• Journal of the Korean Society of Marine Environment & Safety
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• v.29 no.7
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• pp.958-963
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• 2023

Lately, there has been increasing research on the prediction of motion performance using artificial intelligence for the safe design and operation of ships. However, compared to conventional ships, research on small fishing boats is insufficient. In this paper, we propose a model that estimates the motion response essential for calculating the motion performance of small fishing boats using a deep neural network. Hydrodynamic analysis was conducted on 15 small fishing boats, and a database was established. Environmental conditions and main particulars were applied as input data, and the response amplitude operators were utilized as the output data. The motion response predicted by the trained deep neural network model showed similar trends to the hydrodynamic analysis results. The results showed that the high-frequency motion responses were predicted well with a low error. Based on this study, we plan to extend existing research by incorporating the hull shape characteristics of fishing boats into a deep neural network model.

• Korean Journal of Agricultural Science
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• v.51 no.1
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• pp.9-23
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• 2024

This study investigates the physiological and psychological effects of a nature-based outdoor activity program in an environment reflecting the characteristics of forest and coastal areas on 30 firefighters (average age: 40.4 ± 9.8 years) who are frequently exposed to dangerous situations. Blood pressure, pulse pressure, and heart rate variability were used as physiological measurement indicators, and the Korean versions of PANAS (positive affect and negative affect schedule), WEMWBS (Warwick-Edinburgh mental well-being scale), and PRS (perceived restorativeness scale) were used as psychological measurement indicators. For four days and three nights, the participants experienced programs at Hallyeohaesang Nature Center and the surrounding mountains, seas, and islands, utilizing forest resources such as trekking on forest trails, walking barefoot, taking aromatic footbaths, meditating in forest oxygen domes, and lying on relaxation chairs, and programs utilizing marine resources such as taking a boat to an island, walking on forest trails with seascape views, and sailing on a yacht. Participants' systolic blood pressure and pulse pressure decreased, and participants' positive emotions increased and negative emotions decreased after the program. There was a statistically significant increase in mental well-being and perceived restorative environment. Through this study, it was found that nature-based outdoor activity programs based on forest and marine resources are effective in physiological and psychological stability of firefighters. It is hoped that the results of this study will be applied to other high-risk workers for PTSD, who have high stress levels, by combining forest healing and marine healing, and expanding the scope and diversity of programs in more diverse environments and conditions.

• Journal of Korean Society of Environmental Engineers
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• v.30 no.11
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• pp.1102-1110
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• 2008

This research was performed to analyze the characteristics of wood wastes from origin and to suggest grade-classification for them. Korean proximate analysis was conducted, and heating value, heavy metals and Cl concentrations were analyzed for gradeclassification. Wood wastes were sampled from forest, living, construction and demolition, and industrial areas with origin. Moisture content of most wood wastes was ranged in 5$\sim$10%. VS (volatile solids) and ash contents of them showed > 95% and < 5%, respectively. Most wood wastes except wood for growing mushroom permitted the standard (low heating value $\geq$ 3,500 kcal/kg) for refusederived fuel. CCA (Cr, Cu, As) concentration of wood wastes used in bench, wasted fishing boat, and railroad crosstie was higher than that of the other ones. Cl content showed approximately 1.3% in wood box for fish and $\leq$ 0.2% in the other wood wastes. Cl content of all wood wasted used in this research permitted the standard (Cl $\leq$ 0.2%, dry weight basis) for refuse-derived fuel. If the wood wastes were classified in 3-grade, plywoods would be in 2nd grade, and MDF (medium density fiber), wooden bench, painted electric wire drum, wasted fishing boat, and railroad crosstie be in 3rd grade.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.3
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• pp.76-93
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• 2017

This thesis recapitulates the current status of Nujeongs(樓亭) by the Han River(漢江) from the late Joseon dynasty, and to contemplate the possible options regarding their restoration. The book Yeon-gang-jeong-sa-gi(沿江亭?記) written by Eom Gyeong-su(嚴慶遂) in 1716 was selected as an object of study. After Hanyang was selected to be the capital of Joseon, Han River was considered to be the greatest venue to visit to take some time off and enjoy the view. The nobleman of the Joseon dynasty built Nujeongs around the riverside and enjoyed boating inthe current status of Nujeongs(樓亭) Han River. Eom Gyeong-su, after traveling on a boat to personally collect information, combined such information with preexisting information to create a well-organized and thorough list of the 29 Nujeongs built by the riverbank, which can be found in his book Yeon-gang-jeong-sa-gi. It is probable that a closer look into Yeon-gang-jeong-sa-gi will reveal more information regarding the general atmosphere of the era, which focused on the history and culture of Han River, and will also enable a more thorough research involving the Han River Nujeongs. The Nujeongs listed in Yeon-gang-jeong-sa-gi were analyzed in this paper. Based on the explanations found in Yeon-gang-jeong-sa-gi, the locations of the 29 Nujeongs were checked and reconfirmed, and the origins and the meanings behind their names were analyzed. In addition, the history of the Nujeongs were recapitulated with information gained from the basis of the fact that Yeon-gang-jeong-sa-gi was written in 1716, The origin of each Nujeongs were revisited, and the history of their change and demise were analyzed. Lastly, the sceneries around each Nujeongs were analyzed based on the poetries that were written and read in the respective Nujeongs, and the general taste for the arts in the era was analyzed. Some Nujeongs remain in the form of paintings, enabling us to take a closer look at the institutions and other aspects of the era. The analysis of Yeon-gang-jeong-sa-gi by this paper has revealed the location of some Han River Nujeongs that were unknown previously. Also, the revelation of some history regarding certain Nujeongs that were unknown previously has created an opportunity for the reinterpretation of the spaces surrounding Han River, and also the opportunity for a new story. Han River has lost most of its old self due to repeated exploitation. However, there are some areas where traces of the original form remains and that may be restored, and some areas may be relocated and restored based on existing paintings. Yeon-gang-jeong-sa-gi in particular may provide us with numerous possible options to reinvigorate and restructure the riverside with a more modern interpretation, especially in relation to the Han River cruise ship, as it is a book written after traveling Han River on a boat.

• Management & Information Systems Review
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• v.33 no.5
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• pp.185-212
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• 2014

This study investigated the base of marine leisure facilities and studied the future vision for development of marine industry by conducting a systematic analysis on the category of marine leisure products for development of design and specialization of southeast area of Korea. If the age of $20,000 of per capita national income is called 'the age of my car', $20,000 of per capita national income is called 'the age of my boat'. According to the report of UK-based Marine South East, the scale of world's small boat and personal waterborne equipment reached 277 trillion won in 2010 and domestic market scale is expected to be 11 trillion won. Marine leisure facilities are the new growth engine industry that the government should promote as a nation's strategic and core industry, and the government is pushing ahead with promotion of marine industry actively by announcing Marine Leisure Equipment Industry Activation Plan(June 2009, Ministry of Knowledge Economy), Marine Leisure Activation Plan(July 2010, Ministry of Land, Infrastructure and Transport), The 1st General Plan for Marina Port(January 2010, Ministry of Land, Infrastructure and Transport) etc. The purpose of marine design lies in seeking the status of the country and qualitative value in human life through functional, artistic, industrial and cultural development of design elements for all marine activities made around the sea. Related to all activities made in the ocean and cost, marine design is a sphere of design that includes special conditions centering around water. Considering the condition that 3 sides of land are facing the sea, this study systematically analyzed present condition of equipment possessed by each area, type of facilities, operational status, current status of sectoral use of marine leisure facilities and future prospect of marine leisure products that become the basis of value to raise the statue as an advanced marine power in 2010s through development of the qualitative level of the people, establishment of the direction of national strategy, convergence of industry and culture and specialization of area focusing on the actual condition survey of marine leisure facilities. Especially, this study will be predicting the basis of strategy for strengthening marketability and competitiveness by suggesting role and process of design in developing a promising marine leisure product through an actual condition survey of marine leisure products of southeast area.

• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.36 no.4
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• pp.299-308
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• 2000

A model experiment on the anchovy boat seine was carried out in the southern sea of korea to analyze the vertical opening and the underwater geometry. The model net A was made of half size in the length and width of the prototype net. The model net B was attached floats and chain to the model net-A. The vertical opening and the underwater geometry of the model net were determined by distance of Minilog position with the combinations of the distance between paired boats and the towing speed. The results obtained can be summarized as follows; 1. Vertical opening of the model net was gradually lowered according to the increase of the distance between paired beats and the towing speed. 2. Vertical opening of Wing net, In side wing net, Square, Fore bag net, Flapper and After bag net of the model net A according to the distance between paired boats were varied in the range of 10.8~9.0, 12.0~8.3, 12.6~9.0, 10.4~6.6, 4.6~5.2, 8.8~7.7m respectively, varied in the range of 36~30, 21~15, 31~22, 80~51, 80~96, 59~51% of the normal opening respectively 3. Vertical opening of Wing net, In side wing net, Square, Fore bag net, Flapper and After bag net of the model net B according to the distance between paired boats were varied in the range of 9.1~8.5, 9.8~6.5, 11.2~8.0, 11.0~8.1, 4.7~5.0, 7.0~7.5m respectively, varied in the range of 30~28, 18~12, 27~20, 85~62, 87~93, 47~50% of the normal opening respectively 4. Vertical opening of each a part of the model net according to the towing speed was as same as the former. 5. Model net was appeared apparent the pocket shape, because Wing net and Inside wing net was opened 30% of the normal opening. 6. The bosom and the bag net of the model net A were risen up to the upper lazer, this phenomenon was more apparent as the distance between paired boats and the towing speed increase, but the model net B was almost constant. 7. Working depth of the model net was gradually hallowed according to the increase of the distance between paired boats and the towing speed

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.126-147
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• 2018

The compositions and iconographies of the three Illustrations of the Sixteen Contemplations produced in the early Joseon Dynasty effectively manifest the transitional period of Joseon society as well as the Joseon people's perception of the Pure Land. In particular, the painting at titled Chionji (知恩寺) dated 1435 and another painting at titled Chion' in (知恩院) from 1465, which were commissioned by the Joseon royal family and high-ranking monk, embody the Pure Land faith of the Tiantai School of Buddhism (天台宗) which thrived during the late Goryeo period. This indicates that the Joseon royal court continued to favor the Pure Land faith that emphasized salvation through "self-power" (自力), which was popular among both the royal family and the nobility of Goryeo. On the other hand, in the painting at titled $H{\bar{o}}rinji$ (法輪寺), which is presumed to have been made in the sixteenth century, the compositions and iconographies shown in late Goryeo examples of the Illustrations of the Sixteen Contemplations are disassembled. Moreover, a new iconographical motif, i.e. "welcoming the dragon boat" (龍船接引), emerged with this painting. This motif symbolizes the idea that the souls of the deceased are guided by Amitabha Buddha to rebirth in the Pure Land of Extreme Bliss, which is based on the "other-power" of the Pure Land faith that emphasizes the power of Amitabha Buddha in attaining salvation rather than the educational "self-power" of the Pure Land faith. The emergence of this motif demonstrates the transformation of the Pure Land belief into a faith that relied on the "other-power" of Amitabha in Joseon's Confucian society.

• Sim-seong Yeon-gu
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• v.25 no.2
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• pp.224-264
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• 2010

A brief story of the tale follows : Mokdoryung was a son of an arbor tree and a fairly. When the boy was 7-8 years old, mother-fairy returned to the sky. By using father-tree, Mokdoryung survived from the flood where he saved ants, mosquitos, and a boy with the same age. They arrived on top of the highest mountain, met an old woman with two daughters, worked as servants. With help of insects, Mokdoryung passed the trials, married to a wise daughter and 2 couples became the ancestor of the mankind. Interpretation of the tale starts with amplification of tree which symbolizes Self and Libido. As the son of the tree-spirit and a fairly from the sky, Mokdoryung is a kind of 'divine child' which represents a psychic possibility to understand archetypal nature of unconscious. Adversities of early childhood due to mother's absence regarded as necessary condition for 'divine child' to attain highest good. Flood can be compensation of absence of feminine as well as to bring a new life. The notion of father·tree becomes a kind of life-boat has to do with union of opposite(vertical phallic tree and horizontal feminine boat). Ants and mosquitoes represent upper and lower level of unconsciousness, they mediate divine power. Therefore respecting insects means respecting unconscious, and reward of insects means salvation come from unconscious. The boy saved from the flood presents emergence of psychic energy in its latent unconscious condition to create mental dynamism. The old woman is Great Mother or anima, the controller or guider of unconscious. Working as servants can be an active service for the divine marriage. Trials of separating millet from sand, and finding right direction relate to separatio, means one needs to be separated from unconscious before conunctio, union of opposite. Two sets of couple becoming ancestor of man-kind has to do with number 4 (quaternity) as well as regeneration. Although the tale includes both positive couple (Mokdoryung, wise daugther in east room). and negative couple(shadow side of Mokdoryung, step daughter in west room)as ancestors of mankind, "Good" seems to be more valued than "evil".

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.89-122
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• 2019

In this paper, I argue that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers by Jeong Su-yeong (1743~1831, pseudonym: Jiwujae) is a record of his private journeys to several places on the outskirts of Hanyang (present-day Seoul) and that it successfully embodies the painter's subjective perspective while boating on these rivers and going on outings to nearby mountains. Around 1796, Jeong Su-yeong traveled to different places and documented his travels in this 16-meter-long handscroll. Several leaves of paper, each of which depicts a separate landscape, are pieced together to create this long handscroll. This indicates that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers reflected the painter's personal subjective experiences as he went along his journey rather than simply depicts travel destinations. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers features two types of travel: boating and mountain outings on foot. Traveling by boat takes up a large portion of the handscroll, which illustrates the channels of the Hangang and Imjingang Rivers. Mountain outings correspond to the sections describing the regions around Bukhansan, Gwanaksan, and Dobongsan Mountains. Jeong Su-yeong traveled to this wide span of places not just once, but several times. The fact that the Hangang River system are not presented in accordance with their actual locations shows that they were illustrated at different points. After visiting the riversides of the Hangang and Namhangang Rivers twice, Jeong Su-yeong delineated them in fourteen scenes. Among them, the first eight illustrate Jeong's initial trip by boat, while the other six scenes are vistas from his second trip. These fourteen scenes occupy half of this handscroll, indicating that the regions near the Hangang River are painted most frequently. The scenes of Jeong Su-yeong's first boating trip to the system of the Hangang River portray the landscapes that he personally witnessed rather than famous scenes. Some of the eight scenic views of Yeoju, including Yongmunsan Mountain, Cheongsimru Pavilion, and Silleuksa Temple, are included in this handscroll. However, Jeong noted spots that were not often painted and depicted them using an eye-level perspective uncommon for illustrating famous scenic locations. The scenes of Jeong's second boating trip include his friend's villa and a meeting with companions. Moreover, Cheongsimru Pavilion and Silleuksa Temple, which are depicted in the first boating trip, are illustrated again from different perspectives and in unique compositions. Jeong Su-yeong examined the same locations several times from different angles. A sense of realism is demonstrated in the scenes of Jeong's first and second boating trips to the channels of the Hangang River, which depict actual roads. Furthermore, viewers can easily follow the level gaze of Jeong from the boat. The scenes depicting the Imjingang River begin from spots near the Yeongpyeongcheon and Hantangang Rivers and end with places along the waterways of the Imjingang River. Here, diverse perspectives were applied, which is characteristic of Imjingang River scenes. Jeong Su-yeong employed a bird's-eye perspective to illustrate the flow of a waterway starting from the Yeongpyeongcheon River. He also used an eye-level perspective to highlight the rocks of Baegundam Pool. Thus, depending on what he wished to emphasize, Jeong applied different perspectives. Hwajeogyeon Pond located by the Hantangang River is illustrated from a bird's-eye perspective to present a panoramic view of the surroundings and rocks. Similarly, the scenery around Uhwajeong Pavilion by the Imjingang River are depicted from the same perspective. A worm's-eye view was selected for Samseongdae Cliff in Tosangun in the upper regions of the Imjingang River and for Nakhwaam Rock. The scenes of Jeong Su-yeong's mountain outings include pavilions and small temple mainly. In the case of Jaeganjeong Pavilion on Bukhansan Mountain, its actual location remains unidentified since the pavilion did not lead to the route of the boating trip to the system of the Hangang River and was separately depicted from other trips to the mountains. I speculate that Jaeganjeong Pavilion refers to a pavilion either in one of the nine valleys in Wooyi-dong at the foot of Bukhansan Mountain or in Songajang Villa. Since these two pavilions are situated in the valleys of Bukhansan Mountain, their descriptions in written texts are similar. As for Gwanaksan Mountain, Chwihyangjeong and Ilganjeong Pavilions as well as Geomjisan Mountain in the Bukhansan Mountain range are depicted. Ilganjeong Pavilion was a well-known site on Gwanaksan that belonged to Shin Wi. In this handscroll, however, Jeong Su-yeong recorded objective geographic information on the pavilion rather than relating it to Shin Wi. "Chwihyangjeong Pavilion" is presented within the walls, while "Geomjisan Mountain" is illustrated outside the walls. Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers also includes two small temples, Mangwolam and Okcheonam, on Dobongsan Mountain. The actual locations of these are unknown today. Nevertheless, Gungojip (Anthology of Gungo) by Yim Cheonsang relates that they were sited on Dobongsan Mountain. Compared to other painters who stressed Dobong Seowon (a private Confucian academy) and Manjangbong Peak when depicting Dobongsan Mountain, Jeong Su-yeong highlighted these two small temples. Jeong placed Yeongsanjeon Hall and Cheonbong Stele in "Mangwolam small temple" and Daeungjeon Hall in front of "Okcheonam small temple." In addition to the buildings of the small temple, Jeong drew the peaks of Dobongsan Mountain without inscribing their names, which indicates that he intended the Dobongsan peaks as a background for the scenery. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers is of great significance in that it embodies Jeong Su-yeong's personal perceptions of scenic spots on the outskirts of Hanyang and records his trips to these places.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.