• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.2
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• pp.37-51
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• 2018

Recently, urban parks are required to actively participate with residents in order to strengthen social functions and maintain sustainable management. This study analyzed the formation process of volunteer resident groups (Chamsamo) in the neighborhood parks in which local residents can participate in an ongoing basis based on the solidarity of a daily living space. The important factors in the activation of resident activity are derived from 5 aspects including resources, local area, resident group capacity, resident group role, and public support. The results of the study are as follows. 1) Life-friendly resources: It was important to find life-friendly resources such as 'Chamsaem' in the park. The combined resources of continuous human activities provided various benefits to the residents. This has led to stronger attachment and community activities to continue to utilize attractive resources in the park. 2) Sharing Common Daily Spaces and Expansion: As the Chamsamo activities were centered around the neighborhood, the network of activists in the local community expanded. This led to continued resident interest and favorable participation as well as to the regional expansion of Chamsamo activities. 3) Park management as part of everyday life: Park management became a part of everyday life, and pleasant park management was facilitated by utilizing the talents of the residents, who carried out diverse activities and constantly streamlined their hard labor. 4) Chamsamo's Leadership Linking Residents and the Public Sector through Leading Park Management Activities: Chamsamo served as a middle leader in linking the public sector and its users. 5) Role and Support of the Public Sector: In order to be able to sustain the activities of residents, the government's willingness to support the resident-led activities of the park in planning and operating the public sector was required. In the public management system of the park, support for residents' activities such as financing, education, and consulting was necessary.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.66-79
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• 2017

In 2014, a Donghak Peasant Revolution Memorial Park design competition was held with various forms and techniques to convey mourning. This is a process of the reconsideration of memorial projects that are used to stimulate the collective memory and it is a meaningful resource for examining the consciousness of contemporary designers in regards to the memorial designs that are currently under planning in Korea. This study investigated the background of the Donghak commemorative projects that took place at the same site in a timely manner and analyzed the design competition through the existing literature research. Through this, it was seen that the memorial, which was formed by means of past political purposes, has changed into a way to collect various opinions and forms through open design competition. A framework of analysis prepared through multi-layer analysis is daily use, interaction and spontaneity, abstraction, temporality, locality, integration and harmony with surroundings. The results of this study are as follows. First, in order to convey memorial commemoration in everyday life, the projects organized scattered memorial spaces with special characteristics and linked them with daily activities program. Second, the projects used direct participation and emotional experiences to interact with monuments. Third, color, vertical elements, clustering, and park frame manipulation were used for abstract reproduction. Fourth, the projects introduce architecture and furniture that can be changed and plants for temporal change. Fifth, the previous terrain was restored and the setting of the scene was reproduced in order to make the site a space with place. Sixth, to improve the connection with existing monuments, the projects used techniques such as relaxation and the reinforcement of circulation lines and axes. Seventh, a path and a building conforming to the terrain were arranged for harmony with the surroundings.

• Journal of the Korean Geographical Society
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• v.40 no.2 s.107
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• pp.221-241
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• 2005

Land Use and Land Cover Changes (LUCC) occur over a wide range of space and time scales, and involve complex natural, socio-economic, and institutional processes. Therefore, modelling and predicting LUCC demands an understanding of how various measured properties behave when considered at different scales. Understanding spatial and temporal variability of driving forces and constraints on LUCC is central to understanding the scaling issues. This paper aims to 1) assess the heterogeneity of land cover change processes over the landscape in northern Ghana, where intensification of agricultural activities has been the dominant land cover change process during the past 15 years, 2) characterise dominant land cover change mechanisms for various spatial scales, and 3) identify the optimal spatial scale for LUCC modelling in a savanna landscape. A multivariate statistical method was first applied to identify land cover change intensity (LCCI), using four time-sequenced NDVI images derived from LANDSAT scenes. Three proxy land use change predictors: distance from roads, distance from surface water bodies, and a terrain characterisation index, were regressed against the LCCI using a multi-scale hierarchical adaptive model to identify scale dependency and spatial heterogeneity of LUCC processes. High spatial associations between the LCCI and land use change predictors were mostly limited to moving windows smaller than 10$\times$10km. With increasing window size, LUCC processes within the window tend to be too diverse to establish clear trends, because changes in one part of the window are compensated elsewhere. This results in a reduced correlation between LCCI and land use change predictors at a coarser spatial extent. The spatial coverage of 5-l0km is incidentally equivalent to a village or community area in the study region. In order to reduce spatial variability of land use change processes for regional or national level LUCC modelling, we suggest that the village level is the optimal spatial investigation unit in this savanna landscape.

• Biomolecules & Therapeutics
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• v.22 no.4
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• pp.363-369
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• 2014

Synthetic cannabinoids (CBs) such as the JWH series have caused social problems concerning their abuse liability. Because the JWH series produces euphoric and hallucinogenic effects, they have been distributed illegally under street names such as "Spice" and "Smoke". Many countries including Korea have started to schedule some of the JWH series compounds as controlled substances, but there are a number of JWH series chemicals that remain uncontrolled by law. In this study, three synthetic CBs with different binding affinities to the $CB_1$ receptor (JWH-073, 081, and 210) and ${\Delta}^9$-tetrahydrocannabinol (${\Delta}^9$-THC) were evaluated for their potential for psychological dependence. The conditioned place preference test (unbiased method) and self-administration test (fixed ratio of 1) using rodents were conducted. $K_i$ values of the three synthetic cannabinoids were calculated as supplementary data using a receptor binding assay and overexpressed $CB_1$ protein membranes to compare dependence potential with $CB_1$ receptor binding affinity. All mice administered JWH-073, 081, or 210 showed significantly increased time spent at unpreferred space in a dose-dependence manner in the conditioned place preference test. In contrast, all tested substances except ${\Delta}^9$-THC showed aversion phenomenon at high doses in the conditioned place preference test. The order of affinity to the $CB_1$ receptor in the receptor binding assay was JWH-210 > JWH-081 >> JWH-073, which was in agreement with the results from the conditioned place preference test. However, no change in self-administration was observed. These findings suggest the possibility to predict dependence potential of synthetic CBs through a receptor binding assay at the screening level.

• Journal of Korean Society of Archives and Records Management
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• v.1 no.1
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• pp.37-52
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• 2001

1. establishment and development of China archives science: With the centuries-old history of archives and archives management, early China archives science came into being in 1930s, and the research pushed forward by archives enterprise has made great achievements since then. 1.1 Expanding research fields: Foundation

• Journal of the Korean Society of Costume
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• v.32
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• pp.293-312
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• 1997

Deconstructionism is a philosophical stream in the latter half of 20'th century which goes against western metaphysics and tries to deconstruct the dualism e.g. eastern/west-ern man/woman. Its main concepts are 'indi-vidual' 'other' 'difference' 'restoration of the repressed' 'decentralization' 'Today it shows strong influences in literature art, and other social fields. This study investigated inner meanings and exterior forms represented in clothing on the base of Jacques Derrida's theory in order to re-search modes of deconstruction in is. And it compared clothing with architecture among other genres of art in order to discover similarities between through and modes of art in a certain period. For illuminating concept of deconstruction I referred to the literatures of preceding studies and for deconstruction's characteristics in both clothing and architec-ture I referred work's collection book $\ulcorner$collec-tions$\lrcorner$ and other related books dealing from 1960's to this point. As a rsult there are four modes of decons-truction in both clothing and architecture as follows; 1) Differenance which is a concept of the dif-ference in time and space as being trace. 2) In termeaning of meanings which is not present in reality but re-interpreted a new in the future. 3) Interxtuality in which a texte is not alone but with others 4) Dis.De phenomenon in which distortion and fragmentation forms occur as the result of the denial of perfection and reson. There are characteristics of modes of de-construction in clothing as follows; 1) Differance; R.Gigli, P. Rabanne. G.Bersace, V.Westwood are representatives of the cloth-ing which is combined with the past the pres-ent and the future or is re-viewed as the clothing of the past in the present point of view. J. Watanabe R. Dawakubo I miyake are representatives of the clothing which is out-date but re-viewed in the sense of recollec-tion and re-usage. 2) Intermeaning of meanings: R. kawakubo I, Miyake Y,Yamamoto are representatives of the clothing which is incomplete but re-interpreted in the future and appears to be new-fashioned according to ways of bnding wearing throwing on and tying J.C. Castel-bajac K.Hamnett S.Sprouse are representa-tives of the clothing which is made up of ab -stract forms scribbling or symbolic letters which appears to be different according to view-point of observers. 3) Intertextuality ;J.P.Gaultier K.Hamnett, Comme des Gar ons are representatives of intertextuality of gender which avoids the 여-ality of man/woman J.P Gaultier G,Versace J. galliano are representatives of the intertex-tuality of time place and occasion which mixes temporality extensity and purposiveness. J.P Gaultier G,Versace are representatives of the intertextuality of coordination which combines items different in image purpose and use. P.Rabanne A,Courr ges R,Gernreic I,Miyake are representatives of the intertextuality of mat-ter which uses heterogeneous matter different from cloth. 4) Dis.De-phenomenon: R, Kawakubo I.Mi-yake J.P.Gaultier are representatives of the de-composition which discloses distortion and exag-geration of form through destructing the estab-lished way of construction J.Galliano R.Kawa-kubo Devota Y Lomba arte representatives of the decentring which restores the repressed and the alienated on the one hane and shows front-centrality on the other. Comme des Gar ones is representative of the discontinuity because of which right and left up and down are not in har-mony with one another. J,Galliano J.P,Gaultier T,Mugler are representatives of the disruption by way of which one makes one's body exposed through intentional slashes or holes. As a consequence deconstructionism enabled us to investigate similarities between through of deconstruction and modes of art interms of diffrance Intermeaning of meanings intertextuality and Dis De-phenomenon. And we found that deconstruction was a phase of development in that it as a all-comprising and multiple concept tries to pursue the new through deconstruction.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.58-68
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• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.

• Journal of the Korean association of regional geographers
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• v.23 no.2
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• pp.403-419
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• 2017

This study analyzed the forces to drive the change of urban green spaces in Daegu from 1989 to 2009. First, the loss and fragmentation of green spaces in the past 20 years were spatially identified by performing the hot spots analysis for the cell-based spatial metrics quantifying the size and diversity of green spaces. Next, seven drivers such as slope, distance to roads, land price, population density, ratios of residential, commercial, and industrial areas were selected based on the previous studies and the direction of the association between the loss and fragmentation of green spaces and seven drivers was analyzed with the stepwise logistic regression. Finally, the relative importance of the seven drivers and their interactions in the past 20 years were analyzed with the geographical detector. The results show that the loss of green spaces was concentrated on a part of the Anshim housing development district from 1989 to 2009 and green spaces were highly fragmented around the housing development districts such as Seongseo, Anshim, Dalseong-gun and Chilgok. The forces to drive the loss and fragmentation of green spaces in these areas were different at the administrative levels, but the drivers such as slope and ratios of residential and industrial areas were commonly significant. These drivers were positively correlated with largest patch index(LPI) quantifying the loss of green spaces while they were negatively correlated with Shannon's diversity index(SHDI) measuring the fragmentation of green spaces. In other words, the loss and fragmentation of urban green spaces in Daegu appeared around such regions with lower slope and lower ratios of residential and industrial areas. The relative importance of drivers for LPI was listed as ratio of industrial area, land price, and ratio of commercial area in descending order whereas that of drivers for SHDI was listed as ratio of industrial area, land price, and distance to roads in descending order. Also, the interaction between slope and ratio of residential area had a great impact on LPI and SHDI. The ratio of industrial area was a single driver to most significantly explain the loss and fragmentation of urban green spaces in Daegu in the past 20 years. The interaction between slope and ratio of residential area was greater than the independent influence of a single driver. This study will provide the base data to build a sustainable urban green policy for the city of Daegu in the near future.

• Cartoon and Animation Studies
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• s.49
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• pp.359-382
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• 2017

Content is the complex of art and technology of trend, so it is important to experience different technologies for content education. Today, many non-profit organizations plan and operate numbers of programs for disabilities, low-income, and minority families to enhance the quality of life and the realization of social integration. These programs are limited to museums and galleries, not so pro-actively in progressing. Various contend education is necessary to the expansion of cultural exchange for the culturally alienated area. Naver is running an outreach program named . It is an experience-based outreach program where current cartoon / webtoon writers come directly to the school to inform students about the basic story of comics and comic techniques. However, the fact that the is not centered on the marginalized area but is centered on the Seoul Gyeonggi area, has the limitation that they can not benefit from a wide range of programs because they have a space limit of 'school', and, has a spatial limitation that the experience of the work is excluded. 'Outreach programs in marginalized areas' must be reorganized into a fluid dimension, not a fixed, single-system program. You should be able to experience and experience your work by directly using various professional equipment of comics based on your capacity and experience, local culture, religion, and society. These program participants will gain the effect of attractive and effective learning with empathy with their comic experience. Meanings of Comics content outreach program are following: First, the rich cultural archive can be used efficiently by providing various contents to existing outreach programs with the educational limitation of museums and galleries. Second, Comics contents can be enjoyed as a part of our life by understanding diversity and technology of contents. Third, because it is the program of expertise' participation, it can remodel, and restructure the severed experience in remote areas for the continuous growth and development, and furthermore, it can enhance the understanding of society.