• The Korean Journal of Pesticide Science
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• v.14 no.4
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• pp.319-325
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• 2010

To understand the influences of the substituents ($R_1{\sim}R_4$) on insecticidal activity of N'-phenyl-N-methylformamidine analogues (1~22) against two spotted spider mite (Tetranychus urticae), comparative molecular field analysis (CoMFA) model and comparative molecular similarity indices analysis (CoMSIA) model as three dimensional quantitative structure-activity relationships (3D-QSARs) model were derived and discussed quantitatively. From the results, the correlativity and predictability ($r^2{_{cv.}}=0.575$ and $r^2{_{ncv.}}=0.945$) of the CoMFA 1 model were higher than those of the rest models. The the CoMFA 1 and CoMSIA 1 model with the sensitivity of the perturbation and the prediction produced ($d_q{^{2'}}/dr^2{_{yy}}=1.071{\sim}1.146$ & $q^2=0.545{\sim}0.626$) by a progressive scrambling analysis were not dependent on chance correlation. The insecticidal activities from the optimized CoMFA 1 model were depend upon the steric field (62.5%), electrostatic field (28.9%), and hydrophobic field (8.6%) of N'-phenyl-N-methylformamidine analogues. Therefore, the inhibitory activities with optimized CoMFA 1 model were dependent upon steric factor. From the contour maps of the optimized models, it is predicted that the structural distinctions that contribute to the insecticidal activity will be able to applied new potent insecticides design.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.12-26
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• 2014

This study has researched the forms of arrangement and use of the oddly shaped stones which were used at palaces during Joseon Dynasty based on arrangements of stones as shown in Donggwoldo(東闕圖), and tried to identify its special features. The sorts of stone's arrangements which set formal patterns by assisting an axis in Donggwoldo can be classified as the single type using one stone, the symmetrical type using 2 stones symmetrically and the parallel type using 3 or more stones. The single type was used to endow a focal point and to accent centrality by arranging a stone on the axis performed from formal shaped buildings. The symmetrical type was used to show order and hierarchy by placing two odd-shaped stones on either side of a building. And the parallel type which is arranged three stones side by side, is put a middle stone on the central axis line to determine strong directional and frontality. Also similarity to method of arrangement of stones can be found from planting trees in a prominent way for scenery or planting trees symmetrically. Stones and trees can be chosen according to nature and scale of places and basically their effects of formation of axis and creating typical space is same. Based on these respect, the characteristics of arrangement of stones shown in Donggwoldo can be briefly summarized as follows. First, the oddly shaped stones were used by creating a centripetal space in order to show a grade of rank. Second, the distances among stones could be adjusted to the sizes of the architecture which was at the center. The aim was to provide stability through the balanced composition between the central axis and symmetrical structures. Third, the form of regularity was added by using stone vase in consideration of irregular shape of stone causing interference in forming regular symmetry. Fourth, a centrality was emphasized by adding change to central stones in the parallel type used 3 erect stones. Fifth, the sizes of stone were limited in order to make smooth for the mix and adjustment of its position with the types of other garden ornaments, so the oddly shaped stones in palace have portability. Sixth, the oddly shaped stones in palace which were appreciated as inspirational object basically were a sculpture of the same quality with suiseki (壽石), and the appreciative method, the composition and shape had developed in the same texture. Finally, the even number of stones by parallel type were arranged by equal partition. But odd number of stones followed the method with symmetrical arrangement on its center stone. These principles of stone arrangement are judged as distinguishing methods which oddly shaped stones was made and used in Joseon palaces.

• Korean Journal of Agricultural Science
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• v.5 no.2
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• pp.127-135
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• 1978

For improvement and new design of tillage equipments, indoor test is very useful and more desirable than outdoor because the experiment of outdoor is very difficult and its cost is expensive. This study was carried out to determine the physical properties of artificial soil suitable for the indoor test with the soil bin manufactured at the workshop of the Dept. of Agricultural Machinery Engineering. The artificial soil being studied was made with very similarity to the natural soil of the experimental plots of Chungnam National University, and it consist of 39.35 percent, by weight of bentonite and 48.10 percent of sand with 12.55 percent of SAE 10W oil. The results are summarized as follows: 1. Bulk density increased with increasing number of rolling, and its relationship could be expressed. $y=1.073200+0.070780x-0.002263x^2$ where, y=bulk density ($g/cm^3$), x=number of rolling. These results could be explained that the effect of rolling velocity on the bulk density was not singnificant in the range of 4.5~10.4 em/sec. 2. The absolute soil hardness depended directly upon number of rolling, and their relationship could be expressed by the equation. $y=37.74(0.64 +0.17x-0.0054x^2)/(3.36-0.17x-0.0054x^2)^3$. where, y=absolute soil hardness($kg/cm^3$), x=number of rolling. 3. Relationship between the bulk density and absolute soil hardness could be expressed by the equation; $y=37.74(2.46x-2.02)/(6.02-2.46x)^3$. where, y=absolute soil hardness, x=bulk density. 4. The cohesion and the angle of internal friction of artificial soil were increased with increasing its bulk density. According to the cohesion and angle of internal friction, at the range of 1.60~1.75 ($g/cm^3$) of bulk density, this artificial soil was similar with sandy loam of 29.5% moisture content of natural soil. 5. Sliding-fricfion coefficient of steel plate on the artificial soil was 0.3~0.4 and rubber plate on it is 0.64~0.72. Those values were very similar with those of natural soil being studies by many others.

• Journal of Science of Art and Design
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• v.7
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• pp.5-63
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• 2005

Generally, the meanings of destruction are related in the meaning of demolition, breakdown, into fragments ... and so on, and the similar meanings are twist, crush, demolish, split, cut, into pieces , break up ... etc. Further, it has related in the cruelty and destructive heart which are linked with orgy, Sadism, Necrophilia and so on. The meanings are also expressed by the initial , which are deprivation, deface, defame, deform, degrade, delegitimize, denounce , deride, destroy, devalue, as well as debase, debunk, declaim, declassify, decry, delete, denigrate, deprecate, despise or detract ...and so on. Dario Gamboni has discussed the meaning in his book as two categories Iconoclasm and Vandalism. And the similar meanings could be found in the words which has the initial of , like abase, abate, abhor, abjure, abolish, abridge, abuse ...and so on. Even though the distinct meanings of Iconoclasm and Vandalism, it is not easy to distinguish clearly between the differences when the results are accomplished in contemporary paintings because of the similarity of the results. In korean vocabulary there are no similar words to distinguish between the meanings of destruction and deconstruction, and the deconstruction is not recorded in the general dictionaries. However the meaning of is diminishing, separation, contrast and so on. So the unification of the word as do-construction is not construct, minus construction, reverse construction. And Vincent Ditch explained that there are the meaning of destroy the text. From Jacques Derrida, the deconstruction strategy is to criticise the world of traditional metaphysics and logocentrism, and not to reconstruire the philosophical meaning of texts but $d\'{e}construire$ them. And Saussure emphasized that the signifers could have more meaning that there can be more signified in traditional texts in the art. as a result, deconstruction is explained that there are many signified meanings in a signifer. In this thesis , from using the meanings of destruction and deconstruction, to distinguish the expressive skills in contemporary art works are arising. Therefore, special methods which are linked in the destruction styles are selected. As a result, the two different purposes of destruction is arising, one is enmity destruction and the other is self destruction another word, auto destruction or destruction to create The enmity destruction can be distinguished by the two category Iconoclasm and Vandalism. They come from the moment of different historical aspect is arising and want to attack the Icon or masterpiece this concept is from the study of John Philips and especially iconoclasm is linked with religious and artistic heart, but Vandalism is come from the political attack. Sometime, this distinguish is not clearly arising, because the two aspects are co-related in the attack. As a result, firstly, the Iconoclastic controversy had arisen in the methods of Dadaism which has developed by Man Ray, Francis Picabia and Marcel Duchamp. They want to attack the pre-established master-pieces and painting spaces, and they had 'non-artistic attitude' not to be art. Since 1980, the German artist Anselm Kiefer adapted the methods and made them his special skills so he had tried to paint tough brush strokes and draw with hugh pallette image line and fire and water images , they can be the image attack as the Iconoclasm. secondly, the model of vandalism is to be done by hammer, drill, canon and so on. the method is to attack the content of painting. Further, the object of destruction is bound by cords and iron lings to demolish or to declare the authority of pre-statues; it symbolize the pre-authority is gone already. Self-destruction based paintings are clearly different in the purpose of approaching the art work. First of all, they can be auto-destruction, creative destruction and metamorphosis destruction, which is linked with the skill the material aspect and basic stature, and sign destruction or signifier destruction, which is link with the inner meaning destruction that is considered as the Semiotical destruction in post-modern paintings. Since 1960, the auto destruction is based on the method of firing, melting, grinding and similar skills, which is linked with Neo-Dada and reverse-assemblage. Metamorphosis destruction is strongly linked with the basic inner heart price and quality, so it can be resulted in the changedness of expectation and recognition. Tony Cragg has developed the skills to metamorphose the wood as stone or iron as cloth and stone as sponge and rubber and so on. The researcher has developed the same style in the series of since 2003. The other self-destructive methods are found in the skill of sign destruction. In the methods the meaning of the art is not fixed as one or two, but is developed multi-meaning and differ from original starting situation, so Jacques Derrida called the difference meaning in deconstruction. It is the destruction of textes. These methods are accomplished by David Salle, Francesco Clemente, and recently Tracy Emin, who has developed the attacking heart in the spectators' emotion. Sometime in the method of self-destruction, it is based on horror and shock, the method is explored by Demian Hirst and Jakes and Dinos Chapman. Their destructive styles stimulate ambivalent heart and destroy original sign of girl and animals.

• Journal of The Korean Association For Science Education
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• v.35 no.4
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• pp.629-648
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• 2015

This study is a case study examining how research-based 'authentic' science education program contextually facilitates students' learning on NOS as a process. We developed 'Becoming a Scientist' mentor-mentee program and applied it to six Korean 7th graders for 8 months. A mentor, who is also a researcher, provided scaffolding and coaching, and her mentees were to perform the whole process of science research, including selecting the research subject and questions, planning research design, doing experiments, collecting and analysing data, writing research paper, and experiencing poster presentation at an academic conference. The research questions are 1) What would the students experience at every step of their research process?, and 2) Which perceptions would they construct NOS as a process? Data include classroom observations, interview, mentor's journal, and students' learning products. The results show that the mentees have experienced their views of NOS as a process in various ways such as role of research question and purpose, validity of measured value, researcher's subjectivity in interpreting data, experience of making public and peer review, and significance of academic conference. This study has shown that students' actual experience in scientific research enhanced their views about NOS as process without explicit and reflective approaches. We defined 'authenticity' associated with not only with its similarity to what scientists do but to learner's identity as scientific researcher. Based on the situated learning theory, this study sheds light on the necessity of reconsideration about the meaning of authenticity and embodying authentic context in science education for better NOS learning.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.146-158
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• 2012

This study aims to discussion the characteristics of location and spatial organization of the Seoul Sajikdan that has significance as one of national ceremonial place in Joseon Dynasty to understand its landscape architectural characteristics. To do this, we studied in two ways; review of historical documents and analysis of the present conditions and photographing, research materials about the form of physical structure. Through these ways, the results are as follows. First, in case of construction, Sajikdan took fundamental shape in Tae-jong 16 year(1416), since then it had been changed during Imjin War, reign of Suk-jong, and Japanese Colonial Era. It took present shape through restoration of Seoul Sajikdan in 1998. Second, in case of location, Sajikdan abuts onto southeastern range of Mt. Inwang that is Wubaekho(右白虎) of inner four mountain(內四山) of Hanyang, and it has a topography of west-high-east-low type. Also its territory is up to Maedong elementary school, the office of Sajik-dong, and a Dangun shrine. Third, in case of spatial organization, Sadan and Jikdan are in harmony of Yin-Yang(陰陽) and arranged in the center. As making Yumun and Sinmun(神門) at the center of four side of Yuwon and Juwon(周垣), they show organization of the Five Elements. And subsidiary buildings are thought that its arrangement was considered functional similarity and use convenience. Finally, in case of spatial component, Danyu structures are Sadan and Jikdan that hold a Sajikdaeje(社稷大祭), Yuwon that surround two altars, and Juwon that is outer fence of Yuwon. Architectures are Sajikdan Jeongmun, Sinsil, and Anhyangcheong. Also Prunus yedoensis, Zelkova serrata, Acer palmatum, are planted, but Pinus densiflora was main species and there needs to be replanted suitably to the site.