• Journal of the Korean Society of Marine Environment & Safety
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• v.22 no.6
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• pp.694-707
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• 2016

This study investigated the community structure of macrobenthic assemblages in the Taehwa River Estuary, Ulsan, Korea. Macrobenthos were collected with a Van Veen Grab Sampler during February and November 2012. The total species number and mean density were $176species/9.6m^2$ and $1,992inds./m^2$, respectively. Polychaetes were the most dominant faunal group in terms of species (91 species) and abundance ($1,463inds./m^2$). The major dominant species were polychaetes Minuspio japonica ($609{\pm}1,221inds./m^2$), Hediste japonica ($174{\pm}318inds./m^2$), Tharyx sp.1 ($106{\pm}283inds/m^2$), Lumbrineris longifolia ($79{\pm}207inds./m^2$), bivalve Theora fragilis ($114{\pm}272inds./m^2$) and amphipod Grandidierella japonica ($88{\pm}223inds./m^2$). Based on community statistics (cluster analysis and non-metric multidimensional scaling (nMDS) ordination), the macrobenthic community was divided into three station groups. Group I(freshwater dominated stations 2-6 with coarse sediment) was characterized by a high abundance of polychaetes Minuspio japonica, Hediste japonica, Capitella capitata, Pseudopolydora kempi, amphipods Grandidierella japonica and Apocorophium acutum. Group II (ecotone, stations 7-9 with mixed sediment) was numerically dominated by bivalve Theora fragilis, polychaetes Cirriformia tentaculata, Tharyx sp.1, Lumbrineris longifolia and Chaetozone sp. Finally, Group III (seawater dominated stations 10-12 with fine sediment) was characterized by a high density of polychaete Magelona japonica. These results showed that changes in salinity gradient and sedimentary characteristics were the main factors behind spatial changes in the macrobenthic communities of the Taehwa River Estuary.

• The Journal of Art Theory & Practice
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• no.4
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• pp.33-56
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• 2006

The cultural debates between conservatives and liberals at the end of the 1980s and in the early 1990s were termed as "culture wars." The "culture wars" involved a diverse range of controversial issues, such as the introduction of multicultural curricula in educational institutions, prayers in schools, whether to allow gays to serve openly in the military, and whether abortion should be permitted. The most heated debates of the "culture wars" regarding art raged over the NEA and the question of whether Andres Serrano's works should have been publicly funded, in addition to the exhibition "Robert Mapplethorpe: The Perfect Moment" which were charged as projecting "obscene" or "blasphemous" images. This paper examines the development of culture wars in art and focuses on several issues invoked by the NEA debates. However, it is not a detailed chronological investigation. Rather it pays attention to the several phases of the debates, analyzing and criticizing the clashes of the political and esthetical points of views between conservatives and liberals. How could NEA funding, a mere fraction of the federal budget, have become so critical for both sides(conservative and liberal), for politicians and artists' groups, and for academics and the general public? The art community was astounded by this chain of events; artists personally reviled, exhibitions withdrawn and under attack, the NEA budget threatened, all because of a few images. For conservative politicians, the NEA debate was not only a battle over the public funding of art, but a war over a larger social agenda, a war for "American values and cultures"based on the family, Christianity, the English language, and patriarchy. Conservative politicians argued the question was not one of "censorship" but of "sponsorship," since the NEA charter committed it to "helping museums better serve the citizens of the United States."Liberals and art communities argued that the attempt to restrict NEA funding violated the First Amendment rights of artists, namely "free speeches." "No matter how divided individuals are on matters of taste," Arthur C. Danto wrote, "freedom is in the interest of every citizen." The interesting phase is that both sides are actually borrowing one another's point of view when they are accompanied by art criticism. Kramer, representative of conservative art critic, objected the invasion of political contents or values in art, and struggled to keep art's own realm by promoting pure aesthetic values such as quality and beauty. But, when he talked about Mapplethorpe's works, he advocated political and ethical values. By contrast, art experts who argued for Mapplethorpe's works in the Cincinnati trial defended his work, ironically by ignoring its manifest sexual metaphor or content although they believed that the issues of AIDS and homosexuality in his work were to be freely expressed in the art form. They adopted a formalistic approach, for example, by comparing a child nude with putti, a traditional child-angel icon. For a while, NEA debates made art institutions, whether consciously or unconsciously, exert self-censorship, yet at the same time they were also producing positive aspects. To the majority of people, art was still regarded as belonging to the pure aesthetic realm away from political, economical, and social ones. These debates, however, were expanding the very perspective on the notion of what is art and of how art is produced, raising questions on art appreciation, representation, and power. The interesting fact remains: had the works not been swiped in NEA debates, could the Serrano's or Mapplethorpe's images gain the extent of power and acceptance that it has today?

• The Journal of Art Theory & Practice
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• no.4
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• pp.57-76
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• 2006

From the late 1920s to the 1930s, Korea's fine art community focused on traditional viewpoints as their main topic. The traditional viewpoints were discussed mainly by Korean students studying in Japan, especially oil painters. Such discussions on tradition can be divided into two separate halves, namely the pre- and post-Sino-Japanese War (1937) periods. Before the war, the modernists among Korea's fine art community tried to gain a fuller understanding of contemporary Western modern art, namely, expressionism, futurism, surrealism, and so forth, on the basis of Orientalism, and borrow from these schools' in order to create their own works. Furthermore, proponents of Joseon's avant-garde fine arts and artists of the pro-fine art school triggered debate on the traditional viewpoints. After the Sino-Japanese War, these artists continued to embrace Western modern art on the basis of Orientalism. However, since Western modern fine art was regressing into Oriental fine art during this period, Korean artists did not need to research Western modern fine art, but sought to study Joseon's classics and create Joseon's own avant- garde fine art in a movement led by the Munjang group. This research reviews the traditional view espoused by the Munjang group, which represented the avant-garde fine art movement of the post-war period. Advocating Joseon's own current of avant-garde fine art through the Munjang literary magazine, Gil Jin - seop, Kim Yong-jun and others accepted the Japanese fine art community's methodology for the restoration of classicism, but refused Orientalism as an ideology, and attempted to renew their perception of Joseon tradition. The advocation of the restoration of classicism by Gil Jin-seop and Kim Yong-jun appears to be similar to that of the Yasuda Yojuro-style restoration of classicism. However, Gil Jin-seop and Kim Yong-jun did not seek their sources of classicism from the Three-Kingdoms and Unified Silla periods, which Japan had promoted as a symbol of unity among the Joseon people; instead they sought classicism from the Joseon fine art which the Japanese had criticized as a hotbed of decadence. It was the Joseon period that the Munjang group chose as classicism when Japan was upholding Fascism as a contemporary extremism, and when Hangeul (Korean writing system) was banned from schools. The group highly evaluated literature written in the style of women, especially women's writings on the royal court, as represented by Hanjungnok (A Story of Sorrowful Days). In the area of fine art, the group renewed the evaluation of not only literary paintings, but also of the authentic landscape paintings refused by, and the values of the Chusa school criticized as decadent by, the colonial bureaucratic artists, there by making great progress in promoting the traditional viewpoint. Kim Yong-jun embraced a painting philosophy based on the painting techniques of Sasaeng (sketching), because he paid keen attention to the tradition of literary paintings, authentic landscape paintings and genre paintings. The literary painting theory of the 20th century, which was highly developed, could naturally shed both the colonial historical viewpoint which regarded Joseon fine art as heteronomical, and the traditional viewpoint which regarded Joseon fine art as decadent. As such, the Munjang group was able to embrace the Joseon period as the source of classicism amid the prevalent colonial historical viewpoint, presumably as it had accumulated first-hand experience in appreciating curios of paintings and calligraphic works, instead of taking a logical approach. Kim Yong-jun, in his fine art theory, defined artistic forms as the expression of mind, and noted that such an artistic mind could be attained by the appreciation of nature and life. This is because, for the Munjang group, the experience of appreciating nature and life begins with the appreciation of curios of paintings and calligraphic works. Furthermore, for the members of the Munjang group, who were purists who valued artistic style, the concept of individuality presumably was an engine that protected them from falling into the then totalitarian world view represented by the Nishita philosophy. Such a 20th century literary painting theory espoused by the Munjang group concurred with the contemporary traditional viewpoint spearheaded by Oh Se-chang in the 1910s. This theory had a great influence on South and North Korea's fine art theories and circles through the Fine Art College of Seoul National University and Pyongyang Fine Art School in the wake of Korea's liberation. In this sense, the significance of the theory should be re-evaluated.

• The Journal of Art Theory & Practice
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• no.4
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• pp.77-104
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• 2006

The propaganda paintings in oil colors or in forms of posters made from 1949 to 1966 have gone through some changes experiencing the influence of the Soviet Union Art and discussion of nationalization, while putting political messages of the time in the picture planes. The propaganda paintings which have been through this process became an effective means of encouraging the illiterate people in political ideologies, production, and learning. Alike other propaganda paintings in different mediums, the ones which were painted in oil colors and in the form of posters have been produced fundamentally based on Mao Zedong's intensification of the literary art on the talks on literature at Yenan. Yet, the oil paintings and posters were greatly influenced by the socialist realism and propaganda paintings of the Soviet Union, compared to other propaganda paintings in different mediums. Accordingly, they were preponderantly dealt in the discussions of nationalization of the late '50s. To devide in periods, the establishment of People's Republic of China in 1949 as a diverging point, the propaganda paintings made before and after 1949 have differences in subject matters and styles. In the former period, propaganda paintings focused on the political lines of the Communists and enlightenment of the people, but in the latter period, the period of Cultural Revolution, the most important theme was worshiping Mao Zedong. This was caused by reflection of the social atmosphere, and it is shown that the propaganda painters had reacted sensitively to the alteration of politics and the society. On the side of formalities, the oil paintings and posters made before the Cultural Revolution were under a state of unfolding several discussions including nationalization while accepting the Soviet Union styles and contents, and the paintings made afterwards show more of unique characteristics of China. In 1956, the discussion about nationalization which had effected the whole world of art, had strongly influenced the propaganda paintings in oil colors more than anything. There were two major changes in the process of making propaganda paintings in oil colors. One was to portray lives of the Chinese people truthfully, and the other was to absorb the Chinese traditional styles of expression. After this period, the oil painters usually kept these rules in creating their works, and as a result, the subject matters, characters, and backgrounds have been greatly Sinicized. For techniques came the flat colored surface of the new year prints and the traditional Chinese technique of outlining were used for expressing human figures. While the propaganda paintings in oil colors achieved high quality and depth, the posters had a very direct representation of subject matters and the techniques were unskilled compared to the oil paintings. However, after the establishment of People's Republic of China, the posters were used more than any other mediums for propagation of national policy and participation of the political movements, because it was highly effective in delivering the policies and political lines clearly to the Chinese people who were mostly illiterate. The poster painters borrowed techniques and styles from the Soviet Union through books and exhibitions on Soviet Union posters, and this relation of influences constantly appears in the posters made at the time. In this way, like the oil paintings, the posters which have been made with a direct influence of the Soviet Union had developed a new, sinicised process during the course of nationalization. The propaganda paintings in oil colors or in forms of posters, which had undergone the discussion of nationalization, had put roots deep down in the lives of the Chinese people, and this had become another foundation for the amplification of influences of political propaganda paintings in the following period of Cultural Revolution.

• Journal of the Korea Organic Resources Recycling Association
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• v.23 no.2
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• pp.36-46
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• 2015

Integration of crop-livestock farming has been a problem-solving mode for abatement of environmental pollution and recovery of resources in recent years. The objectives of this study were 1) to suggest the customized integration of crop-livestock farming model reflecting the regional characteristics through in-depth analysis of case study and 2) to analyze the livestock nutrients flow in terms of three primary elements as nitrogen(N), phosphorous(P), and potassium(K). The personal interview and survey were carried out in 2012 for a total of 161 farms from four different regions(NS, NW, JJ, YC) in South Korea. The mass balance analysis was used to suggest and evaluate the models for two sites(JJ and YC). The results showed that NS and NW sites produced relatively more livestock manure than the sites of YC and JJ because of the regional differences in livestock numbers and urbanization. The models were suggested for the site JJ and site YC, and 'two track model(energy and resource recovery)' and 'dispersal type model' were assigned respectively. For the nutrient flows, the releasing P and K with new models had increased up to 7%, while N release had decreased down to 15% in both YC and JJ sites compared to the present treatment system. Estimated value showed that there was oversupply of N (719 ton/yr) and $P_2O_5$ (1,269 ton/yr) in YC and deficiency of N (671 ton/yr) and excessive $P_2O_5$ (32 ton/yr) in JJ respectively. Therefore, P runoff has to be considered an eutrophication occurs in rural small stream when an integration of crop-livestock farm system is applied into both sites.

• Korean Security Journal
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• no.34
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• pp.89-113
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• 2013

Travel by airplane using airport in globalized modern society is familiar to our life but such airport can be a target of terrorists who would threaten our safety. However, aviation terrorism which is represented by 9.11 terror gives horror beyond our imagination to modern people. Since the first airplane hijacking in Peru in 1931 happened, security organization in each nation has taken various prevention measures to block aviation terrorism. The most realistic measures to prevent aviation terrorism would be security check activity to control approach of terrorist that passengers on airplane and cargos are checked to find out dangerous article like explosive etc. But security check activity in Korea shifted to security check activity focused on private security for efficiency of airport operation differently from security check activity in advanced countries where public interests is strengthened according to risk of terror after 9.11 system. That is, since Incheon airport opened in March 2001, security check system focused on the police was changed. Now Incheon international airport Corporation instructs and supervises security check job and private security personnel are in charge of actual security check activity. But this check system has limitation in blocking terror activity by terrorists which is systematized and intelligent as time passes due to deteriorated job satisfaction of private security personnel and confusing supervising system. Accordingly, it is suggested to introduce risk management skill which is one of management strategy of private corporation for security check activity to prevent terror activity. With this skill, risk factors of aviation terror are identified and analyzed regularly, and each process such as setting of priority, activity to reduce risk, and assessment of security is carried out. And it would be necessary to do efforts, for example, to properly change level of security check according to threat of terror such as to place policeman at airport security in case threat of terror is severe. On the other hand, it is necessary to establish national police organization for good communication of security check activity in field and supervising function, which can encourage systematization and specialization of aviation security job.

• Journal of Sericultural and Entomological Science
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• v.17 no.2
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• pp.101-118
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• 1975

The pathogenicity of hexagonal and tetragonal cytoplasmic polyhedron virus to one of present leading silkworm varieties, Jam 103${\times}$Jam 104, and its parents, Jam 103 and Jam 104, was investigated. The activation of occult virus by oral inoculation of foreign virus as well as the interference phenomena between the activated and inoculated cytoplasmic polyhedron viruses was observed and the results obtained are as follows. 1. The pathogenicity of cytoplasmic polyhedrosis viruses. 1) There was a high significant difference in the pathogenicity of hexagonal polyhedron virus between the hybrid and its parents showing the lowest infection rate in the hybrid (Jam 103${\times}$Jam 104), medium infection rate in the Japanese line (Jam 103) and the highest infection rate in the Chinese line (Jam 104). In the pathogenicityof tetragonal polyhedron virus, a significant difference was observed only between the hybrid (Jam 103${\times}$Jam 104) and the Chinese line (Jam 104) by showing a higher infection rate in the Chinese line than in the hybrid. 2) The pathogenicity of both hexagonal and tetragonal polyhedron viruses showed a high significant difference in different silkworm instars inoculated by showing a higher infection rate at the second instar than at the fourth instar. 3) The pathogenicity of both hexagonal and tetragonal polyhedron viruses was increased as the concentration of viruses inoculated increased. 2. The phenomena of induction and interference by oral inoculation of foreign virus. 1) The induction rate of cytoplasmic polyhedrosis virus was higher in the parents than in the hybrid. In the parents. a higher rate in the Chinese line than in the Japanese line was observed. 2) The effect of inoculation at different instars on the induction was studied and the induction rate was higher at the second instar inoculated than at the fourth instar inoculated. 3) The degree of activation of hexagonal polyhedron virus with inoculation of tetragonal polyhedron virus was very high when a lower concentration of virus was inoculated and it was very low when a higher concentration of virus was inoculated 4) The degree of activation of tetragonal polyhedron virus with inoculation of hexagonal polyhedron virus was very low when a lower concentration of virus was inoculated and it was not observed when a higher concentration of virus was inoculated. 5) The mixed infection rate with hexagonal and tetragonal polyhedron viruses was higher at the second instar inoculated than at the fourth instar inoculated. 6) It was observed that the secondary hexagonal pc]yhedron virus activated interfered with the primary tetragonal polyhedron virus inoculated when the inoculated concentration of the primary virus is low and the primary virus inoculated interfered with the secondary virus activated when the inoculated concentration of the primary virus is high.

• Food Science and Preservation
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• v.17 no.2
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• pp.190-195
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• 2010

Pressure, used as a minimal processing technology in the food industry, is a valuable tool ensuring microbiologically safe, shelf-stable fruit and vegetable production. Pressure could be used to deliver a greater variety of minimally processed products, as demanded by today's consumers. Weevaluated the effect of <400 MPa pressure, applied during chilling, on fresh fruit purees (strawberry, kiwi, aloe, and pomegranate) and vegetable extracts (from carrot and spinach) during cold storage (<$10^{\circ}C$) for 15-20 days. Samples were prepared in a processing facility in which total plate counts of falling and floating bacteria were controlled at $1{\times}100-10^1$ CFU/plate and $1{\times}10^2-10^3$ $CFU/m^3$ under conditions of $21-25^{\circ}C$ and 55-60% relative humidity. The aerobic plate counts of raw materials were less than $1{\times}10^3$ CFU/g. Evaluation parameters included microbiological safety, vitamin content, and sensory qualities. Although the overall quality of non-treated samples deteriorated with storage time at $10^{\circ}C$, samples pressurized at 250-350 MPa at $5-7^{\circ}C$ for 10 min showed less change, with no significant difference in microbiological safety, vitamin content, or sensory quality. The use of pressure extended the shelf-life during storage at $10^{\circ}C$.

• The Korean Journal of Malacology
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• v.28 no.3
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• pp.233-244
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• 2012

Goseong bay, located in southeast sea of Korea with an area of 2,100 ha, is a semi-enclosed bay well-known for oyster farming cultured in an extended range of 148 ha. The objective of this study is to provide the fundamental data in order to manage the effective sea area. A total 26 of surface sediment were collected from Goseong bay to evaluate their sedimentary environment and heavy metals. The loss on Ignition (LOI), C/N ratio, acid volatile sulfide (AVS) and heavy metals were analyzed. loss on ignition (LOI) of surface sediment range from 1.00% to 3.03% (average 2.00%). The carbonate content ranges from 0.52% to 4.29% (average 2.37%). C/N ratio of organic matter showed that most part of organic matter comes from neighboring continent. Acid volatile sulfide (AVS) value of surface sediment from 0.02 mg/g to 1.43 mg/g (average 0.24 mg/g). A ten element of surface sediments (Al, As, Cd, Cr, Cu, Hg, Ni, Pb, V, Zn) were calculated by enrichment factor (Ef) and the results show that some areas are highly polluted with respect Cu and Hg. The correlation matrix displays the existence of remarkable levels of correlation with both positive and negative values among different variable pairs. LOI and AVS showed both positive values. LOI and AVS values falls under 2% and 1%. Therefore, Goseong bay showed good in quality of sediment.

• Journal of the Korean earth science society
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• v.32 no.6
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• pp.665-673
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• 2011

In order to estimate the hydrocarbon reserves, the porosity of the reservoir must be determined. The porosity of the area without a well is generally calculated by extrapolating the porosity logs measured at wells. However, if not only well logs but also seismic data exist on the same site, the more accurate pseudo porosity log can be obtained through artificial neural network technique by extracting the relations between the seismic data and well logs at the site. In this study, we have developed a module which creates pseudo porosity logs by using the polynomial neural network method. In order to obtain more accurate pseudo porosity logs, we selected the seismic attributes which have high correlation values in the correlation analysis between the seismic attributes and the porosity logs. Through the training procedure between selected seismic attributes and well logs, our module produces the correlation weights which can be used to generate the pseudo porosity log in the well free area. To verify the reliability and the applicability of the developed module, we have applied the module to the field data acquired from F3 Block in the North Sea and compared the results to those from the probabilistic neural network method in a commercial program. We could confirm the reliability of our module because both results showed similar trend. Moreover, since the pseudo porosity logs from polynomial neural network method are closer to the true porosity logs at the wells than those from probabilistic method, we concluded that the polynomial neural network method is effective for the data sets with insufficient wells such as F3 Block in the North Sea.