• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.29 no.2
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• pp.185-194
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• 2019

Objective: This study was conducted to investigate the intensity of the extremely low frequency magnetic fields(ELF-MF) generated inside of the cabins during subway operation. Methods: The ELF-MF intensity were investigated on 30 subway lines in Korea, including in the Greater Seoul Metropolitan Area(Seoul and Gyeonggi-do Province), Incheon, Busan, Daegu, Daejeon, and Gwangju. ELF-MF intensity was measured at 0.9 m from the floor using EMDEX II meters with a resolution of $0.01{\mu}T$. All data were collected every three seconds and analyzed with EMCALC 2013 version 3.0B software. Basic characteristics of subway operation, including alternative current(AC) or direct current(DC), voltage level, and opening year of the line were investigated. Real-time information during measurement, such as the time of departure, moving and arrival of trains, were also recorded. Results: The arithmetic mean(AM) and maximum(Max) intensity of ELF-MF were $0.62{\mu}T$ and $11.51{\mu}T$, respectively. Compared by region, the ELF-MF intensity measured inside cabin were the highest in the Seoul Metropolitan Area($AM=0.80{\mu}T$), followed by Busan($AM=0.30{\mu}T$), Daegu($AM=0.29{\mu}T$), Incheon($AM=0.14{\mu}T$), Gwangju($AM=0.04{\mu}T$) and Daejeon($AM=0.03{\mu}T$). The average ELF-MF level measured in AC trains($AM=1.36{\mu}T$) was also significantly higher than in DC trains($AM=0.28{\mu}T$). In terms of the opening year of the subway, trains opened before 1990($AM=0.85{\mu}T$) was the highest and the lowest was 2000-2009($AM=0.24{\mu}T$). Conclusions: The AC supply has the greatest influence on the generation of the ELF-MF intensity in subway cabins.

• Proceedings of the Korea Water Resources Association Conference
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• 2007.05a
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• pp.1033-1037
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• 2007

하천의 수위를 유지하거나 농업용수를 취수할 목적으로 현재 국내에 약 18,000개 정도의 크고 작은 보가설치되어 있다. 이러한 보 중에는 극히 일부에 어도와 같은 생태통로가 인위적으로 설치되어 있지만 전체적으로는 매우 미미한 수준이다. 더욱이 도시 인구 집중황 따른 도심부의 확대로 인한 농경지의 도시화, 경작 방식의 변화에 의한 논농사 위주에서 비닐하우스 단지로의 변화와 같은 토지이용의 변화, 대형 저수지의 축조／양수장 설치 등에 따른 취수 시설물의 통합, 시설의 노후화 등으로 매년 50-150개 정도의보가 폐기되고 있다. 그러나 이렇게 폐기되는 보는 하천에 그대로 방치되어 하천생태통로의 단절, 수질악화, 수변 서식처악화 등의 문제를 지속적으로 야기시키고 있다. 연구지역은 경기도 고양시 곡릉천 곡릉2보로 선정하여 보 철거전 과 보 철거 후의 모니터링을 통한 수질분석을 시행하였다. 곡릉2보는 과거 취수용 보로 이용되었으나 주변지역 토지이용 변화로 용도를 상실한 보이다. 보 철거 전에는 보로 인한 보 상류 지역에 퇴적물이 쌓이면서 정체구역이 생기고 부유물질이 많아지면서 수질 악화를 초래하는 것으로 나타났다. 그러나 보 철거 후에는 화학적으로 상류 하류지점에서 SS 및 BOD의 농도가 감소하여 전체적으로 수질향상에 기여한 것으로 나타났다. 보 철거에 따른 수질분석에 대한 연구는 아직 진행 단계에 머물러 있으며, 그 주변에 대한 상세한 이론은 아직 미미하다. 따라서 현재 국내외 보의 현황 및 보 철거 기술을 조사하고, 우리나라의 조건이 다른 보를 선정하여 하천의 보가 수질에 미치는 영향을 정량적으로 분석함으로써, 향후 우리나라의 보 관리방안의 방향을 제시하는데 도움이 되고자 한다.를 제시하고 있다. 미국의 경우는 이러한 가이드라인을 실제로 현장에 적용하고 있으며 조성효과가 정성적으로 검증되었고 정량적인 관계 도출을 위한 연구가 지속적으로 진행되고 있다. 국내의 경우 수질개선 및 생태서식처 조성, 하천환경을 개선하기 위한 관련 정책이 꾸준히 제시되고 있다. 한 예로 정부에서는 수변구역을 지정 고시하여 상수원으로 유입되는 비점오염물질을 저감하고 생태서식처를 조성함으로써 양질의 상수원과 건전한 생태계를 확보하기 위한 제도를 시행 중이다. 수변 구역의 범위는 한강수변구역의 경우 약 $500{\sim}1,000m$로 설정되어 있으나 아직까지는 관리적 성격이 강하며, 향후에는 구체적인 조성방안이 요구된다. 본 연구에서는 한강 수변구역 내에 미국의 가이드라인에서 제시하는 수변완충지대의 물리적 조건과 국내 지역 토착식생을 적용하여 시험완충지대를 조성하였고, 실험조건 하에서 그 효과를 정량적으로 분석 검증한 결과와 외국사례를 분석하여 국내여건에 맞는 수변완충지대 조성 가이드라인(안)을 제시하였다.EX>$\ulcorner$세종실록$\lrcorner$(世宗實錄) $\ulcorner$지리지$\lrcorner$(地理志)와의 비교를 해보면 상 중 하품의 통합 9개소가 삭제되어 있고, $\ulcorner$동국여지승람$\lrcorner$(東國與地勝覽) 에서는 자기소와 도기소의 위치가 완전히 삭제되어 있다. 이러한 현상은 첫째, 15세기 중엽 경제적 태평과 함께 백자의 수요 생산이 증가하자 군신의 변별(辨別)과 사치를 이유로 강력하게 규제하여 백자의 확대와 발전에 걸

• Art History and Visual Culture
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• no.21
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• pp.126-147
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• 2018

This paper is to find the theme and meaning of the Beauvais Grotesque tapestry considered a conundrum. The three works are chosen from Beauvais Grotesque consisting of six tapestries, which are The Offering to Pan, The Musician and Dancers, The Camel in the J. Paul Getty Museum. I analyzed these works by dividing them into grotesque ornaments, chinoiserie motifs, and scenography. The Offering to Pan shows the influence of Raphael's Grotesque tapestry, but Beauvais work followed the design of Jean Berain's Grotesque with arabesque. In The Musician and Dancers, chinese ceramics, textiles, and Chinese people in edge were noted. Especially, the Chinese with yellow skin in the border reveals the European gaze on China at that time. In the 18th century, Chinoiserie was prevalent through stage designs rather than books. The Camel, playing Brighella, makes it clear that this tapestry is a stage of Comedia dell'arte. The characteristic of Comedia is a mixture of genres such as music and dance, with no scripting 'improvisation.' Features of Comedia are 'improvisation' without a script and a mixture of genres such as music and dance. Thus, the Grotesque tapestry transfers the stage of the Comedia into threads woven. In addition, the horizontal stage decoration with the disappearance of the perspective vanishing point is related to the era of regent of Philippe d'Orl?ans (1674-1723). Above all, the grotesque, Chinoiserie, and scenography are all fantasies separated from reality. Therefore, the Beauvais Grotesque tapestry represents of 'improvisation' and 'fantasy' in which there is no narrative theme or meaning, as if the script of Comedia did not exist.

• Journal of radiological science and technology
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• v.26 no.2
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• pp.57-61
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• 2003

The purpose of this study is to compare both 1.5T and 4.7T in Praietal White matter material Phantom using the same methodology at both field strengths. Data at both field strengths are compared in terms of $T_2$ relaxation times, line widths and SNRs MR imaging and $^1H$ MR spectroscopy were performed on GE 1.5T SIGNA system and Broker Biospec 4.7T/30 MRI/MRS system. After phantom axial scan $^1H$ MRS was obtained from T2 weighted image by 3-dimensional localization technique(PRESS : Point RE solved spectroscopy Sequence) this phantom is composed of an aqueous solution 36.7 mmol/L of NAA, 25.0 mmol/L of Cr, 6.3 mmol/L of choline chloride, 30.0 mmol/L or Glu, and 22.5 mmol/L of MI(adjusted to a pH of 7,15 in a phosphate buffet). Data processed using software developed inhouse. At 1.5T, T2 relaxation times for Cho, Cr, and NAA were $0.41{\pm}0.07,\;0.26{\pm}0.04,\;0.46{\pm}0.07$ while at 4.7T they were $0.17{\pm}0.03,\;0.14{\pm}0.05,\;0.20{\pm}0.03$ respectively. At 1.5T, line widths for water, Cho, Cr and NAA were $2.9{\pm}0.7,\;1.6{\pm}0.7,\;1.7{\pm}0.8,\;2.2{\pm}0.02Hz$ while at 4.7T they were $5.2{\pm}1.1,\;4.6{\pm}1.9,\;4.01{\pm}1.8,\;4.8{\pm}1.9Hz$ respectively. It can be seen that $T_2$ relaxation times were significantly shorter at 4.7 compared to 1.5T and that the line widths were also broader. The average SNRs for NAA for subjects at short and long TEs were $23.5{\pm}11.3$ at TE=20 msec ; $15.4{\pm}7.7$ at TE=272 msec at 1.5T and $40{\pm}8.3$ and $17{\pm}3.5$ respectively at 4.7T higher field strength is superior because of improved sensitivity and chemical shift dispersion. However these improvements are partially offset by increased line widths and decrease $T_2$ relaxation times, which act to reduce both sensitivity and resolution. In our experiments with the equipment available to us, 4.7T proton spectra at short TEs exhibit moderately improved sensitivity compared to 1.5T.

• Resources Recycling
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• v.16 no.3 s.77
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• pp.19-26
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• 2007

The bottom ash of municipal solid waste incineration generated during incineration of municipal solid waste in metropolitan area consists of ceramics, glasses, ferrous materials, combustible materials and food waste and so on. Although the ferrous material was separated by the magnetic separation before the incineration process, of which content accounts for about $3{\sim}11%$ in bottom ash. The formation of a $Fe_3O_4-Fe_2O_3$ double layer(similar to pure Fe) on the iron surface was found during air-annealing in the incinerator at $1000^{\circ}C$. A strong thermal shock, such as that takes place during water-cooling of bottom ash, leads to the breakdown of this oxidation layer, facilitating the degradation of ferrous metals and the formation of corrosion products and it existed as $Fe_2O_3,\;Fe_3O_4\;and\;FeS_2$. So, many problems could occur in the use of bottom ash as an aggregate substitutes in construction field. Therefore, in this study, the separation of ferrous materials from municipal solid waste incineration bottom ash was investigated. In the result, the ferrous product(such as $Fe_2O_3,\;Fe_3O_4,\;FeS_2$ and iron) by magnetic separator at 3800 gauss per total bottom ash(w/w.%) accounted for about 18.7%, and 87.7% of the ferrous product was in the size over 1.18 mm. Also the iron per total bottom ash accounted for about 3.8% and the majority of it was in the size over 1.18 mm.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.