• Journal of The Korean Association For Science Education
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• v.40 no.4
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• pp.415-427
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• 2020

This study aims to understand science education conducted in North Korea by analyzing the PCK components shown in two science teacher's guidebooks: (1) Guidebook for 1^st grade elementary school and (2) Guidebook for 1^st grade middle school. These were published after 2013, when "the first 12-year Universal Compulsory Curriculum" was implemented in North Korea. The analysis shows that both elementary and middle school guidebooks had the highest percentage of content in "Knowledge of Subject Matter", followed by "Knowledge of Instructional Strategies in Science" and "Knowledge of Science Curriculum". On the other hand, "Knowledge of Assessment in Science" and "Knowledge of Students" were significantly low in content. Within the "Knowledge of Subject Matter", both elementary and middle schools had the highest proportion of content in "Concepts and Theories", along with "Experiments and Inquiries" that was also significantly higher than other PCK components. Science teacher's guidebooks in North Korea advocates constructivist teaching style by using "discussions" as the main activity when conveying scientific concepts and theories to students or conducting scientific inquiry classes. Furthermore, "Knowledge of Instructional Strategies in Science" was mainly focused on guiding the "Instruction sequence and method" from the "Topic-specific Strategies", while only a small part of the "Subject-specific Strategies" was being presented. Also, Science teacher's guide books in North Korea included only a few theoretical elements of science education in both the general outline and the particular sections of guidebooks. "Knowledge of Science Curriculum" was mainly composed of "Lesson Objectives" with some inclusion of "Vertical Articulation" and "Horizontal Articulation". "Knowledge of Assessment in Science" and "Knowledge of Students" accounted for a small portion compared to the science teacher's guidebooks in South Korea.

• Geosciences Journal
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• v.22 no.6
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• pp.881-889
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• 2018

The Geodo skarn deposit is located in the Taebaeksan Basin, central eastern Korean Peninsula. The geology of the deposit consists of Cambrian to Ordovician calcareous sedimentary rocks and the Cretaceous Eopyeong granitoids. The skarns at Geodo occur around the Eopyeong granitoids, which consist, from early to late, of magnetite-bearing equigranular quartz monzodiorite, granodiorite, and dykes. These dykes emanated randomly from equigranular granodiorite and some of dykes spatially accompany skarns. Skarn Fe mineralization, referred as Prospect I and II in this study, is newly discovered beyond previously known skarns adjacent to the quartz monzodiorite. These discoveries show a vertical and lateral variation of skarn facies, grading from massive reddish-brown garnet-quartz in a lower and proximal zone to banded in an upper and distal zone, reflecting changes in lithofacies of the host rocks. Skarn veins in distal locations are parallel to sedimentary laminae, suggesting that lithologic control is important although proximal skarn has totally obliterated primary structures, due to intense retrograde alteration. Skarns at Geodo are systematically zoned relative to the causative dykes. Skarn zonation comprises proximal garnet, distal pyroxene, and vesuvianite (only in Prospect I) at the contact between skarn and marble. Retrograde alteration is intensely developed adjacent to the contact with dykes and occurs as modification of the pre-existing assemblages and progressive destruction such as brecciation of the prograde assemblages. The retrograde alteration assemblages consist predominantly of epidote, K-feldspar, amphibole, chlorite, and calcite. Most of the magnetite (the main ore mineral), replaces calc-silicate minerals such as garnet in the lower proximal exoskarn, whereas it occurs massive in distal pyroxene and amphibole in the upper and distal exoskarn. The emanation of dykes from the equigranular granodiorite has provided channelways for ascent of skarn-forming fluids from a deep source, whereas the style and nature of skarns suggest that originally structurally-controlled skarn-forming fluids may migrate long distances laterally to produce skarn in calcareous sedimentary rocks.

• Korean Journal of Culture and Social Issue
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• v.16 no.3
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• pp.311-329
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• 2010

It is necessarily for a counselor's role to vary according to the cultures. While an autonomy is stressed in Western horizontal society, sociability is emphasized in Korea which is a vertical authoritarian society. What is more, a lot of people look to a counselor for elder's role as a teacher or a fosterer as well as a therapist. The two basic framework of Reality Dynamic Counseling which has been developed as a counseling approach for Korean are 'presentization for problem' and 'elder's role of a counselor'. An elder's role of counselor showed in real counseling case is illustrated by 'narrative methods' in this study. The 'story making methods' as one of qualitative research methods is more useful than a protocol method which has been used in studying counseling case, because it has conciseness for original text of dialogs and commentary for counseling process. The seven characteristics of Reality Dynamic Counseling such as grasping the real cause, understanding mind,, emphasizing interpersonal factor, emphasis on role, utilizing confrontation, emphasizing the relationship of parent-child, and facilitating sociability are reflected in such an elder's role of counselor.

• Conservation Science in Museum
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• v.30
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• pp.1-22
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• 2023

This study aims to document the conservation treatment of the fine-hemp official headgear housed by the National Museum of Korea, and to reconsider its existing name following the restoration of the original form of the damaged cultural heritage asset. The headgear consists of a single inner frame with a vertical line at the front, a single outer frame surrounding the inner frame, and a double-layered headband that spans the circumference of the wearer's head and joins the inner and the outer frames. This study applied a conservation treatment to the men's undyed hemp headgear of the Joseon Dynasty in order to remove contaminants and foreign substances on the surface and repair the partially deteriorated and damaged fabric, thereby restoring and stabilizing the original shape and preparing it for exhibitions. The hemp headgear was sewed both by hand and with a sewing machine. Although its overall composition and style are similar to the same type of official headgear from the Joseon Dynasty, the use of a sewing machine supports the assumption that it was produced in the early 1900s. This study identified similarities between the overall composition and shape of the fully-preserved hemp official headgear and those of the jangbogwan, a type of men's official headgear worn by Confucian scholars as part of their everyday attire, and compared it with the shape of jangbogwan seen in documentary records, illustrations, prior research, and portraits from the Joseon Dynasty, as well as with the characteristics of extant jangbowan artifacts, eventually concluding that it is appropriate to classify and name the headgear as a jangbogwan.

• Economic and Environmental Geology
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• v.12 no.2
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• pp.51-73
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• 1979

The zinc-lead deposits at the Yeonhwa I mine were investigated in terms of ore-forming geologic setting, structural style of ore control, geometry of individual orebodies, zoning, paragenesis and chemical composition of skarn minerals, as well as metal grades and ratios of selected orebodies. The Yeonhwa I mine is characterized by a large swarm of chimney type massive orebodies with thin skarn envelopes, boldly developed through a thick sequence of Pungchon Limestone, the overlying Hwajeol Formation, and the underlying Myobong Slate of Cambrian age. Nearly 20 orebodies of similar shape, but of varying size are arranged in a V-shaped pattern with northwest and northeast trends, clearly indicating an outstanding ore control by a conjugate system of fractures with these trends. Important orebodies are the Wolam 1, 2, 3, and 5 orebodies in the west, and the Namsan 1, 2, 3. and 5 orebodies in the east, among others. The Wolam 1 orebody, which was observed from the -360 level through the -240, -120, and 0 levels to the surface outcrops (totaling a vertical height of about 500m), shows a vertical variation in skarn mineralogy, ranging from pyroxene-garnet zone on the lower levels. through pyroxene (without garnet) zone on the intermediate levels, and finally to rhodochrosite vein on the upper levels and surface. Microprobe analyses of pyroxene and garnet on a total of 14 mineral grains revealed that pyroxenes are manganoan salitic in most samples, with downward increase of Fe and Mn, whereas garnets are highly andraditic, containing fractions of subordinate grossular with downward decrease of Fe. This indicates a reverse relationship of Fe-contents between pyroxene and garnet with depth. Ore minerals are major sphalerite, subordinate galena, and minor chalcopyrite. Sulfide gangue minerals include major pyrrhotite, and minor pyrite and marcasite of later age. Two types of variational trends in metal grades and ratios with depth are present on the plots of assay data from the Wolam orebodies: one is a steady upward increase in Pb, Zn, and Pb:Zn ratios, with a terminal decline at the top of orebody: the other is an irregular or sinusoidal change. The former is characteristic of chimney-type orebodies, whereas the latter is of vein· shaped orebodies. The Pb grades show large variations among orebodies and from level to level, whereas the Zn grades are relatively constand or less variable.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.41-53
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• 2017

This study was performed to determine what the plant material were selected to reflect in the 2016 Korea Garden Show designer's garden. It was analyzed that plant material was used to display the theme of the garden and to create a specific space. Under the given theme of 'K-Garden, Shinhallyu Garden(new style garden culture) with the most Korean taste', the plants were used to highlight the theme in two types: 'representation' and 'expression'. There were two 'representation' gardens that imitate a particular space of Korean taste and four 'expression' gardens that showcase the designer's thoughts with abstract concepts and concrete objects. Three gardens included both types of garden. The way of revealing the subject with plants was used more for 'expression' than for 'representation'. There were eleven spaces for 'representation' of the Korean taste, a vegetable garden, faucet, pond, field, nature, a Hanok court garden, groves of bamboo, tile roof, stone wall, rock and backyard of a Hanok connected to the mountain. The planting material was used in two ways: reflecting only the ecological characteristics of the plant, and considering the ecological and visual characteristics together. Vegetation plantings reflecting the ecological characteristics were observed in all eleven spaces. Nine of the spaces reflected the growth environment of the plants, but the other two did not reflect the ecological characteristics of the plants, unlike the designer's intention. In the case of the four spaces that considered the ecological and visual characteristics together, color and size were considered visual characteristics. The plants in the seven spaces that included 'expression' as the theme were selected to reflect the visual characteristics in the order of color, shape, texture, and size, rather than reflecting ecological characteristics. A group planting method was applied. When the plants were used as materials for creating space, Norman(1989) analyzed three enclosure factors(overhead, vertical, ground plane). Only two deciduous trees were used in the overhead plane while five species of evergreen shrubs and thirty species of various deciduous plants were used in the vertical plane. There were forty-five species (nine trees and thirty-six herbaceous plants) forming the ground plane, and various herbaceous plants were utilized without duplication in each garden. The designer's garden of the Garden Show played a role in introducing new groundcover plants to the public. Three of the nine gardens did not include ornamental plants, and the use of decorative plants in other gardens was few compared to the number of plantings. In the Korea Garden Show designer's garden, most of the plants were being used with the intention of exposing the theme or architectural uses. In the 2016 Korea Garden Show designer's garden, many species of plants were used as materials for showcasing themes rather than for creating spaces. Also, the method of 'expression' was used more than the method of 'representation' in order to highlight the theme. This indicates that the planting materials reflect visual characteristics such as color, shape, texture, size rather than ecological characteristics.

• Journal of the Korean Society of Costume
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• v.30
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• 한국벤처창업학회:학술대회논문집
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• 2006.04a
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• pp.167-201
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• 2006

Korean corporations are transforming their vertical operational structure to a team-based structure to compete in the rapidly changing environment and for improved performance. However, a high percentage of the respondents in KBS said that despite the appearance of the present team structure, the organization operates much like a vertically-structured organization. This result can be attributed to the lack of study and implementation toward the goal of empowerment, the key variable for the success of the team-based structure. This study aims to provide policy suggestions on how to implement the process of empowerment, by investigating the conditions that hinder the process and the attitude of the KBS employees. For the cross-sectional study, this thesis examined the domestic and international references, conducted a survey of KBS employees, personal interviews and made direct observations. Approximately 1,200 copies of the Questionnaire were distributed and 474 were completed and returned. The analysis used SPSS 12.0 software to process the data collected from 460 respondents. For the longitudinal-study, six categories that were common to this study and "The Report of the Findings of KBS Employees' View of the Team Structure" were selected. The comparative study analyzed the changes in a ten-month period. The survey findings showed a decrease of 24.2%p in the number of responses expressing negative views of the team structure and a decrease of 1.29%p in the number of positive responses. The findings indicated a positive transformation illustrating employees' improved understanding and approval of the team structure. However, KBS must address the issue on an ongoing basis. It has been proven that the employee empowerment increases the productivity of the individual and the group. In order to boost the level of empowerment, the management must exercise new, innovative leadership and build trust between the managers and the employees first. Additional workload as a result of shirking at work places was prevalent throughout all divisions and ranks, according to the survey data. This outcome leads to the conclusion that the workload is not evenly distributed or shared. And the data also showed the employees do not trust the assessment and rewards system. More attention and consideration must be paid to the team size and job allocation in order to address this matter; the present assessment and rewards system need to be complemented. The type of leadership varies depending on the characteristics of the organization's structure and employees' disposition. KBS must develop and reform its own management, leadership style to suit the characteristics of individual teams. Finally, for a soft-landing of KBS team structure, in-house training and education are necessary.

• The Korean Journal of Petroleum Geology
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• v.10 no.1_2 s.11
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• pp.23-33
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• 2004

The Lago Sofia conglomerate in southern Chile is a lenticular unit encased within mudstone-dominated, deep-sea successions (Cerro Toro Formation, upper Cretaceous), extending from north to south for more than $120{\cal}km$. The Lago Sofia conglomerate is a unique example of long, gravelly deep-sea channels, which are rare in the modern environments. In the northern part (areas of Lago Pehoe and Laguna Goic), the conglomerate unit consists of 3-5 conglomerate bodies intervened by mudstone sequences. Paleocurrent data from these bodies indicate sediment transport to the east, south, and southeart. The conglomerate bodies in the northern Part are interpreted as the tributary channels that drained down the Paleoslope and converged to form N-S-trending trunk channels. In the southern part (Lago Sofia section), the conglomerate unit comprises a thick (> 300 m) conglomerate body, which probably formed in axial trunk channels of the N-5-trending foredeep trough. The well-exposed Lago Sofia section allowed for detailed investigation of sedimentary facies and large-scale architecture of the deepsea channel conglomerate. The conglomerate in Lago Sofia section comprises stratified conglomerate, massive-to-graded conglomerate, and diamictite, which represent bedload deposition under turbidity currents, deposition by high-density turbidity currents, and muddy debris flows, respectively. Paleocurrent data suggest that the debris flows originated from the failure of nearby channel banks or slopes flanking the channel system, whereas the turbidity currents flowed parallel to the orientation of the overall channel system. Architectural elements produced by turbidity currents represent vertical stacking of gravel sheets, lateral accretion of gravel bars, migration of gravel dunes, and filling of channel thalwegs and scoured hollows, similar to those in terrestrial gravel-bed braided rivers. Observations of large-scale stratal pattern reveal that the channel bodies are offset stacked toward the east, suggestive of an eastward migration of the axial trunk channel. The eastward channel migration is probably due to tectonic tilting related to the uplift of the Andean protocordillera just west of the Lago Sofia deep-sea channel system.