• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.22 no.2
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• pp.1-7
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• 2022

The purpose of this study is to discuss the impact of unmanned aerial vehicle service and how to activate it. The discussion on the impact of the introduction of the unmanned aerial vehicle service was examined in terms of economic, environmental, and social acceptance, and a plan to revitalize the industry was presented. In terms of economic impact, if transportation services are increased using unmanned aerial vehicles in the future, road-based transportation cargo may decrease and road movement speed may increase due to reduced road congestion. This can have a positive effect on the increase in the value of land or real estate assets, and it also provides an impact on smart city design. In terms of environmental impact, unmanned aerial vehicles (UAVs) generally move through electricity, so they emit less exhaust gas compared to other existing devices, such as vehicles and railroads, and thus have less environmental impact. However, noise can have a negative impact on the habitat in the presence of wild animals along their migration routes. In terms of social acceptability of unmanned aerial vehicles (UAV) technology, areas that are declining due to the emergence of new services may appear, and at the same time, organizations that create profits may appear, causing conflicts between industries. Therefore, it is essential to form a social consensus on the acceptance of emerging industries. The government should come up with various countermeasures to minimize the negative impact that reflects the characteristics of the unmanned aerial vehicle use service. Just as various systems such as road signs were introduced so that vehicles can be operated on the ground to secure air routes in the mid- to long-term for revitalization of unmanned-based industries, development and establishment of services that should be introduced and applied prior to constructing air routes I need this. In addition, the design and implementation of information collection and operation plans for unmanned air traffic management in Korea and a plan to secure a control system for each region should also be made. This study can contribute to providing ideas for mid- to long-term research on new areas with the development of the unmanned aerial vehicle industry.

• Korean Association of Arts Management
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• no.58
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• pp.5-47
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• 2021

This paper is a story about five middle-aged men in their 50s who suddenly began their photographic activities as they reached middle age. In the perspective of Borudieu's cultural capital theory, this study observes five men in their 50s by implementing in-depth interviews about the motivation behind taking photographs, the experience of photography activities, and the rewards of these activities. The theory has undergone a theoretical revision with the criticism that factors other than the class can be influential. Based on these ideas, I have proceeded my study by preferentially grasping the notion of the 'field' in accordance with the specific history of Korean society. Therefore, this study sought to more specifically understand the various photographic activities of middle-class men in their 50s by referring Coskuner-Balli and Thompson's argument(2013), which revised 2018's cultural captial theory and proposed the concept of 'subordinate cultural capital' and 'leisure capital' who proposed by Backlund, E. A. & Kuentzel, W. F.(2013). As a middle-class men in their 50s, research participants have grown up and worked in a social atmosphere where economic capital is recognized as an individual's ability. However, they are faced with the value that the knowledge and taste towards culture and arts is one's identity. In addition to the subjective deprivation that arises from this situation, the lifespan characteristic of their age that it is on the brink of the old age appeared to have influenced them to put their psychological motivation immediately into practice. Economic capital was the main conversion terms to move form interest to practice, which includes 'time' as a resource as well as money. With the cultural practices being expanded since their creation of photographs, the reason that these expansions can be maintained more actively lies in their identity as 'cultural artist' that is consolidated in new relationships in the sharing of photographic activities. In this way, photographic activities grant a symbolic status of 'a middle-aged man who actively builds and expresses his identity' through the conversion of accumulating cultural capital and the conversion into social capital. Furthermore, the recognized scope of the symbolic capital acquired by the research participants is in the domain of the private life that is family and acquaintance. Especially, they were gaining a great psychological reward from their children's recognition that they are not just a 'breadwinner' but 'dad who cultivates himself with a culture and arts'. Accordingly, by considering that 'generation' other than class can be a meaningful discussion point when understanding Korea society from the perspective of cultural theory, this study is meaningful that a more flexible understanding of cultural theory can give a glimpse into the possibility of a more specific and diverse approach that will arise in the discussion of culture and arts education.

• Journal of the Daesoon Academy of Sciences
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• v.32
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• pp.1-28
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• 2019

Theories on the nature of the mind aim to accurately describe the nature of the human mind. In other words, these theories are meant to discover what the human mind ultimately is and what its nature is. In this study, I try to understand the theory of the nature of the mind in Daesoon Jinrihoe in connection to similar theories in Confucianism. Like in Confucianism, the issue of mind is an important subject in Daesoon Jinrihoe. The concept of 'mind' as presented in 'The Jeon-Gyeong' is connected to gods. But in 'The Jeon-Gyeong,' there is no premise that the mind is good or evil. It suggests that the mind is the center of humanity and the universe and that all things depend on the mind. Therefore it is understood that good and evil are revealed according to the actions of the mind. Conscience (良心) and self-interest (私心) are mentioned in 'Essentials of Daesoon Jinrihoe'. If conscience is understood as benevolence (仁) as spoken of by Confucius, or as Moral Knowledge in Mencius's usage, more advanced discussion can be made. If looked upon in that way, one can conclude that conscience is the nature of the mind and thereby, the nature of humans and their minds is good. Discussions on the nature of the mind can also be explained in relation to the concept of 'a Singularly-focused Mind (一心)', which was frequently emphasized by Jeungsan. The two mindsets of conscience and self-interest are mentioned, but the original mind is only conscience which exists as the nature of heaven (天性). Self-interest is nothing but an illusion. As Zhu Xi explained that even if a saint (聖人) thought of utterly nothing, he would became a madman, and therefore people should look closely and realize that self-interest is nothing but a delusion. Accordingly, when returning to one's conscience, the orignal state of a singularly-focused mind, it becomes the sort of Singularly-focused Mind that Jeungsan emphasized. In other words, self-interest is a form of greed that is born out of worldly desires.

• Journal of agriculture & life science
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• v.50 no.1
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• pp.273-281
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• 2016

In this study, after carrying out a bending test that targeted the frames of plastic film greenhouse, the load-displacement relationship was analyzed to be used as basic data to develop greenhouse construction and maintenance guidelines. As a result, regardless of the shapes of the specimen, the yield and the maximum load increased as the size of the specimen increased. The displacement also showed the same pattern. A steel pipe showed lower yield and maximum load than a square pipe, and the displacement was large. In the steel pipe case, the displacement under the yield and maximum load was in the range of approximately 1.42-4.20mm and 5.80-24.13mm, respectively. In the square pipe case, the displacement under the yield and maximum load was in the range of approximately 1.62-3.00mm and 3.13-8.01mm, respectively. Further, a large difference was observed between the result of this test and the values calculated by a conventionally provided standard. In particular, not much difference was found from the result of this test in the case of a purlin member from the values provided by previous researches. However, a large difference was observed in the column or main rafter members. Furthermore, when a wide-span and venlo type, which is a glasshouse, was used as a target(h/100 and h/80), the displacement under the yield and maximum load was approximately 28.0mm and 35.0mm, respectively, which showed a large difference compared with the Netherlands standard(14.0mm) of a glasshouse. Further, in the main rafter case, a large difference was observed in the displacement limit according to the width(i.e., span) of the greenhouse where members are used. Therefore, because the displacement limit can vary depending on various factors such as type, form, and size of a greenhouse, we determined that studies or tests that consider these factors should be carried out to reflect them in the construction and maintenance of greenhouses.

• Journal of agriculture & life science
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• v.50 no.1
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• pp.167-178
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• 2016

This study was conducted to estimate genetic parameters for milk production and linear type traits in Holstein dairy cattle in Korea. The data including milk yields, fat yields, protein yields, fat percent, protein percent, somatic score and 15 linear type traits for 10,218 first parity cows collected by Dairy Cattle Improvement Center, National Agricultural Cooperative, Korea, which were calving from January 2009 to April 2013. Genetic and error (co)variances between two traits selected form 19 traits were estimated using bi-trait pairwise analyses with WOMBAT package. The estimated heritabilities for milk yield(MY), fat yield(FY), protein yield(PY), fat percent(FP), protein percent(PP), somatic cell score(SCS), udder depth(UD), udder texture(UT), median suspensory(MS), fore udder attachment(FUA), front teat placement (FTP), rear attachment height(RAH), rear attachment width(RAW), rear teat placement(RTP), front teat length(FTL), foot angle(FA), heel depth(HD), bone quality(BQ), rear legs side view(RLSV), rear legs rear view(RLRV) and locomotion(LC) were 0.128, 0.144, 0.100, 0.273, 0.333, 0.090, 0.179, 0.066, 0.104, 0.109, 0.127, 0.099, 0.059, 0.069, 0.154, 0.014, 0.010, 0.052, 0.065, 0.175 and 0.031, respectively. Among the genetic correlations, UD, UT, FTP, RAW, FTL, FA and RLSV with MY were -0.334, 0.271, 0.445, 0.544, 0.076, -0.281 and -0.228, respectively, and MS, FTP, RTP, FTL, FA, BQ, RLSV, RLRV and LC with PP were -0.147, -0.182, -0.262, -0.136, 0.355, 0.311, 0.135, 0.233 and 0.143, respectively. Especially, MY had the highest positive genetic correlation with RAW (0.544), while SCS had the highest negative genetic correlation with LC (-0.603). FP had negative genetic correlation with most udder traits, whereas, FP had positive genetic correlation with leg and hoof traits (0.056 - 0.355).

• Conservation Science in Museum
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• v.3
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• pp.43-50
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• 2001

This article is about a joint project carried out by the National Museum of Korea and the Tokyo Cultural Properties Research Institute for the conservation of central Asia Wall painting that has been selected for the exhibition at the new Seoul National Museum of Korea at Yongsan. The investigation of the wall painting revealed very useful information. This includes the condition of the object, and the identification of evident damage, such as cracks, loss of pigment, plus materials and methods employed during the object's creation, as well as previous conservation treatment. The object was mainly made by applying plaster to the body (wall) that consisted of a mixture of soils and rice straws. Then, on the surface of the wall-painting, pigments were used to draw and to colour it. As a part of the investigation, radiocarbon dating was conducted using straw samples taken from the object. The result indicates that the object is probably dated form between the end of the 10th Century and the beginning of the 13th Century. The result of X-ray diffraction also revealed the composition of the pigments used on the surface. These are 1. gypsom [Ca(SO₄)·2H₂O], CaSO₄ and Calcite (CaCO₃) and Calcite (CaCO₃) that were used for the white background. 2. Pb₃O₄ and led Arsenate [Pb(As₂O₆) that were used for the red colouring. 3. Cuprite (Cu₂O), Arsenolite (As₂O₃) and Arsenic Oxide (As₂O₄) that were used for the green colouring.

• Journal of Ethics
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• no.88
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• pp.103-122
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• 2013

This paper aims to study on conceptual suitability or unfitness of Silhak(實學). It is general that by criticizing Chujahak(朱子學) or beyond the limitation of Seonglihak(性理學), Silhak has developed practical tendency to reforming the society in the middle and end of Chosen Dynasty, related to the context of Korean national reflection in modern times. However, it is unfortunate to be understood. As presented in Chosenwangjosillok(『朝鮮王朝實錄』), there has been a few usages in the term 'Silhak'. In short, it was different from its contemporary meaning. At that time, it was usually used to have the meaning of Gyunghak(經學), compared to Sajanghak(詞章學), or rarely, of 'the true study' or 'the practical study'. Therefore, it is to claim that its conception has been manipulated or exaggerated very seriously. Since 1930s, in particular, its conception has been misused in interpreting works of Jung Yak-Yong by some scholars, such as Jung In-Bo, Moon Il-Pyung and An Jae-Hong, who tried to apply the term to overcome the Japanese colonial era symbolised as modernity based on the future life of Korea. Even though their attempt has led to have crucial discussions on the conceptions of Silhak, it has an unnecessary result that there has been a new and totally different understanding of Silhak in South Korea, North Korea, China, Japan, etc., which means that the unsustainable conception of Silhak has been one of major problems in studying of Silhak. To give an practical solution, I would try to make sense of 'time spirit' whose scholars studied Silhak in the middle and end of Chosen Dynasty. A problem, however, is that a scholar group in the name of Bukhakpa(北學派) had certain links and bonds. This is because many scholars studying of Silhak were usually features out of the main stream, which made them it difficult to form any various groups. That is to say, it seems to be natural that they have dreamed of utopian imaginations less than of overlapping points in reality. To sum up, it would be concluded at least that any approach to human lives and thoughts in the given conceptions of Silhak, e.g. ethical thoughts of Silhak, enables us to be indifferentiated to take its true meaning and time spirit of Chosen Dynasty. To be disenchanted of its social roles in Chosen Dynasty, fundamentally, it should be escaped from the wrong net of illusions and sings in understanding Silhak in certain eclectic steps.

• (The) Research of the performance art and culture
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• no.38
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• pp.143-191
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• 2019

This research argues that Pansori had patrons in its development. Patrons are commonly discussed aspect of history of any art form. Pansori is no exception. While Pansori originally began as the art of the common people, Yangban class became the primary audience. This paper examines the role of royal family of Choson dynasty in development of Pansori. Heungseon Daewongun (흥선대원군) in particular was a Pansori aficionado. The record around Daewongun's involvement to Pansori proves that heavy monetary investment was made. He hosted Pansori competitions and sponsored creation of Pansori tradition, Boseong Sori (보성소리) and Gangsanje (강산제). Also the aspect of Pansori patronage lies not just in Yangban class, but also in Jung'in class, which is roughly analoguous to European bourgeois in that they were not of Yangban class, but had gained monetary status, and had aesthetics of both Yangban and commoner class. I argue that Heungseon Daewongun's ties to the Jung'in class is reflected in his actions towards Pansori artists. The traditions he had sponsored have important characteristics, including sophisticated lyrics heavily utilizing Classical Chinese poetry, highly artistic musical composition, and conservative Confucian ethics. Those characteristics indicate that the Pansori traditions sponsored by the royal patrons have changed to cater to their artistic taste and philosophy. This paper conducts a textual comparative analysis between Gangsanje Pansori Jeokbyeokga (강산제 판소리 적벽가), Dongpyeonje's Pansori Jeokbyeokga (동편제 판소리 적벽가), and Seopyeonje Pansori Jeokbyeokga, who share the same plot yet offers a stark differences in tone, philosophy, and sense of humor. Daewongun was a primary sponsor of Pansori, which proves that Yangban class and the royal family have played important role as patrons of Pansori.

• (The) Research of the performance art and culture
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• no.19
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• pp.221-280
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• 2009

This thesis is a study of the rise and the characteristic of 'Hyangto Gakeuk(literally Song drama of the country or local music drama)' in the Early 1940s. During the colonial period, there were attempts to incorporate traditional Korean music elements with Western operatic form. This type of music drama with librettos based on traditional tales came to be known as 'Hyangto Gakeuk'. Mostly 'Hyangto Gakeuk' has led this effort under the director Seo Hang-Suk, the composer Ahn Ki-Young and the lyricist Seol Eui-sik. In the first chapter, the study aims at arranging the performance history of 'Hyangto Gakeuk' composed by Ahn Ki-Young. Also, the study examined representative works after classifying 'Hyangto Gakeuk' performed by Lamila Music Drama Troupe, and Bando Music Drama Troupe. There is significant meaning to evaluate 'Hyangto Gakeuk' in the history of Korean music drama through this analysis of the performance history. In the second chapter, I will analyze with representative works composed by Ahn Ki-Young, a pioneer in the Korean art song. He tried to create the music that held the nationalism and tradition. His works which were called 'Kageuk' laid down the foundation of Korean original operatic style. This study demonstrated characteristics of 'Hyangto Gakeuk' as 'the beginning' in modern musical drama history and its effects on Korean musical drama developments. Namely, 'Hyangto Gakeuk' based on Korean traditions can be seen as examples of original modern musical in Korea. Practically, study on all the aspects of performance not only text generally studied, dramaturgy and criticism, but also performance concept and intention of creators in early period.

• Journal of Communication Design
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• v.66
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• pp.90-101
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• 2019

South Korea had a hard time creating its own image of a nation that formed its identity due to 6.25, Japanese-style rule, division of South and North Korea, and military dictatorship. Recently, Korea has been searching and spreading its identity by creating a Korean wave such as various events and K-POPs. However, since there are still no images and cultural products representing Korea's identity, it is necessary to develop design contents related to native culture and professional cultural product design. Design powers such as France and Japan focus on design projects that can add value to their national design policy projects. Traditional Korean contents also need to be specialized and continuous in image design and research. In this study, five lucky-SubokGangnYeon(long life, happiness and peace), a representative of Korean culture, studied with the most interest in the old and the modern, namely, "Living healthy long." Through the development of cultural product design and the use of design content, I would look forward to presenting the diversity and direction in producing Korea's own design products and images that fit the trend of modern 'age of 100.' Based on images based on special exhibitions related to longevity of the National Folk Museum of Korea, the museum discovers key used features and meanings, studies patterns and patterns, and analyzes design cases applied to modern cultural product design. We also want to look at the direction available through design content, which is a symbol of llong life happiness and peace. First, cultural products have limitations that lack the development of design products, lack of public relations and sales outlets, and lack of awareness of traditional culture, which should precede policy support and awareness reform at the national level. Second, we need to streamline prices that meet the needs of the market. Third, cultural product design and contents related to tradition can be settled and disseminated more easily when traditional design is utilized and distributed mainly on practical stationery and household goods. Fourth, it is necessary to develop contents of various Korean images based on research on Korean cultural history and aesthetic consciousness. Research on the Korean culture of designers should be conducted, not just in the form of figurative images. Fifth, traditional manufacturing methods and materials should be respected by modern times, but modern production products should be developed with economy and durability.