• The Korean Journal of Petroleum Geology
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• v.6 no.1_2 s.7
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• pp.20-24
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• 1998

Expert system is one type of artificial intelligence softwares that incorporate problem-solving knowledges and experiences of human experts by use of symbolic reasoning and rules about a specific topic. In this study, an expert system, PLAYMAKER2, is used to interpret sedimentary facies and depositional settings of the sedimentary sequence. The original version of the expert system, PLAYMAKER, was developed in University of South Carolina in 1990, and modified into the present PLAYMAKER2 with some changes in the knowledge-base of the previous system. The late Cenozoic sedimentary sequence with maximum 10,000 m in thickness, which is located in the Korean Oil Exploration Block VI-1 at the southwestern margin of the Ulleung Basin, is analysed by the expert system, PLAYMAKER2. The Cenozoic sedimentary sequence is divided into two units-lower Miocene and upper Pliocene-Pleistocene sediments. The depositional settings and sedimentary facies of the Miocene sediments interpreted by PLAYMAKER2 in terms of belief values are: for depositional settings, slope; $57.4\%$, shelf; $21.4\%$, basin; $10.1\%$, and for sedimentary facies, submarine fan; $35.7\%$, continental slope; $26.3\%$, delta; $16.1\%$, deep basinplain; $6.1\%$ continental shelf; $3.2\%$, shelf margin; $1.4\%$. The depositional settings and sedimentary facies of the Pliocene-Pleistocene sediments in terms of belief values we: for depositional settings, slope; $59.0\%$, shelf; $22.8\%$, basin; $7.0\%$, and for sedimentary facies, delta; $24.1\%$, continental slope; $22.2\%$, submarine fan; $17.3\%$, continental shelf; $7.0\%$, deep basinplain; $4.8\%$, shelf margin; $2.6\%$. The comparison of the depositional settings and sedimentary facies consulted by PLAYMAKER2 with those of the classical interpretation from previous studies shows resonable similarity for the both sedimentary units-the lower Miocene sediments and the upper Pliocene-Pleistocene sediments. It demonstrates that PLAYMAKER2 is an efficient tool to interpret the depositional setting and sedimentary facies for sediments. However, to be a more reliable system, many sedimentologists should work to refine and add geological rules in the knowledge-base of the expert system, PLAYMAKER2.

• Journal of the Korean Geographical Society
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• v.31 no.4
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• pp.685-698
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• 1996

Southern Louisiana has one of the largest Vitnamese refrgee neighborhoods after the mid-1970s. It is impressive that one of their adaptive strategies comes from their religious lives which are centered on either Catholicism or Buddhism. The Buddhism community, especially, exhibits an exotic symbolic system of value and attitude, and thus contributes to cultural diversity in the adopted country. The landscape of the Buddhist temple is a visible symbol to them that the host socirty accepts their maintenance of their own cultural identity and that they are also an integral part of American society. Their making-place and being-in-place procedures, although their culture is being transformed in the original shape, put an emphasis on interaction with the host xociety. These procedures have been facilitated by consolidating their identity as a minority group as well as by interacting with the host society. The on-going influx of foreign immigrant groups seems not to drive them to assimilate into the melting-pot society, but to contribute to contribute to the increase in the cultural diversity of the United States.

• The Journal of Information Systems
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• v.25 no.1
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• pp.1-23
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• 2016

Purpose Self-congruity deals with the effect of symbolic value-expressive attributes on consumer decision and behavior, which is the theoretical foundation of the "non-utilitarian destination positioning". Functional congruity refers to utilitarian evaluation of a product or service by consumers. In addition, recent years, social network services, especially mobile social network services have created many opportunities for e-WOM communication that enables consumers to share personal consumption related information anywhere at any time. Moreover, self-construal is a hot and popular topic that has been discussed in the field of modem psychology as well as in marketing area. This study aims to examine the moderating effect of self-construal on the relationship between self-congruity, functional congruity and tourists' positive electronic word of mouth (e-WOM). Design/methodology/approach In order to verify the hypotheses, we developed a questionnaire with 32 survey items. We measured all the items on a five-point Likert-type scale. We used Sojump.com to collect questionnaire and gathered 218 responses from whom have visited Korea before. After a pilot test, we analyzed the main survey data by using SPSS 20.0 and AMOS 18.0, and employed structural equation modeling to test the hypotheses. We first estimated the measurement model for its overall fit, reliability and validity through a confirmatory factor analysis and used common method bias test to make sure that whether measures are affected by common-method variance. Then we tested the hypotheses through the structural model and used regression analysis to measure moderating effect of self-construal. Findings The results reveal that the effect of self-congruity on tourists' positive e-WOM is stronger for tourists with an independent self-construal compared with those with interdependent self-construal. Moreover, it shows that the effect of functional congruity on tourists' positive e-WOM becomes salient when tourists' self-construal is primed to be interdependent rather than independent. We expect that the results of this study can provide important implications for academic and practical perspective.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.127-143
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• 2010

This research was made on the interpretation of cultural landscape elements which is shown at nature management around Gyeongcheondae managed by Udam Chae Deug-gi, scholar in Joseon dynasty. Naming the nature management and natural features not only reflected on the formation toward the view of nature by the contemporary intellectuals, but influenced on the fashion of garden culture. Udam Chae Deug-gi dwelt in the riverside of Sangju, Kyungbuk as the characteristics of hermitage and managed landscape and had a willing to live a life free from worldly cares. The Gyeongchundae 28 landscapes, which was managed by himself, represent that natural features are named on the basis of neo-confucian principle and loyalty and he imposed symbolic meaning on landscape management by practically translating his aesthetic consciousness to reality; the name of detailed landscape is largely 'loyalty to Ming dynasty and to king's order and loyalty', 'Taoism' and 'Management will of landscape' by the life of metaphor and enjoyment, and symbolizes 'Searching for learning'. In addition, by selecting 10 out of 28 landscapes around Gyeongcheondae, lyrically describing the landscape by representing the change of time, season and the climate which is the scenic term of Great 8 Sosang views in fashion at that time focusing on the place he strolled or enjoyed watching himself; it can be seen that such moves are related with the landscape management in fashion in order to understand microcosmic providence with the change of natural environment. Therefore, Udam Chaedeug-gi is regarded as the neo-confucian view of nature for which any value scholars in Joseon dynasty have to own - 'loyalty' and 'integrity' - he usually emphasized himself to name the natural features and overcome the darkness of society comparing the landscape management around Gyeongchundae he lived a life free from worldly cares to the situation of Joseon dynasty when a transition times between Ming and Chung comes from China.

• Archives of design research
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• v.18 no.3 s.61
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• pp.199-208
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• 2005

This study analysis if the concepts of kitsch and vernacular remains as cultural elements for product design. Because their function and aesthetic value have vivid possibilities for general product design fields. For the purpose, this study limits its range within post modernism, kitsch, and vernacular, and analyzes their relationships. Against functionalism, post modernism had cultural pluralisms to approach into popular styles, and some of them was amusing design. That post modernism designs stimulated human beings' emotion by decorations or some symbolic forms from specific objects is similar to the symbolism, regionalism, or pluralism of kitsch or vernacular. Kitsch is a free style that is not limited in any specific trends. It is a Meta culture that has influenced into various fields including design, so kitsch does not have a parallel position with a product or design. In product design, kitsch is the behavior and result of imitating existing objects' images. It could have amusement according to which objects are imitated. So if human beings feel amusement by kitsch, it could be same as the direction of post modernism. Kitsch is determined by design atmospheres. They cannot be specified abjectly, and can be different according to people. With symbolism and regionalism, kitsch and vernacular appeared according to people's needs. While kitsch is consumer's tastes-oriented, vernacular is cultural tradition-oriented. Kitsch has symbolism that specifies products' functions or design concepts, and it is a communication method between human being and products. Because vernacular is province-oriented, it has a lot of styles according to regional living environments and cultural differences. So vernacular design reflects continued traditional lifestyles. By restorative memory, regionalism, cultural pluralism, amusement, and symbolism, kitsch and vernacular could be understood the sub or parallel concepts of post modernism. They might be easily miss-understood mixed concepts that have western and national characters. But in kitsch and vernacular concept, modernizing pas by using the pluralism of post modernism should be considered positive. So, the range of the further study is also supposed to be focused on more widened fields to, to establish cultural identification in design.

• 기호학연구
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• no.57
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• pp.7-26
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• 2018

The purpose of this paper is to interpret the discourse on design thinking through the perspective of Roland Barthes' Mythologies. To this end, this paper will explore the mythologization process of design thinking using the methodological framework of Barthes, which structurally interprets the connotations produced using semiosis. Design thinking originally refers to a method which is used in the process of planning ideas about designs in order to create the final products for professional designs. However, design thinking has recently attracted more interest from the public because it has become known as a tool for solving various problems which exist outside of the field of design, such as social issues, management, and marketing strategies. Barthes points out that myths are used as a tool to deliver ideologies. He also emphasizes the importance of 'structural thinking'. It interprets the inherent connotative meanings more than the denotative meanings, which are explicitly shown. One of the most powerful ideologies which our society embraces today is creativity. Design thinking realizes the manifestation of creativity through a schematized process. This can be explained by considering design thinking as an icon that is specifically turned into a figuration to realize its objectness, in which a discourse for solving issues and social codes meet together and form a mythology. The mythologies that Barthes cites in his book refer to mythical values created by the cultural codes which humans have produced in our modern and contemporary age. The symbolic value of design thinking has become more important than the signifier which design thinking itself presents. This means that design thinking has become a sign that has mythical properties. In other words, the ideology of creativity embodied by design thinking has attained a mythological status, as it produces a new cultural code through innovation. The process of interpreting a phenomenon using the perspective of semiotics is an important tool that allows us to examine the concept of an object and its surroundings thoroughly. This paper attempts to expand the external scope of critical analysis about social phenomena by using the signs which continuously reveal themselves in common ideologies, such as design thinking, which has been gaining more popularity recently.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.281-304
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• 2022

Heungdeokjeon was the first pavilion built on the site of Sueocheong during the expansion of Gyeongungung. In this study, we tried to clarify the specific construction process of Heungdeokjeon, which was used for various purposes such as the copy location for Portraits of ancestors, temporary enshrinement site, and the funeral building for the rest of the body, which is Binjeon. In addition, we tried to confirm the historical value based on the characteristics derived by the history of the building and the rituals performed. Heungdeokjeon began to be built in the second half of 1899, and is estimated to have been completed between mid-February and mid-March 1900. It was a ritual facility equipped with waiting rooms for the emperor and royal ladies as an annex. The relocation work was planned in April 1901 and began in earnest after June, and it was closely linked to the construction of attached buildings of Seonwonjeon. In addition, comparing the records on the construction and relocation cost of Heungdeokjeon with those related to the reconstruction of Seonwonjeon, it was confirmed that annex buildings of Heungdeokjeon were relocated and used as annex buildings of Seonwonjeon. The characteristics identified in the process of Heungdeokjeon used as a place to copy portraits are as follows. First, it was used as a place to copy portraits twice in a short period of time. Second, it was the place where the first unprecedented works were carried out in relation to the copying of portraits. Third, the pavilion, which was specially built for imperial rituals, was used as a place to copy portraits. Since then, it has been used as a funeral building for the rest of the body, and features different from those of the previous period are identified. It was the building dedicated to rituals for use as Binjeon, and was also a multipurpose building for copying portraits. In other words, Heungdeokjeon, along with Gyeongbokgung Taewonjeon, is the building that shows the changes in the operation of Binjeon in the late Joseon Dynasty. Characteristics are also confirmed in portrait-related rituals performed at Heungdeokjeon. The first is that Jakheonlye was practiced frequently in a short period of time. The second is that the ancestral rites of Sokjeolje and Bunhyang in Sakmangil, which are mainly held in the provincial Jinjeon, were identified. This is a very rare case in Jinjeon of the palace. The last is that Jeonbae, jeonal, and Bongsim were implemented mutiple times. In conclusion, Heungdeokjeon can be said to be a very symbolic building that shows the intention of Gojong, who valued imperial rituals, and the characteristics of the reconstruction process of Gyeongungung.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.243-272
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• 2022

Jeongeup, Jeollabuk-do, is an area that requires attention from those who study the history of Korean thought. In addition, Jeongeup is an area wherein many works were recorded for the first time in literary history. This is the case with Jeongeupsa as a style of Baekje songs and the lyrics of the noble families of the Joseon Dynasty, Sangchungok. Jeongeup is likewise the location where Choi Chi-won (857~?) was selected to serve as a local taesu (viceroy) and where a unique tradition of music and style were passed down. In this paper, the relationship between Choi Chi-won's role in the process of establishing a silent Confucian academy in Jeongeup and the emergence of scholar culture was examined. When Choi Chi-won left after his term in office, a birth shrine called Taesansa Temple was built to repay the selection of the villagers, and it became the source that led to the opening of the Confucian academy Museongseowon in the future. Jeongeup will be shown to be the location where Choi Chi-won realized his aspirations and honed his capabilities. In particular, Choi Chi-won's played a crucial role in the mid-Joseon Dynasty by supporting the construction and securing the name of Museongseowon. That is why Choi Chi-won was able to be revived as a symbolic figure in the region. In addition, it can be seen that the shape of Choi Chi-won was more sedentary- in the form of a Confucian scholar- and Confucian scholars emphasized the transfer of portraits at Museongseowon. Through the poetry written by Choi Chi-won, readers can learn about the worries and perceptions of scholars during those times. Although his value in the field of poetry is diverse, he can especially be recognized as a Confucian intellectual. In a large number of his works, he expresses his anxiety, agony, and critical inner consciousness all of which came from his encounter with the realities of his time. In fact, Choi Chi-won showed his qualities as a prominent literary figure of his time who had extraordinary aspirations and an admirable work ethic. However, he failed to overcome his regional and mental alienation as a poet in neighboring countries. Therefore, he internalized a sort of fierceness in terms of his perception of the world. However, it seems that it was rather a factor that made his work exhibit a strong lyrical style. In addition, Choi Chi-won's collection of writings includes a number of works that strongly criticized various forms of pathological phenomena caused by terminal phenomena of the time. He also highlighted the wrong in society by realistically depicting the lives poor and needy people and their eventual sacrifice via distorted relationships. This can be read encapsulating the agony of intellectuals of that time. The dictionary definition of a 'Confucian scholar' is "a Confucian term referring to a person or class that embodies Confucian ideology," and in its contemporary meaning it suggests " ⋯ an example of a personality, but not an identity, and the conscience of one's time period as a source of human morality inwardly and social order outwardly." In this respect, it could even be said that Choi Chi-won could be considered the originator of scholar culture.

• (The) Research of the performance art and culture
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• no.42
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• pp.147-181
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• 2021

Dalgubal drum dance is inherited in a recreated form by incorporating regional symbolism and the dance philosophy and artisticity of Young Hwangbo, the creator, based on the traditional drum dance of the Yeongnam region. This dance having popularity with the transformation of traditional Korean culture has been invited not only to Yeongnam region including Daegu but also to international various venues. This study explores what the movement characteristics of this Dalgubal drum dance are and the unique charm and symbolic meaning of this dance. Specific analysis was conducted through analyzing Dalgubal drum dance video film of the 89th Korean Myeongmujeon's by using Laban Movement Analysis as a research method. The special features of this dance resulted from the LMA analysis in terms of the four categories-Body, Effort, Shape, and Space-reveal simple yet cheerful personalities and strong yet patient characteristics of the people in Daegu. The harmony of drum sounds(music) and movements(dance) creates various characteristics of dances and reveals the beauty and excitement of unique Korean dance. In particular, drum play and its related dance movements create curved linear spatial pattern of arm movements, Spiral Shape in body posture, and diverse floor patterns occupying whole stage space. These movements show the three-dimensional spatial beauty and the artistic ideas for recreation of traditional drum dance, which considered with the spatial structure of the proscenium stage. In addition, the well-organized structure and harmonious movements of this dance show the traditional Korean philosophy, implying heaven, earth, and human being and the wholeness, and the harmony of yin and yang. The dance aims at communication between the audiences and dancers through sharing excitement and the aesthetic beauty of dance. This can be interpreted as a meaningful expression of traditional Korean philosophy developed with the unique value and characteristics of Korean dance.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.159-190
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• 2019

This paper aims to examine to the political unconsciousness of social movies that have caused social repercussions in the 2010s, and to study the social imagination of Korean films at that time. Korean Movies such as (2013), <1987>(2017) and (2017) reflect the ethos of civil society based on common sense and justice. The epic structure was the same as that of ordinary citizens, who move toward a public space (court, square) after awakening their political correctness. More than anything else, the fact that such films were based on "a historical fact" could have been a strategy to avoid censorship in the era of the blacklist. In these social films, courts and squares have become places for democracy. The conservative government of the time was tired of anti-government resistance and the politics of the square. Thus, films from directors and producers blacklisted were difficult to produce. That's why the court in the movie during this period could become a symbolic proxy for the "legitimate" reenactment of the politics of the square, which was subject to censorship and avoidance by the regime of the time. Meanwhile, the square has gradually become the main venue for political films that advocate "historic true stories." The square of the 1980s, which appeared in the movies, will be connected to the Gwanghwamun candlelight square that audiences experienced in 2017. Furthermore, it was able to reach the concept of an abstract square as an "open space for democracy." At the foundation of these works is a psychological framework that equates the trauma of the failed democratic movement of the 1980s to the trauma of the failed progressive movement of the 2010s. Through this study, we were able to see that social political films in the 2010s were quite successful, emphasizing "political correctness" and constitutional common sense. But they also had limitations as "de-political popular films" that failed to show imagination beyond the censorship of the blacklist era.