• Animal Bioscience
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• v.37 no.4_spc
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• pp.730-741
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• 2024

Pig production is one of the viable enterprises of the livestock sub-sector of agriculture. It contributes significantly to the economy and animal protein supply to enhance food security in Africa and globally. This article explored the present status of pig production in Africa, the challenges, prospects and potentials. The pig population of Africa represents 4.6% of the global pig population. They are widely distributed across Africa except in Northern Africa where pig production is not popular due to religio-cultural reasons. They are mostly reared in rural parts of Africa by smallholder farmers, informing why majority of the pig population in most parts of Africa are indigenous breeds and their crosses. Pig plays important roles in the sustenance of livelihood in the rural communities and have cultural and social significance. The pig production system in Africa is predominantly traditional, but rapidly growing and transforming into the modern system. The annual pork production in Africa has grown from less than a million tonnes in year 2000 to over 2 million tonnes in 2021. Incidence of disease outbreak, especially African swine fever is one of the main constraints affecting pig production in Africa. Others are lack of skills and technical know-how, high ambient temperature, limited access to high-quality breeds, high cost of feed ingredients and veterinary inputs, unfriendly government policies, religious and cultural bias, inadequate processing facilities as well as under-developed value-chain. The projected human population of 2.5 billion in Africa by 2050, increasing urbanization and decreasing farming population are pointers to the need for increased food production. The production systems of pigs in Africa requires developmental research, improvements in housing, feed production and manufacturing, animal health, processing, capacity building and pig friendly policies for improved productivity and facilitation of export.

• Journal of architectural history
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• v.32 no.5
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• pp.95-105
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• 2023

Focusing on Hwaseokjeong in Paju, the work seeks to clarify the social production of Nujeong (樓亭: Korean traditional pavilions) space, which took place over the 1960s and 70s, and its cultural-political implications. To make the effort as such meaningful, a theoretical framework based not merely on the thesis of 'social production of space' advocated by Henri Lefebvre but especially on some discussions related to 'state production of space' is prepared, according to which Hwaseokjeong is analyzed and explained. As a consequence, two principal arguments are put forward: one is that Hwaseokjeong was a social space which had been built and constructed in accordance with the unique mode of production dominating Korean society at that time called 'the state mode of production (le mode de production étatique)'; the other is that what lies beneath the denotation of a 'social space of tradition restoration' that Hwaseokjeong appears to carry is in fact the connotation of 'infiltration of anti-communist ideology'. All of these claims are once again supported both by examining Roland Barthes's semiology and mythologies and by considering Hwaseokjeong's P yeonaek (扁額: a plaque or framed text) as 'the practice of naming power through Jesa (題詞: inscribing dedications)'. While providing a succinct summary, the paper finally evaluates what 'social production of space' implies to social practices of architecture and related criticisms by taking into account the relationship between visibility and readability of space including buildings.

• Journal of Korea Society of Digital Industry and Information Management
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• v.8 no.4
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• pp.177-184
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• 2012

A hologram projects a 3 dimensional video as same as a real subject and it is made by principles of holography. Many researches about holographic technology have been developed. Studies for visualization of 3D videos, holographic storages, and optical media have proceeded mostly in engineering. It is hard to find any researches about the convergent system from the viewpoint of interactive elements and motion graphic design such as this paper's concept. Most studies of augmented reality have been developed in the domain of technology and education but the field of content production. AR has been convergent with various fields and media, so it is time to make an active progress in the study of convergent content development. The goal of this study is to develop cultural contents and create new values through the convergence of holography and AR. The purpose of this paper is to propose the way of developing the convergent type of cultural contents and construct the production system by the new approach to users using the convergence technology of holography and augmented reality.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.153-163
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• 2019

This study is designed to present a direction for the development of an up-cycling design applied with Hangeul calligraphy on outdated clothing materials, and recreating them as eco-friendly high value-added cultural products. The results of this study are as follows. First, Hangeul calligraphy enhances creativity and scarcity by expressing an unformatted analog sensibility in the digital era and further emphasizes the differentiated high value-added aspect of the products. Second, the characteristics of the up-cycling design products represent eco-friendliness, handcrafting, non-fabrication, originality, scarcity, storytelling, and customization. Third, the author made 11 up-cycling cultural products using Hangeul calligraphy, applying it to discarded jeans and pieces of cloth. Fourth, the phases of making cultural products are divided into planning and production. In the planning phase, items and materials are decided upon, design sketches are made, and in the production phase the items go through partial dismantlement, separation, reconstruction, collaboration, and the application of calligraphy printing. Along with the beautiful and lyrical sensibility of Hangul, it was shown that up-cycling using Hangeul calligraphy, which has excellent originality and practicality of design, can be expanded to a variety of cultural products.

• Journal of the Economic Geographical Society of Korea
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• v.11 no.3
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• pp.375-388
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• 2008

The early studies on the cultural industries had mainly emphasized the viewpoint of "efficiency" based on the "flexible specialization" theory, but they have gradually shed light on the viewpoint of "creativity": creative human resources and various networks generating creative energies. Despite the importance of these studies, it is impossible to explain every cultural industrial agglomeration phenomena from specific and few viewpoints due to the diversity of each cultural industry. This study describes the dissimilarity of agglomeration factors between the Japanese animation and home video game industries which form salient agglomeration in the same region. Both industries share similar characteristics with industrial agglomeration of SMEs in Tokyo and close inter-firm relationships. However, they differ in their historical development paths and each firm's behavior and strategy because of their own distribution systems and production processes. In particular, the difference in distribution systems clearly affects whether a company values "efficiency" factors of agglomeration advantage or "creativity" factors of that in case of locational choice. The distribution sector of the cultural industry, compared with the production sector, has a tendency to value profitability rather than creation itself. Therefore, a cultural industry with the strong distribution sector tends to form the industrial system emphasizing profitability. The Japanese animation firm is apt to choose its location from the perspective of efficiency, which easily contributes to profitability, because television broadcasting stations are strong distribution sector. Conversely, the Japanese game firm chooses its location from the perspective of creativity due to the absence of strong distribution sector.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.3
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• pp.46-57
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• 2003

The Yangdong traditional historic village is a representative village having symbolic historic values and unique combinations of natural, cultural, and social characteristics of a Korean historic settlement environment, which has been protected by Cultural Asset Protection Law since 1984. Now, in spite of its potential diverse powers, national strategies concerning Yangdong village do not have satisfactory direction and results. In consideration of this notion, this paper is designed to find and to understand the current state of Yangdong village. This paper aims to analyze The changes in Yangdong village between 1994 and 2002, and through these comparisons, to diagnose and predict future aspects of Yangdong village. Primary data was collected by questionnaire investigation between 1994 and 2002. The living conditions, production, and consciousness of residents of Yangdong village are utilized as standards of analysis. The final analysis results can be summarized as follows: because of the Cultural Asset Protection Law, noticeable changes have occurred in Yangdong village over the last 8 years. These change are different from the ones occurring in general farm villages. Also, most issues related to the changes are interpreted as occurring as a result of the top-down approach, which disregards the opinions and wishes of residents. For this, introduction of renovation concept that emphasizes modernization of life and production space is urgently required. To this end, it is necessary that concern for the traditional historic village should diversity and expand, and not concentrate solely on the cultural properties and architecture-oriented historic elements.

• Journal of Conservation Science
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• v.35 no.4
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• pp.317-329
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• 2019

Slag was collected from the iron-producing furnace site in Saengsoegol, Baegun mountain, where iron was manufactured by a righteous army against Japan in the Gwangyang region; then, the iron-manufacturing technique of the early modern period was investigated through scientific analysis. In the microstructure analysis results of the selected samples, iron bloom was mainly observed together with magnetite and fayalite. In the component analysis results of the compounds, it was confirmed that the furnace was built by using gangue of alkali feldspar or plagioclase series, and the ironmaking work was performed at a high temperature of at least 1050℃, because mullite was identified together with cristobalite and hercynite. Based on the chemical composition, it was speculated that low-grade iron ores were used as raw materials, and it seemed that the yield was low, because the total Fe content of the smelting slag samples was 37.72-49.93%. It was difficult to confirm whether a slag former was used, and it seemed that materials easily obtained nearby were used when the furnace was built, without considering the corrosion resistance. It appeared that the ironmaking work was performed at the Gwangyang Saengsoegol iron-producing furnace based on the direct ironmaking method in an environment that could escape the vigilance of the Japanese Empire to produce weapons that would be used for the resistance against Japan. It seemed that there was neither an advanced ironware production system nor a mass production system, and small-scale works were performed in short periods of time.

• Korean Journal of Agricultural Science
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• v.44 no.1
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• pp.40-49
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• 2017

Cultural practices for adzuki bean and the distribution of weed species in the south-west regions of Korea were surveyed to provide information on effective weed management. Approximately 27.5% of the farm households were growing adzuki bean in an area larger than 1 ha while the rest grew the crop in an area smaller than 1 ha. Of all adzuki bean growers, 17.1% seeded in early June, 8.6% in mid June, 34.3% in late June, 17.1% in early July, 20.0% in mid July, and 2.9% in late July. The average planting distance was $71.0{\times}29.5cm$. From the 40 surveys in adzuki bean fields, 35 weed species in 17 families were identified. According to the occurrence frequency, the dominant weed species were Digitaria sanguinalis, Acalypha australis, Cyperus amuricus, Echinochloa crus-galli, and Amaranthus nangostanus in decreasing order of dominance. However, based on dry weight, Chenopodium album (34.4%) was the most dominant followed by Acalypha australis (21.9%), Amaranthus nangostanus (19.1%), Digitaria sanguinalis (7.5%), and Portulaca oleracea (6.1%). The exotic weeds found in the field of adzuki were Ipomoea hederacea, Abutilon avicennae, and Celosia argentea. The plant heights of I. hederacea, A. avicennae, and C. argentea were 259 cm, 98 cm, and 76 cm, respectively, while the fresh weights were 850 g, 66 g, and 101 g, respectively. Integrated weed management systems utilizing mechanical, chemical, and biological control techniques need to be developed for effective weed management in adzuki bean production.

• Microbiology and Biotechnology Letters
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• v.20 no.2
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• pp.183-189
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• 1992

Cultural conditions of Lactococcus sp. 1112-1, a bacteriocin producing strain, were studied for enhancing its production with regard to environmental and nutritional factors. Optimal compositions of culture medium for bacteriocin production were glucose 20 g/l as carbon source, casein acid hydrolyzate 15 g/l as nitrogen source, and sodium acetate 3 g/l, ammonium citrate 2 g/l as morganic salt with other basal components. The optimal pH of medium and fermentation temperature were 6.2 and $35^{\circ}C$, respectively. This strain required exclusively riboflavin and pantothenic acid for growth and bacteriocin production. In a 1l batch culture, stationary phase emerged after 8.5 hours of fermentation when 1.81 g/l of biomass was accumulated. The maximum antimicrobial activity was 3,894 IU/ml after 12 hours.

• Journal of Information Technology Applications and Management
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• v.19 no.4
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• pp.171-184
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• 2012

We suggest that cultural differences among nations should have a significant impact upon the exports of Korean broadcasting contents due to the fact that production and consumption of the contents are influenced by their own cultural aspects. Based on Hofstede's cultural dimensions frequently cited in the literature, we perform empirical analysis to identify the impact of cultural dimensions upon the export amounts by investigating four-year export data of Korean broadcasting industry. In our research model, Hofstede's cultural dimensions and GDP per capita are independent variables and a genre of broadcasting contents is used as a moderating variable. We find in our analysis that three cultural dimensions such as individualism, uncertainty avoidance, masculinity significantly affect the export amount but do not find the impact of power distance.