• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.11a
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• pp.210-213
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• 2007

The direction of this project is creates a future and it experiences ubiquitous world. The subject of the space is 'Ubiquitous Creative World' which Imagining the past becomes actuality and imagining in future become actuality and future when it will approach at once. The storyline of this space is as belows; 1 Zone - Ubiquitous life Gallery : it will be able to experience the future world ; home, office, street, school and the others. 2 Zone - Interactive Play Gallery : it will be able to explore the interactive media with information technology ; digital cafe, imagining jump, digital art and the others. 3 Zone - New product and Business Gallery : it composed with business, new product, and demonstration gallery such as public information space. The space concept makes connection and concentration which uses unit and line for world which becomes accomplished by the network. Connection of digital and the human being to make the center of new digital life.

• Journal of Korean Philosophical Society
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• no.116
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• pp.79-103
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• 2017

According to Heidegger, the world is disclosed in dependence on Dasein, whose existence is different for each of us. Then it is questioned how the common world can be established in spite of the individual existence of Dasein. After reviewing the preceding researches on this question, I would like to elucidate the individual and common world-disclosure based on Heidegger's lecture in 1928/29. Heidegger, in this lecture, has a vast discussion of the relationship between the common being (Mitsein) and truth. According to him, since truth is essentially communal so that it can not be privatized by individual Dasein, the space of truth encountered by a Dasein is already open to all other Dasein. The fact that the space of truth held by each of Dasein is open to all others implies a common open area that encompasses it. And this common open area is no different to the world. The world is already ontologically disclosed in common, and on the basis of this common world-disclosure, each Dasein discloses its own world according to its life history and situation.

• Journal of the Daesoon Academy of Sciences
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• v.24_1
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• pp.97-144
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• 2014

Jeungsan(甑山) carried out the Universal Redesign(天地公事) through which the former world full of a mutual opposition(相克) can be peacefully transferred into the latter world composed of a mutual beneficence(相生). Although the Universal Redesign consists of such three factors heaven, earth, and human, it converges towards Human Redesign in that humans are the main agents for heaven and earth. Human as Redesign object is characterized as a member of community, not an anarchistic individual. The Universal Resign of Jeungsan is eventually connected with the construction of a country comprising a mutual beneficence in that it is the most typical strain among all the human communities. His Universal Resign for foundering the foremost country does not target all the countries, but only one country upon and through which the world with a mutual beneficence can be formed. He executed the Universal Redesign based on such three principles as Haewon sangsaeng(解冤相生), Boeunsangsaeng(報恩相生), and Wonsibanbon(原始返本), Judging from such principles, Korea can be naturally selected as the target of the Universal Redesign for constructing the foremost country. It is approaching when the Universal Redesign in order to transform Korea into the foremost country comes true. The first step for Korea to be made as the foremost country is the construction of DMZ World Peace Park (DWPP) which was proposed by Bak Geunhye, the Korean President, to Obama, the President of USA, in 2013 she visited there. DWPP can be expected to be a center for corporation and interchange between South and North Korea under the interest and support of the world including UN, furthermore, the Capital area of reunified Korea, and finally the world hub of inter national political and economic relation. DWPP is planned to be built at the core of the best place in Korea which is a propitious spot all over the world, upon which a new world capitalism order armed with mutual beneficence can spread.

• Asian review of World Histories
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• v.2 no.2
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• pp.217-248
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• 2014

The Aid-India Consortium was organized in 1958 as an international scheme to support the economic development of India, and led by the World Bank. This article reconsiders the economic diplomacy of the Indian Government in the 1950s and 1960s, by paying attention to the interactions between the Indian authorities and the donor countries and institutions, in the context of the Cold War regime, decolonization and economic aid to the newly independent countries. First, it deals with the development of the Aid-India Consortium by considering debates at its annual meetings and the skillful negotiations of the Indian Government and financial authorities. It focuses especially on the leading role of an Indian diplomat and financial expert, B. K. Nehru. The article then tries to reveal an Indian initiative in solving the 'food crises' of 1965-67 through intimate collaboration with the US government and the World Bank, using the framework of the Aid-India Consortium. These attempts lead to a reconsideration of the economic order of Asia in the 1950s and 1960s.

• Proceedings of the KIEE Conference
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• 1999.07b
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• pp.880-882
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• 1999

Virtual Reality is a set of computer technologies which, when combined, provide an interface to a computer-generated world, and in particular, provide such a convincing interface that the user believes he is actually in a three dimensional computer-generated world. This computer generated world may be a model of a real-world object, such as a house; it might be an world that does not exist in a real sense but is understood by humans, such as a chemical molecule or a representation of a set of data; or it might be in a completely imaginary science fiction world. this paper describes the application of boiler digital control system MMI for power plant using virtual reality

• Journal of Hospice and Palliative Care
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• v.16 no.3
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• pp.155-165
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• 2013

Koreans' traditional view on death has been much influenced by Confucianism, Taoism, Buddhism, and shamanism since ancient times. Confucianism emphasizes the importance of the real life in this world and highly praises doing good deeds for the family and the community. It also praises people who are enlightened by education and self-discipline. Confucian scholars admit that death cannot be understood by rational thinking although it is unavoidable as a cosmic order. Taoism sees life as the same entity as death; Both are two different aspects of the same cosmos or the wholeness. However, the disciples of Taoism became much interested in a long life and well being that may be achieved by harmonizing with the cosmic order. Buddhism thinks that death and life are an "illusion". It says that people can be enlightened by recognizing the fact that "Nothing is born and nothing is dying in this world. Everything is the product of your mind occupied with false belief." However, secular Buddhists believe in the afterlife and metempsychosis of the soul. This belief is sometimes connected with the view of the traditional shamanism. Shamanism dichotomizes the world between "this world" and "that world". After death, the person's soul travels to "that world", where it may influence life of people who reside in "this world". And shamans who are spiritual beings living in "this world" mediate souls and living people. In conclusion, there are various views and beliefs regarding death, which are influenced by a number of religions and philosophies. They should be seriously considered when making a medical decision regarding the end of patients' life.

• Journal of architectural history
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• v.4 no.2 s.8
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• pp.79-85
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• 1995

The main aim of the paper is to reveal what is the sign in art and architecture and what is difference between technology and art. By keeping in mind the suggestions of Heidegger's four different worlds, we become able to discern or elaborate on four different contexts of signs and modes in which the sign can work. World (1) is not conceptualized by selected relations of some of things' aspects with one another; rather, it is constructed by our sensory impressions. The sign of World (1) simply points to other objects occurring in the situation. World (2) emerges as an ontological term, and signifies, in terms of relations that are now brought systematically forth, the Being of those entities of World (1) which we naively perceive or take for granted. The sign of World (2) signifies a constructed world. World (3) is understood as the 'wherein' or environment of beings whose total activity is proven to be inseparable from their circumstances. The sign of World (3) is to recover the perspicuous silence of World (3). The World (4) is the ontological-existential understanding of worldhood. The sign of World (4) is to reveal the conspicuous silence of World (4). Finally, the paper suggests that art including architecture cannot be the sign of World (1), (2) but the one of World (3).

• (The) Research of the performance art and culture
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• no.22
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• pp.93-121
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• 2011

This article is concerned with the withdrawal of the compositional principle of Jinogigut which has been performed in Seoul and the identification of its meaning based on the withdrawal. Jinogigut is a world where a god is connected to humans in complicated manners, this world and the world of the dead coexist, and it is a process of demonstrating that the dead, who have stayed in the world of humans, enter the world of a god. Jinogigut shows the process of leading the dead to the world of the dead one after another. First, the god-centered street is continued, and the gut displays through which process a god will guide the dead to the world of the dead. Next, is a human-centered street, which exhibits the appearance of the dead heading to the world of the dead following the death angel, more in detail. Finally, a human-centered structure shows how humans enter the world of the dead. Through this repetition, it reveals that the dead take a seat in the world of the dead, at last. The organization of the later part of the world of the dead-oriented gut in Jinogigut, which is god-centered, continues to a human-centered gut through the meeting between a god and humans. and , which are continued, followed by , are ceremonial rituals that confirm the dead entering the world of the dead without any problem. Begareugi shows that the entering of the dead into the world of the dead was completed with perfection by cutting hemp cloth, and informs the living that the dead expressed gratitude for holding the ritual for him/her by appearing at the venue of the gut once again and that the dead settled into the world of death. , which finally holds ancestral rites to the god of ancestors who is seated in the world of the dead, reveals that the dead, who had been a human, has been transformed into the god of ancestors through Jinogigut. Jinogigut also performs the function of comforting a client (who is the family of the dead) of the gut, who has faced a sudden death in his/her family. What is the most important for consoling the client is to display that the dead has entered the world of the dead without any problem. Jinogigut shows this process through a three-layered structure. It exhibits how the dead would be moved to the world of gods, as well as the safe entering of the dead who followed Jeoseung-saja(envoy from the world of the dead) and who had appeared to this world from the world of the dead. Then, it demonstrates again the appearance of the dead entering the world of the dead following Barigongu; thus, it placates the heart of the client's family.

• Cartoon and Animation Studies
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• s.20
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• pp.121-139
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• 2010

As a society gets digitalized, world of simulation will expand. The world of simulation is a forced, human-making world where we are going on our lives. It is power that dominates human beings. It is a main discourse producing forces. We are using violence to ourselves to escape this forcing phenomenon. Cindy Sherman is being paid attention as an artist who expresses physical human being in the world of simulation - human who desires something, is sacrificed by violence and is using violence to himself. She is casting a question about the violence of power in the world - who are you right now in the border between the real world and the fake one? - Her method is by various symbols: masks and makeup in her works, human desires and violent realities in symbolic packages. Only when we see the world as flesh, that is a specific body, not as separated organs, can this world be something we can feel. This world is something simulacre and at the same time is bearing violence in it. She sacrifices herself to violence to avoid the very violence. This behavior is to refine or avoid gigantic violence. She is saying that the others' pains, birth and death of flowers are not only theirs but also ours.

• Journal of Korea Game Society
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• v.8 no.4
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• pp.29-43
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• 2008

The virtual world is a cyber gaming space where a player interacts with others through their avatars. It is now mainly developed in foreign countries including USA, Canada, and Europe and many experts say that the market capacity of virtual world will be continually expanded in worldwide. The virtual world will mostly be made such that a user accesses the world for free and pays for in-game activities. But it is hardly that we find the effective methodology of payment system for such virtual world due to its' short development history. In the case of Korea, various payment methods of selling in-game assets have been tested in online games. The paper propose an effective revenue model for social virtual world focused on selling in-game assets. The guideline of the proposed revenue model will be expected to contribute creating revenue focused on selling in-game assets, effectively for social virtual world.