Earticle

이 글이 집중적인 분석 대상으로 소환한 텍스트는 채만식의 『탁류』이다. 1930년 대 군산의 실제 지형을 정확하게 재현하고 있는 이 작품은 ‘1930년대 군산의 소설 적 지형도’라고 할 수 있다. 이러한 시⸱공간적 배경을 지닌 이 작품의 분석을 통해 ‘1930년대 군산의 지정학’을 작성해보고자 하는 것이 이 글의 문제의식이자 목적 이다. 이러한 문제의식과 목적을 수행하기 위해 이 글이 공을 들인 작업은 크게 두 가지이다. 하나는 1910년 강제 병합 이후 구축된 식민지 도시 군산의 공간적인 표 상을 분석하는 작업이다. 다른 하나는 일본 자본의 식민 수탈 기구 역할을 담당했 던 미두장의 장소성을 분석하는 작업이다. 1930년대 군산의 주거 공간은 민족을 축으로 한 공간적인 위계나 차이가 명확 하게 구획된 전형적인 식민지 이중도시의 특징을 선명하게 보여주고 있다. 100년 이라는 세월이 흘러도 그 간격이나 간극이 극복되거나 해소될 것 같지 않아 보인 다는 서술자의 절망적인 탄식은 그 위계나 차이가 어느 정도인가를 극명하게 압축 하고 있다. 두 민족의 주거 지역에 선명하게 드러나는 그와 같은 공간적인 표상의 차이를 통해 채만식은 식민지 근대가 철저하게 일본을 위한 근대화였음을 웅변하 고 있다. 한편 채만식은 이 작품에서 가장 선명한 장소성을 드러내고 있는 미두장의 본질 을 선명하게 드러내기 위해 ‘심장’과 ‘대동맥’이라는 신체적 메타포를 동원하고 있 다. 이러한 메타포를 통해 채만식은 미두장이 일본 자본의 이윤 추구를 위한 핵심 수탈 기구였음을 예리하게 포착하고 있다. 더불어 채만식은 당시 미두장이 정상적 인 미곡 거래 시장이라기보다는 10%의 증거금을 판돈으로 갖은 협잡과 농간이 난 무⸱횡행하던 노름판이었음을 통찰하고 있다. 그 주변 지역 또한 일제 식민 지배 권 력의 비호를 등에 업은 일본 자본이 조선인들의 재산을 합법적으로 유린하는 것을 가능하게 했던 일종의 ‘경제 특구’였음을 통렬하게 비판하고 있다.

The text summoned by this article for intensive analysis is Chae Man-sik's 『Takryu』. This work, which accurately reproduces the actual topography of Gunsan in the 1930s, can be said to be a "novel topographic map of Gunsan in the 1930s." The problem consciousness and purpose of this article is to write the Geopolitics of Gunsan in the 1930s through the analysis of this work with this poetic and spatial background. There are two main tasks that this article has worked hard to fulfill this problem consciousness and purpose. One is to analyze the spatial representation of Gunsan, a colonial city established after forced annexation in 1910. The other is to analyze the place of the rice market, which served as an organization for the colonial exploitation of Japanese capital. In the 1930s, Gunsan's residential space clearly shows the characteristics of a typical colonial double city where spatial hierarchy or differences are clearly divided around the nation. The narrator's desperate sigh that the distance or gap is unlikely to be overcome or resolved even after 100 years clearly compresses the degree of hierarchy or difference. Through such spatial differences in representation clearly revealed in the residential areas of the two peoples, Chae Man-sik eloquently states that colonial modernity was thoroughly modernized for the Japanese. Meanwhile, Chae Man-sik sharply captures that the essence of the rice exchange which reveals the clearest place in this work, was a exploitation mechanism for Japanese capital's profit-seeking. In Chae Man-sik's view, the rice exchange at the time was not a normal rice trading market, but rather a gambling place where tricks and deception with 10% of the margin were rampant. The surrounding area also harshly criticizes that Japanese capital, backed by the protection of Japanese colonial power, was a kind of economic special zone that made it possible to legally violate the property of Koreans.

본고는 박이화의 <낭호신사(朗湖新詞)>를 텍스트로 삼아 작품에 드러난 ‘공간’을 통해 구림의 공간 형상화 양상을 살펴보고자 한다. <낭호신사>는 영암 구림마을의 향토성과 풍속성을 드러낸 작품으로, 본 고에서 논의하려는 일상적 공간과 이상적 공간에 대한 형상화 양상을 드러 내는데 적합한 작품이다. <낭호신사>는 전형적 향촌사족인 귀계 박이화에 의해 창작되었으며, 두 주제를 가진 독특한 구성으로 이루어졌다. 본고는 주 제에 따라 달라진 공간의 형상화 양상을 드러내고자 일상적 공간과 이상적 공간으로 나누어 구현하였다. 일상적 공간은 영암의 지리적, 지형적 모습을 통해 신성한 공간으로 그 특징을 드러냈고, 자연과 인간의 조화로움을 통해 풍수적 공간으로 그 특징 을 제시하였다. 반면, 이상적 공간은 향촌사족들의 이념을 드러낸 가문의 번 성이고, 이를 위해 후학들에게 자아실현을 위한 학문 권장과 관련된 교훈적 내용을 제시하여 국가권력으로부터의 견제를 마련하고자 하였다. 구림은 일 상(日常)과 이상(理想)이라는 대립구조를 통해 하나의 ‘통합’을 이끌어내고자 했던 것이다.

This study uses Park Yi-hwa's <Nanghoshinsa> as the text and examines the aspect of Kurim's space formation through the 'space' revealed in the work. <Nanghoshinsa> is a work that reveals the locality and customs of Gurim Village in Yeongam. It is a work suitable for revealing the aspect of figuration of everyday space and ideal space to be discussed in this paper. <Nanghoshinsa> was created by Park Yi-hwa, who is a typical Hyangchonsajok(鄕村士族). This work is composed of a unique composition with two themes. In this paper, in order to reveal the aspect of the space that has changed according to the theme, it is divided into a daily space and an ideal space. The everyday space was characterized as a sacred space through the geographical and topographical features of Yeongam. And the everyday space was characterized as a feng shui(風水) space through the harmony between nature and human beings. On the other hand, the ideal space revealed the prosperity of the family, which revealed the ideology of the local nobility. The ideal space also tried to provide checks from state power by presenting didactic contents related to academic encouragement for self-realization to younger students. Gurim Village tried to bring about ‘integration’ through the confrontational structure of daily life and ideal.

The purpose of this study was to investigate the relationship between the self-reported aggressiveness level measured by the Korean version of Aggression Questionnaire (K-AQ), and the computerized cognitive tasks (emotion perception task and mental rotation task). Participants were divided into three groups according to their self-reported aggressiveness levels (low-range, middle-range, and high-range), and their performances in the two computerized cognitive tasks were examined. Results demonstrated that in emotion perception task, the low-range K-AQ score group showed a lower bias score toward negative emotion perception compared to middle-range and high-range groups. This suggests that there was an increase in the tendency of participants to show a negative emotional bias to a certain extent with increased level of self-reported aggressiveness, and the level of negative emotional bias seems to be maintained once the aggressiveness level reaches the higher-end of the spectrum. However, there was no significant group difference for the bias score toward positive emotion perception. In mental rotation task, there was a significant group difference in response times, where participants in the middle-range aggression group showed slower response times compared to both low-range and high-range groups. But, there was no group differences in their accuracy rates. This suggests that visuo-spatial representation ability may not be static in nature but it seems to decline to a certain extent in accordance to the aggressiveness level. This exploratory study has examined the negative emotion perception bias and visuo-spatial representation ability in relation to the level of aggression by dividing the aggressiveness level into three levels. The implications of investigating human emotion on a continuous spectrum is discussed.

A TIN, Triagulated Irregular Network, based topographic modeling method and a distributed rainfall-runoff model using the topographic representation is presented. In the TIN based topographic representation, a watershed basin is modeled as a set of contiguous non-overlapping triagular facets : the watershed basin is subdivided according to streamlines to deal with water movement one-dimensionally ; and each partitioned catchment is approximated to a slope element having a quasi-three-dimensional shape by using cubic spline functions. On an approximated slope element, water movement is represented by combined surface-subsurface kinematic wave equations considering a change of slope gradient and slope width. By using the distributed rainfall-runoff model, the effects of spatial variability of soil properties on runoff response are examined.

엔리케 올리베이라는 이질적인 목재 형상을 공간에 접합하여 도시와 자연, 유기체와 구조, 예술과 과학 사이를 오가며 예측 불가능한 환상적인 세계를 구성하는 작가이다. 이 연구는 엔리케 올리베이라의 설치 작업을 중심으로 공간 표상 양식을 범주화하여 현실에 구현된 올리베이라의 표상 공간이 어떠한 의미를 갖는지 고찰하는 것을 목적으로 한다. 연구를 위한 이론적 방법은 미술사 내에서 공간이 표현되고 강조되는 여러 사례를 포착하여 연계시킨다. 먼저 전통적 공간 표상 방법론인 원근법의 흐름과 파노프스 키의 원근법에 대한 견해를 빌려 공간의 다층적 구조가 공간 표상의 하나의 방법이 될 수 있음을 확인하였다. 또한 20세기 이후 설치미술의 전개 양상을 통해 다양한 방식으로 구성되는 공간의 특징을 참고하였다. 엔리케 올리베이라의 공간 표상 방식을 정리하면, 첫째, 다층적 공간 표상의 양상을 보여준 다. 전시 공간과 건축적이고 기하학적인 구조물과 같은 일상적 공간에 목재 형상을 기생시켜 총체적 예술 공간을 창출한다. 다층적 공간 표상은 다양한 공간의 맥락을 동시에 보여주는 장치이자, 그의 작업이 전달하는 메시지를 명확하게 만드는 주요 수단으로 사용된다. 둘째, 신체적 공간 표상의 특징을 드러낸다. 이는 목재의 확장과 구조가 갖는 생명체적 이미지와 더불어 거대 설치 작업 속에서 관객에게 요구되는 신체성까지 아우르며 의미의 극대화를 이룬다. 이러한 공간 표상 방식이 종합되며 엔리케 올리베이라의 작품은 극적인 효과를 내며 관람자에게 다채로운 사유를 이끌어낸다. 본 연구를 통해 공간 표상을 통해 자연과 도시적 관계의 변화를 비롯한 다양한 담론에 대해 숙고하고, 표상된 공간을 통해 드러나는 작가의 정체성과 예술 세계를 입체적으로 조명한다.

Henrique Oliveira is an artist who combines heterogeneous wood shapes with space to construct an unpredictable and fantastic world. The purpose of this study is to examine how space is represented in his work, focusing on Henrique Oliveira's installation work. Theoretical methods for research are captured within art history. It was confirmed that the multi-layered structure of space can be a method of spatial representation, borrowing views on the flow of perspective and Panovski's perspective, which are traditional spatial representation methods. Categorizing Henrique Oliveira's spatial representation method, first, shows the aspect of multi-layered spatial representation. It creates a holistic art space by parasiticizing the wood shape in the exhibition space and the everyday space such as an architectural and geometric structure. Multilayer spatial representation is a device that simultaneously shows the context of various spaces, and is used as a main method to clarify the message delivered by his work. Second, it reveals the characteristics of physical space representation. It encompasses the physicality and vitality of the expansion and structure of wood, as well as the physicality required of the audience in the massive installation work. This spatial representation method is synthesized, and Henrique Oliveira's work has a dramatic effect and brings out various thoughts to the viewers. Through this study, it was possible to consider various discourses through spatial representation, and to illuminate the artist's identity and art world revealed through the represented space in three dimensions.

효율적인 최적화 문제 해법을 GIS와 연계하면 입지 선정 문제에서 공간적 재현의 중요성에 관한 통찰력을 제공할 수 있다. 특히 발견적 해법 중 라그란지안 완화법에 기반한 해법은 메타휴리스틱에 비해 이론적으로 정교하며 결과해의 품질이 보장된다. 본 연구는 최소의 시설물로 전체 수요를 커버할 수 있도록 시설물 입지를 최적화하는 LSCP 문제에 초점을 두었다. 구체적으로 LSCP 문제 구조 및 특성 분석을 통해 문제의 효율적 해결을 위한 라그란지안 기법을 개발하고 이를 GIS 환경에 구현, 실세계 자료에 대해 입지선정 분석을 수행하였다. 실험을 통해 개발된 알고리즘은 고품질의 결과를 효율적으로 제공한다는 점을 확인하였다.

Incorporation of efficient solution methods into a GIS environment has the potential of providing insights into the importance of spatial representation in location modeling. Heuristic algorithms based on lagrangian relaxation have solid theoretic grounds and the quality of the solutions is guaranteed to be within bounds. This paper focuses on solving the LSCP that optimizes the locations of a minimum number of facilities that can cover all the demands. The structure and characteristics of LSCP were analyzed to develop a lagrangian heuristic, which was implemented into a GIS environment. Tests on the real world data suggest that the developed system provides high-quality solutions efficiently.

Context of contents for optimal user experience can be composed of various elements including time, spatial context, and social context. And also including global, local and personal contexts. In this paper, we proposed a representation scheme of spatial context hierarchy for optimal content services. Proposed context representation consists of time and spatial index and relations makes formal representation. Spatial Context is presented by spatial elements for spatial information includes point, line and region with elements attribute values

The emergence of a large number of databases for capturing 3D human motions has made the efficient analysis and processing of human motion data to effectively use these databases a new challenge. To reduce high-dimension complexity, a dimensional feature based on the 3D spatial–temporal characteristic should be extracted from human motions. Moreover, the motion data should be re-expressed by sparse representation to realize the projection from high dimensional data to a low-dimensional subspace. The different motions should then be recognized and classified to obtain the automatic recognition and automatic retrieval of 3D human motions.

본고의 연구목적은 염상섭의 3대 장편 소설 <삼대>, <사랑과 죄>, <무화과>가 경성이라는 공간을 어떻게 표상했으며 일본문화와 한국문화가 어떻게 혼재되어 있는지를 파악하는 데에 있다. 이를 위해 조사대상 소설 속에 형상화된 경성의 이중적 도시 구성, 재경성 일본인, 이중 언어 사용, 한일 복합 가옥구조, 카페의 혼종적인 실내 풍경, 주요대로, 한국인과 일본인 가옥이 혼재하는 골목길 풍경 등을 중심으로 담론을 전개하였다. 조선신궁의 입지는 식민지 권력을 극대화하는 효과를 고려하여 결정되었으며 남대문은 식민지 자본주의로부터 소외된 지역으로 표상되었다. 카페는 표면적으로는 피식민자의 소비자유가 보장 되었지만 식민지 권력이 만들어낸 감시기제에 의해 무의식적으로 훈육되는 공간이다. 때로는 인물들의 고뇌와 환희를 시학적으로 표상하고 있지만 미로는 미행과 탐문의 공간으로 표상된다. 집의 구조는 일본과 전통의 혼합식으로 나타난다. 전반적으로 조사대상 소설은 조선인과 일본인, 상류층과 중하층, 자본주의와 사회주의, 순응과 저항, 생활과 이상에 대한 호불호를 극명하게 나누지 않고 공간적‧이념적 혼종성을 세밀하게 형상화하고 있다.

The purpose of this study was to find out how three major novels represented the space of Gyungsung and how both Japanese and Korean cultures were mixed. To this end, the city structure of twofold, bilingual, Japanese-Korean mixed structure of house, hybrid spatiality of cafe, streets, and ally way were discussed. The location of the Joseon Temple was selected with intent to maximize Japanese colonial governance, and Namdaemun was left undone and isolated from the colonial social security net. Cafes were portrayed as both the place where freedom of consumption was guaranteed and the place where Koreans were unconsciously disciplined by the Japanese surveillance system. The main streets of Gyunsung were poetically embodied where ally ways were used as incognito visit and wicked legwork. The structure of house was also represented in Japanese-Korean mixed way. In general, the target novels did not offer definite likes and dislikes between Korean and Japanese, the upper class and the lower class, capitalism and socialism, adaptation and resistance, reality and idea but showed the spatial and ideological hybridity of Gyungsung.

경제학은 이제 단순히 경제학자들이 제시하는 시대비평적인 그들만의 이야기가 아니라 문학텍스트를 통해 나라마다 각자의 문화적, 지역적, 환경적 특성을 지평으로 각기 그 시대가 안고 있었던 생산, 소비, 지출이라는 기초적인 경제활동의 중요한 문제들을 다양하게 재해석할 수 있다. 소세키는 『도련님』에서 ｢야마시로야(山城屋)｣를 ① 어렸을 적 이웃집 전당포의 이름으로의 설정, ② 봇짱이 수학 교사로 일을 하기 위해 마쓰야마로 갔을 때 처음 묵었던 여관 집 이름으로 설정시켜놓고 있다. 봇짱의 시선을 통해 야마시로야(山城屋)의 여관 종업원들은 경제 원리에 의해 팁을 받느냐, 안 받느냐에 따라 손님을 대하는 태도가 달라지는 일련의 인간 행동을 일으키는 원인을 경제학에서는 경제적 인센티브(incentive)의 불순이 작용했다고 볼 수 있다. 『그 후』의 미치요는 다이스케가 선물한 반지를 일회성으로 전당포에 저당잡고 필요한 돈에 대한 이익을 취한 것이 아니라 일말의 양심선언 혹은 다이스케가 미치요에 대한 사랑의 감정에 믿음이라는 확신을 가지게끔 만든 계기가 된다. 나도향의 『행랑자식』은 당시 서민들에게는 입고 먹는 기본적 삶을 누려야 하는 기본적 경제활동이 되지 못할 때에는 빈곤에 대한 수치심을 감내하고서라도 삶을 지탱시켜주는 유일한 창구라는 의미를 지닌다.

Economics is not their own critical stories that economists suggest any more. Through the literature text, it can reinterpret the important issues of basic economic activity of production, consumption and spending in that era. In 『Botchan』 Sosheki set up ‘Yamashiroya(山城屋)’ as ①the name of pawnshop next to the door in Botchan’s childhood, ②the name of Japanese Ryokan where he stayed at the first time when he went to Matuyama to work as a mathematics teacher. In economics, behaviour of the staff of Ryokan Ymashiroya who changed their attitude to guests depending on their tips causes from impurity of economic incentive. Michiyo in 『Sorekara』 did not get the money by pawning the ring that Daisuke gave to her. It makes Daisuke to have confidence of his love to Michiyo. In 『Servant(행랑자식)』 of Na do-hyang, the pawnshop is the only means to sustain their life to the public who can not do any basic economic activity.

This study is aimed at shedding light on the historical status and socio-cultural aspects of the Korean Empire in the light of the structuring and changing of the road system centered on Taepyeongro(新橋通; new traffic) and Sogongno—central parts of the city improvement project in the Daehan Empire(大韓帝國)—, and in the light of locating, constructing, and demolishing Wondgudan Altar( 丘壇), a symbolic representation of the emperor. Having not existed in the Chosun Dynasty era, Taepyeongro was a newly built thoroughfare on which Shingyo(新橋; a new bridge) was establish in the Daehan Empire period. This was made to connect itself with Gyeongbokgung Palace(景福宮) which were the central area of old streets, and to make kyeongwungung(慶運宮) the imperial palace. What’s more, the historic symbolism of this street enhanced due to the funeral parade of Empress Myeongseong(明成皇后). Sogongro(小公路) led to Wongudan where imperial inauguration was held and to Daegwanjeong(大觀亭) which served as a diplomatic space. Because this street was located in the vicinity of Gyeongwungung, it reconstructed the new modern spaces of the city. Sogongro was planned to pass by Wongudan and Daegwanjeong, but it was not originally included in the radial road system plan surrounding Gyeongwungung. This can be postulated considering that this street was constructed gradually in the process of arranging northwest micro lots from Wongudan adjacent to Gyeongwungung, and groups of Japanese people which were established around Jingogae(泥峴), an uphill pass, extended their territory to adjacent Namdaemunro(南大門路), and the name changed into Janggokchenjeong(長谷川町), and so the street gained new meanings and became a street with duplicated codes. And again, Sogongro did pass not in front of Daeanmun(大安門), but in front of Podeokmun(布德門), northwest gate of Gyeongwungung, and the square present now in front of the City Hall was the result of Japanese town planning. Taepyeongro also got to have a new meaning different from its original intention, to be linked with Gyeongbokgung and to change the Daehan Empire’s identity and its central space, because of the construction of Gyeongseongbucheong(京城府廳) and of the road maintenance project from Hwangtohyeon(黃土峴) to the front of Daeanmun to Namdaemun(南大門). As for Wongudan, it meant symbolically the opening of the Daehan Empire period, which was located at the center of the city which had been the southern detached palace. This altar was also a representative architecture of the era in its spatial construction. Originally Wongudan was an altar for offering to heaven, consisting of three-storied round altar, Wongudan area with round and square shaped walls surrounding the altar, and finally Hwanggungwu(皇穹宇) area which was adjoined to Wongudan through three gates and had both east and west corridor for ancestral tablet with both bounded by round walls respectively. This altar is supposed to be similar to the Altar of Heaven in China. In the eastern part, Seokgogak(石鼓閣Seokgojeon) area to enshrine Seokgo(stone drums) was established to commemorate Emporor Gojong’s 40 years of reign, which was not completed. This way Wongudan served as a symbolic spatial representation of the era. This, however, was gradually and thoroughly damaged due to the change of the owner of power: in the Wongudan area, the Railroad Chosun Hotel was built to make quarters for important visitors who were to visit the competitive exhibition of monuments held in Gyeonbokgung to celebrate five years of municipal administration; Seokgogak was transferred to the bell tower in Bakmunsa(博文寺); and Gwangseonmun (光宣門), the front gate of Seokgogak was moved to the front gate of Dongbonwonsa(東本願寺), a Japanese Temple. In modern times, damaging the historic spot still continued because of lack of appreciation of history and culture. For example, some part of the area was cut off, and accessory buildings of Wongudan including the front door and the ritual chamber were sold. As stated above, though the construction of Wongudan, symbolic for the emperor and the city improvement project in the Daehan Empire, was intended to set up a modernized independent country in the radical change of social order in and out of the country and to establish the national system, the present Wongudan, however, stands shading different meanings together with the original intention caused by the colonial rulership. Even though it is now quite hard to physically reconstruct the historic site and meaning, the local significance and historical status should be recovered in no time.

The initial work as the novelist of Yang Sok-il is “Taxi frenzied uproar music”(1981). “The Canal”(1980) which is collected there is at the original form-like position in the birth of the full-length novel such as “End of the family chart”(1989), “Lullaby in the uterus”(1992), “Bone and Blood”(1998). But the work which did not attract attention so much by the shadow of the taxi driver thing and the masterpiece inventing one after another. I take up “The Canal” in this report and consider a physical sense of Yang Sok-il and a characteristic in the spatial representation. Therefore at first I pay attention to ‘canal’ as the topos of the literature of Korean resident in Japan and investigate a similarity and the difference in eyes for ‘canal’ of other writers. The literary starting point of Yang Sok-il is poetry. I analyze it through the attitude against the ‘language’ and the ‘body’ of characters how desire in his story is articulated in the process which Yang Sok-il converts into a novel language from poetic language. In addition, when it represent space called ‘canal’, I consider how to come to expression. This work is not only a literary characteristic of Yang Sok-il appear in the “The Canal,” a short story, will be in the process of understanding the theory of the body of Yang Sok-il is expressed as ‘Asian Body’ thereafter.

This paper explores the spatial configuration and narrative tensionsof oppression and resistance in Kim Ki-young’s The Housemaid (1960). Within the patriarchal structure of 1960s Korean society, the domestic space operates both as a boundary for suppressed desires and a site of taboo. The symbolic structure of the house?ground floor, upper floor, and staircase?visually encodes authority, conflict, and hierarchy. Drawing on Michel Foucault’s theory of disciplinary power and Silvia Federici’s concept of reproductive labor, this paper analyzes how space mediates control over female bodies. It concludes that the film’s melodramatic form reveals the entanglement of desire and domination, highlighting cinema’s role as a critical and reflective mediumfor making social tensions emotionally visible.

As multi-source spatial data fusion mainly deal with various types of spatial data which are specific representations of real world with unequal reliability and incomplete knowledge, proper data representation and uncertainty analysis become more important. In relation to this problem, this paper presents and applies an advanced data representation methodology for different types of spatial data such as categorical and continuous data. To account for the uncertainties of both categorical data and continuous data, fuzzy boundary representation and smoothed kernel density estimation within a fuzzy logic framework are adopted, respectively. To investigate the effects of those data representation on final fusion results, a case study for landslide hazard mapping was carried out on multi-source spatial data sets from Jangheung, Korea. The case study results obtained from the proposed schemes were compared with the results obtained by traditional crisp boundary representation and categorized continuous data representation methods. From the case study results, the proposed scheme showed improved prediction rates than traditional methods and different representation setting resulted in the variation of prediction rates.

Virtual source location information (VSLI) has been newly utilized as a spatial cue for compact representation of multichannel audio. This information is represented as the azimuth of the virtual source vector. The superiority of VSLI is confirmed by comparison of the spectral distances, average bit rates, and subjective assessment with a conventional cue.

Set in Hampstead in North London, “The Last Laugh” is a story which deals with the idea of physical and psychological transformation facilitated by a transcendent experience that leads into a newfound understanding of the self. The representation of Hampstead as a spatial as well as spiritual gateway into this enlightened state of mind excites an analysis of the story within the framework of psychospatial theories. In the light of the spatial enunciations, this essay aims to discuss the ways in which Hampstead in the story is constructed as a mystical landscape, functioning as a liminal threshold existing between the drudgery of ordinary life and the mysterious revitalising spirit of nature. The subject of the story being related to the recurring and elusive presence of an eerie but riveting laughter, this essay engages with the possible underlying implications of this occult mystery in this particular geographical setting in order to examine the role of place as an agent of radical transformation. In doing so, this work seeks to situate “The Last Laugh” within a critical dialogue between Lawrence’s construction of Hampstead as an “uncanny” space, and the ways in which this transcendent and dream-like spatial imagery operating at the heart of polarised notions (i.e. fear/laughter, beautiful/grotesque, earthly/supernatural), can be viewed as a subtle trope that not only mirrors Lawrence’s conflicting reflections on London but also offers an aesthetic representation of a spatial dialogism between the literary and sociocultural enunciations of space.

The purpose of the paper is to explore the socio-political meaning of the Seoul Museum of History to demonstrate the power and politics of museums as a space for representation of local history and culture. It has pointed out how the permanent and special exhibitions of the museum comprise items worth remembering from a society? point of view, that is, how artifacts the museum preserve and display are far from being objective because of limitations in both time and space they cover. Museums produce and communicate the meanings of their artifacts with the public. They promote public understanding about the past and present of the community which they represent and that produce discourses about its future vision. Local history museums need to pay greater attention to ever-growing diversity and dynamism of citizens in terms of race, ethnicity, socio-economic status, gender, religion, and regional background. It is essential to recognize the exclusiveness of museum exhibitions which only offers selective memories to visitors and a necessity to adopt an inclusive exhibition style to incorporate collective memories across diverse cultural groups and spaces being shared among various groups of society.

This paper presents a methodology to account for the partial or gradual changes of environmental phenomena in categorical map information for the fusion/integration of multiple spatial data. The fuzzy set based spatial data fusion scheme is applied in order to account for the fuzziness of boundaries in categorical information showing the partial or gradual environmental impacts. The fuzziness or uncertainty of boundary is represented as two kinds of fuzzy membership functions based on fuzzy object concept and the effects of them are quantitatively evaluated with the help of a cross validation procedure. A case study for landslide hazard assessment demonstrates the better performance of this scheme as compared to traditional crisp boundary representation.

Hyperspectral images are often contaminated with stripe noise, which severely degrades the imaging quality and the precision of the subsequent processing. In this paper, a variational model is proposed by employing spectral-spatial adaptive unidirectional variation and a sparse representation. Unlike traditional methods, we exploit the spectral correction and remove stripes in different bands and different regions adaptively, instead of selecting parameters band by band. The regularization strength adapts to the spectrally varying stripe intensities and the spatially varying texture information. Spectral correlation is exploited via dictionary learning in the sparse representation framework to prevent spectral distortion. Moreover, the minimization problem, which contains two unsmooth and inseparable $l_1$-norm terms, is optimized by the split Bregman approach. Experimental results, on datasets from several imaging systems, demonstrate that the proposed method can remove stripe noise effectively and adaptively, as well as preserve original detail information.