The National Innovation System (NIS) and the automobile industry in South Korea

Since Freeman (1988) suggested the concept of National Innovation System (NIS), NIS has provided a foundation for understanding the organizational interactions that engendered innovations in industry. The definition of NIS varies with the context in which innovation activities are performed and evaluated. The multiple definitions of NIS can be classified by their scopes (Chung 2002). In a broad sense, NIS encompasses all the interrelated institutional actors that create, diffuse, and exploit innovations. On the contrary, according to the narrow definition, NIS is a complex of innovation actors that are only directly associated with the generation, diffusion, and appropriation of technological innovation. Research and Development (R&D) departments, universities, and public research institutes can be taken as examples. In this report, primarily the narrow definition of NIS will be adopted, and the role of NIS in the South Korean automotive industry will be accordingly discussed. --

, nevertheless,

Derived from transitions, my artistic practice is an act of condolence for the transient presence that takes time and indulges every process as an acceptance of loss. Over the years, I have moved between distinctive regions and cultures, only to be disoriented by mementos that are residues of a seemingly in- accessible past. What remains is to witness the vanished moments that evoke associated memories. I tend to solidify the volatile condition of transition by carving a temporary fragment on a permanent surface to make the ephemeral, eternal. The attempt to preserve a transitory phenomenon through archives by utilizing digital photography and various mediums inevitably leads to an alteration of memory. The intrinsic presence disappears when it is retained, duplicated, and remembered. Retrospection makes memories fade. The process of recall supplants experience with imagery, often tied to a photo or another cue, that displaces the initial experience. I understand memory to be an ephemeral transition constructed and reconstructed through one’s sensory perception. Accepting that transitions are inevitable, I released my eagerness to grasp every reminiscence of the bygone past. Through the properties of olfaction, which is persistent in the form of memory but cannot be stored or duplicated, I articulate and reconstruct ephemeral autobiographical memories through scent. I focus on insignificant transitions, which are often taken for granted, unnoticed, and forgotten. Between those transitions, I am engaged in meticulously dissecting the exquisite fragments of each moment. My practice is a personal memoir that ultimately characterizes specific correlations between various autobiographical retrieval cues and the level of modification to memories. Operating under the premise that odor-evoked memories are persistent, I use the characteristics of scented material in association with visual cues to determine the level of alteration in memories

Roads in You

Roads in You is an interactive biometric-data artwork that allows participants to scantheir veins and find the roads that match their vein lines. The roads resemble how ourvein lines are interconnected and how the blood circulates in our bodies in variousdirections, at various speeds, and in different conditions. This new artwork exploresthe line segmentation and the structure of veins and compares them to roads in thereal world. This artwork includes biometric data sonification on top of 3D map-basedvisualization and 3D printed sculptures. The vein lines are transformed to sound, andthe participants can listen to their unique “audio signature” generated by their veins.By using various visual features extracted by image processing techniques, thebranches, length of lines, size of veins, brightness, and contrast of images determineparameters of audio synthesis and create a unique and personalized sound for eachparticipant