• Journal of Korean Philosophical Society
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• v.147
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• pp.117-146
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• 2018

This paper discusses, whether religion is possible even in the age of artificial intelligence, and whether humans alone are the subject of religious faith or ultra intelligent machines with human minds can be also subjects of faith. In order for ultra intelligent machines to be subjects of faith in the same conditions as humans, they must be able to have unique characteristics such as emotion, will, and self-consciousness. With the advent of ultra intelligent machines with the same level of cognitive and emotional abilities as human beings, the religious actions of artificial intelligence will be inevitable. The ultra intelligent machines after 'singularity' will go beyond the subject of religious belief and reign as God who can rule humans, nature and the world. This is also the common view of Morabeck, Kurzweil and Harari. Leonhart also reminds us that technological advances should make us used to the fact that we are now 'gods'. But we fear we may face distopia despite the general affluence of the 'Star Trec' economy. For this reason, even if a man says he has learned the religious truth, one can't help but wonder if it is true. Kant and Bloch are thinkers who critically reflected on our religious ideals and highest concept in different world-view premises. Kant's concept of God as 'idea of pure reason' and 'postulate of practical reason', can seem like a 'god of gap' as Jesse Bering said earlier. Kant recognized the need for religious faith only on a strict basis of moral necessity. The subjects of religious faith should always strive to do the moral good, but such efforts themselves were not enough to reach perfection and so postulated immortality of the soul. But if an ultra intelligent machines that has emerged above a singularity is given a new status in an intellectual explosion, it can reach its morality by blocking evil tendencies and by the infinite evolution of super intelligence. So it will no longer need Kant's 'Postulate for continuous progress towards greater goodness', 'Postulate for divine grace' and 'Postulate for infinite expansion of the kingdom of God on earth.' Artificial intelligence robots would not necessarily consider religious performance in the Kant's meaning, and therefore religion will also have to be abolished. Ernst Bloch transforms Kant's postulate to be Persian dualism. Therefore, in Bloch, even though the ultra intelligent machines is a divine being, one must critically ask whether it is a wicked or a good God. Artificial intelligence experts warn that ultra intellectual machine as Pandora's gift will bring disaster to mankind. In the Kant's Matrix, a ultra intelligent machines, which is the completion of morality and God itself, may fall into a bad god in Bloch's Matrix. Therefore, despite the myth of singularity, we still believe that ultra intelligent machines, whether as God leads us to the completion of one of our only religious beliefs, or as bad god to the collapse of mankind through complete denial of existence.

• The Korean Journal of Archival Studies
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• no.13
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• pp.91-134
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• 2006

In general, personally collected archives, manuscripts, are physically badly conditioned and also contextual of the archives and information on the history of production is mostly collected partly in the manuscripts. Therefore they need to control the name of the producers on the archives collected in various ways effectively and accumulate provenance information which is the key element when understanding the production background in the collecting repository. Here, the authority control and provenance information management must be organized from the beginning of acquisition and this means to collect necessary information considering control process of acquisition as well. This thesis is for verifying the necessity of the authority control in collecting repository and accumulation of the provenance information and for suggesting the things to be considered as collecting Archival authority system. For all these, this thesis shows that it has checked out the necessity of the authority control in archival management and archival authority control and researched the standard of archival authority control, work process and accumulation process. Archival provenance information management and authority control in the archival authority control system are organized through the whole steps of the archival management starting from the lead file to the name of the producers at archival registration and archival description at acquisition. And a lot of information is registered and described at the proper point of time and finally all the information including authority control which controls the Heading in the authority management must be organized to use them as an intellectual management of archives and Finding Aids. The features of the Archival authority system are as follows; first of all, Authority file type which is necessary at the archival authority control of democracy movement is made up of the name of the group, person, affair and terminology(subject name). Second of all, basic record structures and description elements in authority collection of Korea Democracy Foundation Archives apply in the paragraph 1 of ISAAR(CPF) adding some necessary elements and details of description rule such as spacing words and using the periods apply in the paragraph 4 of KCR coping with the features of the archival management system. And also the way of input on the authority record is based on EAC(Encoded Archival Context). Third of all, it made users approach to the sources which they want more easily by connecting the authority terms systemically making it possible to connect the relative terms with up and down words, before and after words variously and concretely expanding the term relations rather than earlier traditional authority system which is usually expressed only with relative words (see also). So the authority control of archival management system can effectively collect and manage the function of various and multiple groups and information on main activities as well as its own function which is controlling the Heading and express the multiple and intermediary relationship between archives and producers or between producers and it also provides them with expanded Record information service which satisfies user's various requests through Indexing service. Finally applying in this international standard ISAAR(CPF) through the instance of the authority management like this, it can be referred to making Archival authority system in Collecting repository hereafter by reorganizing the description elements into appropriate formations and setting up the authority file type which is to be managed properly for every service.

• Korean Journal of Heritage: History & Science
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• v.48 no.1
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• pp.24-43
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• 2015

This study constitutes an inquiry into the decline of Government Office(官衙) facilities carried out intensively during modern era, focusing on provincial government offices of Jeollabuk-do. There have been several studies of changes in provincial government offices till now, but there have been few studies of government offices of the counties and prefectures(郡縣) during the period of the Japanese Resident-General of Korea and after the National Liberation, temporally and there have still been lacking studies on Jeollabuk-do, spatially. Thus, this study attempts to empirically prove the reasons and the time of the decline of provincial government offices in Jeollabuk-do and the characteristics in the process of decline focusing on modern era. As a result of the study, four factors: demolition, abolition, appropriation and disaster had the most decisive impacts on the decline of government office facilities. Demolition refers to the destruction of government office facilities, and abolition, to the decline and the discontinuation of the operation of the facilities. Appropriation refers to conversion to facilities to meet public functions, and disaster, damage from a typhoon or fire. These factors had already been started from the 1900s, and by the 1930s, most of the government office facilities came to lose their original looks and functions. In the meantime, there was an essential purpose in demolition, the most direct factor in the destruction of the government office facilities in terms of function: that is new construction of public facilities necessary for administration and rule. The existing government office facilities were appropriated, sometimes, but behind that, many cases of demolition of the government office facilities for the new construction of public facilities are found. The appropriation of the government office facilities is divided into educational, administrative, financial and security facilities, and generally, Gaeksa(客舍) and Dongheon(東軒) were used respectively as educational and administrative facilities while their attached facilities were used as financial and public order and security facilities in general. Especially, some government office facilities were utilized as distinctive facilities such as housing or hospital. In the process of appropriation, a lot of modification occurred inside and outside the government office facilities, due to which, the government office facilities gradually declined losing their traditional styles.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.166-177
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• 2016

This essay explores the problems with applying the concept of "original form" to natural heritage when it is based on originality and diachronic, historical period. It also suggests an alternative perception that the concept of "original form" can be considered based upon "integrity". First, the conceptual framework for applying the concept of "original form" falls into three types: one that centers on the time point at which heritage originated; another that respects the diachronic characteristics of the concept of "original form"; and the last that bases original form on a particular time after the heritage originated. Second, the national policy for the conservation of natural monuments and scenic sites stayed at the level of consulting the Decree on the Preservation of Treasures, Historical Remains, Scenic Sites, and Natural Monuments of Joseon, under Japanese colonial rule. And after the legal framework was established through enacting and proclaiming of the Cultural Heritage Protection Act in 1962, 564 cases have been designated as natural monuments. Third, the natural conservation movement, the first national policy for natural heritage, was initiated from the heritage field, but the Environment Ministry subsumed all nature-related policies and ever since the heritage agency (Cultural Heritage Administration) has implemented only heritage policies regarding "cultural" heritage. The present state of the coexisting policies about the natural heritage by the Environment Ministry and the Cultural Heritage Administration resulted in leading the public confused about official terms and main policy agency of natural heritage. Fourth, the difficulty of applying the concept of "original form" to natural heritage stems from the fact that natural heritage is inherently distinct from cultural heritage, which is placed at the center of the heritage policies implemented by the heritage agency. In addition, natural heritage, similarly distinct from the overall natural environment, has evolved in a way that incorporates human culture and thus diversely includes characteristics of originality, diachrony, and historical period. Under these circumstances, an incorporative, professional approach is required rather than independent approaches for each type of natural heritage. In conclusion, this essay suggests that issues related to the restoration of original conditions of natural heritage should be resolved through the application of the "integrity" concept by restoring "the characteristics of an object or a place that imbue it with meaning and value," with consideration given to efforts for alleviating logical contradictions within the concept of "original form" through the preparation of standards and guidelines for the restoration of original condition.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.20-55
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• 2016

Koguryo's tomb mural paintings in North Korea are our precious cultural heritage which have been designated as UNESCO World Heritage property receiving high praise in the following criterion, i) exceptional creativeness of human being, ii) representative value showing the stage of development in construction history of East-Asia, iii) aesthetic superiority iv) uniqueness of building construction including tombs' ceiling. Mural paintings have been found from almost 100 tombs of the Koguryo dynasty out of 130 which are scattered across Huanren County, Lianoning Province, Ji'an, Jilin Province in China and Pyongyang in North Korea. Especially, most of them are gathered in Pyongyang from 4th and 5th century. Peculiarly, some of them have been constructed before King Jangsu's transfer of the capital to Pyongyang(AD 427). It can be regarded that Pyongyang territory had been under control of Koguryo and to become a new capital in the near future. And dense emergence of such tombs since the capital transfer from Gungnae City to Pyongyang during the reign of Jangsu is linked closely to the construction of tombs for rulers under strengthen royal authority of Jangsu and centralized system of authoritarian rule. Tomb mural paintings describe the owner's figure pictorially based on the truth just as in his living years. General lifestyles of ruling powers and sovereigns can be seen from the wall paintings portraying several buildings with various styles, figures, manners of living, which are considered that the tomb owner had led politically and sociologically in his life. In spite of not enough proofs to approve figure of architectures or "Gong-Po" in wall paintings on the tombs as those of Koguryo, it is persuasive with consideration for painting and decoration inside the tomb like wooden building in real life for the purpose of reenacting and continuing the tomb owner's luxurious life after death. "Du-Gong-Po-Zak" had appeared in company with Koguryo tomb murals and it can be found in most of the murals. And the emergence of substantial "Gong-Po-Do" can be counted more than a century ahead of the figure in murals. It could be a reasonable assumption as regards Koguryo tomb murals time of appearance match up with production period of Gahyungmyunggi(家形明器) and Hwasangseok(畵像石) Hwasangjeon(畵像塼) Design in the Mural Painting of the East-Han(東漢) Ancient Tombs in China. On this study, architectural "Gong-Po"s described in Koguryo tomb murals are categorized largely in "Bi(non)-Po-Zak-kye", "Jun(semi)-Po-Zak-kye", and "Po-Zak-kye" based on presence of "Ju-Du", "Cheom-Cha", and "Cheom-Cha-Sal-Mi" with developmental aspect, and, "Po-zak" is subdivided as "Bi(non)-Cheul-Mok" and "Cheul-Mok" types.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.44-65
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• 2018

This study examined the costumes of the characters in the painting titled Hig yongru Banghwoedo, which was designated as National Treasure No. 1879 in September 2015, and is currently kept in the Dongguk University Museum. The painting depicts a social gathering of Joseon aristocrats held at the higyongru, or watch tower, of the Gwangjumok, a government office, in 1567. It is characterized by the delicate illustration of the government officials, the main characters of the gathering, and the hyangri, ajeon, najang, chorye, akgong, and yeogi, the lower-class employees of the office. In order to investigate the costumes they wore, diverse materials including literature, costume artifacts, and paintings were used as reference sources. The scope of the study was limited to the characters' headdress and gown, and the accessories attached to the former. The study of men's clothing revealed that officials wore a samo and a red dalryeong as basic attire. In addition, it is presumed that they wore a belt indicating their official rank in the hierarchy, and a pair of black shoes. Retired officials wore a heuklip wrapped in horsehair or silk fabric with a red jing-nyeong and a doah. The hyangri wore a heukjukbanglip on their head, as well as a white jing-nyeong and a belted doah. In the Goryeo period, the banglip was a type of official headdress worn by members of the aristocratic elite ranked immediately below the king, but in Joseon it was demoted as the official headgear of the hyangri class, which was confirmed through Higyongru Banghwoedo. The ajeon wore a heuklip on their head, and a white jing-nyeong and a doah at the waist. As a rule, the najang wore a chogun on the head, and a banbieui on cheolrik and chungmokdai, but the najang in Higyongru Banghwoedo are depicted wearing a chogun and a cheolrik without a banbieui. Also, the chorye wore a heuklip wrapped in hemp cloth with a red cheolrik, whereas the akgong wore a somoja and a red cheolrik. Female entertainers, both adults and children, are depicted in the painting as either serving the aristocrats, dancing, or playing a musical instrument, wearing their hair in a voluminous, round, high bun, and dressed in a red daiyo, a hwangjangsam with a straight or reclined collar, and a belt. Notably, the donggi, i.e. young gisaeng, are shown wearing their hair in two short braids, and ddressed in a red gown with a y-shaped collar, or po.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.84-97
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• 2016

One of the assimilation policies of Japanese imperialism for the permanent domination in the colonial Joseon is the theory of integration of Japan and Joseon. The theory of integration of Japan and Joseon is a logic that Joseon (Korea) and Japan (Wae) were connected to the same ancestor on the basis of ancient myths. Also it is the assimilation ideology to justify the Colonial rule of those days through the objectification of historical identity or affinity of political and cultural relations of ancient Korean peninsula and Japan (Wae). Japan reorganized our history to meet the colonial point of view, as part of the assimilation policies based on the theory of integration of Japan and Joseon. On the other hand Japan attempted to objectify them through archaeological research and the reinterpretation of the historical remains. The survey, reinterpretation and tourist of the historic sites in historic cities such as Gyeongju and Buyeo were promoted in this context. In particular, the Buyeo, a capital of Baekje, was emphasized upon the close relevance and affinity between Sabi, Baekje and ancient Asuka (飛鳥) in Japan through research and reinterpretation on the Historic Sites. Based on them, Historic Sites Tourism was conducted by reconstructed historic sites toward the colonial Korean. In addition, after the Sino-Japanese war in 1937, Japan tried to realize the politics of space by upgrading and idealizing Buyeo as homeland or Shinto (神都) related to Japanese ancient mythology of the Asuka culture. This paper investigated in what context research, reinterpret and tourist of the historic sites progressed on Buyeo area and how it had soaked through the general public in the Japanese colonial era. First, it is on historic sites. Historic sites research on Buyeo area made an attempt by Sekino Tadashi in 1909 for the first time and the re-excavation of the old burial mounds and temple sites during the Japanese colonial period. Sekino set up a cultural relationship and influences between the ancient China (梁), Korea (百濟) and Japan (倭). Also, he emphasized that Sabi, Baekje largely received influence of Chinese culture and Baekje and Japan Asuka culture had closely relations and affinity. These views had been consistent during the Japanese colonial period. Second, it is the reinterpretation on Historic sites. Buyeo Historic Sites Preservation Society (Buyeo Gojeok Bojonhoe) was established in 1915 and Osaka Kintaro, curator of Baekje exhibition hall redefined the relationship between ancient Japan and Baekje as perspective of the assimilation ideology through the post contextual interpretation. In particular, they emphasized on the close relevance between Baekje's Historic sites and Japan, through the reinterpretation of Nakhwaam, Goransa and Cheongmasanseong. Third, it is the tourist on Historic sites. Buyeo Historic Sites Preservation Society played a leading role in Tourist on Historic sites at the Buyeo region. The main tourist destinations and course were restructured through a reinterpretation on the historic sites. Japan would like to show Buyeo as ideology area, homeland of ancient Japanese culture, toward the Koreans under Japanese colonial era. Thus, research, reinterpretation, and tourism on Historic sites were promoted while they were closely related to each other. The promoting body was Joseon Chongdokbu and pro-Japanese interest group. It's point was 'made' and 'shown' by the eyes of others and a rediscovery of Buyeo as representational space of colony.

• Journal of the Korean Society of Radiology
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• v.12 no.7
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• pp.895-908
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• 2018

As modern science is developed and advanced, examination and number of times using radiation are increasing daily. General diagnostic X-ray generator is installed on stationary form, But X-ray generator was developed because patient who is in the intensive care unit, operation room, emergency room can not move to general x-ray room. What we examine patient by x-ray generator is certainly necessary, So patient exposure is inevitable. but reducing radiation exposure is highly important matter about radiation technology, guardian, patient in the same hospital room, nurse etc. For this reason, rule regarding safety control of diagnostic x-ray generator revised for radiation worker, patient and protector proclaim that mobile diagnostic x-ray shield must placed in case of examine different location excluding operation room, emergency room, intensive care unit. But, radiogical technologist is having a lot of difficulties to examine with mobile x-ray generator, diagnostic x-ray shield partition, image plate and lead apron. So, when we use x-ray generator, we manufacture shield tools can be attached to the mobile x-ray generator On behalf of x-ray shield partition and conduct analysis and in comparison to part of body and distribution of dose rate and find way to reduce radiation exposure through distribution of dose rate of patient within the radiogical technologist, medical team. Mobile x-ray generator aimed at SHIMADZU inc. R-20, We manufactured equipment for shielding x-ray scattered x-ray by installing shielding wall from side to side based on support beam on the mobile x-ray generator. Shielding wall when moving can be folded and designed to expand when examine. Experiment measured five times in each by an angle for dose rate of eyes, thyroid, breast, abdomen and gonad on exposure condition of upper and lower extremity, chest, abdomen which is examined many times by mobile x-ray generator. We used dosimeter RSM-100 made by IJRAD and measured a horizontal dose rate by body part. The result of an experiment, shielding decreasing rate of the front and the rear showed 77 ~ 98.7%. Therefore using self-production shielding wall reduce scattered x-ray occurrence rate and confirm can decrease exposure dose consequently. Therefore, through this study, reduction result which is used shielding wall of self-production will be a role of shielding optimization and it could be answer about reduction of medical exposure recommended by ICRP 103.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.80-99
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• 2012

It is known that there are two Gabong taesil (shrine for King's umbilical cord) of King Danjong, the 6th king of Joseon, remaining today. One of them is Mt. Sogok in Sacheon-city, Gyeongsangnam-do and the other is Mt. Beomnim in Seongju-gun, Gyeongsangbuk-do. The academic sector argued about this matter as there cannot be two Gabong taesil for one king. I once argued that Taesil on Mt. Beomnim in Seongju is King Danjong's Gabong taesil and Danjong taesil in Sacheon is the one for Prince Inseongdaegun, the eldest son of King Yejong. At that time, however, I had not examined the archaeological relics found in these places. In result of making an archaeological approach, I have come to the following conclusions :1. King Danjong had two Taesil : Agi taesil(shrine for baby's umbilical cord) and Gabong taesil. The first Agi taesil was created on Taebong of Mt. Seonseok in Seongju on November 26, 1441, but was moved to Mt. Beomnim in Seongju in 1451 to form the second Agi taesil. In 1458, King Sejo eliminated his Taesil. The stone structures of Gabong taesil still remains on Taebong of Mt. Beomnim, so it has been assumed that King Danjong established them during his reign (1452-1455). 2. Taesil in Sacheon has been known as King Danjong's Taesil because of King Danjong's reinstatement during the reign of King Sukjong. His Taesil was repaired with the reinstatement and King Sukjong was mistaken that Taesil in Sacheon was King Danjong's Taesil to fix it. The time of restoration has been assumed to be soon after the restoration of King Danjong's tomb (1699-1719). Taesil is missing the book of records and rails around the stone structure because the tombs of reinstated kings were restored without rails. 3. It is incorrect that Taesil in Sacheon was known as King Danjong's Taesil, It has been concluded that this Taesil was for Prince Inseongdaegun who was born in 1462. I focused on the fact that Prince Inseongdaegun's Taesil was in Seosamneung Taesil instead of King Danjong's Taesil. When Yiwangjik stored King Danjong's Taesil in Seoul in 1928 and moved it to Seosamneung in 1930, he found that the epitaph on the tombstone recorded that it was Prince Inseongdaegun, not King Danjong, and created Prince Inseongdaegun's Taesil in Seosamneung. I referred to "Taebong", which was created when Seosamneung Taesil was built during the Japanese imperial rule over Joseon, and the relics found in Taesil in Sacheon and Seosamneung.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.