• Cross-Cultural Studies
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• v.21
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• pp.7-29
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• 2010

Young Tolstoy, when he was an already well-known writer, accomplished his first overseas travel in 1857, which gave him imaginable opportunities to compare his country's social strata with others such as serfdom, monarchical Russia and industrial and capital Europe. The present story is, indeed, the work which is influenced by those experiences by young Tolstoy during his first journey into Europe. Written in the form of booklet-like-small-piece, rather than an artistic work, the text presents the writer's severe criticism on the world of nature and civilization. Close to the nature itself, narod are those common people for Tolstoy, and they represent love, while the nature creates a necessity to love, hope and bottomless happiness of life. On the contrary, the civilized or civilization itself is considered artificial, willy, reasonal, and erotic congruity among people. For the writer, the most unsafe and ugly, seamy side of the westernized society is a lack of necessity to unify people to people. Though in its early embryonic stage, young Tolstoy's worldview is reflected in this work, especially his sharp tongue on the western people and their society is also detected when the write imposes his message under the mask of a gypsy singer. In addition, the narrator who seems an obvious Tolstoy's mouthpiece delivers his own ideas and impression on the western world, history, art, and literature. For this very reason, the present work contains numerous signs from which the reader is able to interpret, understand, and figure out what young Tolstoy imposes for his work.

• Proceedings of the KSME Conference
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• 2007.05b
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• pp.2791-2796
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• 2007

In their long journey through the cardiovascular circuit, erythrocytes are coerced to shape transform and assume different shapes on account of varying flow conditions in different blood vessels. The present work was aimed to visualize these erythrocyte shape transformations by an invitro microcirculatory model, and assess multi-shape erythrocyte deformability. The model uses an in-house fabricated, inexpensive disposable micro flow channel to mimic certain invivo conditions and a fast frame video microscopic system for imaging the shape changes in erythrocytes. Results show the multi-shape transformation of erythrocyte christened as discoidal shape, the asymmetrically deformed 'hat' and 'bullet-like' shapes, and the axially deformed 'slipper' and 'spindle-like' shapes. Specific erythrocyte showed the shape transition and transformation while passing through the observed window. The obtained erythrocyte shapes very analyzed for deformability index using image processing techniques that varied significantly (p <0.001) for different shapes as compared with the resting shape.

• Journal of Korean Society for Atmospheric Environment
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• v.4 no.1
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• pp.45-57
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• 1988

This is a close relationship between energy consumption and the way in which we develop and manage our regions. This study has estimated and compared energy requirements for the journey to work, resulting from alternative population and employment growth patterns in a rural-urban regional settlement of Korea. The broad scope of work was as follows: i) Select the study area ii) Formulate alternative growth patterns iii) Develop the Hansen and double-constrained gravity model iv) Application of Vogel's approximation method and the developed Hansen and gravity model to the case study area. v) Analyze the relationship between spatial structure, transport energy-requirements and environmental pollution. At issue here is the trade-off between air pollution averages and variations. Policies concentrating manufacturing industry and other regional facilities, for instance, may indeed reduce average pollution levels at the benefit of less-car miles, thus, reducing auto pollution, in the region, but increase local pollution peaks.

• Proceedings of the KSR Conference
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• 2011.10a
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• pp.1766-1784
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• 2011

In the past, station-area development projects were proceeded for modernizing the station facilities and improving the customer's convenience facilities by attracting private financing. But the site of station-are a development has a limitation that limits of benefits comparing with initial cost and absence of collateral by constructed the national property. For the advancing business value, merchandising facilities were adopted. There were many problems like coming the loss of city development opportunities. Now, station-area developments are considered the station and city plan. so, they are rapidly rised up the life in the station, need of making cultural space, improvement efficiency, combination and connectivity of transportation system and need of journey to Work Distance. Accordingly, this study suggests the station-area development projects by analysis of market conditions and forecast about housing and office that meets the trend of station-area development and secures feasible business value.

• Asia pacific journal of information systems
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• v.32 no.2
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• pp.191-225
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• 2022

Based on its technological elements (distribution, encryption, immutability, tokenisation, decentralisation, and smart contracts), blockchain has drawn considerable attention in various industries and verticals. Still, the strategic adoption of blockchain is in its early stages because of the current barriers and challenges in the areas of 'customer experience', 'business models', and 'operational processes.' This work delivers a comprehensive synopsis of the fundamental challenges faced by blockchain adopters in their digital journey, based on a literature survey. The authors leveraged MAXQDA software and the theory, context, characteristics, and methodology (TCCM) framework to develop themes, findings, and evidence for adoption barriers. The research evaluates the literature on blockchain adoption challenges and offers research insights and managerial agendas for future inferences.

• The Journal of Art Theory & Practice
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• no.14
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• pp.87-124
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• 2012

This paper focuses on the social implication of new media art, which has evolved with the advance of technology. To understand the notion of human-computer interactivity in media art, it examines the meaning of "cybernetics" theory invented by Norbert Wiener just after WWII, who provided "control and communication" as central components of his theory of messages. It goes on to investigate the application of cybernetics theory onto art since the 1960s, to which Roy Ascott made a significant contribution by developing telematic art, utilizing the network of telecommunication. This paper underlines the significance of the relationship between human and machine, art and technology in transforming the work of art as a site of communication and experience. The interactivity in new media art transforms the viewer into the user of the work, who is now provided free will to make decisions on his or her action with the work. The artist is no longer a godlike figure who determines the meaning of the work, yet becomes another user of his or her own work, with which to interact. This paper believes that the interaction between man and machine, art and technology can lead to various ways of interaction between humans, thereby restoring a sense of community while liberating humans from conventional limitations on their creativity. This paper considers the development of new media art more than a mere invention of new aesthetic styles employing advanced technology. Rather, new media art provides a critical shift in subverting the modernist autonomy that advocates the medium specificity. New media art envisions a new art, which would embrace impurity into art, allowing the coexistence of autonomy and heteronomy, embracing a technological other, thereby expanding human relations. By enabling the birth of the user in experiencing the work, interactive new media art produces an open arena, in which the user can create the work while communicating with the work and other users. The user now has freedom to visit the work, to take a journey on his or her own, and to make decisions on what to choose and what to do with the work. This paper contends that there is a significant parallel between new media artists' interest in creating new experiences of the art and Jacques Ranci$\grave{e}$re's concept of the aesthetic regime of art. In his argument for eliminating hierarchy in art and for embracing impurity, Ranci$\grave{e}$re provides a vision for art, which is related to life and ultimately reshapes life. Ranci$\grave{e}$re's critique of both formalist modernism and Jean-Francois Lyotard's postmodern view underlines the social implication of new media art practices, which seek to form "the common of a community."

• Journal of English Language & Literature
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• v.57 no.5
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• pp.701-725
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• 2011

This paper attempts to read "The Nightingale" as an experimental proponent of Lyrical Ballads of 1798, one that inaugurated British Romanticism. It is never accidental for this poem to come to replace "Lewti" at the last moment of publication and to be tied to the poetic principles manifested in the "Advertisement" of the 1798 volume. The speaker of this poem, for example, is an ordinary man, who presents himself as a friend and a loving father. Opting for conversational styles rather than blindly copying literary conceits, he even incorporates an evening episode he happens to recall into a legitimate subject matter. The notion of "conversation," which appears in the subtitle, offers a key to figuring out the ideal of poetic language, the figure of the poet, and compositional procedures Coleridge and Wordsworth proposed in their collaborative project. "The Nightingale" can be a dubious, if not totally failed, poetical journey to subverting an incidence of misnaming acts. He finally reaches the limits of poetic figuration in a process of textualizing nature. The leitmotif of "In nature there is nothing melancholy" testifies to the fact that the bird nightingale, which the narrator is hard at work to rename as a joyous bird, is nothing but a poetic metaphor. "The Nightingale" is more likely to be a revisional, regenerative performance based on the strategy of conversation than an embodiment of a daring novelty.

• Acta Via Serica
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• v.8 no.1
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• pp.101-120
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• 2023

In March 1245, Pope Innocent IV authorized three missions to the Mongols, seeking information about this menace from the East and summoning Eastern Christian support against an anticipated Mongol onslaught. Only one of the missions, led by John of Plano Carpini, reached Mongolia-the first-known Western European party to reach East Asia by a land route. Traveling along the Silk Road's new "Grasslands Route," John and his companion Benedict reached the camp of Güyüg Khan, where they witnessed his installation as the Great Khan. Upon their return to the papal court in 1247, they delivered Güyüg's letter demanding the submission of the pope and all the West's princes. John also presented a detailed report on what he and Benedict had learned. A close reading of it reveals a master intelligence operative at work. In addition to presenting an overview of Mongol history and culture, Friar John's report provides detailed information on the Mongols' grand strategy, their military organization and armaments, and their battle tactics. Turning from intelligence gathering to military operations, he offered practical advice on how to meet and defeat the coming Mongol onslaught, an attack that, providentially for the West, never came. What did occur was a modest but significant migration of Western missionaries and merchants to East Asia in the century following this pioneering journey.

• Journal of Engineering Education Research
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• v.22 no.2
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• pp.61-70
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• 2019

This paper deals with a 'Designeer' education program that has a specific objective of educating design to undergraduate students in mechanical engineering with the aim of enhancing their ability of collaboration with designers when they are going to work in the field after graduation. The entire curriculum of the Designeer education program is introduced first, the end of which two-semester Capstone Design Courses for senior students is offered to let them practice all the knowledge and skills in a project-based learning environment. Learning specific matters such as sketching & visual thinking, prototyping and user experience design is one thing and practicing those knowledge and skills into a Capstone Design project is another. At this point, design thinking process needs to be in place to give students a foresight of one-year journey and to ensure that they will produce a desirable, feasible and viable product at the end of the year when they define the right problem at the beginning. Their frustrations and discoveries while applying design thinking throughout the year is explained by taking an example of a Robot Vacuum Cleaner design project. Finally, we provide real examples of effective methods to practice divergent and convergent phases.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.