• Korean Journal of Remote Sensing
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• v.14 no.1
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• pp.53-68
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• 1998

Observation of hydrometeors' behavior in the atmosphere is important to understand weather and climate. By conventional observations, we can get the distribution of water vapor at limited number of points on the earth. In this study, the precipitable water has been estimated from the split window channel data on GMS-5 based upon the technique developed by Chesters et al.(1983). To retrieve the precipitable water, water vapor absorption parameter depending on filter function of sensor has been derived using the regression analysis between the split window channel data and the radiosonde data observed at Osan, Pohang, Kwangiu and Cheju staions for 4 months. The air temperature of 700 hPa from the Global Spectral Model of Korea Meteorological Administration (GSM/KMA) has been used as mean air temperature for single layer radiation model. The retrieved precipitable water for the period from August 1996 through December 1996 are compared to radiosonde data. It is shown that the root mean square differences between radiosonde observations and the GMS-5 retrievals range from 0.65 g/$cm^2$ to 1.09 g/$cm^2$ with correlation coefficient of 0.46 on hourly basis. The monthly distribution of precipitable water from GMS-5 shows almost good representation in large scale. Precipitable water is produced 4 times a day at Korea Meteorological Administration in the form of grid point data with 0.5 degree lat./lon. resolution. The data can be used in the objective analysis for numerical weather prediction and to increase the accuracy of humidity analysis especially under clear sky condition. And also, the data is a useful complement to existing data set for climatological research. But it is necessary to get higher correlation between radiosonde observations and the GMS-5 retrievals for operational applications.

• Cartoon and Animation Studies
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• s.39
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• pp.215-231
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• 2015

The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').