• The Journal of the Acoustical Society of Korea
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• v.24 no.6
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• pp.353-357
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• 2005

Declining auditory performance with advanced age is a well known and common problem that is becoming more Prevalent due to the increasing number of elderly people in our society. We introduce a novel ARCISM (Audiogram Result Computer Input. Save & Management software) data management program which enables the assessment of the risk of past history of hearing impairment on the basis of known risk factors. This study investigates the reference levels of pure tone hearing threshold of normal aging in Korean and the difference between fenders. The subjects were carefully selected by questionnaire and absence of any history of otologic infection, noise exposure. and ototoxic drug among 1603 subjects. who visited Health Promotion Center in Daegu Fatima Hospital for one year. The results show (1) hearing sensitivity declines with age. (2) higher frequency shows steeper slope of hearing declines than lower frequency. and (3) there were more hearing loss at 4 and 8 kHz in men than in women. Due to the ARCISM program. it was possible to manage huge data of hearing results and to obtain the reference level of a9e-related hearing declines. Furthermore, we expect that the results of this study can be the fundamental data for hearing rehabilitation for the elderly and for developing suitable hearing aids for Korean.

• Journal of the Korean Society of Food Culture
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• v.5 no.1
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• pp.77-99
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• 1990

In this thesis, according to the kinds of tzeam in the main materials of fish, vegetable and etc was to analysis reference frequency to them the materials, the measuring unit of materials, the terms of cooking by 49 books published in Korea from 1670 to 1987. 1. It was 69 kinds of tzeam in the main materials of fish vegetables and etc. 2. Materials were classified into the main-materials, sub-materials, seasioning and decorations. 3. There were 42 kinds of measuring units, of them 16 kinds were for volume, 16 kinds were for quantity, 2 kinds were for length and the rest measuring units were 8 kinds. 4. There were 22 kinds of cooking terms. The terms of them, 15 kinds were for heating methods, 7 terms of them were for the cutting process.

• Polymer(Korea)
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• v.33 no.6
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• pp.551-554
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• 2009

Poly (vinyl alcohol) (PVA) and carboxymethyl cellulose (CMC) have received increasing attention in biomedical and biochemical applications because of their properties such as being water-soluble and biocompatible. In this study, a PVA/CMC hydrogel applicable to artificial cartilage was prepared by a freezing-thawing technique and a gamma-ray irradiation. The solid concentration of PVA was 7 wt% and the concentration of CMC was 4 wt%. The freezing/thawing process was repeated twice and the dose of gamma-ray irradiated was 30 kGy. Results of gelation before and after gamma-ray irradiation were similar, but the swelling degree decreased and compressive strength increased. The cytotoxicity was investigated with CCK-8 assay.

• Journal of the Korean Recycled Construction Resources Institute
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• v.8 no.4
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• pp.421-428
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• 2020

Recently, excellent thermal and electrical performance of cementitious composites by mixing nano materials are being studied. The purpose of this study is to research the heat generation and power consumption of rapid hardening nano-cementitious composites. The experiment was carried out after setting the rapid hardening cementitious material, curing day, and supply voltage as parameters. Rapid hardening nano-cementitious materials were classified into cement paste, mortar, and concrete The heat performance of all rapid hardening nano-cementitious composites in curing 1 day has increased over 10℃. The rapid hardening nano-cementitious composites can exhibit heat performance within 1 day. The heat performance of the rapid hardening nano-cementitious composites is maintained after 28 days.

• Applied Chemistry for Engineering
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• v.33 no.1
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• pp.50-57
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• 2022

Ti-In-Zn-O (TIZO)/Ag/TIZO multilayer transparent electrodes were prepared on glass substrates at room temperature using RF/DC magnetron sputtering. Obtained multilayer structure comprising TIZO/Ag/TIZO (10 nm/10 nm/40 nm) with the total thickness of 60 nm showed a transmittance of 86.5% at 650 nm and a sheet resistance of 8.1 Ω/□. The multilayer films were expected to be applicable for use in energy-saving smart window based on polymer-dispersed liquid crystal (PDLC) because of their transmittance properties to effectively block infrared rays (heat rays). We investigated the effects of the content ratio of prepolymer, the thickness of the PDLC coating layer, and the ultraviolet (UV) light intensity on electro-optical properties, and the surface morphology of polyester acrylate-based PDLC systems using new TIZO/Ag/TIZO transparent conducting electrodes. A PDLC cell with a thickness of 15 ㎛ PDLC layer photocured at an UV intensity of 1.5 mW/cm² exhibited good driving voltage, favorable on-state transmittance, and excellent off-haze. The LC droplets formed on the surface of the polymer matrix of the PDLC composite had a size range of 1 to 3 ㎛ capable of efficiently scattering incident light. Also, the PDLC-based smart window manufactured using TIZO/Ag/TIZO multi-layered transparent electrodes in this study exhibited a light brown, which will have an advantage in terms of aesthetics.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.541-549
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• 2019

The purpose of this study was to test the effects of flip learning-based simulation practice education on the learning flow, learning confidence, communication skills, and clinical competence ability of nursing student. This study used a one group, pre-post test design. We collected the data from 65 4th grade nursing students. Flip learning-based simulation practice education was conducted from March 5th to April 17th, 2019. The collected data were analyzed using SPSS WIN 21.0 program. The result of study were follows. After the flip learning-based simulation practice education, there were significant increased in learning flow(t=-7.548, p<.001), learning confidence(t=-9.163, p<.001), communication skills(t=-6.506, p<.001) and clinical competence(t=-6.733, p<.001). After the flip learning-based simulation practice, clinical performance was found to be positively correlated with learning flow(r=.627, p<.001), learning confidence(r=.513, p<.001) and communication skills(r=.328, p<.008). learning flow and learning confidence(r=.528, p<.001), communication skills and learning flow(r=.332, p<.007) also showed a positive correlation. Therefore, flip learning-based simulation practice education for nursing student could be effective nursing education method.

• The Journal of Engineering Geology
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• v.33 no.4
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• pp.543-553
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• 2023

The current status of domestic a agalmatolite mines in South Korea was investigated with a view to establishing a stable supply of agalmatolite and managing its demand. Most mined agalmatolite deposits were formed through hydrothermal alteration of Mesozoic volcanic rocks. The physical characteristics of pyrophyllite, the main constituent mineral of agalmatolite, are as follows: specific gravity 2.65~2.90, hardness 1~2, density 1.60~1.80 g/cm³, refractoriness ≥29, and color white, gray, grayish white, grayish green, yellow, or yellowish green. Among the chemical components of domestic agalmatolite, SiO₂ and Al₂O₃ contents are respectively 58.2~67.2 and 23.1~28.8 wt.% for pyrophyllite, 49.2~72.6 and 16.5~31.0 wt.% for pyrophyllite + dickite, 45.1 and 23.3 wt.% for pyrophyllite + illite, 43.1~82.3 and 11.4~35.8 wt.% for illite, and 37.6~69.0 and 19.6~35.3 wt.% for dickite. Domestic agalmatolite mines are concentrated mainly in the southwest and southeast of the Korean Peninsula, with some occurring in the northeast. Twenty-one mines currently produce agalmatolite in South Korea, with reserves in the order of Jeonnam (45.6%) > Chungbuk (30.8%) > Gyeongnam (13.0%) > Gangwon (4.8%), and Gyeongbuk (4.8%). The top 10 agalmatolite-producing mines are in the order of the Central Resources Mine (37.9%) > Wando Mine (25.6%) > Naju Ceramic Mine (13.4%) > Cheongseok-Sajiwon Mine (5.4%) > Gyeongju Mine (5.0%) > Baekam Mine (5.0%) > Minkyung-Nohwado Mine (3.3%) > Bugok Mine (2.3%) > Jinhae Pylphin Mine (2.2%) > Bohae Mine. Agalmatolite has low thermal conductivity, thermal expansion, thermal deformation, and expansion coefficients, low bulk density, high heat and corrosion resistance, and high sterilization and insecticidal efficiency. Accordingly, it is used in fields such as refractory, ceramic, cement additive, sterilization, and insecticide manufacturing and in filling materials. Its scope of use is expanding to high-tech industries, such as water treatment ceramic membranes, diesel exhaust gas-reduction ceramic filters, glass fibers, and LCD panels.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.1
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• pp.47-55
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• 2023

In this study, the following conclusions were drawn by analyzing the size, proportion, shape, angle, distribution, etc. of stones in order to identify the principles of facade molding of stonework of the 5th to 7th centuries of the Silla Dynasty. First, the uniformity of the size of the stones of the stone foundations of the Silla Dynasty was low at -0.8 to 4.1. This means that stones of various sizes were used, from small stones to large stones. In addition, the distribution of large stones in stonework of the Silla Dynasty appeared evenly regardless of height. This was common in the stonework of the Silla Dynasty, regardless of structural classification such as wells and mountain fortresses. It is thought that the Silla people did not only pursue practicality and efficiency in stone construction, but also considered design elements. Second, the proportional deviation of the stones of the stone walls of the Silla Dynasty was high, ranging from 0.861 to 1.515. This means that the stonework of the Silla Dynasty did not use only long flagstone-shaped stones, but used a mixture of long and short stones. Third, the shape average of the stones of the stonework of the Silla Dynasty was low at 0.45, and the shape deviation was high at the maximum of 0.15. This means that the stones as a whole have irregular shapes, and each stone has a high difference in shape. Fourth, the angle deviation of the stones of the Silla Dynasty was 4.3 to 16.2, and the average angle was 2. This means that the angle of each stone on the stone axis of the Silla Dynasty is tilted to the left and right. Fifth, there was no correlation between stone size, slenderness ratio, shape, and angle in the stone axes of the Silla Dynasty. In the case of stone axes in the Joseon Dynasty, there was a positive correlation between stone size and slenderness, and a negative correlation between stone size and shape. It can be said that the stones of the Joseon Dynasty were relatively standardized, but the Silla Dynasty showed the beauty of moderation by keeping the nature of the material and becoming one with the material.

• Korea journal of population studies
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• v.19 no.2
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• pp.77-105
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• 1996

The rural problems which we are facing start from the extremely small sized population and the skewed population structure by age and sex. Thus we analyzed the change of the rural population. And we analyzed the recent return migration to the rural areas by comparing the recent in-migrants with out-migrants to rural areas. And by analyzing the rural village survey data which was to show the current characteristics of rural population, we found out the effects of the in-migrants to the rural areas and predicted the futures of rural villages by characteristics. The changes of rural population composition by age was very clear. As the out-migrants towards cities carried on, the population composition of young children aged 0~4 years was low and the aged became thick. The proportion of the population aged 0~4 years was 45.1% of the total population in 1970 and dropped down to 20.4% in 1995, which is predicted to become under 20% from now on. In the same period(1970~1995), the population aged 65 years and over rose from 4.2% to 11.9%. In 1960, before industrialization, the proportion of the population aged 0~4 years in rural areas was higher than that of cities. As the rural young population continuously moves to cities it became lower than that in urban areas from 1975 and the gap grew till 1990. But the proportion of rural population aged 0~4 years in 1995 became 6.2% and the gap reduced. We can say this is the change of the characteristics of in-migrants and out-migrants in the rural areas. Also considering the composition of the population by age group moving from urban to rural area in the late 1980s, 51.8% of the total migrants concentrates upon age group of 20~34 years and these people's educational level was higher than that of out-migrants to urban areas. This fact predicted the changes of the rural population, and the results will turn out as a change in the rural society. However, after comparing the population structure between the pure rural village of Boeun-gun and suburban village of Paju-gun which was agriculture centered village but recently changed rapidly, the recent change of the rural population structure which the in-migrants to rural areas becomes younger is just a phenomenon in the suburban rural areas, not the change of the total rural areas in general. From the characteristics of the population structure of rural village from the field survey on these villages, we can see that in the pure rural villages without any effects from cities the regidents are highly aged, while industrialization and urbanization are making a progress in suburban villages. Therefore, the recent partial change of the rural population structure and the change of characteristics of the in-migrants toward rural areas is effecting and being effected by the population change of areas like suburban rural villages. Although there are return migrants to rural areas to change their jobs into agriculture, this is too minor to appear as a statistic effect.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.