• Sim-seong Yeon-gu
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• v.38 no.2
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• pp.239-268
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• 2023

Humanity has faced destruction(chaos) due to catastrophes (Covid-19, war, earthquake) and awaits a new restoration. For civilizations and individuals, creation or creativity is essential to psychic development. Creativity is the driving force that renews an individual when a new stance and attitude of consciousness or a new adaptation to reality is desperately needed in the depth of the human mind. This article is the result of an exploration of the nature and characteristics of creativity presented by a series of four dreams. First, the definition and form of creativity were explored in the context of religion, mythology, and history of Eastern and Western. While Western mythology refers to creation or creativity originating from God, ancient China viewed creativity as expressed through the interaction of yin and yang, the movement of Tao. In East and West, the form of creation is divided into creation from nothing, creation from matter, and creation through dissolution from the matrix, which psychologically suggests that creativity or creation originates from the unconscious, the seedbed of infinite potential and creative power. Next, with insights from the second dream, the characteristics of creativity were discussed. Creativity occurs through transcendent function and 'going beyond the frame of reference,' that is, 'transgressivity.' Third, the nature of creativity was explored as the creativity of the unconscious aims for regeneration and drives the renewal of Self archetypal images within the collective and individuals. Ultimately, the creativity of the unconscious is the goal of the whole psyche and aims for individuation to become the whole. Realizing the creativity of the unconscious is the fate of humans as the second creator.

• The Journal of Art Theory & Practice
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• no.4
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• pp.123-144
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• 2006

Foreigners who arrived in Korea after the age of enlightenment were Japanese, Chinese and 'Westerners' who were Europeans and Americans. The westerners were diplomats who visited Korea for colonization or for increasing their economical profits by trading after the spread of imperialism, and tourists curious of back countries, artists, explores and missionaries to perform their roles for their religious beliefs. They contacted with Korean cultural and educational people as missionaries and instructors during Japanese colonial period. In 1945, the allied forces occupied Korea under the name of takeover of Japanese colony after Japan's surrender and the relation between foreigners and Korean cultured men enter upon a new phase. For 3 years, American soldiers enforced lots of systems in Korea and many pro-American people were educated. This relationship lasted even after the establishment of the government of Korean Republic and especially, diplomats called as pro-Korean group came again after Korean War. Among them, there were lots of foreigners interested in cultures and arts. In particular, government officials under American Forces who were influential on political circles or diplomats widened their insights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote their impressions about Korean cultural assets on newspapers or journals after visiting contemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and the Hendersons were dominant. They thought the artists had great interests in compromising and uniting the Orient and the West based on their knowledge of Korean cultural assets and they advised. However, it was different from Korean artist's point of view that the foreigners thought Korean art adhered oriental features and contained western contents. From foreigners' point of view, it is hard to understand the attitude Korean artists chose to keep their self-respect through experiencing the Korean war. It is difficult to distinguish their thought about Korean art based on their exotic taste from the Korean artists' local and peninsular features under Japanese imperialism. We can see their thought about Korean art and their viewpoint toward the third world, after staying in Korea for a short period and being a member of the first world. The basic thing was that they could see the potentialities through the worldwide, beautiful Korean cultural assets and they thought it was important to start with traditions. It is an evidence showing Korean artists' pride in regard to the art culture through experiencing the infringement of their country. By writing about illuminating Korean art from the third party's view, foreigners represented their thoughts through it that their economical, military superiority goes with their cultural superiority. The Korean artist's thought of emphasizing Korean history and traditions, reexamining and using it as an original creation may have been inspired by westerners' writings. 'The establishment of national art' that Korean artists gave emphasis then, didn't only affect one of the reactions toward external impact, 'the adhesion of tradition'. In the process of introducing Korean contemporary art and national treasure in America, different view caused by role differences-foreigner as selector and Korean as assistant-showed the fact evidently that the standard of beauty differed between them. By emphasizing that the basis to classify Korean cultural assets is different from the neighborhood China and Japan, they tried to reflect their understanding that the feature of Korean art is on speciality other than universality. And this make us understand that even when Korean artists profess modernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners' view on Korean art that Korean artists' conception of modernism and traditional roots are inherent in Korean history. In 1950s, after the independence, Korea had different ideas from foreigners that abstract was to be learned from the west. Korea was enduring tough times with their artists' self-respect which made them think that they can learn the method, but the spirit of abstract is in the orient.

• The Journal of Korean Academy of Prosthodontics
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• v.51 no.1
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• pp.20-26
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• 2013

Purpose: The purpose of this study was to evaluate the bond strengths between the latest CAD/CAM ceramic inlay and various resin cements which are used primarily for esthetic restoration. Materials and methods: Cylindrical ceramic blocks(Height: 5 mm, diameter: 3 mm) were fabricated by using Cerec3 and bonded on the dentin of the ninety extracted caries-free molars using three different kinds of resin cement(Unicem$^{(R)}$, Biscem$^{(R)}$, and Variolink II$^{(R)}$) according to the manufacturer's instructions. Ninety specimens were divided into 3 groups according to three different kinds of resin cement. Half of each group were conducted thermocycling under the conditions of the $5-55^{\circ}C$, 5,000 cycle but the other half of them weren't. All specimens were kept in normal saline $37^{\circ}C$, for 24 hours before measuring the bond strength. The shear bond strength was measured by Universal testing machine with a cross head speed of 0.5 mm/min. The results were analyzed statistically by t-test and one-way ANOVA. Results: Unicem$^{(R)}$ group showed the highest shear bond strength despite a slight decline by thermocycling. The shear bond strength of Unicem$^{(R)}$ group and ValiolinkII$^{(R)}$ group were significantly influenced by thermocycling, whereas Biscem$^{(R)}$ group was not influenced (P<.05). There were no significant differences in the bond strength between the three groups without thermocycling, but there was significant differences between Unicem$^{(R)}$ group and Valiolink II$^{(R)}$ group with thermocycling(P<.05). Conclusion: It has been shown to be clinically effective when the self-adhesive resin cements Unicem$^{(R)}$ and Biscem$^{(R)}$ were used instead of the etch-and-rinse resin cement Valiolink II$^{(R)}$ during the bonding of CAD/CAM ceramic inlay restorations with teeth.

• Journal of Oral Medicine and Pain
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• v.31 no.3
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• pp.211-221
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• 2006

Purpose The aims of this study were to evaluate micro-tensile bond strength of composite resin bonded to dentin following high-speed rotary handpiece preparation or Er:YAG laser preparation with two different adhesive systems and to assess the influence of different Er:YAG laser energies on the micro-tensile bond strength. Materials and Methods In this study, 40 third morlars were used. Flat dentin specimans were obtained and randomly assigned to eight groups. Dentin surfaces were prepared with one of four cutting types: carbide bur, Er:YAG laser (2 W, 3 W and 4 W) and conditioned with two bonding systems, Scotchbond Multipurpose Plus (SM), Clearfil SE bond (SE) and composite resin-build ups were created. After storage for 24 hours, each specimen was serially sectioned perpendicular to the bonded surface to produce more than thirty slabs in each group. Micro-tensile bond strength test was performed at a crosshead speed of 1.0 mm/min. Micro-tensile bond strengths (${\mu}TBS$) were expressed as means$\pm$SD. Data were submitted to statistical analysis using two-way ANOVA, one-way ANOVA, Student-Newman-Keuls' multiple comparison test and t-test. Results and Conclusion 1. Regardless of bonding systems, the ${\mu}TBS$ according to cutting types were from highest to lowest : 3 W, 2 W, Bur, and 4 W. In addition, there was no significant difference between Bur and 4 W (p<0.001). 2. Regardless of cutting types, SM showed significantly higher ${\mu}TBS$ than SE (p<0.001). 3. Bonding to dentin conditioned with SM resulted in higher ${\mu}TBS$ for 3 W compared to Bur, 2 W, and 4 W. There was no significant difference between 2 W and Bur (p<0.001). 4. Bonding to dentin conditioned with SE resulted in higher ${\mu}TBS$ for 3 W compared to 2 W, 4 W, and Bur. Bur exhibited significant lower ${\mu}TBS$ than all other cutting types. There were no significant differences between 3 W, 2 W and between 4 W and Bur (p<0.001). 5. The ${\mu}TBS$ of laser cutting groups were shown in order from highest to lowest: 3 W, 2 W and 4 W in two bonding systems. There was no significant difference between 2 W and 3 W in SE (p<0.001). : The ${\mu}TBS$ of composite resin bonded dentin was significantly affected by interaction between the cutting type and bonding system. In the range of 2 W-3 W, cavity preparation of the Er:YAG laser seems to supply good adhesion of composite resin restoration no less than bur preparation. In particular, if you want to use the self-etching system, including Clearfil SE bond for the purpose of a simplification of the bonding procedures and prevention of adverse effects by excessive etching, an Er:YAG laser may offer better adhesion than a bur.

• Korean Journal of Environment and Ecology
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• v.28 no.5
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• pp.550-558
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• 2014

This study was conducted to investigate the distribution and the population dynamics of Hipparchia autonoe by using a line transect and Mark-Release-Recapture (MRR) at the Mt. Halla in Jeju Island. The results showed that H. autonoe was found from 1,500 m above the sea level. Total 1,493 H. autonoe with 978 males and 515 females were captured and released in the MRR study site. Among them, 518 individuals including 284 males and 234 females were recaptured. The average survival time was 2.31 days with 2.14 days for males and 3.47 days for females, indicating longer survival time in case of females than males. The daily population size of males estimated in the MRR study site was maintained about 1,000 individuals in July and gradually decreased less than 200 in August. The number of females showed peak at 335 individuals on July 24, and gradually decreased less than 120 in August. Thus, female population was 1/3 of males. The average travel distance of male and female H. autonoe were $116.8{\pm}191.9m$ and $118.4{\pm}161.5m$, respectively, indicating almost same between sexes. H. autonoe in the Mt. Halla formed single population group in the wide meadow around the Baekrokdam Lake. The highest population density of H. autonoe was occurred in the restored area from damages, where host plants such as the sheep's fescue or the food plant are abundant by artificial restoration efforts.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.3
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• pp.76-93
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• 2017

This thesis recapitulates the current status of Nujeongs(樓亭) by the Han River(漢江) from the late Joseon dynasty, and to contemplate the possible options regarding their restoration. The book Yeon-gang-jeong-sa-gi(沿江亭?記) written by Eom Gyeong-su(嚴慶遂) in 1716 was selected as an object of study. After Hanyang was selected to be the capital of Joseon, Han River was considered to be the greatest venue to visit to take some time off and enjoy the view. The nobleman of the Joseon dynasty built Nujeongs around the riverside and enjoyed boating inthe current status of Nujeongs(樓亭) Han River. Eom Gyeong-su, after traveling on a boat to personally collect information, combined such information with preexisting information to create a well-organized and thorough list of the 29 Nujeongs built by the riverbank, which can be found in his book Yeon-gang-jeong-sa-gi. It is probable that a closer look into Yeon-gang-jeong-sa-gi will reveal more information regarding the general atmosphere of the era, which focused on the history and culture of Han River, and will also enable a more thorough research involving the Han River Nujeongs. The Nujeongs listed in Yeon-gang-jeong-sa-gi were analyzed in this paper. Based on the explanations found in Yeon-gang-jeong-sa-gi, the locations of the 29 Nujeongs were checked and reconfirmed, and the origins and the meanings behind their names were analyzed. In addition, the history of the Nujeongs were recapitulated with information gained from the basis of the fact that Yeon-gang-jeong-sa-gi was written in 1716, The origin of each Nujeongs were revisited, and the history of their change and demise were analyzed. Lastly, the sceneries around each Nujeongs were analyzed based on the poetries that were written and read in the respective Nujeongs, and the general taste for the arts in the era was analyzed. Some Nujeongs remain in the form of paintings, enabling us to take a closer look at the institutions and other aspects of the era. The analysis of Yeon-gang-jeong-sa-gi by this paper has revealed the location of some Han River Nujeongs that were unknown previously. Also, the revelation of some history regarding certain Nujeongs that were unknown previously has created an opportunity for the reinterpretation of the spaces surrounding Han River, and also the opportunity for a new story. Han River has lost most of its old self due to repeated exploitation. However, there are some areas where traces of the original form remains and that may be restored, and some areas may be relocated and restored based on existing paintings. Yeon-gang-jeong-sa-gi in particular may provide us with numerous possible options to reinvigorate and restructure the riverside with a more modern interpretation, especially in relation to the Han River cruise ship, as it is a book written after traveling Han River on a boat.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.2
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• pp.11-26
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• 2013

Designing large parks such as Yongsan Park requires the open-ended process-oriented design approach in complex layers rather than the conventional self-completed master plan method. This study aims to examine the characteristics of process-oriented design in the eight invited entries of "International Competition for the Master Plan of the Yongsan Park, Korea"(2012). For this purpose, it analyzed each entry according to three criteria: objects of process-oriented approach, time factor and its features of phasing plan, and presentation method of the process. This analysis can not only critically review the current level of the process-centered design methodology but also suggest strategic future directions for Yongsan Park. The objects of process-oriented design in the eight works were order of physical space development, restoration process of ecosystem, recovering process of publicity, and economic operation and management. Main considerations in the objects were connections to adjacent urban fabrics, links to regional green and water system, reuse of existing buildings and infrastructures in the site. The temporal criteria of the phasing plan had two aspects. One was planning a certain time and period, and the other was just establishing an order of phases. Most of the presentation method of process was the phasing plan, but some of the entries suggested a scenario plan. The eight works of "International Competition for the Master Plan of Yongsan Park" did not attempt process-oriented designs entirely and completely. Rather, they tried to introduce the phasing plan as part of a process-centered design. Also, they took an eclectic approach between master plan and process-oriented design instead of rejecting the conventional master plan approach.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.38-49
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• 2016

This study is based on the assumption that the documentations, and poetry form a basis for undertone of the location and original landscape explored by inference and enjoyment aspects; the significance has been inferred by investigating the original location, relocated location, and the original landscape of Imsil Manchwi Pavilion. The results of the attempted research for locational value, and preservation of the original landscape before and after the relocation of Imsil Manchwi Pavilion is as follows. Firstly, Manchwi, meaning evergreen, was made a pseudonym of KimWi. The name reflects an image two evergreen pine trees facing one another. The poetry form presents the eternal fidelity. In addition, considering the symbolic plant and the meaning of evergreen pine trees specified on the pavilion, the name is derived from the fidelity, longevity of the family, vitality and so on. Secondly, Manchwi Pavilion was founded in the location, known as the snakehead form, that represents the vitality. Snake faces the swallow form over the river, therefore, it connotes the wishes for fidelity and prosperity of the family. Manchwi Pavillion is prostrate pheasant form which is suitable for those who look for a hiding place or place for their study. It is noticeable that the location infers and hand down the efforts on succession for prosperity of the family and the study. Thirdly, it is estimated that Manchwi Pavilion was established between 1572 and 1582; and the relocation was conducted in the late 1880s. Fourthly, although eternal fidelity was presented in Manchwi Pavillion with locational language, the Manchwi Pavillion after its relocation next to KimWi's grave implies the tendency of the changed value: the commemoration of the ancestors, and prosperity of the family. Fifthly, after the relocation of the pavilion, the proportion of the rooms with Korean heating system, so-called'Ondol'has been increased for its best use in all seasons. And its veranda for extension and its verse couplet implies that this connote the original meaning and pursuit of the study. Sixthly, the way that the poetry portrays pine trees, pond, plants, valleys, and streams shows the aspect of enjoyment of the landscapes and the meaning of fidelity, pure mind, free and easy life, self-examination, the frailty of human life. Lastly, despite the difference between tenth poetic language of three Sipyoung and Wonwoon Sipyeong, exploring the landscape based on the analysis on the poetry can be a basis on the maintenance and restoration of the original landscape as the inspiration and the meaning show that Wonwoon Sipyeong maintains the aspect of the author enjoying original landscape.

• Journal of Chest Surgery
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• v.39 no.3 s.260
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• pp.201-207
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• 2006

Background: Percutaneous cardiopulmonary support (PCPS) provides passive support of gas exchange and perfusion, allowing the use of other methods of care for organ recovery, and saves lives of patients with severe cardiopulmonary failure in a wide variety of clinical settings with a minimal risk of bleeding and need for chest re~ exploration. We summarized a single center's experiences with PCPS in patients with cardiogenic shock or cardiac arrest due to the ischemic heart disease. Material and Method: Among the 20 consecutive patients with cardiogenic shock or cardiac arrest from May 1999 to June 2005, Biopump (Medtronic, Inc, Minneapolis, MN) was used in 7 patients and the self-priming, heparin-coated circuit of EBS (Terumo, Japan) was applied to remaining 13 patients. Most of cannulations were performed percutaneously via femoral arteries and veins. The long venous cannulas of DLP (Medtronic inc. Minneapolis, MN) or the RMI (Edwards's lifescience LLC, Irvine, CA) were used with the arterial cannulae from 17 Fr to 21 Fr and the venous cannula from 21 Fr to 28 Fr. Result: The 20 consecutive patients who were severely compromised and received PCPS for the purpose of resuscitation were comprised of 13 cardiac arrests and 7 cardiogenic shocks in which by-pass surgery was performed in 11 patients and 9 ongoing PCls under the cardiopulmonary support. The mean support time on the PCPS was 38$\pm$42 hours. Of the 20 patients implanted with PCPS, 11 patients ($55\%$) have had the PCPS removed successfully; overall, 8 of these patients ($40\%$) were discharged from the hospital in an average surviving time for 27$\pm$17 days after removing the PCPS and survived well with 31$\pm$30 months of follow-up after the procedure. Conclusion: The use of PCPS appears to provide the hemodynamic restoration, allowing the survival of patients in cardiac arrest or cardiogenic shock who would otherwise not survive, and patients receiving PCPS had a relatively long-term survival.