• Journal of Science of Art and Design
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• v.7
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• pp.64-104
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• 2005

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

• Journal of Korean Ophthalmic Optics Society
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• v.11 no.3
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• pp.281-291
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• 2006

The aim of this study was performed the clinical test using Netspeg lens for good visual acuity on subjects with abnormal refraction status. The subjects of one hundreds adults (fifty males, fifty females, mean=21 years, range=19 to 24) were recorded. The subjects were researched the history including the systemic health, medication, genetics, allergy, systemic disease and ocular disease. The refraction test was recorded the monocular and binocular using objective method. Visual acuity was performed the binocular status using the Netspeg lens and CR-39. Stereopsis test was performed the titmus fly and TNO at near distance using Netspeg lens and CR-39. The P-VEP test was used the 16 pattern size(Bausch Lomb, production in USA) with three channels. Also Subjects viewed the p-vep stimulus with binocular vision through the corrected visual acuity using the Netspeg lens and CR-39. The contrast sensitivity test was performed the contrast sensitivity chart(pelli-Robertson, USA) at 1m distance using the Netspeg lens and CR-39. The ultrastructure of surface on the Netspeg lens and CR-39 was observed the SEM(JMS-5800, made in Japan). The results of this study was as follows: 1. In corrected visual acuity of abnormal refraction using the Netspeg lens and CR-39, the Netspeg lens wearer were acquired the good visual field and clear visual acuity comparative to CR-39 wearer in the subject vision test. however the comfort of visual acuity was similar results in the Netspeg lens and CR-39. Also the subjects of Netspeg lens wearer was good visual acuity more than CR-39 wearer and in the analysis of P-VEP, the amplitude of wave on Netspeg lens used appears to be better through the CR-39(p>0.5). Besides, on the contrast sensitivity, the Netspeg lens wearer was good results than CR-39. The value on stereopsis with TNO by Netspeg lens wearer was better than CR-39 in results. However, in the stereopsis test with Titmus, the Netspeg lens and CR-39 wearer was similar results. 2. The ultrastructure of Netspeg lens surface was the smooth and fine shape more than CR-39. Also, Netspeg lens have a fine line structure in ultrastructure. In conclusion, the results of this study conformed that the surface ultrastructure of Netspeg lens used is more specific pin hole design structure than CR-39. This study indicated that the vision of Netspeg lens used have a better than CR-39 in the corrected visual acuity for abnormal refraction eye. Therefore, In this paper, we suggested that the ultrastructure and line structure of Netspeg lens was related to good visual function. However the visual function of the aspheric Netspeg and ultra waterproof Netspeg lens was similar results.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.3
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• pp.25-37
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• 2013

The purpose of this study is to draw reasonable management plans to reinforce essence of Ohyundan(五賢壇: Five sprit tablets), a sacred site and monument of Jeju, by investigating and analyzing current status and problems of cultural landscape elements(e.g. architectural structures, installation, letters carved on the rocks, actual vegetation, etc.) while grasping placeness contained in Ohyundan through consideration of its history and transition process of Ohyundan a future being and shrine of Gyulrim Seowon(橘林書院) in Jeju. Results derived from research are summarized as follows. Ohyundan is noted due to its placeness in that it was a place for Gyulrim Seowon, Jeju's one and only Saaek Seowon(賜額書 院) and it was a symbolic space of exile culture in Jeju. As it is inferred from Gyulrim Seowon, which is dangho(堂號: clan name) of Seowon, orchards surrounding all over places are a signature landscape element that shows placeness of the past Ohyundan. Joduseok(俎豆石: altar stone), representing a core installation of Ohyundan and ancestral tablet of five spirits, created a refined place by putting up common stones around altar and founding blocked stones to wall. This refinement and thrift served basic mind of Neo-Confucianism, and led to of Jeju's Jonyang mind(spend-thrift mind). In conclusion, a practice plan is a prerequisite to restore essence of Ohyundan by actively excluding installations not suitable for placeness or overly designed such as Jeju Hyangrodang(a center for the elderly) and numerous monument houses. On the other hand, together with Joduseok, as letters carved on the rocks such as 'Jeungjoo Byukrip(曾朱壁立)' and 'Gwangpoongdae(光風臺)' and Yoocheonseok serve as a signature landscape that well shows mind of five spirits and teaching of Neo-Confucianism, and also a trace from a confucian viewpoint deeply rooted in Jeju, they are judged as a cultural landscape corresponding to the essence of place in Ohyundan which requires proactive preservation and plans for public relations. Together with this, although many different old big trees such as Pinus densiflora , Pinus thunbergii, Quercus variabilis, Celtis sinenis, Zelkova serrata and Rhus succedanea are a landscape element that increases sacred Ohyundan and commemorative value, now required is thorough entity tree management by assigning serial number on them as many of them were dead or removed resulting from transition process of land use. Further, to reinforce quality of site location belonging to Gyulrim Seowon, a prerequsite is to review plans that create Gyulrim at reinstalled site of building and raw land.

• Journal of Science of Art and Design
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• v.3
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• pp.145-177
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• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

• Journal of Science of Art and Design
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• v.12
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• pp.65-96
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• 2007

Today, the modern art is extremely diverse. It is denying its own boundary through chaos, extreme, abjection. In fact the diversity of the modern art can be best described as questioning and challenging to the essence of the reality, rather than the artistic pursuit of the beauties. The pursuit of the reality has been a long lasting discourse since the ancient. Through the history, the reality (referent) and representation (image) has been complementing and disposing each other in a relationship of a meaningful construction until the modern times. The limit of modernistic self-reference and the emergence of the figure leads to the emergence of Post-modernism in a trend of experimenting new visual arts. The return to the figure is clearly distinguished from existing representation's system and it brought new meanings to approaches and interpretations of the reality. In the case of Pop arts of 1960's and the following the modern sculptures, which is covered by this thesis, I put an emphasis on the diversification of those via changed strategies on the reality. In a situation where the reality is dictated by signified, the modern arts can no longer stay on a classic concept of representation, rather it pursuits new system and diverse strategies. I provide three types of strategic characters of the reality and the diversification of reality: the transition of the reality. These three types can be used as a frame work, which is supporting new aspects of the modern arts in reflecting on existing system. Therefore, the reason of categorizing is to distinguish modernistic arts and post modernistic arts, and to propose new post-modernistic discourses. Adapting J.F, Lyotard's view, absence is used to trace down the diversification of the reality thorough the sublime on the deconstruction of the mega discourses and the relationship of representation. Based on H. Faster's theory of the appropriation, the appropriation is used to exemplify the strategies of visual arts are in variations and being delayed. Lastly, in the transition, J. Baudrilliard's simulacre is used in terms of the concept of post modernistic representation. Based on the core of his theories, the deconstruction of existing concepts and simulation as the post modernistic representation, and the world of hyperreality based on simulacre are explained. These allows us to deny that representation is the expression of reality through mimesis. My aim is to work on the definition of the arts and representation in the modern era, and go further from there in order to clarify meaning and extension of the modern sculptures. Now two artists are reviewed based on their own art works: George Seagal; Jeff Koons. They are selected among numerous artists from the Post Modern era. Epic contents and emphasis on daily life of Seagal's works show good examples to artists from Pop Arts and following time period and may have served as a start point for Postmodernism. Indeed, he tried to show a newly defined relationship between art works and daily life experience. On the other hand, J.Koons used the strategies of fabrication and appropriation, which shows characteristics of the postmodernism. Through his four individual exhibitions, he shows the diversification of the reality based on art works as fetishistic merchandises, and newly defined concept of Ready-made since M Duchamp. Lastly, the diversification of the reality is analyzed again in context of my art works. I focused on the return to the figure among a variety of trends of late 20 th century modern sculpture. It showed the post modernistic point of view on the reality. Post modernistic diversified strategies are adopted as a method of distinguishing each art works via the diversification of the reality. This is the result of contemporary social and cultural situations.

• Geophysics and Geophysical Exploration
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• v.10 no.1
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• pp.98-109
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• 2007

Over the last twenty years, farmers in Western Australia have begun to change land management practices to minimise the effects of salinity to agricultural land. A farm plan is often used as a guide to implement changes. Most plans are based on minimal data and an understanding of only surface water flow. Thus farm plans do not effectively address the processes that lead to land salinisation. A project at Broomehill in the south-west of Western Australia applied an approach using a large suite of geospatial data that measured surface and subsurface characteristics of the regolith. In addition, other data were acquired, such as information about the climate and the agricultural history. Fundamental to the approach was the collection of airborne geophysical data over the study area. This included radiometric data reflecting soils, magnetic data reflecting bedrock geology, and SALTMAP electromagnetic data reflecting regolith thickness and conductivity. When interpreted, these datasets added paddock-scale information of geology and hydrogeology to the other datasets, in order to make on-farm and in-paddock decisions relating directly to the mechanisms driving the salinising process. The location and design of surface-water management structures such as grade banks and seepage interceptor banks was significantly influenced by the information derived from the airborne geophysical data. To evaluate the effectiveness ofthis planning., one whole-farm plan has been monitored by the Department of Agriculture and the farmer since 1996. The implemented plan shows a positive cost-benefit ratio, and the farm is now in the top 5% of farms in its regional productivity benchmarking group. The main influence of the airborne geophysical data on the farm plan was on the location of earthworks and revegetation proposals. There had to be a hydrological or hydrogeological justification, based on the site-specific data, for any infrastructure proposal. This approach reduced the spatial density of proposed works compared to other farm plans not guided by site-specific hydrogeological information.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.2
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• pp.27-36
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• 2018

This study suggests the necessity of behavior analysis as changes to a park environment to reflect user desires can be implemented only by grasping the needs of park users. Online data (blog) were defined as the basic data of the study. After collecting data by 5 - year units, data mining was used to derive the characteristics of the time series behavior while the significance of the online data was verified through social network analysis. The results of the text mining analysis are as follows. First, primary results included 'walking', 'photography', 'riding bicycles'(inline, kickboard, etc.), and 'eating'. Second, in the early days of the collected data, active physical activity such as exercise was the main factor, but recent passive behavior such as eating, using a mobile phone, games, food and drinking coffee also appeared as a new behavior characteristic in parks. Third, the factors affecting the behavior of park users are the changes of various conditions of society such as internet development and a culture of expressing unique personalities and styles. Fourth, the special behaviors appearing at Olympic Park were derived from educational activities such as cultural activities including watching performances and history lessons. In conclusion, it has been shown that people's lifestyle changes and the behavior of a park are influenced by the changes of the various times rather than the original purpose that was intended during park planning and design. Therefore, it is necessary to create an environment tailored to users by considering the main behaviors and influencing factors of Olympic Park. Text mining used as an analytical method has the merit that past data can be collected. Therefore, it is possible to form analysis from a long-term viewpoint of behavior analysis as well as to measure new behavior and value with derived keywords. In addition, the validity of online data was verified through social network analysis to increase the legitimacy of research results. Research on more comprehensive behavior analysis should be carried out by diversifying the types of data collected later, and various methods for verifying the accuracy and reliability of large-volume data will be needed.

• Clinical and Experimental Reproductive Medicine
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• v.31 no.2
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• pp.133-139
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• 2004

Objective: To investigate the association of FSH receptor (FSHR) polymorphism at position 680 with outcomes of controlled ovarian hyper-stimulation for IVF-ET in Korean women. Design: Genetic polymorphism analysis. Materials and Methods: The FSHR polymorphism was analyzed by PCR-RFLP in 172 ovulatory women below the age of 40 year. Patients with polycystic ovary syndrome, endometriosis, or previous history of ovarian surgery were excluded. Results: Genotype distribution was 41.9% for the Asn/Asn, 47.7% for the Asn/Ser, and 10.5% for the Ser/Ser FSHR genotype group. There was no difference in age of subjects and infertility diagnosis between genotype groups. When the patients were grouped according to their FSHR genotype, the basal levels of FSH (day 3) were significantly different among the three groups ($6.0{\pm}0.3\;IU/L$ (mean $\pm$ SEM), $5.8{\pm}0.3\;IU/L$, and $8.6{\pm}1.2\;IU/L$ for the Asn/Asn, Asn/Ser, and Ser/Ser groups, respectively, p=0.002). The Ser/Ser group showed a higher total doses of gonadotropins required to achieve ovulation induction, and a lower serum estradiol levels at the time of hCG administration compared with other two groups, but the differences were of no statistical significance. The numbers of oocytes retrieved were significantly different among the three groups ($8.6{\pm}0.8$, $9.9{\pm}0.6$, and $6.3{\pm}0.9$, for the Asn/Asn, Asn/Ser, and Ser/Ser groups, respectively, p=0.049). Clinical pregnancy rates were 42.4%, 25.9%, and 29.4% for the Asn/Asn, Asn/Ser, and Ser/Ser groups, respectively. Conclusion: Homozygous Ser/Ser genotype of FSHR polymorphism at position 680 was associated with decreased ovarian response to gonadotropin stimulation for IVF-ET.

• The Korean Journal of Air & Space Law and Policy
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• v.29 no.2
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• pp.205-237
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• 2014

Last 50 years there were a lot of space subjects launched by space activities of many states and these activities also had created tremendous, significant space debris contaminating the environment of outer space. The large number of space debris which are surrounding the earth have the serious possibilities of destroying a satellite or causing huge threat to the space vehicles. For example, Chinese anti-satellite missile test was conducted by China on January 11, 2007. As a consequence a Chinese weather satellite was destroyed by a kinetic kill vehicle traveling with a speed of 8 km/s in the opposite direction. Anti-satellite missile tests like this,contribute to the formation of enormous orbital space debris which can remain in orbit for many years and could interfere with future space activity (Kessler Syndrome). The test is the largest recorded creation of space debris in history with at least 2,317 pieces of trackable size (golf ball size and larger) and an estimated 150,000 debris particles and more. Several nations responded negatively to the test and highlighted the serious consequences of engaging in the militarization of space. The timing and occasion aroused the suspicion of its demonstration of anti-satellite (ASAT) capabilities following the Chinese test of an ASAT system in 2007 destroying a satellite but creating significant space debris. Therefore this breakup seemed to serve as a momentum of the UN Space Debris Mitigation Guidelines and the background of the EU initiatives for the International Code of Conduct for Outer Space Activities. The UN Space Debris Mitigation Guidelines thus adopted contain many technical elements that all the States involved in the outer space activities are expected to observe to produce least space debris from the moment of design of their launchers and satellites until the end of satellite life. Although the norms are on the voluntary basis which is normal in the current international space law environment where any attempt to formulate binding international rules has to face opposition and sometimes unnecessary screening from many corners of numerous countries. Nevertheless, because of common concerns of space-faring countries, the Guidelines could be adopted smoothly and are believed faithfully followed by most countries. It is a rare success story of international cooperation in the area of outer space. The EU has proposed an International Code of Conduct for Outer Space Activities as a transparency and confidence-building measure. It is designed to enhance the safety, security and sustainability of activities in outer space. The purpose of the Code to reduce the space debris, to allow exchange of the information on the space activities, and to protect the space objects through safety and security. Of the space issues, the space debris reduction and the space traffic management require some urgent attention. But the current legal instruments of the outer space do not have any binding rules to be applied thereto despite the incresing activities on the outer space. We need to start somewhere sometime soon before it's too late with the chaotic situation. In this article, with a view point of this problem, focused on the the Chinese test of an ASAT system in 2007 destroying a satellite but creating significant space debris and tried to analyse the issues of space debris reduction.