• Journal of Service Research and Studies
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• v.13 no.4
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• pp.206-223
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• 2023

The introduction of Smart technologies such as Artificial Intelligence(AI) systems are have a powerful impact in a variety of industry fields. Some experts predict that smart technology will completely change people's daily life and work styles, causing technological innovation, productivity improvement, and discovery and emergence of new fields. On the one hand, this vision cannot ignore negative views and concerns. Despite many social debates about employment, such as job loss and rising unemployment, there have not been many studies based on employee experience that provide a fundamental solution to the conflict between AI and employment. Therefore, this study finds out the effects and related factors of AI concierge robots for hotel employees, focusing on the hotel industry, and how employees' perceptions of AI concierge robots affect user resistance and turnover intention. This study, conducted a questionnaire survey of 322 hotel employees who had experience working with AI concierge robots in China, and used SPSS and SmartPLS statistical analysis programs to draw conclusions. We found that hotel employees' perceptions of AI concierge robots were significantly related to user resistance and turnover intention, and this association was related to employee self-efficacy, perceived organizational support, quality of AI services and new tasks. In addition, it was found that the quality of AI concierge robots directly or indirectly had the greatest influence on user resistance and turnover intention. The findings of this study provide theoretical implications for academia and practical implications for industry practitioners.

• The Korean Journal of Food And Nutrition
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• v.16 no.4
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• pp.397-405
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• 2003

The cleanness of Korean(n=292), Chinese(n=46), Japanese(n=114) and Western(n=74) styles restaurants in 25 districts in Seoul was evaluated in terms of kitchen area(6 criteria), handling of raw materials(3 criteria), hygiene practice for cook(1 criteria), treatment of wastes(2 criteria) and hall(2 criteria). The western-style restaurants were scored the highest points in all criteria. The other three restaurants were poorly evaluated compared with western-style ones in kitchen area, including cleanness of inside of the kitchen, hygiene practice, ventilation and working environment, drainage, and storage of utensils. The most critical criterion which represents the overall evaluation was the ventilation and working environment of the kitchen for Chinese, Japanese and Western-style restaurants, and was the cleanness of inside the kitchen for Korean-style restaurants.

• Journal of the Korean Society of Food Science and Nutrition
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• v.33 no.10
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• pp.1646-1652
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• 2004

This study is to help management of foodservices with the means of preparing a favorable food service environment which will likely improve employees' job satisfaction and present the plans for Quality leadership which are capable of effectively improving the aims of food service. Transformational leadership (4.08) that includes charisma (4.12), intellectual stimulation (4.12) and individual consideration (4.01) was more strongly observed by employees than transactional leadership (3.35) that includes contingent reward (3.99) and management by exception (2.70). According to employees' age, it was shown that individuals over 40 observed transformational leadership significantly more frequently than those below 30. When considering academic background, both transformational leadership and transactional leadership were more strongly observed in the group of lower education. When the type of employment was considered, contract workers showed higher individual consideration and contingent reward than regular workers. Also, when the consideration of working places was taken into account, employees who were employed by schools presented a stronger observance of transactional leadership than employees in industrial cooperation or hospitals. Employees, especially in schools, were more receptive to dietitians' contingent reward than hospital employees. Regarding age, dietitians below the age of 40 had stronger transformational leadership skills, but there was no significant difference in the case of transactional leadership. According to these items of leadership, dietitians over 40 felt stronger in management without exception. Relationship with co-workers was the highest among job satisfaction (3.84), coworkers (4.00), stability (3.60), autonomy (3.76). In the collective food service organization, there was a positive correlation between management expectations and the expectations of the dietitians' management styles and employees' job satisfaction.

• Journal of the Korean Chemical Society
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• v.51 no.1
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• pp.73-81
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• 2007

The purpose of this study was to find out chemistry teachers' perceptions on the aims and characteristics of the chemistry I course from the 7th national curriculum by means of investigating how frequently particular learning contents were selected and what the teachers' teaching styles were in order to find out how effectively teachers were working with the 7th national curriculum in teaching. For this study, data was collected by means of questionnaires, which was answered by 44 chemistry teachers in 40 different high schools. Results from this study are as follows: As for the perception on the aim and characteristics of chemistry I course, many chemistry teachers have already perceived that the aim of the course was to promote democratic citizens with the knowledge of chemistry. And the most appropriate way of teaching chemistry I course was inquiry-centered teaching such as experiment-practice and inquiry-discussion. However, these perceptions were not reflected when they actually taught students in the classroom. Instead, most of the class was concepts learning and there were a lot of differences in selecting learning contents among chemistry teachers. Furthermore, although chemistry I course was considered a good subject to make students have interest and curiosity in chemistry, it was not appropriate to make students understand the concepts of chemistry. Therefore, learning contents in chemistry I course need to improve. In conclusion, as the goal of 7th national curriculum of chemistry I course was to emphasize inquiry teaching, inquiry based teaching should be practiced in the class. Moreover, sufficient teacher training should be accompanied and alternative additional teaching contents should be developed. Finally teachers' experiences should be reflected in the national curriculum when it is revised.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1837-1847
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• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.

• Journal of Intelligence and Information Systems
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• v.26 no.1
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• pp.75-95
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• 2020

With the growth of social networks, various forms of SNS have emerged. Based on various motivations for use such as interactivity, information exchange, and entertainment, SNS users are also on the fast-growing trend. Facebook is the main SNS channel, and companies have started using Facebook pages as a public relations channel. To this end, in the early stages of operation, companies began to secure a number of fans, and as a result, the number of corporate Facebook fans has recently increased to as many as millions. from a corporate perspective, Facebook is attracting attention because it makes it easier for you to meet the customers you want. Facebook provides an efficient advertising platform based on the numerous data it has. Advertising targeting can be conducted using their demographic characteristics, behavior, or contact information. It is optimized for advertisements that can expose information to a desired target, so that results can be obtained more effectively. it rethink and communicate corporate brand image to customers through contents. The study was conducted through Facebook advertising data, and could be of great help to business people working in the online advertising industry. For this reason, the independent variables used in the research were selected based on the characteristics of the content that the actual business is concerned with. Recently, the company's Facebook page operation goal is to go beyond securing the number of fan pages, branding to promote its brand, and further aiming to communicate with major customers. the main figures for this assessment are Facebook's 'OK', 'Attachment', 'Share', and 'Number of Click' which are the dependent variables of this study. in order to measure the outcome of the target, the consumer's response is set as a key measurable key performance indicator (KPI), and a strategy is set and executed to achieve this. Here, KPI uses Facebook's ad numbers 'reach', 'exposure', 'like', 'share', 'comment', 'clicks', and 'CPC' depending on the situation. in order to achieve the corresponding figures, the consideration of content production must be prior, and in this study, the independent variables were organized by dividing into three considerations for content production into three. The effects of content material, content structure, and message styles on Facebook's user behavior were analyzed using regression analysis. Content materials are related to the content's difficulty, company relevance, and daily involvement. According to existing research, it was very important how the content would attract users' interest. Content could be divided into informative content and interesting content. Informational content is content related to the brand, and information exchange with users is important. Interesting content is defined as posts that are not related to brands related to interesting movies or anecdotes. Based on this, this study started with the assumption that the difficulty, company relevance, and daily involvement have an effect on the dependent variable. In addition, previous studies have found that content types affect Facebook user activity. I think it depends on the combination of photos and text used in the content. Based on this study, the actual photos were used and the hashtag and independent variables were also examined. Finally, we focused on the advertising message. In the previous studies, the effect of advertising messages on users was different depending on whether they were narrative or non-narrative, and furthermore, the influence on message intimacy was different. In this study, we conducted research on the behavior that Facebook users' behavior would be different depending on the language and formality. For dependent variables, 'OK' and 'Full Click Count' are set by every user's action on the content. In this study, we defined each independent variable in the existing study literature and analyzed the effect on the dependent variable, and found that 'good' factors such as 'self association', 'actual use', and 'hidden' are important. Could. Material difficulties', 'actual participation' and 'large scale * difficulties'. In addition, variables such as 'Self Connect', 'Actual Engagement' and 'Sexual Sexual Attention' have been shown to have a significant impact on 'Full Click'. It is expected that through research results, it is possible to contribute to the operation and production strategy of company Facebook operators and content creators by presenting a content strategy optimized for the purpose of the content. In this study, we defined each independent variable in the existing research literature and analyzed its effect on the dependent variable, and we could see that factors on 'good' were significant such as 'self-association', 'reality use', 'concernal material difficulty', 'real-life involvement' and 'massive*difficulty'. In addition, variables such as 'self-connection', 'real-life involvement' and 'formative*attention' were shown to have significant effects for 'full-click'. Through the research results, it is expected that by presenting an optimized content strategy for content purposes, it can contribute to the operation and production strategy of corporate Facebook operators and content producers.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.