• Korean Journal of Logic
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• v.5 no.2
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• pp.39-66
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• 2002

일반적으로 엄밀한 방법을 통하여 증명되었다고 말해지는 괴델의 불완전성 정리는 일련의 전제와 배경지식이 요구된다고 하겠다. 이들 중에서 무엇보다도 중요한 것은 정리의 증명에 사용되는 메타언어상의 수학적 참에 대한 개념이다. 일단 확인할 수 있는 것은 "증명도, 반증도 되지 않지만 참인 산수문장의 존재"라는 불완전성 정리의 내용에서 괴델이 가정하고 있는 수학적 참의 개념이 구문론적인 증명개념으로부터 완전히 독립되어야 한다는 점이다. 문제는 그가 가정하고 있는 수학적 참의 개념이 도대체 무엇이어야만 하겠는가라는 점이다. 이 논문은 이 질문과 관련하여 내용적으로 3부분으로 나누어 질 수 있다. I. 괴델의 정리의 증명에 필요한 전제들 및 표의 도움을 얻어 자세히 제시되는 증명과정의 개략도를 통해 문제의 지형도를 조감하였다. II, III. 비트겐슈타인의 괴델비판을 중심으로, "일련의 글자꼴이 산수문장이다"라는 주장의 의미에 대한 상식적 비판 및 해석에 바탕을 둔 모형이론에 대한 대안제시를 통하여 괴델의 정리를 증명하기 위해 필요한 산수적 참에 관한 전제가 결코 "확보된 것이 아니다"라는 점을 밝혔다. IV. 괴델의 정리에 대한 앞의 비판이 초수학적 전제에 대한 것이라면, 3번째 부분에서는 공리체계에서 생성 가능한 표현의 증명여부와 관련된 쌍조건문이 그 도입에 필수적인 괴델화가 갖는 임의성으로 인해 양쪽의 문장의 참, 거짓 여부가 서로 독립적으로 판단 가능하여야만 한다는 점에(외재적 관계!) 착안하여 궁극적으로 자기 자신의 증명여부를 판단하게 되는 한계상황에 도달할 경우(대각화와 관련된 표 참조) 그 독립성이 상실됨으로 인해 사실상 기능이 정지되어야만 한다는 점, 그럼에도 불구하고 이 한계상황을 간파할 경우(내재적 관계로 바뀜!)항상 순환논법을 피할 수 없다는 점을 밝혔다. 비유적으로 거울이 모든 것을 비출 수 있어도 자기 스스로를 비출 수 없다는 점과 같으며, 공리체계 내 표현의 증명여부를 그 체계내의 표현으로 판별하는 괴델의 거울 역시 스스로를 비출 수는 없다는 점을 밝혔다. 따라서 괴델문장이 산수문장에 속한다는 믿음은, 그 문장의 증명, 반증 여부도 아니고 또 그 문장의 사용에서 오는 것도 아니고, 플라톤적 수의 세계에 대한 그 어떤 직관에서 나오는 것도 아니다. 사실상 구문론적 측면을 제외하고는 그 어떤 것으로부터도 괴델문장이 산수문장이라는 근거는 없다. 그럼에도 불구하고 괴델문장을 산수문장으로 볼 경우(괴델의 정리의 증명과정이라는 마술을 통해!), 그것은 확보된 구성요소로부터 조합된 문장이 아니라 전체가 서로 분리불가능한 하나의 그림이라고 보아야한다. 이것은 비트겐슈타인이 공리를 그림이라고 본 것과 완전히 일치하는 맥락이다. 바론 그런 점에서 괴델문장은 새로운 공리로 도입된 것과 사실은 다름이 없다.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.117-118
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• 2014

본 연구에서는 조선시대 정원 관련 문헌의 분석을 통해 정원문화에서 나타나는 전환기적 양상을 살펴보고자 진행되었다. 자료의 분석결과 산수에 의탁하는 귀거래의 희구는 한양으로의 문물 집중현상으로 도시 속의 전원을 선호하는 양상을 보이고 있었다. 또한 정원문화로써 이전시기 완물상지로 여겨지던 화목이나 화훼에 대한 애호와 석가산의 조성이나 산수화를 통한 고동서화의 취미로써 산수애호사상과 함께 자신이 선호하는 요소를 가까이 두고 즐기고자 했던 와유문화의 완성기로 대별되었다. 이는 조선후기의 정원문화가 자연관의 변화나 기존의 문화가 완성되는 형태로 이전시기와는 다른 양상을 보이고 있음을 알 수 있다.

• Analytical Science and Technology
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• v.29 no.1
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• pp.1-9
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• 2016

It is believed that traditional Korean medicines can be managed more scientifically through the development of logical criteria to verify their region of cultivation, and that this could contribute to the advancement of the traditional herbal medicine industry. This study attempted to determine such criteria for Sansuyu. The volatile compounds were obtained from 20 samples of domestic Corni fructus (Sansuyu) and 45 samples of Chinese Sansuyu by steam distillation. The metabolites were identified in the NIST Mass Spectral Library via the obtained gas chromatography/mass spectrometer (GC/MS) data of 53 training samples. Data binning at 0.2 min intervals was performed to normalize the number of variables used in the statistical analysis. Multivariate statistical analyses, such as principle component analysis (PCA), partial least squares-discriminant analysis (PLS-DA), and orthogonal partial least squares-discriminant analysis (OPLS-DA) were performed using the SIMCA-P software package. Significant variables with a variable importance in the projection (VIP) score higher than 1.0 were obtained from OPLS-DA, and variables that resulted in a p-value of less than 0.05 through one-way ANOVA were selected to verify the marker compounds. Finally, among the 11 variables extracted, 1-ethylbutyl-hydroperoxide (9.089 min), nonadecane (20.170 min), butylated hydroxytoluene (25.319 min), 5β,7βH,10α-eudesm-11-en-1α-ol (25.921 min), 7,9-bis(2-methyl-2-propanyl)-1-oxaspiro[4.5]deca-6,9-diene-2,8-dione (34.257 min), and 2-decyldodecyl-benzene (54.717 min) were selected as markers to indicate the origin of Sansuyu. The statistical model developed was suitable for the determination of the geographical origin of Sansuyu. The cultivation areas of four Korean and eight Chinese Sansuyu samples were predicted via the established OPLS-DA model, and it was confirmed that 11 of the 12 samples were accurately classified.

• 공원문화
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• s.75
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• pp.2-11
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• 1999

• KOMUNHWA
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• no.54
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• pp.159-180
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• 1999

• Journal of Korea Game Society
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• v.19 no.3
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• pp.33-42
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• 2019

This paper is the result of research on how to represent 'Landscape' of Oriental painting in 3D space within virtual reality. Based on the similarities between the characteristics of Oriental painting and virtual reality put together three features of painting and put them into the digital content. For the expression of painting style, we produced texture, represented spaces and shadows as a content development environment, and the view point with helper storytelling.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.1
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• pp.26-38
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• 2019

This study is based on the analysis of the characteristics of waterfront scenery. Recently, waterfront development has expanded residentially, commercially and into leisure space. In the development of the waterfront, it is necessary to apply designs suitable for urban and various other waterfront areas. In this study, the natural scenery of the waterfront was researched with respect to the Korean Jingyeong landscape paintings and the main elements of the scenery were analyzed. In this study, 105 painting of Korean Jingyeong landscapes paintings were selected for the analysis of the waterside scenery. The paintings of Jeong Seon were studied to categorize streams topographically into mountainous, upper, middle, lower, and ocean types. In addition, major micro-topography elements, which are 13 water image elements and 13 staffage elements were analyzed. The main waterfront landscape elements are divided into 13 types. The waterfalls were divided into long waterfalls, short waterfalls, cascading waterfalls, and other aspects considered were line stream, curve stream, multi-curve stream, pond, water surface, flow surface, wave surface, rock side, pile sandy side, sandy side. There are 13 kinds of staffage elements, include pine forest, pine trees, fir trees, bamboo trees, willow trees, broadleaf tree, villages, houses, gazebo, boat, bridges, and people. The waterfront landscape by a river area was explained according to each characteristic of the waterfront landscape and staffage, and their changes were analyzed in each area. The 105 paintings were divided into 35 pieces of mountainous streams, 9 upper streams, 5 middle streams, 35 lower streams, and 21 oceans, and the change of each waterfront landscape and staffage was analyzed. Based on the topographical analysis of the waterfront landscape and staffage, the results can be summarized into 5 types of the waterfront landscape. Based on the micro-topographical characteristics of the waterfront landscape styles are as follow. In the mountainous streams, long waterfall and deep forest type are apparent, which depicts deep mountain waterfall scenery, and a multi-stream forest is the scenery of a picnic in the mountains, which is a representative form of mountainous streams landscape. In the upper-middle stream, the water-surface and gazebo type is predominant. In the lower stream, the sandy-gazebo typ scenery is predominant and the sandy depiction is unique to lower stream landscape. Pile sandy-dock type is life scenes where human activity highlighted, is a representative form of the lower stream landscapes. The characteristic of the coastal landscape is the serpentine rock scenery on the beach and the wave-serpentine rock type that forms the main coastal landscape. The study aims to propose significant design elements for a natural waterfront landscape planning based on the analysis of landscape in the paintings of Jeong Seon.

• Industry Promotion Research
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• v.6 no.1
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• pp.87-93
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• 2021

Qi Baishi is a prolific master of modern Chinese painting in the 20th century and a profound influence on modern Chinese painting. With a lifetime of diligence and pursuit, he brought the development of traditional Chinese literati painting to the palace of world art. Qi Baishi's paintings have very different styles and rich connotations. There is a childlike "Plantain Crowd", which is childish but full of interest. There is also a simple and old-fashioned "Peony" in the late years, vigorous and powerful, moving heartstrings. There is also the irony of the present world, refuting the ugly "Tumbler", which is thought-provoking. Of course, the most worthy of study is Qi Baishi's landscape paintings. His landscape paintings surpassed their era and have unique historical value in the transformation of modern Chinese landscape painting. He was one of the pioneers of the transformation of Chinese landscape painting in the 20th century. In this article, through the research and collation of Qi Baishi's landscape paintings, the characteristics of Qi Baishi's landscape paintings and their surpassing of the times are discovered.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2018.11a
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• pp.94-96
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• 2018

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2002.03a
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• pp.4-8
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• 2002