• Korean journal of communication and information
• /
• v.60
• /
• pp.125-149
• /
• 2012

This study explores the formational process of KBS PD's professional identity in the 1970's, focusing on everyday work and workplace for program production. In terms of salary and social-cultural status, a television PD was not a desirable occupation in the 70's. Since the beginning of radio broadcasting, production of culture and education programs had been sub-categorized under Programming Division. Also, it has been claimed in several researches that in the 70's, the production of education and cultural programs had visibly grown owing to the political necessity of policy PR and campaigns, and the introduction of new broadcasting equipment and technologies for producing the mentioned political campaign programs. However, this study argues that the main force that led to such developments was the cultural practices and the production spirits of the KBS PD's. These PD's trained themselves in production workplace from the bottom by assisting film directors and learning from cameramen about the film making and post-production process. Moreover, in the transitional phase from film to magnetic tape recorder, they established themselves as main subjectivities of production by developing Division of Culture and Education as a specialized and independent sector. The "program production spirit and DNA" that evolved from the experiences of working in poor production environment served as a force for developing professional and self identity. However, the culture and education PD's of the 70's were still tied down to the limited roles of simply providing technological and productional 'professionalism' within the hegemonic structure of the strong state. As with the members of any other social domain at the time, PD's had restricted roles to play and putting in effort and competing to create better programs was the only 'freedom' that was allowed. This study argues that under such condition, KBS PD's implemented two strategies to construct their own professional identities: one was to distinguish themselves from official broadcasters, and the other was to distinguish themselves from commercial broadcasters. Unfortunately, ethical practice as a professional became nothing more than an issue of personal morality and broadcasting's public responsibility was lost under the shadows of commercial broadcasting.

• Journal of Intelligence and Information Systems
• /
• v.22 no.1
• /
• pp.119-138
• /
• 2016

Since the Industrial Revolution, which made the mass production and mass distribution of standardized goods possible, machine-made (manufactured) products have accounted for the majority of the market. However, in recent years, the phenomenon of purchasing even more expensive handmade products has become a noticeable trend as consumers have started to acknowledge the value of handmade products, such as the craftsman's commitment, belief in their quality and scarcity, and the sense of self-esteem from having them,. Consumer interest in these handmade products has shown explosive growth and has been coupled with the recent development of three-dimensional (3D) printing technologies. Etsy.com is the world's largest online handmade platform. It is no different from any other online platform; it provides an online market where buyers and sellers virtually meet to share information and transact business. However, Etsy.com is different in that shops within this platform only deal with handmade products in a variety of categories, ranging from jewelry to toys. Since its establishment in 2005, despite being limited to handmade products, Etsy.com has enjoyed rapid growth in membership, transaction volume, and revenue. Most recently in April 2015, it raised funds through an initial public offering (IPO) of more than 1.8 billion USD, which demonstrates the huge potential of online handmade platforms. After the success of Etsy.com, various types of online handmade platforms such as Handmade at Amazon, ArtFire, DaWanda, and Craft is ART have emerged and are now competing with each other, at the same time, which has increased the size of the market. According to Deloitte's 2015 holiday survey on which types of gifts the respondents plan to buy during the holiday season, about 16% of U.S. consumers chose "homemade or craft items (e.g., Etsy purchase)," which was the same rate as those for the computer game and shoes categories. This indicates that consumer interests in online handmade platforms will continue to rise in the future. However, this high interest in the market for handmade products and their platforms has not yet led to academic research. Most extant studies have only focused on machine-made products and intelligent services for them. This indicates a lack of studies on handmade products and their intelligent services on virtual platforms. Therefore, this study used signaling theory and prior research on the effects of sellers' characteristics on their performance (e.g., total sales and price premiums) in the buyer-seller relationship to identify the key influencing e-Image factors (e.g., reputation, size, information sharing, and length of relationship). Then, their impacts on the performance of shops within the online handmade platform were empirically examined; the dataset was collected from Etsy.com through the application of web harvesting technology. The results from the structural equation modeling revealed that the reputation, size, and information sharing have significant effects on the total sales, while the reputation and length of relationship influence price premiums. This study extended the online platform research into online handmade platform research by identifying key influencing e-Image factors on within-platform shop's total sales and price premiums based on signaling theory and then performed a statistical investigation. These findings are expected to be a stepping stone for future studies on intelligent online handmade services as well as handmade products themselves. Furthermore, the findings of the study provide online handmade platform operators with practical guidelines on how to implement intelligent online handmade services. They should also help shop managers build their marketing strategies in a more specific and effective manner by suggesting key influencing e-Image factors. The results of this study should contribute to the vitalization of intelligent online handmade services by providing clues on how to maximize within-platform shops' total sales and price premiums.

• Korean Chemical Engineering Research
• /
• v.53 no.1
• /
• pp.31-38
• /
• 2015

At present, carbon dioxide ($CO_2$) emission, which causes global warming, is a major issue all over the world. To reduce $CO_2$ emission directly, commercial deployment of $CO_2$ separation processes has been attempted in industrial plants, such as power plant, oil refinery and steelmaking plant. Besides, several studies have been done on indirect reduction of $CO_2$ emission from recycle of reducing gas (carbon monoxide or hydrogen containing gas) in the plants. Unlike many competing gas separation technologies, pressure swing adsorption (PSA) and membrane filtration are commercially used together or individually to separate a single component from the gas mixture. However, there are few studies on operation of sequential separation process of multi-component gas which has more than two target gas products. In this paper, process simulation model is first developed for two available configurations: $CO_2$ PSA-CO PSA-$H_2$ PSA and $CO_2$ PSA-CO PSA-$H_2$ membrane. Operation optimization and economic evaluation of the processes are also performed. As a result, feed gas contains about 14% of $H_2$ should be used as fuel than separating $H_2$, and $CO_2$ separation should be separated earlier than CO separation when feed gas contains about 30% of $CO_2$ and CO. The simulation results can help us to find an optimal process configuration and operation condition for separation of multicomponent gas with $CO_2$, CO, $H_2$ and other gases.

• Journal of Science of Art and Design
• /
• v.11
• /
• pp.221-249
• /
• 2007

Today, photography is facing to the crisis of identity and dilemma of ontology from the digital imaging process in the new technology form. It is very important points to say rethinking of the traditional photographic medium, that has changed the way we view the world and ourselves is perhaps an understatement and that photography has transformed our essential understanding of reality. Now, no longer are photographic images regarded as the true automatic recording, innocent evidence and the mirror to the reality. Rather, photography constructs the world for our entertainment, helping to create the comforting illusions by which we live. The recognition that photographs are not constructions and reflections of reality, is the basis for the actual presence within the contemporary photographic world. It is shock. This thesis's aim is to look for the problems of photographic identity and ontological crisis that is controlling and regulating digital photographic imagery, allowing the reproduction of the electronic simulations era. Photography loses its special aesthetic status and becomes no more true information and, exclusively evidence by traditional film and paper that appeared both as a technological accuracy and as a medium-specific aesthetic. The result, photography is facing two crises, one is the photographic ontology(the introduction of computerized digital images) and the other is photographic epistemology(having to do broader changes in ethics, knowledge and culture). Taken together, these crises apparently threaten us with the death of photography, with the 'end' of photography and the culture it sustains. The thesis's meaning is to look into the dilemma of photography's ontology and epistemology, especially, automatical index and digital codes from its origin, meaning, and identity as the technological medium. Thus, in particular, thesis focuses on the analog imagery presence, from the nature in the material world, and the digital imagery presence from the cultural situations in our society. And also thesis's aim is to examine the main issues of the history of photography has been concentrated on the ontological arguments since the discovery of photography in 1839. Photography has never been only one static technology form. Rather, its nearly two centuries of technological development have been marked by numerous, competing of technological innovation and self revolution from the dual aspects. This thesis examines recent account of photography by the analysis of the medium's concept, meaning, identity between film base image and digital base image from the aspects of photographic ontology and epistemology. Thus, the structure of thesis is fairy straightforward to examine what appear to be two opposing view of photographic conditions and ontological situations. Thesis' view contrasts that figure out the value of photography according to its fundamental characteristic as a medium. Also, it seeks a possible solution to the dilemma of photographic ontology through the medium's origin from the early years of the nineteenth century to the raising questions about the different meaning(analog/digital) of photography, now. Finally, this thesis emphasizes and concludes that the photographic ontological crisis reflects to the paradoxical dynamic structure, that unsolved the origins of the medium, itself. Moreover, even photography is not single identity of the photographic ontology, and also can not be understood as having a static identity or singular status from the dynamic field of technologies, practices, and images.