• 터널과지하공간
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• 제5권3호
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• pp.240-250
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• 1995

Microcrack development in the macheon gabbro, the Sangju sandstone and the Jungsun marble due to fatigue stresses was investigated using differential strain analysis and microscopic observations from fluorescent-dyed thin sections. In the Macheon gabbro, various types of cracks, including gran boundary cracks, cleavage cracks, intragranular cracks adn intergranular cracks were developed. However, only grain boundary cracks were produced in the Sangju sandstone and the Jungsun marble due to fatigue stress. Many microcracks were produced due to fatigue stresses in the macheon gabbro. However, few microcracks were produced in the Sangju sandstone and the Jungsun marble. Fatigue stresses produced new microcracks in the Junngsun marble and the Macheon gabbro, but only pre-existing grain boundary cracks were lengthened in the Sangju snadstone. Most microcracks were produced within a few tens of numbers of cyclic loading, indicating that rocks under fatigue stresses will be damaged at the early stage of cyclic loading.

• 대한전기학회논문지
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• 제45권4호
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• pp.568-573
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• 1996

The amorphous silicon films deposited by low pressure chemical vapor deposition are crystallized by the various annealing techniques including low-temperature furnace annealing and two-step annealing. Two-step annealing is the combination of furnace annealing at 600 [.deg. C] for 24 h and the sequential furnace annealing at 950 [.deg. C] 1h or the excimer laser annealing. It s found that two-step annealings reduce the in-grain defects significantly without changing the grain boundary structure. The performance of the poly-Si thin film transistors (TFTs) produced by employing the tow-step annealing has been improved significantly compared with those of one-step annealing. (author). 13 refs., 6 figs., 1 tab.

• Journal of Information Technology Applications and Management
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• 제28권3호
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• pp.77-87
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• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.