflect the new aspects of the visual culture in digital animation across the entire gamut from experiencing to understanding and appreciating art education. In this paper, I emphasize on Cross-Curricula, social reconstruction, the expansion of animation education, interests in animation as a digital media, and animation literacy. A study of animation education from the perspective of VCAE will not only provide a theoretical basis for establishing animation education, but also enrich the content of VCAE, traditionally focused on critical text reading, and promote its contemporary and futuristic orientation.

• Cartoon and Animation Studies
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• s.32
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• pp.189-220
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• 2013

It is expected that interests and supports for 'the creative economy' will increase considerably since the establishment of the Park Geun Hye Administration. According to a report with respect to its cultural policy handed in by the Minister of Culture to the president on March 28, 2013, the administration will set up a basic plan of establishing regional fusion-typed laboratories including such genres as story telling, animations, games, cartoons, performances, etc. in May this year, and opening contents Korea laboratories across the country by the first quarter in 2014 as part of its core task. Furthermore, it will focus on implementing such policies for training professional manpower as creative mentoring programs, expansion of education for field employees and expansion of a creative education for young students, including a plan to train 1,000 creative contents talents by 2017 as described in the report. Since the Comics Promotional Law took effect in August 2012, the Korea Culture and Content Agency and the Comics Industry have been establishing the third plan for medium and long term development of the comics industry together. One of the most important policy is about training professional manpower. "Joint Business with Creative Talents," in which the amount of 4.5 billion won was invested, has already been implemented, and "Support Business for Field Employees of Comics Creating Enterprises," in which the amount of 0.6 billion won was invested, has been performed so far through the Korea Comics Contents Agency upon the request of the Comics Industry. The government's plan to train professional manpower is interlocked with its foundation and employment policies, and thus, this will be a good opportunity for colleges and universities that have comics related majors, especially for those that need proper measures for bring their graduates a chance to get a job. Accordingly, it seems that if the government develops more aggressive policies, reflects this on the third medium and long term development plan of the comics industry, and then organizes policy and study meetings led by the learned societies to implement this, it will be able to generate a significant synergy effect. This Article will concentrate on first examining the flow and patterns of the policy to train special manpower by the comics industry, the Ministry of Culture and related institutions since the establishment of the Comics Promotional Law, analyzing some problems in the first and second medium and long term development plan of the comics industry to be implemented from 2003 through 2013 and the third medium and long term development plan to be announced in June 2013 to train professional manpower, and then suggesting an effective direction and some alternatives to train professional manpower in universities in a medium and long term way.

• Cartoon and Animation Studies
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• s.48
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• pp.333-358
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• 2017

Mainland China is under different conditions both socially and politically than other countries, so there is a lack of practical researches on cartoon characters. With a profound interest, the researcher has selected a character that is realistic and loved by many Chinese. The subject of the study is "Shan Mao Series." Out of 16 seasons, the most famous one is the Chronicle of Shan Mao's Wander. I analyzed the character thoroughly, dealing with the beginning of the character, the process of character development, and a reality shown in the chronicle, etc. on chapter II, and the character's image component on chapter III. Chinese modern cartoons were affected by a situational anxiety because of foreign powers and war. Thus satire cartoons went in fads among the public. The epitome of a typical cartoon was the Shan Mao Series. From 1935, when the character was first created, to now it has eaten into Chinese people's hearts. It's because the story happens during a war period and it deals with a playful, humorous main character's life and these facts show the hidden side of the unfair social system. Most of readers prefer a smart, playful, righteous, and brave character. Shan means three and mao, hair in Chinese, so Shan Mao is a child who has three hair. The character is not just a simple cartoon character; it has developed into a national figure among many Chinese. The reason why the researcher has chosen the series created by Zhang Leping, the author of the cartoon, is because a good cartoon, good animation, and even good movie stimulate the feelings that we get from our surroundings. The character which is created in China seems very unique and bizarre but there is a sense of friendliness. Also its character image and scenes make people laugh and it has become a typical symbol of a modern cartoon in China.

• Cartoon and Animation Studies
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• s.49
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• pp.53-85
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• 2017

This study deals with the production system of the superhero animation that are based on DC comic books and are produced by Warner Brothers company, and tries to find out ways in order to vitalize the new window of the animation market. 28 superhero animations released from 2007 until 2017 are analyzed. Several critical points are drawn out and can be applied to the Korean animation industry. There are two categories, one is about the management of the production system, and the other is about the subcontract system. In managing the production system, there are three points: First, there are several people who play the role of either a producer or a director many times. Second, producers used to work as a group. Third, some people work not only as a producer but also as a director. In carrying out outsourcing contracts, there are six points: First, only Korean and Japanese companies participate as subcontract companies. Second, about two companies used to take part in the subcontract production in a year. Third, in case of number of people involved in production, there are more Japanese than Korean. Fourth, Japanese companies deal with some parts of the pre-production as well as the main production in . Fifth, a Japanese company has a sub-subcontract with a Korean company in one episode of . Sixth, Korean companies mostly focus on the production part of key animation. Important points that the Korean production system has to consider are also suggested under the two categories. In the production system management, there are two points. It is needed to make use of the group producer system, and it is critical to develop the story line of universe type such as DC Universe. In case of the outsourcing production system, it is essential to keep up educating 2D type of animation and, at the same time, to participate actively in the global outsourcing production. By considering these crucial points, it is expected to keep producing animation that can be used for the media window such as IPTV.

• Cartoon and Animation Studies
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• s.49
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• pp.113-142
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• 2017

Mamoru Hosoda's (2015) depicts the adventure with which a physically and psychologically isolated boy is growing through a 'Relationship' with surrounding beings. This paper intends to reveal the essence of 'Relationships' and 'True Growth' that the director presents to us. In the film, a boy's adventure is centered on two worlds (the human world and the beast world). Here, the human world refers to a civilized society, and the beast world 'Naturalness' as the inner nature of a human being. The human world and the beast world in the mirror-relationship with the human world were originally a world, and the inside and the outside of the place for all existing things were connected in one. Human beings were never superior to the surrounding beings, but all beings were equal in relationship. The way of thinking in that age is called 'Symmetrical Thinking.' But as human beings opened the road to self-centered civilization, they eliminated 'Nature' inside themselves. As a result, the two worlds (human beings and nature, or the human world and the beast world) were eventually separated. This destroyed not only the human-nature relationship but also the human-to-human relationship, which is one of the characteristics of the civilized society where we currently live. Through the boy's question, "Who am I?", the director suggests to us that the inner nature of a human being as a natural being should be reinstated. This means that a human being restores the "relationship" with all beings (other beings) surrounding himself or herself, which is the only alternative to overcome various violences of the civilized society that we have created. The full growth of a human being is achieved at this point. In this way, offers a reflection on the human civilization and society, and questions the possibility of coexistence with other beings, through cosmic thinking (symmetrical thinking) that we have lost. In this respect, it is a text presented as a 'Model of Maturity' for an immature human society.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.