• 한국실내디자인학회논문집
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• 제14권6호
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• pp.252-259
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• 2005

A modern museum has been changed from a passive place for simply exhibiting arts and antique collections to an interactive place for learning and experiencing culture and information. Such a functional change of the modern museum requires not only reorganizing fundamental characteristics of the modern museum, but also reforming organization of management teams, changing attitudes of staffs and assigning new roles to staffs for accepting the new thought and approach of visitors. That is, the function of the modem museum is not limited to collect arts and antique collections. The fundamental change of the modern museum further requires using the collections as a tool or a medium to provide a cultural exchange between the visitors and the museum, and to give new experience and information to the visitors. After proposing discussion that ' how, what, who is related to the museum? ', the way of thinking the museum is changed from ' collection ' to ' communication '. The change of the modern museum improves an educational role of the museum, and makes the museum as a communicator exchanging information and experience with visitors. In the last analysis, the modern museum is not just an exhibition medium that simply transfers information of the exhibition mediums to public. The modem museum is also a communication medium in order to collect information and transfer the collected information to the visitors. That is, the modern museum should provide various exhibition and communication mediums to the visitors for exchanging information and cultural experience. Therefore, the modern museum requires additional functions processing information suitable to the present environment and level of the museum, and transferring the information to public.

• 복식
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• 제34권
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• pp.109-120
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• 1997

The conservation of collections in muse-ums is an important aspect for our her-itage. The control of museum environment is a vital factor in the preservation of cool-lections. Inappropriate or fluctuating envi-ronmental conditions can cause irreparable damage to works of arts. In this research we investigated the ac-tual conditions of museum environment for old testiles using questionnaire and mea-sured dye fasing of old textiles on exhibi-tion for 2 months in a university museum the major results are as follows: 1. The control of temperature and rela-tive humidity is a vital factors I the preservation of old textiles in museum generally acceptable temperature and rel-ative humidity standards for old textiles are 18-23$^{\circ}C$ and 50-65% R. H and light level for textiles on exhibition should be limited to 30-50 lux. 2, In university museums the limate control system in exhibition and storage area is in an early stage. Therefore to minimize the deterioration of old textiles the best method of controlling the envi-ronment is to have centralized climate control system in sorage area as well as in display area. 3. Conservator is needed to maintain collections scientifically. Only professional conservator by combining scientific tech-nical and artistic training has the exper-tise needed to maintain the physical in-tegrity of old textiles. In order to solve the inferior environment of museums the staff should recognize the importance of the condition of exhibition and storage. 4. Old textiles are susceptible to damage by light and associated heat. Dyed textiles which have been exhibited under the light without any UV filter were faded notice-ably within two months of exhibition. Light levels for textiles on exhibition should be limited to 30-50 lux. It is de-sirable to use special light source that can absorb UV. and UV filter is also recom-mended to reduce photodegradation of old textiles.

• 한국의류학회지
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• 제32권11호
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• pp.1750-1759
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• 2008

The purpose of this study was to comparatively analyze the color characteristics of the Japanese ethnic look advanced by Japanese and western designers in comparison with the actual traditional colors of Japan. The data determining the traditional colors of Japan was collected through a critical apparatus examination of 250 colors and the color data of what determines Japanese ethnic look was collected through an analysis of the clothing appearing in four fashion collections -Paris, Milan, London, and New York- from the 2004 S/S collections to the 2008 F/W collections. For the analysis of these colors, Photoshop was used with an RGB value measuring under 300dpi resolutions. The RGB values were then converted to H V/C values through Munsell Conversion 8.0.3, and they were analyzed using Munsell's 40 Hue and PCCS. The results of this study are as follows: Japanese designers are expressing their own aesthetic theory by designing fashions in traditionally Japanese hues. However, neutral colors and low-chroma tones appear more often than traditional colors. This study illustrates how these designers use color to reflect their inside ideals being oversensitive traditonal ideals. In contrast, western designers reflect more contemporary trends through the use of hues that more clearly reveal their preconception of the colors of the Orient rather than actual traditional Japanese colors. Moreover, these foreign designers tend to approach fashion design by the means of shape rather than color. Japanese designers systematically analyze and apply their own culture to contemporary fashion design. Their efforts serve as a good reference model for research on traditional culture and fashion design.

• 한국작물학회:학술대회논문집
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• 한국작물학회 2017년도 9th Asian Crop Science Association conference
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• pp.106-106
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• 2017

The soybean [Glycine max (L.) Merr.] is one of the most important crop resources worldwide as food and forage. It is also important and valuable that to hold crop resources to have high genetic diversities. Recently, a core collection has been constructed in many plants to preserve the genetic resources of various plants. A core collection is small population to represent the genetic diversity of the total collection, and is of strategic importance as they allow the use of a small part of a germplasm collection that is representative of the total collection. Here, we developed the core collection consisting of 816 accessions by using approximately 180,000 (180K) single nucleotide polymorphisms (SNPs) developed in previous study. In addition, we performed genetic diversity and population structure analysis to construct the core collection from entire 4,392 collections. there were excluded sample call rates less than 93% and duplicated samples more than 99.9% according to genotype analysis using 180K SNPs from entire collections. Furthermore, we were also excluded natural hybrid resources which Glycine max and Glycine soja are mixed in half through population structure analysis. As a result, we are constructed the core collection of genetic diversity that reflects 99% of the entire collections, including 430 cultivated soybeans (Glycine max) and 386 wild soybeans (Glycine soja). The core collection developed in this study should be to provide useful materials for both soybean breeding programs and genome-wide association studies.

• 복식
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• 제54권4호
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• pp.1-14
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• 2004

This study suggests the popular culture theory as a basic framework to find out the characteristics of contemporary fashion show meeting the popular culture, and describes that the show is the popular culture of this generation. The culture is the way of our life unifying the world at common area of human being. The popular culture is to subdivide it into the public culture that shares aesthetic taste, and to borrow each other and develop it mutually because of the collapse of dichotomous boundary with high quality culture, and to represent the people’s thought and behaviour expanding their areas. The author has examined the characteristics of popular culture of modern fashion show by four collections, that is, commercialism, mass media, political relationship and interaction, etc： Firstly, at the commercialism, the fashion show combines it with other genre organically to do mass production and sales and produces cultural consumption goods supplying a lot of sight-seeing. Secondly, at the mass media, the image of contemporary fashion show has been spread out with mass media such as fashion magazines, cable TV and Internet beyond time and space to produce advertisement effects and makes new fashion and bring democratic culture. Thirdly, at political relationship, the fashion in its peak can make a big stream of wealth, so that it plays important roles under governmental regulations in this era and governments make efforts to support and develop it. Lastly, at interaction, the fashion show shares media functions to let users participate in the program and to exchange information as a feedback to influence each other.

• 한국의류학회지
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• 제28권2호
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• pp.270-279
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• 2004

The purpose of this study is to make a basic resource in developing a design satisfying male consumers＇ fashion inclination by examining the features of the men＇s fashion style shown in the fashion collections. Collected were 1,291 photos relating to the suit style through the analysis on the men＇s fashion collections for 8 years(1995-2002). Representative men＇s fashion images are extracted from these photos, then figurative features were analyzed and typified according to image, and finally representative fashion styles were presented and its meaning was analyzed. Representative men＇s fashion images are Sophisticated, Casual, Elegant, Active, Natural, Classic, Romantic, Ethnic, Military, Marine, Colonial, and Avant-garde. With the subcategories such as detailed shape of jacket and trousers, the relationship of color between upper and lower clothes, type and organizing method of material quality, type and arranging method of pattern, and coordination, the extracted fashion images were analyzed the figurative features. After finding out the common and different features, four men＇s fashion styles were suggested. Formal style maintains the typical suit style and has the feature expressing the men＇s authority, tradition, and honor. It includes Sophisticated, Elegant. and Classic image. Casual St Sporty style has the feature that there is a change in the volume of suit by adding activity to the typical suit style. It includes Casual, Active, and Natural image. Uniformed style is that political and social environment such as war has an influence on the suit design. It includes Military, Marine, and Colonial image. Deformed style has the feature that it suggests new type instead of adhering to the typical suit design. It includes Ethnic, Romantic, and Avant-garde image.

• 한국문헌정보학회지
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• 제45권2호
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• pp.393-413
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• 2011

전공서적, 학위논문 등과 같은 대학도서관 장서들은 교수 및 학생의 연구와 교육을 지원하기 위한 정보원으로 많이 활용된다. 이러한 자료들은 특정 분야에서 주로 사용되는 전문용어가 출현하기 마련인데, 전문용어 추이 분석을 통해 해당 분야의 최신 연구동향이나 연관성을 유추할 수 있다. 이에 본 연구에서는 국내 소재 2개 대학도서관의 컴퓨터 분야 장서를 대상으로 메타데이터에 포함된 전문용어를 추출하여 그 추이를 분석하였다. 이를 해당 대학의 학위논문과 국내 학술논문에 나타나는 전문용어 추이와 비교함으로써 대학도서관 장서 구성과 해당 분야 연구동향과 연관성을 분석하였다.

• 한국문헌정보학회지
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• 제54권2호
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• pp.225-246
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• 2020

본 연구는 현행 DLS의 서지적 기술요소가 지니고 있는 한계 및 학교도서관 장서 이용에 있어서의 문제를 해결하기 위해, 학교도서관 장서가 지니고 있는 서지적, 교육적 특성을 반영한 서지적 기술항목을 제안하였다. 현재 DLS에서 자료 유형별로 구분하여 입력하는 구조를 일원화하고, 일반모드와 전문가모드로 분리되어 있는 서지 입력 방식을 통합하여 ISBD 서지영역을 기준으로 학교도서관 장서의 기술항목을 재구성하였다. 또한 학교도서관 장서의 서지적 측면과 교육적 측면의 기술을 위해 총 10개 상위 기술항목 및 34개 하위 기술항목을 계층적 구조를 통해 구성하였다. 이는 현재 DLS가 지니고 있는 서지적 기술의 한계를 보완하고 학교도서관이 지니고 있는 고유한 서지적, 교육적 특성을 반영하여, 학교도서관의 기능을 효율적으로 지원할 수 있는 서지적 환경을 구축할 수 있을 것으로 기대된다.

• 한국약용작물학회지
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• 제6권3호
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• pp.165-169
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• 1998

가시오갈피의 지역 수집 종간 변이의 정도와 유연 관계를 검토하고자 덕유산, 오대산, 북해도 수집종을 공시하여 RAPD를 실시 한 결과 가시 오갈피 유연관계 분석에 적합한 Primer로 UBC Primer $#200{\sim}300$ #208등 20개의 primer를 선발하였고, 다형화율은 $7.1{\sim}90.9%$를 나타냈으며, 총 증폭된 band 157개 중 113개 의 다형 band를 얻을 수 있었다. 가시오갈피 수집종은 2그룹으로 분류되었으며, 1그룹으로 분류된 덕유산 1, 2, 3, 4, 6, 북해도 7, 8, 오대산 9, 10번 개체내의 유사도는 $0.65{\sim}0.86$으로 나타났으나, 변종으로 추정되는 덕유산 수집종 5번 개체는 다른 수집 종들과의 유사도는 0.27로 극히 낮았다. 또한 동일지역 수집종간에 유사 값은 다른 지역에서 수집된 개체들과 차이가 없었고, 화사길이에 따른 차이도 구분되지 않았다.

• 한국의류학회지
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• 제27권3_4호
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• pp.343-353
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• 2003

In this research, the fashion images, which expressed the same theme during the same season in four different fashion collections, were interpreted as emotional characteristics stemming from different factors according to the emotions and images of the regions where the collections were held. The theme, futurism appeared to be hackneyed and oppressive in Paris fashion which emphasized artistic representation of the theme. And futurism appeared to be expressed to be dazzling, unnatural in London fashion which was innovative and avant-garde. And the New York fashion, which accentuated practical, sportive, and elegant styles created active and graceful image about the futurism and the Milan fashion showed the balanced mixture of the three cities' images above. It is interpreted that our domestic fashion consumers think artistic, formative, original, and emotional images as hackneyed and oppressive. On the other hand, they feel comfortable, cheerful, unaffected and graceful about the images that are functional (rather than artistic), sportive, and moderately elegant. And the innovative and avant-garde images like the ones in London collection seem to make people feel unnatural, dazzled, and even depressed. In short, domestic fashion consumers think that the excessive, innovative, original, and formative fashion images appeared I London and Paris are hackneyed and dark rather than artistic, original, or dynamic. On the contrary, the moderate, practical, sportive and elegant New York images and the Milan's which equally showed the three cities' characteristics are regarded as comfortable, elegant, bright, and positive. This result indicates that the fashion market in certain regions seek shared fashion trends and the difference between the regions reflects the different interpretation of fashion themes.