• Korean Journal of Plant Resources
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• v.35 no.1
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• pp.29-35
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• 2022

Elsholtzia byeonsanensis is a Korean native plant of the Lamiaceae family, and was first introduced in the Korean Journal of Plant Taxonomy. This plant has a short plant length of 20-35 cm, with leathery and glossy leaves. The purple flowers bloom in November, so they are highly useful as potted or ground cover ornamental plants. In this study, tray cell size (128, 162, and 200-cell trays), soil composition [horticultural soil (HS): decomposed granite (DG) 1:1, 1:2, and 1:4 (v:v)], seeding rate (1, 2, and 3 seeds per cell) and additional fertilizer concentrations (0, 250, 500, and 1000 mg/L Hyponex) were tested to find out the optimum seedling growth conditions. As a result of the study, E. byeonsanensis growth increased proportionally as the cell size of the tray increased. The growth was inhibited as the percentage of DG increased. As for the growth according to the seeding rate, plant height, plant width, leaf length, and leaf width decreased as the seeding rate increased, but there was no difference in the number of leaves, stem diameter, and root length. There was an increasing trend in seedling growth as the additional fertilizer concentration increased. Therefore, for producing E. byeonsanensis seedling, it is most effective to fill HS or HS:DG 1:1 in 128-cell trays, sow one seed per cell, and spray the seedling at 1000 mg/L for additional fertilizer.

• Korean Association of Arts Management
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• no.52
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• pp.5-37
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• 2019

Despite a copious volume of work on the relationship between social class and cultural consumption, scholars have paid scant attention to the increasingly apparent observation that a vast majority of the population exhibits indifference toward fine arts regardless of one's socio-economic status. Much of the prior literature on cultural consumption has treated the public's indifference to fine arts not as a distinct analytical category that deserves an explanation of its own, but simply as the opposite of "likes" or the act of consumption, let alone being disentangled from the concept of "dislikes" in taste-formation and consumption behavior. In this paper, we suggest that the seemingly increasing trend toward indifference to fine arts, especially among those who are part of the well-educated and economically well-off, merits close scholarly attention on its own term. As an initial step toward this endeavor, we explore the factors behind indifference toward fine arts among Korean middle-class, using the ground theory method. Our interview findings reveal that much of indifference toward fine arts is attributable to the lack of tastes in fine arts and artistic competence. Our results suggest that research drawing on Bourdieu's theory and Peterson's omnivore hypothesis needs to be further revised through an in-depth investigation of the institutional and societal contexts where art education takes place in Korea. We discuss the implications of our findings for policy-making in the cultural and artistic sphere.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.10-21
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• 2014

This study focuses on the landscape of Daegodae(大孤臺), a prominent rock placed at the side of Namgae Stream in Hamyang, and the person who enjoy the landscape. Through the analysis of the letters such as names carved on the rocks based on ancient poetry and stone walls, the study examines the characteristics of the landscape and the space of Daegodae and the phase of hegemony to enjoy the landscape and space. The result of this study is as follow.2) There are 5 Seowon(書院: lecture halls) nearby Daegodae identified in the ancient map has 5 auditoriums nearby, and three-dimensional volume and eccentricity of the Daegodae is impressive. Daegodae, named by Noh Jin(1518~1578) in 16th century, was used in a variety of ways, including viewing, game, recreation, and meeting, by the staff of the lecture halls including Namgae Seowon(南溪書院), as a result of analyzing the ancient document Go-dae-il-Loc(孤臺日錄) written by Jung Kyung-Woon(鄭慶雲: 1556~?). The structure of Daegodae is that there is Chunggeunchung(淸近亭) on the rock face of the top and Sanangjae(山仰齋) to the west around the memorial stone for Yang Hee(梁喜: 1515~1581). The upper part of the foundation of Daegodae with 11m high and $10m^2$ wide to the east and west was widely used for lecturing and poetry reading. To the north and west of the foundation were the writing of Kim Jeong-Hee(金正喜: 1786~1856) with the words 'Seoksong Chusa(石松 秋史)' carved on the rock and the remains of a dead tree that is presumed to have been called as 'Seoksong'. They are the landscapes that further enhance the history and authenticity of this place. The two kinds of letters carved on the rock 'Daegodae Gaeeunseo(大高臺 介隱書)' and 'Mukheon JungGeunSang(鄭近相: 1893~1934)' were recorded each by Jung Jae-Gi(1811~1879) and his grandson Jung Geun-Sang, which are, as the outcome of exclusive space possession and space hegemony, the signatures indicating that they were the persons who enjoyed this place during the late Joseon and Japanese colonial era. In other words, Daegodae had some implied meaning of preoccupancy of the place as Gujolyangseonsengjangguso since the middle of Joseon, and the place was passed down as a buddhism lecturing and memorial venue called "Dungbukganghoiso Cheonryungjaeseonhyunjangguso" after going through the space hegemony of Jung Jae-Gi and Jung Geun-Sang during the late Joseon and Japanese colonial era each, Nevertheless, a number of letters carved on the rock identified also imply that 'Hadong Jung(河東鄭氏)' and 'Pungcheon Noh(豊川盧氏)' were those who enjoyed the landscape of Daegodae and the center of the space hegemony. The "letters carved on the rock of Daegudae" is another case of cultural landscape and traditional gardening space that serves as the representation of the will of enjoying the landscape in this place and the history of space hegemony.

• Korean Architects
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• s.542
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• pp.24-25
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• 2014

• Proceedings of the Korean Society of Tobacco Science Conference
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• 2004.10a
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• pp.16-17
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• 2004

• 한국보건간호학회:학술대회논문집
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• 2006.06b
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• pp.179-180
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• 2006

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.157-158
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• 2013

게임 플랫폼은 패러다임의 변화에 맞추어 변화해왔으며, 앞으로도 계속하여 변화할 것이다. 초기에 나타난 게임은 사업자들이 운영하는 아케이드에서만 향유할 수 있었던 것이 대부분이었으나, 가정용 비디오 게임기의 보급과 퍼스널 컴퓨터의 보급을 통해 각 가정에서도 향유할 수 있게 되었다. 현재 기술의 발달로 등장한 스마트폰은 휴대성을 지닌 게임 플랫폼으로 각광받고 있다. 기술의 발전에 의해 새로운 플랫폼이 등장할 때마다 게임 콘텐츠는 어떻게 변화해 왔으며, 사용자들은 어떻게 반응하고 있는지 비교 분석하고자 한다. 이를 통해 향후 나타날 새로운 플랫폼에 적합한 형식의 게임 방향을 예측하고자 한다.

• Proceedings of The KACE
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• 2018.08a
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• pp.85-87
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• 2018

고령 사회의 급격한 확대로 인해 스마트 기기를 잘 다루는 스마트 시니어들의 문화향유가 급증하고 있다. 시니어 세대는 인지 및 운동능력이 급격히 감퇴하는 시기로, 콘텐츠를 활용한 원활한 문화향유를 위해서는 감퇴하는 능력에 대한 개인의 능력을 파악하여 콘텐츠 제작자들에게 알맞은 가이드라인을 제공해줄 필요가 있다. 본 연구는 시니어의 인지 및 운동능력 측정을 통하여 웹콘텐츠에 사용되는 UI/UX 컴포넌트를 매핑하고, 컴퓨터 과학에 전문적인 지식이 없는 개발자 또는 콘텐츠 제작자들에게 시니어를 잘 이해할 수 있도록 하는 시각화 방법을 제안한다.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.243-244
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• 2018

최근 여가 문화 비중이 날로 증가하면서 레저 관광 문화에 대한 관심 증대와 동시에 질 높은 문화 향유에 대한 기대치가 높아지고 있다. 초 중 고 자녀들의 견문 넓히기를 위해 주말이면 나들이를 떠나는 인구 비중 역시 문화 향유 기대치와 비례하여 계속 늘고 있는 추세다. 주말 가족 단위의 여행을 통한 체험은 휴식과 놀이는 물론 교육적인 목적을 포함한 활동이기를 기대한다. 최근 교육 프로그램은 과거 아이들만 현장에 맡기는 탁아형에서 벗어나 부모가 교육 활동에 개입하는 공유형으로 나아가고 있는 추세이며, 가족간 결속과 가족 탄력성이 은연중에 스며들도록 하는 잠재적 교육과정의 실현이 매우 중요해졌다. 본 고에서는 박물관에서의 가족 교육 프로그램 제공을 통한 온가족 참여 교육 결과를 가족 대상 설문과 인터뷰를 통해 분석해보고 보다 적극적인 가족 형태의 교육활성화를 제고하고자 한다.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.165-166
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• 2018