• Journal of Broadcast Engineering
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• v.10 no.1 s.26
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• pp.43-56
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• 2005

In the existing broadcasting environment, it is not easy to serve the bi-directional service between a broadcasting server and a TV audience. In the uni-directional broadcasting environments, almost TV programs are scheduled depending on the viewers' popular watching time, and the advertisement contents in these TV programs are mainly arranged by the popularity and the ages of the audience. The audiences make an effort to sort and select their favorite programs. However, the advertisement programs which support the TV program the audience want are not served to the appropriate audiences efficiently. This randomly provided advertisement contents can occur to the audiences' indifference and avoidance. In this paper, we propose the target advertisement service for the appropriate distribution of the advertisement contents. The proposed target advertisement service estimates the audience's profile without any issuing the private information and provides the target-advertised contents by using his/her estimated profile. For the experimental results, we used the real audiences' TV usage history such as the ages, fonder and time of the programs from AC Neilson Korea. And we show the accuracy of the proposed target advertisement service algorithm. NDS (Normalized Distance Sum) and the Vector correlation method, and implementation of our target advertisement service system.

• Cartoon and Animation Studies
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• s.31
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• pp.117-152
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• 2013

is a comics that the original Yoshokawa Eiji's novel . Since the series started in 1998, it's epic that records the 54 million or more copies of the cumulative sales volume to 1.7 million unit volume average in the book, 34 are currently up to volume has been published. proceeds with narratives in a way of following naturally the personality of a character based on the rule of an author, which is 'people should be described as what they are'. Accordingly it features very unique characterizing. This study focused on the fact that numerous characters in maintain a structural balance through the establishment of a character composition in an antipodal relationship although those characters have strong personalities. In order to analyze the relationship of such characters, the study utilized as an analytic frame MBTI personality types theory which is a psychology test tool. First, the study inferred personality patterns as the temperamental characteristics of MBTI, and tried to analyze the antipodal character composition based on the combination of cognition and judgment which are assumably the most important functions. From this, the study was able to discover the following three structures applied to those characters. (1) The antipodism between Musasi, the main character and Kojiro, a mirror character becomes central to the work, (2) The antipodal relationship between their fosterers and the character playing the mentor's role extends the character attribute of Musasi and Kojiro. (3) The Yoshioka family was also established in the antipodal composition as a role of exchanging influences with Musasi and Kojiro. Through this, the study reached a conclusion that in the pairs of characters in contrast were established as if to reach a dialectic synthesis. As such, the antipodal structuralization of the character composition shown in is deemed to differentiate the inner sides of numerous unique characters; thereby make it possible to describe their inner sides in-depth. Finally, the following common context is found: works in the field of successful comics and animation in terms of criticism and performance are focused on characters. It is probably because their consumers are relatively very interested in those characters as the characters in comics or animation become differentiated from those of novels or movies. Subsequently, it is expected that the analyzed results of characterizing can be referred to during the production of contents by preparing the results as database.

• Korean journal of communication and information
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• v.81
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• pp.153-186
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• 2017

The purpose of this study was to identify the characteristics of village community media in Jeju by looking at the value that it's participants have experienced in the production process. Therefore, this study focused on the creation and production process of village community media, the specific value reflected in this process as well as how to activate and operate it sustainably through in-depth interviews with 12 media participants in Jeju community. As a result of the analysis, firstly, we were able to see that the migrants who are not the indigenous became the center of village community media creation in Jeju and they felt very personal 'fun', 'enthusiasm' and 'satisfaction'. It was also completely open to access and participate in village community media and its contents were filled with stories of everyday life of village residents and hidden stories of old people in the village that were not recorded. The characteristic of the production process of village community media was the horizontal communication and it reflected well the opinions of individual media participants even if it had a joint meeting. Second, as a result of examining the values applied to the production process by village community media participants, they regarded the connection of communication by voluntary participation and restoration of communities through activation of communication in functionalism as an important value. Finally, as a result of examining the challenges and development plans for sustainable management of community media in Jeju, it was required the active participation of village residents, ensuring space for village community media, providing insufficient broadcasting equipment, and the budget support from local governments, etc. It was once again confirmed that the provision of a support system for the stable activities of local governments is an urgent task for sustainable village community media.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.154-167
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• 2014

The results of this study conducted to identify the substance, regional characteristics or landscaping of Namwon Yonghogugok, which is the only valley of Jiri Mountain, based on Kim Samun's 'Yonghokugok-Gyeongseungannae(龍湖九曲景勝案內)', 'Yongseongji(龍城誌)' and position, meaning of letters carved and projection technique by ArcGIS10.0 on the rocks are as below. The feature landscapes of the canyon of Yonghogugok, which is an incised meander and one of the Eight beautiful scenery of Namwon, ponds, cliffs and rocks generated with metamorphic rocks and granites weathered by rapids torrents. As a result of measuring the GPS coordinates of the letters carved on the rocks, excluding the 3 Gok Hakseoam and the distances based on the origin and destination of the letters carved on the rocks using the API(Application Programming Interface) function of Daum map, the total distance of Yonghogugok was 3.5km and the average distance between the each Gok was 436.5m. It is assumed that Yonghogugok was designated by Sarim(士林) of the Kiho School(畿湖學派) related to Wondong Hyangyak(元洞鄕約) which is the main agent of Yonghojeongsa(龍湖精舍), the forerunner of Yonghoseowon(龍湖書院), between the late Joseon Dynasty and the early Japanese colonial era, in 1927. Its grounds are the existence of Yonghoyeongdang mentioned on 'Yonghojeongsilgi'(龍湖亭實記), records of 'Haeunyugo(荷隱遺稿)', 'Yonghopumje(龍湖品題)' of Bulshindang(佛神堂), 'Yonghojeongsadonggu Gapjachun(龍湖精舍洞口 甲子春)' letters carved on the rocks and 'Yonghogugok-Shipyeong(龍湖九曲十詠)' posted on Mokgandang of Yonghoseowon. Comprehensively considering the numerous poetry society lists carved on the stone wall of Punghodae(風乎臺), the Sixth Gok Yuseondae, its stone mortar, 'Bangjangjeildongcheon(方丈第一洞天)' of Bulshindang and Gyoryongdam(交龍潭), the Yonghoseokmun(龍湖石門) letters carved on the rocks, Yeogungseok adjacent to the First Gok and Fengshui facilities, centered on Yonghoseowon and Yonghojeong, Yonghogugok can be understood as a unique valley culture formed with the thoughts of Confucianism, Buddhism, Taoism and Fengshui. 'Yonghogugok-Gyeongseungannae' provides very useful information to understand the place name, called by locals and landscaping aspects of Yonghogugok in the late Joseon Dynasty. In addition, the meaning of "Nine dragons" and even though 12 chu(湫: pond) of Yonghogugok Yongchudong including Bulyeongchu, Guryongchu, Isuchu, Goieumchu and Daeyachu are mentioned on Yongseongji, a part of them cannot be confirmed now. Various place names and facilities relevant to Guryong adjacent to Yonghogugok are the core of the place identity. In addition, the accurate location identification and the delivery of the landscaping significance of the 12 ponds is expected to provide landscaping attractiveness of Yonghogugok and become very useful contents for landscaping storytelling and a keyword of storyboard.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.62-79
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• 2019

This study examined the background of Gyeongju Seochulji Pond (world heritage, historic site No. 138), a historic pond in Sam-guk-yu-sa (三國遺事), and its landscaping period when it served as the garden of the Pungcheon Lim clan (豊川 任氏) in the middle of the Joseon dynasty. For this study, a literature review of poetry, prose, and a personal anthology, and a field survey were conducted. Changes in the landscape were analyzed by comparing the landscape appearing in the literature of the Joseon period with past photographs. The results were as follows: First, even though the function and landscape at that time cannot be guessed as the objective ground from Silla to the early part of the Joseon dynasty is insufficient, it has been managed as a Byeolseo (別墅) garden as Pungcheon Lim's family resided in the area of Eastern-Namsan Mountain during the Joseon dynasty. At that time, Seochulji Pond was recognized as a historic place. It functioned as the garden of Pungcheon Lim's family as Lim Jeok (任勣, 1612~1672) built the Yiyodang pavilion (二樂堂). Second, in the literature, the Yiyodang pavilion has been called Gaekdang (客堂), Jeongsa (精舍), Byeolgak (別閣) and Byeolseo, etc. It can be seen as Nu and Jeong (樓亭), utilized for various uses. Because of this, the name Bingheoru Pavilion (憑虛樓) has mostly been in common use. Third, Seochulji Pond was positioned where the scenery is beautiful, with Gyeongju Mt. Namsan (Mt. Geumo) in the background and with a wide field and the Namcheon River flowing in the front. This was typical of Byeolseo gardens of the Joseon dynasty, combining human environments with natural environments. Fourth, the relationship with the Byeolseo garden disappeared as the head of Pungcheon Lim's family added a temple, lotus flowers, pine trees, and a bamboo forest as described in the old poetry and prose. Currently, the landscape does not appear to be significantly different from that as development has not occurred in the area of Seochulji Pond. Also, crape myrtle (Lagerstroemia indica), which now symbolizes the Seochulji Pond, was not identified in the old poetry or past photographs and is not old enough to confirm whether it was prominent at the time. Through this study, it is necessary to reconsider the spatial meanings of the gardens of the Joseon dynasty period and not to highlight the area of Seochulji Pond as a place in the legend. This is a cultural asset in the area of Eastern-Namsan Mountain and has an important meaning in terms of garden history.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.58-69
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• 2018

The purpose of this study was to present specific standards for landscape planning and construction applicable to landscaping areas in various historical sites. The results are as follows: First, the types of historical sites are classified according to their preservation status and processing techniques, and the classification according to their status is divided into those that have been buried underground, such as those that have been exposed to the ground, such as buildings and structures, and those that have a reputation or a record of the sites. The classification according to the wartime processing technique was classified by such techniques as closures that isolate the site, penetration that can be seen on the site, and overlays where a separate protection facility is installed on the site. Second, the principles of landscape planning for display of historical sites are divided into the items that make up the historical site, surface treatment of the sites, tree planting, and installation of facilities. If the site is not a circular space, the area separating the space by different materials between the components is required. In the event that preservation of the historical site is required, it is deemed desirable to use the soil, and to do so, the use of grasses and shrubs is effectively considered to be effective. The introduction of plants and plants should be considered according to the nature of the space. Depending on the area and nature of the monument, the facility is required to take a cautious approach by reviewing its influence on the landscape and the additional excavation of the monument. Third, the readjustment method derived as a result of looking at the landscaping principle in the historical site space was classified as conservation of status, installation of protection facilities, burial, restoration, relocation, and reproduction. Preservation of the status quo is essential for limited landscape planning and should not affect the prototype of existing relics. The protection facility shall be installed where necessary to protect the relics, and when the soil is formed, the surface treatment shall be required to remove trees that could damage the site and prevent soil and soil oil from being lost after the site. The restoration shall establish a landscaping plan according to the circular preservation based on the clues to the circle. The transfer requires a landscaping plan to create an environment similar to the outer space of an existing site and should be able to highlight the value or location of the original site. The reenactment should have a landscaping plan to revive the landscape and atmosphere of the past for the now-defunct remains. Fourth, landscaping can simultaneously satisfy the preservation of excavation sites and the increase in exhibition effects. In order to protect the traces of the past and vitalize the site of the ruins today, specific measures are required, the creation of a park for historical sites that preserve the functions and value of the relics, and the formation of a shape of linked contents can be suggested as alternatives.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.1
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• pp.57-75
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• 2019

Soundscapes have the potential to help people experience the historical background and cultural traditions by the scenery of a local area and to be used as a cultural and tourism resource. This concept was first explained in detail by M. Schafer and has been developed as a new way of experiencing landscapes using various senses. This research studied the soundscape of Kyodong Island, the so-called "Island of Peace" and designed new cultural acoustic content for education and tourism. Kyodong Island is located right below the Northern Limit Line and the whole island is in the Civilian Controlled Area. The political and economic status of the island has been changed dynamically by the Korean War and the division of the country. These days, the island needs to realize the vision of the "Island of Peace" in a more creative way using local resources, including its "cold war landscape" and the natural scenery of the region. This research applied the concept of a soundscape to document the island, and to reproduce it in an artistic way. A workshop was conducted to learn concepts and techniques of soundscapes with a sound artist. Listening, recording, conducting interviews, and literature research was used to study the soundscape of the island. After that, this research reconstructed the soundscape of the island through a soundscape composition. The main theme of the composition story was the "Hope and Wish for the Harmony and Peace" to show the vision of the "Island of Peace". The initial sub-theme for the introduction part was "First Encounter with Kyodong Island" arranging the representative soundscape, which could be the first impression of the region. The second sub-theme was "War and Tension" using several soundscapes as a metaphor for the tragedy of the Korean War. The third sub-theme was "Everyday Life of Kyodong Island" which described the energy of the present day, after the wounds of the war have healed. The final sub-theme was "Harmony and Peace" using traditional music and keynote sounds of the region as a reminder of the peaceful past, before the war. The recording files were documented as two types of sound maps. One was a two-dimensional map to show the soundscapes from one point of view, and the other used the online application called "Sound Around You". The final artwork was displayed at an exhibition and uploaded on YouTube to be shared publicly. Through this project, we discovered the potential of soundscapes as a medium to preserve the history and local identity, as well as presenting a new vision. The artwork will be exhibited at historically and culturally meaningful places on the Island to utilize the underused places as local tourist attractions and educational resources.

• Journal of the Society of Disaster Information
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• v.17 no.3
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• pp.640-654
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• 2021

Purpose: Normal education operation was difficult in the national disaster situation of Coronavirus Infection-19. Non-face-to-face education can be an alternative to face to face education, but it is not easy to provide the same level of education. In this study, the professor of disaster management field will identify problems that can occur in the overall operation and progress of non-face-to-face education and seek ways to improve non-face-to-face education. Method: Non-face-to-face real-time education was largely categorized into pre-class, in-class, post-class, and evaluation, and case studies were conducted through the professor's case studies. Result&Conclusion: The results of the survey are as follows: First, pre-class, it was worth considering providing a non-face-to-face educational place for professors, and the need for prior education on non-face-to-face educational equipment and systems was required. In addition, it seems necessary to make sure that education is operated smoothly by giving enough notice on classes and to make efforts to develop non-face-to-face education programs for practical class. Second, communication between professor and learner, and among learners can be an important factor in non-face-to-face mid classes. To this end, it is necessary to actively utilize debate-type classes to lead learners to participate in education and enhance the educational effect through constant interaction. Third, non-face-to-face post classes, policies on the protection of privacy due to video records should be prepared to protect the privacy of professors in advance, and copyright infringement on educational materials should also be considered. In addition, it is necessary to devise various methods for fair and objective evaluation. According to the results of the interview, in the contents, which are components of non-face-to-face education, non-face-to-face education requires detailed plans on the number of students, contents, and curriculum suitable for non-face-to-face education from the design of the education. In the system, it is necessary to give the professor enough time to fully learn and familiarize with the function of the program through pre-education on the program before the professor gives non-face-to-face classes, and to operate the helpdesk, which can thoroughly check the pre-examination before non-face-to-face education and quickly resolve the problem in case of a problem.

• (The) Research of the performance art and culture
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• no.42
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• pp.257-290
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• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.