• The Journal of Advanced Prosthodontics
• /
• v.13 no.3
• /
• pp.180-190
• /
• 2021

Purpose. This study aimed to assess the influence of various micromechanical surface conditioning (MSC) strategies with or without coupling agent (silane) application on the micro-shear bond strength (µSBS) of resin- matrix ceramics (RMCs). Materials and Methods. GC Cerasmart (GC), Lava Ultimate (LU), Vita Enamic (VE), Voco Grandio (VG), and Brilliant Crios (BC) were cut into 1.0-mm-thick slices (n = 32 per RMC) and separated into four groups according to the MSC strategy applied: control-no conditioning (C), air-borne particle abrasion with aluminum oxide particles (APA), 2W- and 3W-Er,Cr:YSGG group coding is missing. The specimens in each group were further separated into silane-applied and silane-free subgroups. Each specimen received two resin cement microtubules (n = 8 per subgroup). A shear force was applied to the adhesive interface through a universal test machine and µSBS values were measured. Data were statistically analyzed by using 3-way ANOVA and Tukey HSD test. Failure patterns were scrutinized under stereomicroscope. Results. RMC material type, MSC strategy, and silanization influenced the µSBS values (P<.05). In comparison to the control group, µSBS values increased after all other MSC strategies (P<.05) while the differences among these strategies were insignificant (P>.05). For control and APA, there were insignificant differences between RMCs (P>.05). The silanization decreased µSBS values of RMCs except for VE. Considerable declines were observed in GC and BC (P<.05). Conclusion. MSC strategies can enhance bond strength values at the RMC - cement interface. However, the choice of MSC strategy is dependent on RMC material type and each RMC can require a dedicated way of conditioning.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.33 no.12
• /
• pp.1883-1896
• /
• 2009

This paper explores the use of Korean wrapping cloths (bojagi) in the late Joseon period and the types of decorations applied to them. Korean wrapping cloths called bojagi are pieces of cloths used by households of all social classes for practical purposes such as wrapping presents and covering food. In addition to the basic purposes, the making of bojagi was also an activity to express the down-to-earth wishes and the satisfaction of creation by the designer. With regard to the decorative feature of Korean wrapping cloths, five types of, patchwork, embroidered, painted, printed, and oiled-paper wrapping cloths, were examined. The patchwork wrapping cloths (jogakbo) show the frugality of Joseon women in addition to the well-developed composition skill of lines and colors. The embroidered wrapping cloths were prepared for special rituals and ceremonies such as weddings. Painted wrapping cloths were decorated with a Chinese-colors technique (called dangchae) or sometimes with black ink painting. For printed wrapping cloths, various sizes of woodblock printings and roller printings were used. Although monotone black ink was the main color applied to the printing, there was also wrapping cloths made from chintz having brilliant fast colors. Oiled-paper wrapping cloths called sikjibo were in use only for covering food. Cut-out work was employed to decorate it.

• The Journal of Art Theory & Practice
• /
• no.1
• /
• pp.49-70
• /
• 2003

What is an exhibition? Is it of the system which is designed to serve Art Works in their representation, or is it a place where the artistic presentation could be considered as art work itself? After modernist era, the role of exhibitional space might have been shifted from those two principle raison d'$\^{e}$tre of exhibitional space into another, a new one. What Deleuze would call it as he borrowed the term from Spinozian philosophy : the Affectional Space. This new type of exhibitional space has been announced since 1969 when a Harald Szeeman, young independent curator and art critic from Swiss, has organized his brilliant exhibition "When Attitudes become Form" in Bern. For sure, these intensities in curatorial practices have been existing before like some early 20th century exhibitional efforts by Marcel Duchamp, El Lissitzky, Yve Klein, etc. It has influenced much on many of, otherwise most of contemporary art exhibiting practices. And now it seems to be necessary to give it a conceptual idea which could enlighten better the new paradigm of exhibitional practices that we try to clarify. I would propose the idea of that new exhibitional space as "space of non-organic becoming". This idea is inspired by Deleuze's ever famous philosophical work Thousand Plateaus, which, with Folds by the same author, has contributed to many contemporary and aesthetical debating issues. What is "affect"? Explaining about Spinoza's principle concepts, Deleuze defines it as a kind of durations or variations which are constituted by different levels of perfection. One perfection is precedented or followed by certain perfection bigger or lesser through lived transitions or passages. So each time it actualizes and reflects the state of All as a cut of Reality while each state of affections, images or ideas can not be separated from the duration which binds it to the precedent state and extends it to following one. Affect is also a term of changes. One affects at the same time it is affected. Exhibitional space as affect (or affectional space) is distinguished from representational and presentational space in the way it attributes movement, produces arrangements and generates new factors of artistic creation including those which are outside of ever accepted artistic elements. The concepts of affectional space are used especially to enlighten contemporary situation of artistic and curatorial processes. Art is no more limited to be seen as mere objects of aesthetical admiration, nor as art vis-$\`{a}$-vis art relationship apart from the whole. It includes possibilities and virtuality that appear in the imperceptible and undescribable manners if delimited in given language. As once noticed by Kuhn, we might be living in a paradigmatically shifting world, not only in Art but also in Life. And we need to express it more with Art as moving and affectional nods than as just a clean window or a distinct manual book.

• Proceedings of the Korea Water Resources Association Conference
• /
• 2015.05a
• /
• pp.237-237
• /
• 2015

The district of Marlborough has had more than its share of river management projects over the past 150 years, each one uniquely affecting the geomorphology and flood hazard of the Wairau Plains. A major early project was to block the Opawa distributary channel at Conders Bend. The Opawa distributary channel took a third and more of Wairau River floodwaters and was a major increasing threat to Blenheim. The blocking of the Opawa required the Wairau and Lower Wairau rivers to carry greater flood flows more often. Consequently the Lower Wairau River was breaking out of its stopbanks approximately every seven years. The idea of diverting flood waters at Tuamarina by providing a direct diversion to the sea through the beach ridges was conceptualised back around the 1920s however, limits on resources and machinery meant the mission of excavating this diversion didn't become feasible until the 1960s. In 1964 a 10 m wide pilot channel was cut from the sea to Tuamarina with an initial capacity of $700m^3/s$. It was expected that floods would eventually scour this 'Wairau Diversion' to its design channel width of 150 m. This did take many more years than initially thought but after approximately 50 years with a little mechanical assistance the Wairau Diversion reached an adequate capacity. Using the power of the river to erode the channel out to its design width and depth was a brilliant idea that saved many thousands of dollars in construction costs and it is somewhat ironic that it is that very same concept that is now being used to deal with the aggradation problem that the Wairau Diversion has caused. The introduction of the Wairau Diversion did provide some flood relief to the lower reaches of the river but unfortunately as the Diversion channel was eroding and enlarging the Lower Wairau River was aggrading and reducing in capacity due to its inability to pass its sediment load with reduced flood flows. It is estimated that approximately $2,000,000m^3$ of sediment was deposited on the bed of the Lower Wairau River in the time between the Diversion's introduction in 1964 and 2010, raising the Lower Wairau's bed upwards of 1.5m in some locations. A numerical morphological model (MIKE-11 ST) was used to assess a number of options which led to the decision and resource consent to construct an erodible (fuse plug) bank at the head of the Wairau Diversion to divert more frequent scouring-flows ($+400m^3/s$)down the Lower Wairau River. Full control gates were ruled out on the grounds of expense. The initial construction of the erodible bank followed in late 2009 with the bank's level at the fuse location set to overtop and begin washing out at a combined Wairau flow of $1,400m^3/s$ which avoids berm flooding in the Lower Wairau. In the three years since the erodible bank was first constructed the Wairau River has sustained 14 events with recorded flows at Tuamarina above $1,000m^3/s$ and three of events in excess of $2,500m^3/s$. These freshes and floods have resulted in washout and rebuild of the erodible bank eight times with a combined rebuild expenditure of $80,000. Marlborough District Council's Rivers & Drainage Department maintains a regular monitoring program for the bed of the Lower Wairau River, which consists of recurrently surveying a series of standard cross sections and estimating the mean bed level (MBL) at each section as well as an overall MBL change over time. A survey was carried out just prior to the installation of the erodible bank and another survey was carried out earlier this year. The results from this latest survey show for the first time since construction of the Wairau Diversion the Lower Wairau River is enlarging. It is estimated that the entire bed of the Lower Wairau has eroded down by an overall average of 60 mm since the introduction of the erodible bank which equates to a total volume of $260,000m^3$. At a cost of $$0.30/m^3$ this represents excellent value compared to mechanical dredging which would likely be in excess of $$10/m^3$. This confirms that the idea of using the river to enlarge the channel is again working for the Wairau River system and that in time nature's "excavator" will provide a channel capacity that will continue to meet design requirements.