• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.1 s.114
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• pp.59-68
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• 2006

This paper examines the conceptual shift of wilderness and its legacy to the contradictory view of nature in landscape architecture tradition. In hunting and gathering societies, there was no dichotomy between the cultivated environment and wilderness. 'Wilderness' is a word whose first usage marks the transition from a hunting-gathering economy to an agricultural society. We can identify two archetypal responses to wilderness: classical and romantic. In the classical perspective, wilderness is something to be feared-an area of waste and desolation. The conquest of wilderness and the creation of usable places is a mark of civilization. For the romantics, in contrast, untouched wilderness has the greatest significance; it has a purity that human contact tends to sully and degrade. Wilderness for the romantics is a place to revere, a place of deep spiritual significance, and an object of aesthetic experience. In the Western world, the classical position predominated until the last two hundred years when the romantic concept began to gain more ground. The shift was made possible by the change in the way nature is understood. Modernity and modern science objectified nature. The transition of the concept of wilderness exemplifies the objectification and pictorialization of nature. Wilderness in the modern era is not different from the pastoral landscape which can be controlled by landscape architects.

• Journal of Christian Education in Korea
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• v.69
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• pp.105-137
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• 2022

This paper is to study the characteristics of outdoor wilderness education and the impacts of outdoor wilderness experience on the participants in higher education. The first part of this paper addresses the common components of outdoor wilderness programs: adventure or self-discovery in disequilibrium, small groups for accountability in a temporary community, problem solving processes for decision making in real situations, solo time for integration in solitude, and leadership styles and role of the trip leaders. These elements of outdoor wilderness programs help the participants to achieve their goals according to its mission. The second part of this paper divides outdoor wilderness programs into three categories according to the objectives and outcomes of outdoor wilderness education: orientation programs for incoming students, personal leadership development programs, and professional training programs. The impacts of outdoor wilderness experiences on the participants of different programs in higher education were reviewed. Then guidelines for spiritual formation prorgams were proposed for Christian educators who are involved in wilderness programs in higher education to develop their practical wilderness experiences into holistic development programs according to its mission and goals.

• Proceedings of the KAIS Fall Conference
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• 2010.05b
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• pp.681-684
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• 2010

Augmented Scale은 모던한 사운드의 스케일로서 현대 재즈에서 종종 사용되고 있다. 본 연구에서는 재즈 피아니스트 비안(Vian)의 작품 "Wilderness"에서 이 스케일을 멜로디와 화성에 어떻게 적용했는지 살펴본다. 무엇보다도 이 곡의 솔로 형식(solo form)에서 즉흥연주(improvisation)를 위한 재즈 라인 (jazz line)을 어떻게 접근할 것인지 연구한다.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.15 no.3
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• pp.814-836
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• 2021

Wildlife ecologists and biologists recapture deer to collect tracking data from deer collars or wait for a drop-off of a deer collar construction that is automatically detached and disconnected. The research teams need to manage a base camp with medical trailers, helicopters, and airplanes to capture deer or wait for several months until the deer collar drops off of the deer's neck. We propose an intelligent robust base-station research with a low-cost and time saving method to obtain recording sensor data from their collars to a listener node, and readings are obtained without opening the weatherproof deer collar. We successfully designed the and implemented a robust base station system for automatically collecting data of the collars and listener motes in harsh wilderness environments. Intelligent solutions were also analyzed for improved data collections and pattern predictions with drone-based detection and tracking algorithms.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.2
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• pp.1-10
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• 2013

This paper aims to make an aesthetic inquiry into representing modes of wilderness in western films. The western film was the first genre in earnest about natural landscape, covering vast areas of America from the East to the West. It adopted representative modes suited to physical characteristics of landscapes which produced aesthetic characteristics. In western films, wilderness was represented at a distance from the camera lens as a setting and an object of contemplation. In eastern forest landscapes, western films adopted the visual model of Hudson River School's landscape painting which expressed the transcendental sublime. The western semiarid region reproduced the warrior's gaze shot from a high angle, and, in this visual mode, wilderness was expressed as a demonic landscape derived from Burke's definition of the sublime. On one hand, the western desert was represented as a place of hardship shot at a low angle which expressed the vastness, unevenness and limitlessness of the desert owing to the absence of horizon. On the other hand, the mesas of Monument Valley have sublime characteristics of size and time. In western films, they play the role of an emblem by rising from the limitless desert on the horizon. The prospect-refuge relationship, the desire to see without being seen, is discovered in the representative mode of wilderness in western films. In this context, this study hopes to discover the archetype of landscape representation.

• Korean Architects
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• s.611
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• pp.96-101
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• 2020

• English & American cultural studies
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• v.13 no.1
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• pp.1-28
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• 2013

Edward Abbey is regarded as one of the most influential ecological or nature writers. He celebrates the American Southwestern desert, argues for wilderness preservation, and advocates politically-oriented environmental activism to defend wilderness. He, however, does not classify himself as a nature writer, but rather places himself in the tradition of a kind of autography. His books show his fascination with the delicate harmony of the desert, and at the same time his personal journey over the desert. That is, eco-centered, he keeps his journey into the heart of the desert. He finds the desert harsh, brutal, fatal, and most of all, indifferent. The desert reveals simplicity and mystery, silence and revelation, and emptiness and fulfillment. This mythical and paradoxical essence of the desert draws him into the place and inspires redemptive humility and beauty, which, in turn, peel off his old ego or self. During his journey, Abbey tries to immerge himself with the desert yet remains intact and individual. The desert serves for him as the bedrock which sustains him and offers an opportunity to gain a new whole perspective. Like a pocket hunter in the desert whom he characterizes himself, he sticks to the desert to dig out ground for his existence and survival. Pulling the energy and force of the desert into his soul, Abbey is free, or compelled to contemplate what is beyond the human. His experience in and of the desert leads to a discovery of self and initiates selfhood.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.4
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• pp.78-89
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• 2012

This study aimed to interpret aesthetic properties of post-industrial parks with a perspective of the sublime. It examined the roles of the sublime related to landscape architectural history and traced aesthetic characteristics of post-industrial parks based on aesthetic issues of the sublime. In the history of landscape architecture, the sublime had expanded the scope of aesthetic enjoyment. It had operated as an alternative aesthetic category against conventional landscape design. At the same time, it had been associated with the original role of landscape architecture, which created artworks by taming wild and terrible qualities of wilderness or brown field. This study discovered sublime characteristics of post-industrial parks, inquiring into the relationship between the aged industrial infrastructures and wild plants. First, the sense of industrial structure and the sense of plants have conflict dialectically, constructing an aesthetic field of unique sensory experiences. Second, the dialectical relationship produced an uncertainty in time so that people can experience the complexity of time. Third, post-industrial parks proposed an alternative view of nature. Post-industrial parks presented healing power to restore contaminated land through ecological design strategy so that people can find the quality of wilderness in the brown field of urban landscape. As a result, an aesthetic experience of post-industrial parks produced a sublime impression.

• 한국노년학
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• v.38 no.4
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• pp.1015-1033
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• 2018

The purpose of this study was to examine the meaning and essence of the life of elderly men living alone in public rental housing. Among the phenomenological study methods, the present study used the analysis method proposed by Giorgi(2009). The study participants included 10 elderly men living alone in public rental housing who were recruited through network sampling. The research data were collected through in-depth interviews conducted twice for each person. The results showed that living alone as an elderly man is likened to standing against cold wind out in the wilderness of the world, with living alone deemed a power game between life and death. For the participants, public rental housing is a fence that separates them from the world-the final station of a wandering life. For common people, public rental housing is a stable fence, but for the participants, it is the location of a double-edged solitary life out in the wilderness where the instincts for survival and death play a tug of war. Based on the study findings, the researcher discussed and provided suggestions for psychological housing stability, the disparagement of the elderly in mass media, and countermeasures against psychological isolation.

• SUVANNABHUMI
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• v.14 no.1
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• pp.31-52
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• 2022

Derived from the juxtapositional model of Comparative Literature, this article analyzes two movies, The Story of Pao (Chuyện của Pao, directed by Ngô Quang Hải) and Into the Wild (directed by Sean Penn), using eco-criticism and focusing on two specific aspects: looking for the relationship between "culture" and "nature" and questioning the ideology that puts people at the center of the natural world. Specifically, the article points out similar tones in discovering and praising the beauty of nature, and at the same time, focuses on explaining the "disagreement" and "harmony" in behaviors of different communities towards Mother Nature in these two films. Finally, The Story of Pao and Into the Wild are both read as discourses that participate in the repositioning of human beings in the natural world. The purpose of juxtaposition, therefore, is to seek a new existential dimension for the works, providing an opportunity to uncover and reveal hidden layers of meaning of each text.