무형문화재 분야는 AI 스마트 음성 대화 기술 활용에 중요한 분야 중 하나이다. AI 스마트 음성 대화 기술은 무형문화재의 계승과 보호에 기 술 지원을 제공하며 무형문화재의 보급과 촉진을 위한 새로운 방법을 제 공한다. 본 연구는 통합기술수용모형2(UTAUT2)와 기술준비도(TRI) 모형 을 기반으로 의인성 인지, 관계성 인지 변수를 도입하여 무형문화재 앱 AI 스마트 음성 대화 이용자 사용에 영향을 미치는 행동의 요인 탐색을 목적으로 한다. 이를 통해 무형문화재의 보급, 전시를 위한 이론적 근거 와 실천적 지침을 제공한다. 본 연구는 무형문화재 AI 스마트 음성 대화 앱을 사용하는 이용자의 행동에 영향을 미치는 요인을 정량적 데이터 분 석 방법으로 탐색한다. 연구 결과에 따르면 높은 노력 기대, 성과 기대, 촉진 조건, 사회적 영향, 쾌락적 동기, 혁신성, 낙관성 및 관계성 인지가 이용자의 사용 의도에 유의한 정(+)의 영향을 미친다. 궁극적으로 이용자 의 사용 행동에 영향을 미칠 수 있음을 증명한다. 반면 높은 불편감, 불 안감, 의인성 인지는 이용자의 사용 의도에 유의한 부(-)의 영향을 미치 고 이용자의 사용 행동을 자극하는 데 도움이 되지 않음을 증명한다. 또 한, 가격 가치는 사용 의도와 사용 행동에 유의한 영향을 미치지 않는다.

The cultural heritage of fortresses is often exposed to external elements, leading to significant damage from stone weathering and natural disasters. However, due to the nature of cultural heritage, dismantling and restoration are often impractical. Therefore, the stability of fortress cultural heritage was evaluated through non-destructive testing. The durability of masonry cultural heritages is greatly influenced by the physical characteristics of the back-fille material. Dynamic characteristics were assessed, and endoscopy was used to inspect internal fillings. Additionally, a finite element analysis model was developed considering the surrounding ground through elastic wave exploration. The analysis showed that the loss of internal fillings in the target cultural heritage site could lead to further deformation in the future, emphasizing the need for careful observation.

The aim of this study is to evaluate the possibility of damage to cultural assets resulting from vibrations generated by construction vehicle traffic. The cultural heritage's natural vibration frequency was determined to be 150Hz by measurement. The damping ratios were calculated as 4.7% using the logarithmic decrement approach and 4.3% using the half-power method. The vibration measurements obtained during vehicle operation indicated that, despite an increase in vehicle velocity of up to 15 km/h, the vibrations remained below the detectable level of 0.13 mm/sec. When the road is curved and the terrain is sloped, a suitable speed for vehicle operation was found to be around 17 km/h, at which point vibrations were seen. The highest recorded vibration amplitude at this velocity was 0.217 mm/sec, which remains below the stringent regulation limit of 2 mm/sec. Thus, it can be concluded that there is no actual harm caused by vibrations.

본 연구는 국가유산으로 지정된 꼭두각시놀음 무형문화재 조 사보고서에 수록된 대본을 기준으로 주요 등장 인물, 꼭두각시, 박첨지, 홍동지, 평안감사, 동방삭의 성격과 역할을 분석한 것 으로, 조선 후기 다양한 사당패들에 의해 공연된 각기 서로 다 른 인형극이 옴니버스 형태로 융합되면서 형성된 것으로 볼 수 있다. 본 연구의 결과는 다음과 같다. 첫째, 1964년 무형문화재로 지정받은 꼭두각시놀음은 조선 후기 꼭두각시, 박첨지, 홍동지, 평안감사를 중심인물로 공연된 인형극이 통합된 형태로 볼 수 있다. 둘째, 꼭두각시는 현모양처의 여성상을 대변하는 인물로 자 신의 삶을 주도적으로 결정하는 인물로 순종적이면서도 진취적 인 양면성을 지니고 있다. 셋째, 박첨지는 가부장적 남성 중심 사회에서 허세와 권위 의식에 사로잡힌 인물로, 권위주의적이고 남성중심적인 마초 (Macho) 문화를 상징하는 것으로 볼 수 있다. 넷째, 홍동지는 순박하고 어눌하지만 재리에 밝으며, 자신의 힘을 타인을 위해 사용하는 이타적인 인물로 민초들의 능동적 인 삶을 대변하고 있다. 다섯째, 평안감사는 부정부패의 무지몽매(無知蒙昧)한 권력층 을 상징하는 인물로, 효성이 지극한 양면성을 지니고 있다. 여섯째, 동방삭은 종교 지도자처럼 고난과 어려움을 위로하 는 역할을 하며, 껌벅이와 묵대사로 분화되면서 그의 매력적인 인물 특성은 사라진다. 본 연구 결과는 꼭두각시놀음의 주요 등장 인물들의 성격을 규명하고, 전통 인형극의 복원과 2차 창작을 위한 기초자료로 활용할 수 있는 측면에서 의의가 있다.

Ondol is a traditional underfloor heating system designated as a national intangible cultural heritage of Korea. The Cultural Heritage Administration (CHA) publishes a standard specification for the repair of cultural properties, including ondol. This standard specification is used as a guide for contractors who repair ondol in the field. However, the standard specification for ondol repair has some errors and is difficult to understand in the field. This paper proposes a revision of the standard specification for ondol repair. This study found that the standard specification for ondol repair has some problems in terms of the terminology and structure of ondol. These problems were sufficient to confuse ondol repairers in the field. Therefore, this study proposes to revise the standard specification to correct these errors and make it easier for ondol repairers in the field to understand. This study is expected to help recognize and preserve ondol as a cultural property and not just as a building.

Gwaebultaeng is a cultural property of painting, a large Buddhist painting used for special ceremonies in Buddhism. It is stored in an indoor temple environment, and there is a greater risk of contamination and damage due to environmental factors compared to other cultural properties. In 2021, the treasure Hanging Painting of Anguksa Temple and storage chest stored in Geungnakjeon Hall of Anguksa Temple in Muju-gun, Jeollabuk-do were investigated. As a result, one genus and three species fungi, one species bacteria were found on the surface of the painting. In addition, five genera and 11 species fungi, eight genera and 12 species bacteria were confirmed on the surface of the storage chest. Among them, the same three species of Aspergillus genus were identified in both Gwaebultaeng and the storage chest. These results suggest the possibility of introduction and spread from airborne fungi in the indoor air outside the chest. Among the identified microorganisms, one genus and two species fungi in Gwaebultaeng and three genera and four species fungi, four genera and five species bacteria were identified as those that could cause damage to the storage chest. In addition, it was confirmed that one species fungus in Gwaebultaeng and one genus and two species fungi could cause harm to the human body. The results of this study will serve as a basis for careful discussion and management regarding the storage of cultural properties in the future.

Traditional building technique has been used as the main technology in the field of architectural heritage conservation in South Korea. It has remained this way with very little resistance until now. But the time has come to question the appropriateness of traditional technique as conservation technique. In this paper a study was done on the properties of the traditional technique and the architectural heritage conservation technique in order to define the appropriateness between the two techniques. As a result the traditional technique was found to be unfit for conservation technique. The reasons are as follows. First, there is a time gap between the traditional technique and the time when the heritage was first built. Second, conservation work is about retaining the values of being a heritage while the traditional technique is about safeness and practicality. Third, the use of traditional technique comes with using the tools of its time which cannot ensure the safety of the heritage. The traditional technique must be looked upon as one of an option in the field of conservation. We must develop a better conservation technology by finding balance between the traditional technique and modern science. And further more an aggressive investment must be made in order to realize this objective.