• Title/Summary/Keyword: Organic Connection

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월지(月池) 서측 호안의 출수시설(出水施設)에 관한 고찰 (A Study on a Drainage Facility of the Western Shore in Wolji Pond)

  • 오준영
    • 헤리티지:역사와 과학
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    • 제51권3호
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    • pp.72-87
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    • 2018
  • 본 연구는 월지의 서측 호안 일대에 존재했던 출수구(出水口)와 구거(溝渠)를 재조명하고, 서측 호안의 출수시설이 월지의 역사적 배수체계와 연관되었을 가능성에 주목하고 있다. 세부적으로는 출수구의 위치와 형태, 월지 북서측 구거와 서측 호안 출수구의 관계성, 서측 호안 출수시설의 조성시기와 성격을 중점적으로 고찰하였다. 1975년 발굴조사로 확인된 서측 호안의 출수구는 1922년 실측도면에 기록된 수낙구(水落口)와 동일시설로 판단된다. 따라서 1920년대 이전부터 월지의 서측 호안에는 별도의 출수시설이 존재했을 가능성이 높다. 서측 호안 출수구는 장방형 석재를 가공한 시설이며, 수위조절을 위한 4개의 배수공(排水孔)이 설치되어 있었다. 배수공을 통한 출수방식은 월지 북측 호안에서 조사된 출수시설과 동일하다. 1913년 제작된 지적도에서는 월지의 북서측 외곽으로 구거가 확인된다. 구거와 출수구는 근거리에 위치하며, 동일한 축선을 형성하고 있었다. 따라서 구거와 출수구는 월지의 배수체계와 연관된 유기적 시설로 판단된다. 특히 월지 북서측 구거는 서측 호안 출수시설의 조성시기를 1910년대 이전으로 소급할 수 있는 단초다. 출수구의 배수공을 통해 유입된 물은 구거를 통해 월지의 북서측 일대로 배출되었다. 서측 호안 출수시설의 조성시기와 성격은 두 가지 측면에서 해석된다. 첫 번째는 월지가 농업용 저수지로 기록되었다는 점, 월지의 북서측 일대가 농경지로 이용되었다는 점에 근거한 '조선시대의 농업용 관개시설'이다. 두 번째는 출수구가 월지의 수제선(水際線)을 형성하는 하층 호안석축에 설치되었다는 점, 최상단 배수공의 높이가 월지의 만수위(滿水位)와 유사하다는 점에 근거한 '월지 조영 당시의 수위조절용 출수시설'이다. 관련 근거와 정황을 고려하면 후자의 가능성이 더욱 높다고 판단된다.

미술교육에 있어서 시각적 미디어를 통한 조형교육에 관한 연구 (Visual Media Education in Visual Arts Education)

  • 박지숙
    • 조형예술학연구
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    • 제7권
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    • pp.64-104
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    • 2005
  • Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

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신뢰대상의 다차원적 접근법에 의한 신뢰와 재구매 의도와의 관계 (The Relationship between Trust, Trustworthiness, and Repeat Purchase Intentions: A Multidimensional Approach)

  • 이수형;박미령
    • 마케팅과학연구
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    • 제18권1호
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    • pp.1-31
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    • 2008
  • 신뢰는 인간관계에서 동서고금을 통해 언제나 주목을 받아온 주제였으며, 신뢰의 중요성은 경영학 분야는 물론 인간생활의 모든 분야에서 이미 오랜 전부터 인식되어 왔다. 그러나 대부분의 연구는 주로 개인 간의 신뢰인 종업원에 대한 신뢰에만 집중하는 단일 차원적 관점에서 연구되어 왔다. 본 연구는 이와 같이 지금까지 주로 단일차원으로 연구되어 온 신뢰 대상을 판매원, 제품/서비스, 그리고 기업의 3차원으로 다차원화하여 이들 신뢰 대상이 재구매 의도에 미치는 영향을 검증하였다. 서울, 대구 경북지역의 거주자로 백화점에서 구매 경험이 있는 남녀 고객을 대상으로 수집된 자료를 분석한 결과, 기존 연구들에서 주로 다루어진 판매원신뢰뿐만 아니라 기업신뢰와 제품/서비스신뢰 또한 고객신뢰의 중요한 대상으로 나타나, 신뢰 대상은 다차원적인 구성개념임이 밝혀졌다. 이들 3차원의 신뢰는 모두 재구매 의도에 유의한 영향을 미치는 것으로 나타났으며, 특히 기업신뢰가 판매원신뢰와 제품/서비스신뢰보다 재구매 의도에 더 영향을 미치는 것으로 나타났다. 판매원신뢰와 제품/서비스신뢰의 영향요인으로 역량과 선의를, 기업신뢰의 영향요인으로 기업 평판과 물리적 환경을 설정하여 검증한 결과 역량과 선의는 판매원신뢰와 제품/서비스신뢰 모두에 유의한 영향을 미치는 것으로 나타났다. 기업신뢰의 경우, 평판은 유의한 영향을 미치는 것으로 나타났으나, 물리적환경은 유의한 영향을 미치지 않은 것으로 나타났다.

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