• Design & Manufacturing
• /
• v.12 no.2
• /
• pp.27-33
• /
• 2018

Korea's automobile industry, which has grown rapidly to become the world's fifth-largest automobile producer, To cope with environmental pollution and energy problems in order to prevail competitive edge in global market We are investing a lot of research personnel and costs. Among them, for realizing alternative light weight It is a part of the automobile module system that has achieved the technological development before the breakthrough in the injection molding process in the press process. Door module PNL was the subject of research. The door module PNL is expected to cause warpage before the mold production due to the thin and flat product characteristics and fiber orientation characteristic of the material. In this paper, CAE analysis and reverse correction tool Design. CAE analysis to obtain the results of weld line position, bending position and deformation value Through the correction tool, think3, the original product was modified before the mold production to improve the completeness of the parts. In fiber orientation, the position and size of the cooling channel in the mold, the position and size of the gate, Temperature, pressure, time, and work environment. Compared with the result of CAE analysis, the product that was reverse-corrected by Think3 was manufactured, and injection molding was performed. Injection molding products were tested 24 hours later. 3.5 mm to 7.0 mm, and under the fixed condition, the deviation was from 1.1 mm to 1.5 mm. Unlike the CAE analysis, the deviation of the actual injection pressure and the cooling temperature, the fiber orientation of the material, In order to solve this problem, it is necessary to compare the injection conditions with the database, I knew I had to catch the standard.

• Safety and Health at Work
• /
• v.10 no.3
• /
• pp.305-313
• /
• 2019

Background: The oil and gas industry is one of the riskiest industries for confined space injuries. This study aimed to understand an overall picture of the causal factors of confined space accidents through analyzing accident reports and the use of a qualitative approach. Methods: Twenty-one fatal occupational accidents were analyzed according to the Human Factors Analysis and Classification System approach. Furthermore, thirty-three semistructured interviews were conducted with employees in different roles to capture their experiences regarding the contributory factors. The content analyses of the interview transcripts were conducted using MAXQDA software. Results: Based on accident reports, the largest proportions of causal factors (77%) were attributed to the organizational and supervisory levels, with the predominant influence of the organizational process. We identified 25 contributory factors in confined space accidents that were causal factors outside of the original Human Factors Analysis and Classification System framework. Therefore, modifications were made to deal with factors outside the organization and newly explored causal factors at the organizational level. External Influences as the fifth level considered contributory factors beyond the organization including Laws, Regulations and Standards, Government Policies, Political Influences, and Economic Status categories. Moreover, Contracting/Contract Management and Emergency Management were two extra categories identified at the organizational level. Conclusions: Preventing confined space accidents requires addressing issues from the organizational to operator level and external influences beyond the organization. The recommended modifications provide a basis for accident investigation and risk analysis, which may be applicable across a broad range of industries and accident types.

• Nuclear Engineering and Technology
• /
• v.54 no.4
• /
• pp.1421-1430
• /
• 2022

The computation of the solid angle and the detector efficiency is considering to be one of the most important factors during the measuring process for the radioactivity, especially the cylindrical γ-ray NaI(Tl) detectors nowadays have applications in several fields such as industry, hazardous for health, the gamma-ray radiation detectors grow to be the main essential instruments in radiation protection sector. In the present work, a generic numerical simulation method (NSM) for calculating the efficiency of the γ-ray spectrometry setup is established. The formulas are suitable for any type of source-to-detector shape and can be valuable to determine the full-energy peak and the total efficiencies and P/T ratio of cylindrical γ-ray NaI(Tl) detector setup concerning the truncated conical radioactive source. This methodology is based on estimate the path length of γ-ray radiation inside the detector active medium, inside the source itself, and the self-attenuation correction factors, which typically use to correct the sample attenuation of the original geometry source. The calculations can be completed in general by using extra reasonable and complicate analytical and numerical techniques than the standard models; especially the effective solid angle, and the detector efficiency have to be calculated in case of the truncated conical radioactive source studied condition. Moreover, the (NSM) can be used for the straight calculations of the γ-ray detector efficiency after the computation of improvement that need in the case of γ-γ coincidence summing (CS). The (NSM) confirmation of the development created by the efficiency transfer method has been achieved by comparing the results of the measuring truncated conical radioactive source with certified nuclide activities with the γ-ray NaI(Tl) detector, and a good agreement was obtained after corrections of (CS). The methodology can be unlimited to find the theoretical efficiencies and modifications equivalent to any geometry by essential sufficiently the physical selective considered situation.

• Cartoon and Animation Studies
• /
• s.48
• /
• pp.311-332
• /
• 2017

Currently, the world is making efforts to develop cultural industries around more refined parts of the world. The development of cultural industries has far-reaching implications for promoting national brands and national image promotion as well as economic benefits. In particular, China hopes to advance into its own animation market because it has an extensive animation market. In 2005 The Chinese government, however, banned foreign animation market from entering the Chinese animation market. However, at that time, Chinese animation firms also saw considerable economic losses because they had to undergo almost everything from animation to distribution to rationing. In fact, the policy was designed to protect Chinese animations, but instead of preventing Chinese animations from developing original contents, it caused various problems such as China's animations, or the development of Chinese animation industries. In this thesis, we will explore the policy related to animation industry in China, research and development of animation industry, and establish the direction of development of Chinese animation industry through suggestion of improvement in Chinese animation industry. For starters, we have diversified the contents of the Chinese animation industry by adapting the contents of the Chinese animation to the global market through the globalization of contents, stories and materials. Currently, animation is developing beyond 3D,4D and VR but there is no shortage of animation experts in China, so it is necessary to nurture specialized professionals by opening a related department in China. Also, the government will establish a National Animation Industry complex to work in various animation companies. We expect to develop cultural contents through mutual cooperation between animation companies in China and the sharing of information sharing and collaborative research.

• Journal of the Korean association of regional geographers
• /
• v.14 no.2
• /
• pp.93-104
• /
• 2008

This article will divide agricultural change process in Yanbian area into the period of japan rule, socialism and later time of the reform and open policy and so on. It will analyze the changes of Yanbian agriculture in every period influenced by external environment influence. The conclusions are as follow: first, under the influence of the japan rule, the policy about Korean Minority immigrants in japan and the original work agriculture and the group tribe construction, Yanbian fanning was controlled by the Japanese. Therefore, Yanbian's agriculture became the tool to satisfy the war and plunder the resource for Japanese. It shows the obviously peripheral characteristics. Second, in socialism time, Yanbian's agriculture was influenced by the rural communalization. The fanning completely belongs to the country, the agricultural production is influenced by the idea of "grain as the key link" which it only pays attention to take the cultivation industry and the production of grain in the interior of cultivation industry. Therefore, it has not been able fully to use the rich natural resource. Third, after reform and open policy, the countrysides were implemented family contract responsibility system, the farmer can rent the land for a long time, and the enthusiasm of agricultural production was improved. Moreover, due to the social market economy-system, the farmer carried on the agricultural production activities according to the market's demands and various departments of the agriculture obtained the coordinate development.

• Korean Journal of Construction Engineering and Management
• /
• v.22 no.4
• /
• pp.20-28
• /
• 2021

The Domestic Construction Industry is in the process of changing from a one-sided production method centered on the contractor to a production method in which the order and the contractor can collaborate. Depending on the delivery method, the bid/success method, the contract method, and the degree of business involvement of the order may also vary. In this thesis, in order to introduce 'Construction Management at Risk' suitable for the domestic environment, domestic and foreign institutional analysis, bid process analysis, contract fulfillment and management analysis, post management analysis, and related laws and regulations for legalization In order to suggest a plan for the efficient operation of the system, a system and case analysis of domestic and international construction responsibility type construction project management was conducted. 'Construction Responsible Construction Project Management' defined in the Framework Act on the Construction Industry is divided into the main contract transfer contract, which is a service contract performing pre-con work, and the main contract, which is construction project management and construction contract. Therefore 'Construction Management at Risk' should be regarded as one of the ordering methods rather than a successful bid system, as in the case of overseas, and legalization as a bidding system equivalent to design/construction batch bid and technology proposal is necessary for introduction. In order to introduce 'Construction Management at Risk' suitable for the domestic environment, domestic and foreign institutional analysis, bidding process analysis, contract fulfillment and management analysis, and follow-up management analysis are conducted. A method for efficient operation was suggested so that it can be applied in the domestic market while maintaining the original merits of this system.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.6
• /
• pp.43-52
• /
• 2020

This paper is a study of Gustav Deutsch's film (2013). The film transformed the painting of Edward Hopper into an homage film. So it gives the impression that the picture is moving. In this regard, it raises the issue of 'remediation' between film and pictures. In this study, We ask how (2013) dealt with the movement in turning Hopper's paintings into movies. To that end, To this end, we look at two aspects of movement: the actor's movement and the screen's movement. The concepts of "tableau vivant," Agamben's gesture and mediation were used in the process. The actor's movement in the film is not an act of making and developing events. It is a gesture that moves a person's body and expression itself. It is not a story-oriented acting, but a gesture that Giorgio Agamben said. Editing and camera movements are used while maintaining frontality. This suggests that the movement of the screen is the eye of the audience. At first glance, it embodies the voyeuristic gaze of the original work. However, But the audience isn't looking at the image unilaterally, as in mainstream fiction films, but they are also being seen by that image. Also, the camera's movement to take a closer look at the details of the screen shows the movement itself rather than the means to reveal the details. The 'vision of reality' in a film is made through movement. The film questions the vision of reality between painting and film, between words and images. The move is a means of mediating reality, but the film is regaining the "lost gesture" that Giorgio Agamben once said by revealing its mediated nature. This tells us that the vision of reality appears when it obscures its mediated nature.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.5
• /
• pp.73-82
• /
• 2019

The satirical content of the absurd play, centered on Lee Keun-sam's play, represents the family image of a modern capitalist society where only duty is emphasized while the characters are lost in love with the family. They show humans becoming subordinate to economic logic as traditional relationships and family relationships change into material ones due to the rapid development of the economy. The narrator expresses the roles of the performer and the narrator together. It also presents the plot as a characteristic element of epic and absurd dramas, and directs actors as directors. It also foretells the events that will take place in the future, presents the inner consciousness of the characters in the play, and reduces and expands events and times. In terms of conflict, in order to fulfill the financial responsibility of their children, the professor translates them like a machine and the wife distributes the money they earn as they demand. The middle-aged professor and his wife are not willing to make a difference in the real world, so specific conflicts are not revealed. Therefore, no concrete conflict appears within this work. The plot of consisted of 22 epicentre compartments, consisting of a time frame from evening to the next morning. And no special events happen and show only one family's daily life. In addition, materials that show simple repetition of daily life such as newspapers, rice, birthdays, etc. are effectively showing the character of absurdity through repeated structure. The linguistic features of the absurd play focus on expressing anxiety, despair, fantasy and the sense of loss that the object's purpose has disappeared. The stage system avoids detailed portrayals of naturalist plays and creates a thoroughly simplified image that the theme of the play demands, which shows that the stage unit is also an important element that characterizes the absurdity of reflexes.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.8
• /
• pp.223-230
• /
• 2019

This paper aims to derive the specificity of film music of Baz Luhrmann, a Hollywood film director, focusing on his representative works such as Dancing Heroes, Romeo and Juliet, and Moulin Rouge. Frist, Dancing Heroes captures various dance music genres through dynamic shooting techniques and shows trendy sensibility by using the main theme song 'Time after Time,' sung by the main character, Tina. Second, Romeo and Juliet, the original work of Shakespeare, keeps thier lines and stories while decorating gorgeous fashion and rock music in jukebox style. Also, it is harmonized with the most modern and trendy MTV-style video. Third, Moulin Rouge presents film music through the 'mix and match' method, which consists of jukebox-type trendy songs containing classical back stage musical and Bollywood musical images. In conclusion, the style of Baz Luhrmann has been reborn as a unique way of directing Buz Luhrmann's film music that it is expressed by connecting various juke box style music with amazing visual effect. Through director's style, it is possible to suggest the direction of various film music to the industries.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.239-260
• /
• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.