• Journal of the Korea Society of Computer and Information
• /
• v.28 no.10
• /
• pp.67-76
• /
• 2023

Although deep learning models are making innovative achievements in the field of computer vision, the problem of vulnerability to adversarial examples continues to be raised. Adversarial examples are attack methods that inject fine noise into images to induce misclassification, which can pose a serious threat to the application of deep learning models in the real world. In this paper, we propose a model that detects adversarial examples using differences in predictive values between edge-learned classification models and underlying classification models. The simple process of extracting the edges of the objects and reflecting them in learning can increase the robustness of the classification model, and economical and efficient detection is possible by detecting adversarial examples through differences in predictions between models. In our experiments, the general model showed accuracy of {49.9%, 29.84%, 18.46%, 4.95%, 3.36%} for adversarial examples (eps={0.02, 0.05, 0.1, 0.2, 0.3}), whereas the Canny edge model showed accuracy of {82.58%, 65.96%, 46.71%, 24.94%, 13.41%} and other edge models showed a similar level of accuracy also, indicating that the edge model was more robust against adversarial examples. In addition, adversarial example detection using differences in predictions between models revealed detection rates of {85.47%, 84.64%, 91.44%, 95.47%, and 87.61%} for each epsilon-specific adversarial example. It is expected that this study will contribute to improving the reliability of deep learning models in related research and application industries such as medical, autonomous driving, security, and national defense.

• Cartoon and Animation Studies
• /
• s.27
• /
• pp.31-49
• /
• 2012

This research aims at showing specificity of the 'fantastic' in the movie < Les temps morts (on 1964) > directed by Ren$\acute{e}$ Laloux (1929-2004 ), all over the world recognized director. This movie has a particular style by composing four forms of expression: the real recording (movie), the recording embellishes with images by image (animation), the drawing, the photo. This film is the most strange among his all films. Even if we could catch the key meaning of the film, it offer for the audience the sentiment incertain and unclear. If we consider 'the fantastic' as a hesitation between the real and the unreal, in diverse levels, this movie offers to the spectators the fantastic feelings. In order to present the way this film shows us the fantastic, we divide the film into 15 sequences according to the criteria of the visual elements and the auditive elements. We analyze specificities of this fantastic in diverse levels. At first, the first style of the drawing of Roland Topor, does not let us escape easily from the feeling of fantasy. The four representation formats(drawing, photo, animation, movie) are integrated into one whole by auditive elements(music, narration). On the other hand, certain parts incomprehensible are not integrated into the entire. are fully integrated into the unity that does not understand that part, leaving them can. Laloux leads the audience into a reality toward the end of the film, but he leave incertain sequences at the last moment. Through which the audience is again hesitant between the real and the unreal, the fantastic is strengthened as a result of the work. Finally, the fantastic of the film could be found at three levels. First, the fantastic drawing style of Roland Topor. In the second place, the fantastic exposed through the entire composition and structure of work. Overall, these by leaving through the availability of the story incomprehensible to the audience is to provide a fantastic sentiment.

• Proceedings of the KOSOMBE Conference
• /
• v.1992 no.05
• /
• pp.27-47
• /
• 1992

Engineers have developed new instruments that aid in diagnosis and therapy Ultrasonic imaging has provided a nondamaging method of imaging internal organs. A complex transducer emits ultrasonic waves at many angles and reconstructs a map of internal anatomy and also velocities of blood in vessels. Fast computed tomography permits reconstruction of the 3-dimensional anatomy and perfusion of the heart at 20-Hz rates. Positron emission tomography uses certain isotopes that produce positrons that react with electrons to simultaneously emit two gamma rays in opposite directions. It locates the region of origin by using a ring of discrete scintillation detectors, each in electronic coincidence with an opposing detector. In magnetic resonance imaging, the patient is placed in a very strong magnetic field. The precessing of the hydrogen atoms is perturbed by an interrogating field to yield two-dimensional images of soft tissue having exceptional clarity. As an alternative to radiology image processing, film archiving, and retrieval, picture archiving and communication systems (PACS) are being implemented. Images from computed radiography, magnetic resonance imaging (MRI), nuclear medicine, and ultrasound are digitized, transmitted, and stored in computers for retrieval at distributed work stations. In electrical impedance tomography, electrodes are placed around the thorax. 50-kHz current is injected between two electrodes and voltages are measured on all other electrodes. A computer processes the data to yield an image of the resistivity of a 2-dimensional slice of the thorax. During fetal monitoring, a corkscrew electrode is screwed into the fetal scalp to measure the fetal electrocardiogram. Correlations with uterine contractions yield information on the status of the fetus during delivery To measure cardiac output by thermodilution, cold saline is injected into the right atrium. A thermistor in the right pulmonary artery yields temperature measurements, from which we can calculate cardiac output. In impedance cardiography, we measure the changes in electrical impedance as the heart ejects blood into the arteries. Motion artifacts are large, so signal averaging is useful during monitoring. An intraarterial blood gas monitoring system permits monitoring in real time. Light is sent down optical fibers inserted into the radial artery, where it is absorbed by dyes, which reemit the light at a different wavelength. The emitted light travels up optical fibers where an external instrument determines O2, CO2, and pH. Therapeutic devices include the electrosurgical unit. A high-frequency electric arc is drawn between the knife and the tissue. The arc cuts and the heat coagulates, thus preventing blood loss. Hyperthermia has demonstrated antitumor effects in patients in whom all conventional modes of therapy have failed. Methods of raising tumor temperature include focused ultrasound, radio-frequency power through needles, or microwaves. When the heart stops pumping, we use the defibrillator to restore normal pumping. A brief, high-current pulse through the heart synchronizes all cardiac fibers to restore normal rhythm. When the cardiac rhythm is too slow, we implant the cardiac pacemaker. An electrode within the heart stimulates the cardiac muscle to contract at the normal rate. When the cardiac valves are narrowed or leak, we implant an artificial valve. Silicone rubber and Teflon are used for biocompatibility. Artificial hearts powered by pneumatic hoses have been implanted in humans. However, the quality of life gradually degrades, and death ensues. When kidney stones develop, lithotripsy is used. A spark creates a pressure wave, which is focused on the stone and fragments it. The pieces pass out normally. When kidneys fail, the blood is cleansed during hemodialysis. Urea passes through a porous membrane to a dialysate bath to lower its concentration in the blood. The blind are able to read by scanning the Optacon with their fingertips. A camera scans letters and converts them to an array of vibrating pins. The deaf are able to hear using a cochlear implant. A microphone detects sound and divides it into frequency bands. 22 electrodes within the cochlea stimulate the acoustic the acoustic nerve to provide sound patterns. For those who have lost muscle function in the limbs, researchers are implanting electrodes to stimulate the muscle. Sensors in the legs and arms feed back signals to a computer that coordinates the stimulators to provide limb motion. For those with high spinal cord injury, a puff and sip switch can control a computer and permit the disabled person operate the computer and communicate with the outside world.

• Journal of the Korean Society of Radiology
• /
• v.15 no.1
• /
• pp.45-54
• /
• 2021

This study was written to create educational content in non-destructive fields based on Mixed Reality. Currently, in the field of radiation, there is almost no content for educational Mixed Reality-based educational content. And in the field of non-destructive inspection, the working environment is poor, the number of employees is often 10 or less for each manufacturer, and the educational infrastructure is not built. There is no practical training, only practical training and safety education to convey information. To solve this, it was decided to develop non-destructive worker education content based on Mixed Reality. This content was developed based on Microsoft's HoloLens 2 HMD device. It is manufactured based on the resolution of 1280 ⁎ 720, and the resolution is different for each device, and the Side is created by aligning the Left, Right, Bottom, and TOP positions of Anchor, and the large image affects the size of Atlas. The large volume like the wallpaper and the upper part was made by replacing it with UITexture. For UI Widget Wizard, I made Label, Buttom, ScrollView, and Sprite. In this study, it is possible to provide workers with realistic educational content, enable self-directed education, and educate with 3D stereoscopic images based on reality to provide interesting and immersive education. Through the images provided in Mixed Reality, the learner can directly operate things through the interaction between the real world and the Virtual Reality, and the learner's learning efficiency can be improved. In addition, mixed reality education can play a major role in non-face-to-face learning content in the corona era, where time and place are not disturbed.

• The Korean Journal of Archival Studies
• /
• no.79
• /
• pp.5-32
• /
• 2024

The Korean government ranked 3rd among 193 UN member countries in the UN's 2022 e-Government Development Index. Korea, which has consistently been evaluated as a top country, can clearly be said to be a leading country in the world of e-government. The lubricant of e-government is data. Data itself is neither information nor a record, but it is a source of information and records and a resource of knowledge. Since administrative actions through electronic systems have become widespread, the production and technology of data-based records have naturally expanded and evolved. Technology may seem value-neutral, but in fact, technology itself reflects a specific worldview. The digital order of new technologies, armed with hyper-connectivity and super-intelligence, not only has a profound influence on traditional power structures, but also has an a similar influence on existing information and knowledge transmission media. Moreover, new technologies and media, including data-based generative artificial intelligence, are by far the hot topic. It can be seen that the all-round growth and spread of digital technology has led to the augmentation of human capabilities and the outsourcing of thinking. This also involves a variety of problems, ranging from deep fakes and other fake images, auto profiling, AI lies hallucination that creates them as if they were real, and copyright infringement of machine learning data. Moreover, radical connectivity capabilities enable the instantaneous sharing of vast amounts of data and rely on the technological unconscious to generate actions without awareness. Another irony of the digital world and online network, which is based on immaterial distribution and logical existence, is that access and contact can only be made through physical tools. Digital information is a logical object, but digital resources cannot be read or utilized without some type of device to relay it. In that respect, machines in today's technological society have gone beyond the level of simple assistance, and there are points at which it is difficult to say that the entry of machines into human society is a natural change pattern due to advanced technological development. This is because perspectives on machines will change over time. Important is the social and cultural implications of changes in the way records are produced as a result of communication and actions through machines. Even in the archive field, what problems will a data-based archive society face due to technological changes toward a hyper-intelligence and hyper-connected society, and who will prove the continuous activity of records and data and what will be the main drivers of media change? It is time to research whether this will happen. This study began with the need to recognize that archives are not only records that are the result of actions, but also data as strategic assets. Through this, author considered how to expand traditional boundaries and achieves reterritorialization in a data-driven society.

• Korean Journal of Cognitive Science
• /
• v.27 no.3
• /
• pp.441-467
• /
• 2016

This fMRI study is aim to investigate effects of competitive environment in cognitive empathic process in human brain. Empathy is known as a crucial factor for human's adaptive behavior in aspects of social cognition and it is almost automatic process, on the other hand competitive situation is psychologically devastated environment to win someone for getting rewards. We hypnotized that reading and understanding of other person's mind are a specific characteristic related to survival evolutionarily, however competition would have an effect on the empathic cognitive process because of mechanisms of competition. To manipulate the competitive atmosphere, one researcher took a role of competitor against participants and they were instructed to get monetary rewards when their performance was better than a competitor. 21 participants(9 males and 12 females) performed to judge the emotional valence of the empathic task consisted of illustrated images with various situation could be experienced in real world as on $1^{st}$ person perspective in both competitive and non-competitive condition, and did same performance with objects stimulus in control condition. In order to examine the competition effects on empathic process,, hemodynamic response were obtained during fMRI session and the imaging data were analyzed to identify brain regions where responses to each condition across the two consecutive runs. Participants' reaction time in competitive condition was faster statistically significant than non-competitive one. Activation for competitive condition increased in the following areas: ACC, mPFC, SMG, thalamus extended caudate and Nacc, parahippocampal gyrus, and for non-competitive condition increased paracingulate gyrus, temporal pole, vmPFC, superior occipital gyrus. As a result of regression analysis using empathic scores as covariance, the rSMG, IFG, fusiform gyrus, thalamus, putamen were correlated with higher empathic levels, and TPJ were correlated with lower empathic scores. We suggest that these observations could mean competitive environment have an effect on neural base of cognitive empathic process.

• Cartoon and Animation Studies
• /
• s.39
• /
• pp.59-83
• /
• 2015

Magical realism, blooming and improving in Latin America, opened the new vision about reality and rationalism, coming out from the out-styled frame of past. While having common points with unrealistic literature, which uses fantastical components, magical realism is different from Surrealism and fantasy literature that is focusing on reality and realizing reality intensely. In the early stage of this research, magical realism was restricted by the characteristics of literature of Latin America, but the research of magical realism is expanding in planning Post-Modernism nowadays. Lately, the influence of magical realism is identified in literatures, arts, films, and animations over the world; according to the research, however, research about magical realism in animations was not done in Korea before. A Korean independent animation "A coffee vending machine and its sword" was evaluated positively in many international film festivals is valuable as the research of magical realism. Throughout this study, this animation "A coffee vending machine and its sword" was analyzed by its narrative and images. The analysis of narrative consists two parts. One is about the form of narrative and the other is about contents through the story. Analysis of Image is also divided into two parts: background image and character image. In this animation, the protagonist is narrating about the fantastic accidents in his life and his own feelings towards it. The narration leads audience to understand his situation and feelings in meta-fiction. On the surface, audience watches the love story of a normal girl and coffee vending machine in this artwork, but deep inside the animation, it is visible that the directors tried to make audiences think about the life of 880,000-won Generation in Korea. The background image was represented as real places in Seoul including the landmark of Seoul, making mimesis of reality in Korea. The character image has two conflicting aspects with reincarnated warrior, Jinyoungyoung and a coffee vending machine. It is a hybrid-character transmogrifying between two characters. Likewise, "A coffee vending machine and its sword" has the characteristics of Korean magical realism through form, content and image. Through analyzing the Korean independent animation "A coffee vending machine and its sword", this research tried to find a way of using factors of fantasy, of representing reality as a dramatic device and of using magical realism of Korean animation for bond of sympathy with audience.

• The Journal of Art Theory & Practice
• /
• no.5
• /
• pp.43-80
• /
• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• Journal of Intelligence and Information Systems
• /
• v.20 no.4
• /
• pp.89-105
• /
• 2014

After emergence of Internet, social media with highly interactive Web 2.0 applications has provided very user friendly means for consumers and companies to communicate with each other. Users have routinely published contents involving their opinions and interests in social media such as blogs, forums, chatting rooms, and discussion boards, and the contents are released real-time in the Internet. For that reason, many researchers and marketers regard social media contents as the source of information for business analytics to develop business insights, and many studies have reported results on mining business intelligence from Social media content. In particular, opinion mining and sentiment analysis, as a technique to extract, classify, understand, and assess the opinions implicit in text contents, are frequently applied into social media content analysis because it emphasizes determining sentiment polarity and extracting authors' opinions. A number of frameworks, methods, techniques and tools have been presented by these researchers. However, we have found some weaknesses from their methods which are often technically complicated and are not sufficiently user-friendly for helping business decisions and planning. In this study, we attempted to formulate a more comprehensive and practical approach to conduct opinion mining with visual deliverables. First, we described the entire cycle of practical opinion mining using Social media content from the initial data gathering stage to the final presentation session. Our proposed approach to opinion mining consists of four phases: collecting, qualifying, analyzing, and visualizing. In the first phase, analysts have to choose target social media. Each target media requires different ways for analysts to gain access. There are open-API, searching tools, DB2DB interface, purchasing contents, and so son. Second phase is pre-processing to generate useful materials for meaningful analysis. If we do not remove garbage data, results of social media analysis will not provide meaningful and useful business insights. To clean social media data, natural language processing techniques should be applied. The next step is the opinion mining phase where the cleansed social media content set is to be analyzed. The qualified data set includes not only user-generated contents but also content identification information such as creation date, author name, user id, content id, hit counts, review or reply, favorite, etc. Depending on the purpose of the analysis, researchers or data analysts can select a suitable mining tool. Topic extraction and buzz analysis are usually related to market trends analysis, while sentiment analysis is utilized to conduct reputation analysis. There are also various applications, such as stock prediction, product recommendation, sales forecasting, and so on. The last phase is visualization and presentation of analysis results. The major focus and purpose of this phase are to explain results of analysis and help users to comprehend its meaning. Therefore, to the extent possible, deliverables from this phase should be made simple, clear and easy to understand, rather than complex and flashy. To illustrate our approach, we conducted a case study on a leading Korean instant noodle company. We targeted the leading company, NS Food, with 66.5% of market share; the firm has kept No. 1 position in the Korean "Ramen" business for several decades. We collected a total of 11,869 pieces of contents including blogs, forum contents and news articles. After collecting social media content data, we generated instant noodle business specific language resources for data manipulation and analysis using natural language processing. In addition, we tried to classify contents in more detail categories such as marketing features, environment, reputation, etc. In those phase, we used free ware software programs such as TM, KoNLP, ggplot2 and plyr packages in R project. As the result, we presented several useful visualization outputs like domain specific lexicons, volume and sentiment graphs, topic word cloud, heat maps, valence tree map, and other visualized images to provide vivid, full-colored examples using open library software packages of the R project. Business actors can quickly detect areas by a swift glance that are weak, strong, positive, negative, quiet or loud. Heat map is able to explain movement of sentiment or volume in categories and time matrix which shows density of color on time periods. Valence tree map, one of the most comprehensive and holistic visualization models, should be very helpful for analysts and decision makers to quickly understand the "big picture" business situation with a hierarchical structure since tree-map can present buzz volume and sentiment with a visualized result in a certain period. This case study offers real-world business insights from market sensing which would demonstrate to practical-minded business users how they can use these types of results for timely decision making in response to on-going changes in the market. We believe our approach can provide practical and reliable guide to opinion mining with visualized results that are immediately useful, not just in food industry but in other industries as well.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.54-88
• /
• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.