• Food Science of Animal Resources
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• v.31 no.6
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• pp.914-920
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• 2011

The aim of this study was to analyze the effects of salt and drying period on the physicochemical and sensory parameters of dry-cured ham ripened in a controlled condition. In this study, three treatments were performed: High salt group (HS), salted with 7 g $kg^{-1}salt$ (w/w); Middle salt group (MS), 5 g $kg^{-1}salt$ and; Low salt group (LS), 3 g $kg^{-1}salt$. Three conditions of drying period were applied including 180, 270 and 360 d at $19^{\circ}C$ and 65% relative humidity, and the physicochemical character and sensory properties of M. biceps femoris were investigated. pH and water activity were decreased with increasing drying period, and the pH of LS was higher than that of other treatments (p<0.05). When increasing the drying period, the hardness of HS was steadily raised for 360 d, whereas LS and MS hardened between 180 and 270 d (p<0.05), and there was no significant difference after 270 d. Cohesiveness, glumness and chewiness had a positive relationship with the drying period. Also, springiness, glumness and chewiness showed a positive relationship with salt level. Chroma and hue value were improved by increasing the salt level. As the drying period increased, the rate of hardness and flavor intensity was increased. In general, this research can be used as essential information for the mass production of dry cured ham.

• The Journal of Korean Society for Radiation Therapy
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• v.22 no.1
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• pp.33-39
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• 2010

Purpose: It is very important to confirm conformance of dose distribution that is formed with treatment planning from IMRS or IMRT. It has been a problem dropped accuracy and conformance when the field size is getting smaller because of character of the 2D ion chamber. Verification of MatriXX Phantom dose distribution with a change in the SAD. Dose distribution measurement and analysis to improve the accuracy and should be useful to evaluate the award. Materials and Methods: A use of Novalis linear accelerator 6 MV photon beams. In general, IMRS were 25 patients with small field size. The selected patients were divided into three groups on the basis of the field size. SAD was changed from 80 to 130 cm and field size to determine the dose distribution to the change, each dose was measured using MatriXX Phantom. Analysis of measured values obtained from the program for each patient through the treatment planning system comparison and analysis of the dose distribution and gamma values were expressed. Result: SAD 80, 100, and 120 cm in size in the gamma value to the investigation of patients less than $3\;cm^2$ average 0.939, 0.969, and 0.979, respectively. Patients with more than $5\;cm^2$ 0.962, 0.983, and 0.988, respectively. $5\;cm^2$ or more patients 0.982, 0.990, and 0.992, respectively. Conclusion: The error rate of less than $3\;cm^2$ field size is increased rapidly. If the field size is increased, resolution is increased by 2D ion chambers. It has been approved that it can be credible if it is around $3\;cm^2$ when measuring dose distribution using MatriXX. Adjusting geometric field size by changing SAD is likely to be very useful when you measure dose distribution using MatriXX.

• The Journal of Korean Medicine Ophthalmology and Otolaryngology and Dermatology
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• v.12 no.2
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• pp.222-247
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• 1999

The back ground and purpose : The acupuncture of oriental medicine is very important in treatments. Until now it has been researched according to the meridian and qi xue(氣血) phenomenon of oriental medicine's theory. As electroacupuncture is one of acupuncture treatments, it will show more objective index to observe the meridian and qi xue(氣血) phenomenon. And then, I studied the effects on the thermal change of the face following electroacupuncture treatment. Objective and Methods : This study was performed from January 1999 to March 1999 on 10 healthy students. The objective was divided into three groups, those were the control group A(n=10), the group B(n=10) of electroacupuncture on Hapkok($LI_4$), Samgan($LI_3$) and the group C(n=10) of electroacupuncture on Shinmun($H_7$), T' ongni($H_5$). First, in the control group A, we took a picture for 10 men without any stimulation with the Digital Infrared Thermograph Imaging(D.I.T.I.) and did 3min after, 10min after, 15min after, 25min after, 45min after respectively. Second, in the electroacupuncture treatment group B, we took a picture for 10 men without any stimulation, and then treat electroacupuncture on Hapkok($LI_4$), Samgan($LI_3$) and took a picture immediately(3min after), 10min after, 15min after and remove needle and took a picture in the same way respectively. Third, in the electroacupuncture treatment group C, we took a picture for 10 men without any stimulation, and then treat electroacupuncture on Shinmun($H_7$), T'ongni($H_5$) and took a picture in the second way respectively. Results: 1. In healthy men, average skin temperture about Yonghyang($LI_{20}$) area was higher than Soryo($G_{25}$) or Chich'ang($S_4$) area. They were Soryo($G_{25}$) area $31.495{\pm}0.766^{\circ}C$, Rt. Yonghyang($LI_{20}$) area $31.664{\pm}0.936^{\circ}C$, Lt. Yonghyang ($LI_{20}$)area $31.686{\pm}0.767^{\circ}C$, Rt. Chich'ang($S_4$) area $31.226{\pm}0.875^{\circ}$, Lt. Chich'ang ($S_4$) area $31.453{\pm}0.855^{\circ}C$. 2. In the control group A, the skin temperature of Soryo($G_{25}$) showed the increase or decrease in below ${\Delta}0.1^{\circ}C\;except\;0.265{\pm}0.594^{\circ}C$ in 25min, but not significantly. 3. About Soryo($G_{25}$) area, the skin temperature decreased significantly after electroacupuncture immediately. ${\Delta}T $of the group B was $-0.970{\pm}0.87\;1^{\circ}C$, which was larger than one of the group C which was $-0.707{\pm}0.624^{\circ}C$ at 3min. And then ${\Delta}T$ of the group C was increase valuable at 25min, 45min. 4. About Yonghyang($L1_{25}$) area, the left ${\Delta}T$ of the group B showed below $0.2^{\circ}C$ or so in contrast to the right it. In the group C, on the both side showed continous increase of temperature as following times. 5. About Chich'ang($S_4$) area, the skin temperature increased valuable $0.3^{\circ}C$ or so on the both side and later inclined to decrease in the group B but not significantly. In the group C, it increased valuable on the both side. 6. The skin temperature of electroacupuncture treatment group B, C were more increase than the control group A except Lt. Yonghyang($LI_{20}$) area in the group B. The temperature of group C were more increase than the group B wholly. Conclusion : The above results indicate that D.I.T.I. is a useful method to observe and fallow-up the effects and the changes by electroacupuncture stimulation on objective evaluation of phenomenon for the meridian system and character. Thus, continuous thermographic study will be needed for more clinical application such as acupuncture and medicine or laser therapy according to oriental medicine.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Cartoon and Animation Studies
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• s.40
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• pp.397-421
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• 2015

Aristotle's Poetics is the earliest work of dramaturgy. It explains some of the most important narrative notions, for example, Mimesis, Katharsis, Mythos(Plot), Ethos(Character), Anagnorisis and Peripeteia. etc. Aristotle considered the plot which is the arrangement of events, as the most important element of drama. This paper presents an example of a plot configuration as an alternative to the traditional narration used since Aristotle. Dead Island, developed by Techland and published by Deep Silver, is one of the most successful action role-playing survival zombie video games. Its trailer, the Winner of Gold Prize for Internet Film at Cannes Lions International Festival of Creativity in 2011. Since the purpose of the trailer is to attract the audiences/gamers to the film/game, it has generally a similer narrative method from its own works. But Dead Island trailer is different. We treat this trailer as an short animation. It could be a new example of the non-linear narrative by the control of the time for example, temporal arrangement, direction and speed. We analyse all shots of Dead Island's trailer with Poetics' rules and with $G{\acute{e}}rard$ Genette's some narrative notions for example temporal order and duration. Furthermore we look for how to maximize the audiences' curiosity by the adjustment of the time, combined with its shocking images.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.70-99
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• 2021

Yeong-am's 'Jeongwon (貞元)' stone monument, designated as the Jeollanam-do Cultural Heritage, is considered to be the oldest of the epigraphs in Jeollanam-do. Immediately after the discovery, the possibility of it being a Maehyangbi of Memorial Inscriptions was mentioned and attracted attention. However, there is an absolute age of the 'Jeongwon (貞元) of 2 years' (786), so despite it is a relatively early epigraph (金石文), there are not many papers on the theme related to this stone monument. I believe that this stone monument is a Maehyangbi (埋香碑). While reviewing and comparing the results of the existing research, I decoded the text from the 42nd character of the 4th line. As a result of the review, that was conducted, it was confirmed that this stone monument is truly a Maehyangbi (埋香碑). In particular, it was recorded in the literature of the late Joseon Dongguk-myungsanggi (東國名山記) that the letters of the Maehyangbi (埋香碑) are not recognizable. However, it is clearly stated that this stone monument is a Maehyangbi (埋香碑). Although there is no common expression for 'bury (埋)' or 'incense burial (埋香)' in the traditional Maehyangbi (埋香碑), which were popular in the late Goryeo and early Joseon Periods, it can be seen that it is a Maehyangbi (埋香碑) from the words "hide (呑藏)" and "10 bundles of fragrant incense (合香十束)" that are engraved on the stone monument with the name 'Jeongwon.' In other words, it is thought that it meant 'hide (呑藏)' instead of 'bury (埋)'. Circumstantial evidence for the monument of Jingamseonsa (眞鑑禪師), built in 888, contains the an epigraph from the Unified Silla Era. There is a phrase on it that says 'Plant incense on the shore (海岸植香)' on the monument of Jingamseonsa (眞鑑禪師), and it conveys its meaning without using the character 'bury (埋)'. As a result of the absence of the character 'bury (埋)' on the stone monument with the name 'Jeongwon', it is not considered as a Maehyangbi (埋香碑). However, there is evidence that the stone monument with the name 'Jeongwon (貞元)' is in fact a Maehyangbi (埋香碑) and it is also in the Geumpyoseok (禁標石; Forbidden Stone) around Gukjangsaeng (國長生) and at the entrance of Dogapsa Temple (道甲寺). The letters written on the gold sign suggest the possibility that the charcoal used to burn incense (香炭) at the royal tombs of King Jeongjo (正祖) was produced around at Dogapsa Temple (道甲寺) in Wolchulsan (月出山). Since the charcoal used to burn incense (香炭) is naturally related to incense (香), it has been shown that the area around Wolchulsan, where Dogapsa Temple is located, has a long history related to incense (香). The letters visible on the stone monument, the record of Dongguk-myungsanggi (東國名山記) in the late Joseon Dynasty, and the letters on the Geompyoseok (禁標石; Forbidden Stone), all show that the stone monument with the name 'Jeongwon (貞元)' is a Maehyangbi (埋香碑). Considering the fact that the earliest Maehyangbi (埋香碑) in existence is the Maehyangbi (埋香碑) in Yeongam (靈巖) Ippam-ri (笠巖里), which has two dates from 1371 at the end of Goryeo and 1410 at the beginning of Joseon, the stone monument with the name 'Jeongwon' which was set up in 786, would be the oldest Maehyangbi (埋香碑) that we know of. In addition, there is a historical significance in that the Maehyangbi (埋香碑) is proven in the record of Dongguk-myungsanggi (東國名山記), a document from the late Joseon period.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.30 no.2
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• pp.181-187
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• 2004

Preparations of mesoporous materials using various templates and their applicability have been intensively investigated for many years. We studied on synthesizing mesoporous Ti02 with pores in which sensitive compounds having weak physico-chemical properties such as thermal or UV irradiation and low solubility in solvent are trapped. Prior to trapping OMC in the pores of mesoporous titania, OMC was nano-emulsified in O/W system using Lecithin. Thereafter the OMC was trapped in the pores of mesoporous titania using sol-gel method. Main focus of this work is to prepare OMC-trapped mesoporous titania and to trace the stability and solubility of nano-emulsified OMC in the pores of mesoporous titania, and compared with that of mesoporous silica. OMC-trapped mesoporous Inorganic-Organic hybrid titania showed higher factors in sun protecting and a skin penetration phenomenon was reduced.

• Archives of design research
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• v.12 no.3
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• pp.237-246
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• 1999

The study ooramed has the meanngs as a goal, to examine a character and changes of function a "Maru" in the literatures historically. Methodically the literatures in the temporal oonsequences were selected, and the "Maru", whidl oomes into it, was interpreted in its historical oonnections. By the investigation I oould oome to the following results. First of all, those terms "Maru" and "Daechll1Q" were cfifferently used after the sizes and p1ares of the spaces concerned. I.e, the "Maru" in the center of the house is called "Daed1ung", With the Maru does not concern actually its p1are, Secondly, the functions of the spare "Maru" are characterized as follows. ·Space for the important ceremonies ·Spare for the passage and the switching of two or several spaces. ·Determination of the hierardly of spares in the whole house. ·Spare for the receipt. ·Spare for sleeping and for living. ·Spare for work, storage etc. Thirdly, the meanings of the "Maru" were dlanged as follows in the time. ·The term "Man! was used from the past to today without interrujjion. Arot.l1d 1930 the tenns "Yangsil" and "Geosil" for the tenn "Maru" were emerged. ·The different dlaraderistics for the space "Maru" are found in the cortemporary literatures only rare. This thing explains itself by the fad that the "Maru" becomes the inner-spare after 1900 by the restructuring of the dwelling spares.hing explains itself by the fad that the "Maru" becomes the inner-spare after 1900 by the restructuring of the dwelling spares.

• Journal of the Korea Convergence Society
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• v.9 no.4
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• pp.85-91
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• 2018

This is a qualitative research that was carried out to analyze the experience of loneliness of the elderly people living alone using the result of focus group interviews. This study conducted interviews with 28 subjects in the Senior Welfare Center of D city. For the purpose, 28 persons were divided into 5 groups, and interviews were carried out with each group for 50-70 minutes. and the voluntary character of research participation was sufficiently explained. As a result of the research, three topic collections consisting of 'Unavoidable lonesomeness', 'Inevitable death', and 'Acceptance of my life' and seven subjects, which consist of 'Absence of spouse', 'Independence for children', 'Death of neighbor (friend)', 'Fear of death left alone', 'Laying down', 'Taking care of my health', and 'Soothing loneliness in my own way', were derived. The elderly persons living alone who participated in this research expressed their feeling of unavoidable loneliness and their effort to overcome the loneliness. Based on the findings of this research, it is hoped that diverse plans to overcome psychological loneliness of the elderly people living alone will be developed.

• Cartoon and Animation Studies
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• s.49
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• pp.677-696
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• 2017

Cartoons and consequently animation are an effective way of visualizing futuristic scenarios. Here we look at how animation is becoming ubiquitous and an integral part of this future today: the cybernetic and mediated society that we are being transformed into. Animation therefore becomes a form of speech between humans and this networked reality, either as an interface or as representation that gives temporal form to objects. Animation or specifically animated films usually are associated with character based short and feature films, fiction or nonfiction. However animation is not constricted to traditional cinematic formats and language, the same way that design and communication have become treated as separate fields, however according to $Vil{\acute{e}}m$ Flusser they aren't. The same premise can be applied to animation in a networked culture: Animation has become an intrinsic to design processes and products - as in motion graphics, interface design and three-dimensional visualization. Video-games, virtual reality, map based apps and social networks constitute layers of an expanded universe that embodies our network based culture. They are products of design and media disciplines that are increasingly relying on animation as a universal language suited to multi-cultural interactions carried in digital ambients. In this sense animation becomes a discourse, the same way as Roland Barthes describes myth as a type of speech. With the objective of exploring the role of animation as a design tool, the proposed research intends to develop transmedia creative visual strategies using animation both as narrative and as an user interface.