• International Journal of Advanced Culture Technology
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• 제3권1호
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• pp.21-30
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• 2015

Ceramic foams are prepared as positive images corresponding to a plastic foam structure which exhibits high porosities (85-90%). This structure makes the ceramic foams attractive as a catalyst in a dry reforming process, because it could reduce a high pressure drop problem. This problem causes low mass and heat transfers in the process. Furthermore, the reactants would shortly contact to catalyst surface, thus low conversion could occur. Therefore, this research addressed the preparation of dry reforming catalysts using a sol-gel catalyst preparation via a polymeric sponge method. The specific objectives of this work are to investigate the effects of polymer foam structure (such as porosity, pore sizes, and cell characteristics) on a catalyst performance and to observe the influences of catalyst preparation parameters to yield a replica of the original structure of polymeric foam. To accomplish these objectives industrial waste foams, polyurethane (PU) and polyvinyl alcohol (PVA) foams, were used as a polymeric template. Results indicated that the porosity of the polyurethane and polyvinyl alcohol foams were about 99% and 97%. Their average cell sizes were approximate 200 and 50 micrometres, respectively. The cell characteristics of polymer foams exhibited the character of a high permeability material that can be able to dip with ceramic slurry, which was synthesized with various viscosities, during a catalyst preparation step. Next, morphology of ceramic foams was explored using scanning electron microscopy (SEM), and catalyst properties, such as; temperature profile of catalyst reduction, metal dispersion, and surface area, were also characterized by $H_2-TPR$ and $H_2-TPD$ techniques, and BET, respectively. From the results, it was found that metal-particle dispersion was relatively high about 5.89%, whereas the surface area of ceramic foam catalysts was $64.52m^2/g$. Finally, the catalytic behaviour toward hydrogen production through the dry reforming of methane using a fixed-bed reactor was evaluated under certain operating conditions. The approaches from this research provide a direction for further improvement of marketable environmental friendly catalyst production.

• 한국식품과학회지
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• 제33권1호
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• pp.19-23
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• 2001

Xylan과 xylanase의 효소반응 후 생성되는 xylooligosaccharide를 식품에 적용하기 위해 점도, 내열성 및 pH 안정성, 착색성, 수분보습력 등의 기본적인 물리화학적 특성을 조사하였다. 70bx xylooligosacchride의 점도는 $20^{\circ}C$에서 930cP, $60^{\circ}C$에서 90 cp로 설탕보다 높았으나, 다른 올리고당류보다는 약간 낮은 특성을 나타내었으며, pH $2.5{\sim}8.0$ 범위에서 $100^{\circ}C$로 1시간 동안 열처리한 후에도 전혀 분해되지 않고 안정하게 잔존하여 내열성과 pH 안정성을 가지고 있음을 알 수 있었다. Xylooligosacchride의 pH는 $5.0{\pm}0.1$로서 pH $2.5{\sim}4.0$에서는 그 착색성이 매우 낮았으며, pH가 증가할수록 착색성이 높아지는 경향을 보였으나, 식품가공에 영향을 미치는 수준은 아니었다. Glycine 1%가 함유된 아미노산 공존하에서의 착색성도 매우 낮았으며 pH에 따라 크게 차이를 보이지 않았다. 수분보습력을 조사하기 위하여 71일간 $25^{\circ}C$, 75% 상대습도에서 xylooligosacchride를 저장 후 측정한 결과 95% 이상의 중량을 유지하고 있어 28%가 감량된 설탕보다 수분손실이 훨씬 적어 수분보습력이 훨씬 큰 것을 알 수 있었다. 이러한 결과로 볼 때 xylooligosacchride는 식품에 사용하기에 적합한 물성을 가지고 있어 기능성 증진 효과를 나타내고자 하는 다양한 식품에 응용 가능할 것으로 판단된다.

• 사상체질의학회지
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• 제13권2호
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• pp.8-27
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• 2001

1. Purpose This paper was written in order to understand the concept of ${\ulcorner}$DongMuYooGo YakSungGa${\lrcorner}$ (東武遣稿 藥性歌) which was descending as the material of Sasang pharmacology. So we are planning to make use of the fundamental material of the study on the Sasang Medications and Prescriptions. 2. Methods Through comparing each clause of ${\ulcorner}$DongMuYooGo YakSungGa${\lrcorner}$ on all the sasang -records, we understood that concept. 3 Result 1) ${\ulcorner}$DongMuYooGo YakSungGa${\lrcorner}$ of a literary work of DongMu(東武) which contain special elucidative-method of herb-nature has 18 type of YakSungGa which explain each 27 herbs for the Taeeumin, Soyangin and Soeumin. The period of authoship is supposed to the time just before ${\ulcorner}$DongyiSuseBowon Gabobon${\lrcorner}$ (東醫壽世保元 甲午本)(1894, DongMu 58 years old) or middle of fifties(53-57 years old). 2) YakSungGa of ${\ulcorner}$DongMuYooGo${\lrcorner}$ which is published by the BoGunsung(保健省) of North Korea is supposed to close to original type. The main meaning of that is the herb-nature which works on the weakst point of each Sasangin. And then the herbs were classfied by the diseases and symptoms possessing Bomyungjiju(保命之主), the herb's efficacy is explained at the each constitution. 3) The meaning of ${\ulcorner}$DongMuYooGo YakSungGa${\lrcorner}$ is exposure of the opinion of DongMu's early stage that proposed herb-nature which is applied to the principle of Jang(臟) of Sasangin, reason and purpose to enact newly created prescriptios by the constitutional diseases and symptoms, and the compositional principle of newly created prescription. 4) The selection of herbs or cogution of herb-nature of DongMu's pharmacological opinion of his early stage was changed by accumulating clinical experience. So all the newly created prescriptios of ${\ulcorner}$DongyiSuseBowon${\lrcorner}$ could not be explained by only the herb and the herd-nature on ${\ulcorner}$DongMuYooGo YakSungGa${\lrcorner}$. Therefore the purpose of DongMu's YaksungGa is not explaining the symptoms in charge of each herb or classifying the herb by constitution, but offering the principle of composition of prescription of Sasang, from the necessary herb which possess and expand Bomyungjiju to nature of herb which is applied to the constitution for treating all the diseases and sypmtoms by the heavy or light and slow or speedy.

• 한국식물병리학회:학술대회논문집
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• 한국식물병리학회 1994년도 Proceedings of International Symposium on BIOLOGICAL CONTROL OF PLANT DISEASES Korean Society of Plant Pathology
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• pp.11-26
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• 1994

Crown gall of stonefruit and nut trees is one of the very few plant diseases subject to efficient biological control. The disease is caused by the soil-inhabiting bacteria Agrobacterium tumefaciens and Agrobacterium rhizogenes and the original control organism was a non-pathogenic isolate of A. rhizogenes strain K84. Control is achieved by dipping planting material in a cell suspension of strain K84 which specifically inhibits pathogenic strains containing a nopaline Ti plasmid. Because the agrocin 84-encoding plasmid (pAgK84) is conjugative, it can be transmitted from the control strain to pathogenic strains which, as a result, become immune to agrocin 84 and cannot be controlled. To prevent this happening, the transfer genes on pAgK84 were located and then largely eliminated by recombinant DNA technology. The resulting construct, strain K1026, is transfer deficient but controls crown gall just as effectively as does strain K84. Field data from Spain confirm that pAgK84 can transfer to pathogenic recipients from strain K84 but not from strain K1026. The latter has been registered in Australia as a pesticide and is the first genetically engineered organism in the world to be released fro commercial use. It is recommended as a replacement for strain K84 to prevent a breakdown in the effectiveness of biological control of crown gall. Several reports indicate that both strains K84 and K1026 sometimes control crown gall pathogens that are resistant to agrocin 84. A possible reason for this is that both strains produce a second antibiotic called 434 which inhibits growth of nearly all isolates of A. rhizogenes, both pathogens and non-pathogens. Crown gall of grapevine is caused by another species, Agrobacterium vitis. It is resistant to agrocin 84 and cannot be controlled by strains K84 or K1026. It is different from other crown gall pathogens in several characteristics, including the fact that, although a rhizosphere coloniser, its also lives systemically in the vascular tissue of grapevine. Pathogen free propagating material can be obtained from tissue culture or, less surely, by heat therapy of dormant cuttings. A number of laboratories are searching for a biocontrol strain that will prevent, or at least delay, reinfection. A non-pathogenic A. vitis strain F/25 from South Africa looks very promising in this regard.

• Journal of the Korean Wood Science and Technology
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• 제46권3호
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• pp.221-230
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• 2018

본 연구에서는 자외선 노출에 의한 목재베니어의 광 열화를 방지하기 위하여 변색 요인을 제거하여 그 효과를 평가하고자 하였다. 목재 중 추출물함량이 높고 어두운 색상을 나타내며 고급용재로 사용되고 있는 대표 활엽수종인 walnut을 공시재료로 선택하여 광 열화 분석 및 방지법에 관한 연구에 사용하였다. 베니어 내 발색단을 함유하는 물질을 탈리하기 위해 실시한 알코올-벤젠, 과산화수소 및 차아염소산나트륨 수용액 처리 후 광 안정성 평가를 실시하였다. 광 변색인자로 알려진 추출물 성분의 제거 후에는 색 안정화 효과를 보이지 않았다. 한편, 리그닌 성분을 제거하기 위하여 과산화수소를 20, 30% 농도로 하여 $75^{\circ}C$에서 1시간 처리하였으며, 그 결과 표면색상에 대한 표백효과는 나타내었으나 추출물 용출에 따른 재색 유지가 어려우며 광 노출에 대한 안정화 효과를 나타내지 않았다. 반면, 차아염소산나트륨 수용액을 1, 2 및 3% 농도로 하여 동일 온도 및 시간 조건에서 처리 한 베니어의 광 노출 평가결과, 추출물 용출에 의한 재색변화는 나타났지만, 광 노출에 의한 색상 변화는 관찰되지 않았으므로 우수한 안정화 효과를 나타낼 수 있었다. 하지만, 3% 이상 농도에서는 베니어 표면의 거칠기와 손상이 발생되므로, walnut 베니어의 경우 적정 농도조건에서의 처리가 필요한 것으로 사료된다.

• 헤리티지:역사와 과학
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• 제36권
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• pp.267-297
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• 2003

The plain coarse pottery from the Unjeonri Bronze Age relic sites in the Cheonan, Korea were studied on the basis of clay mineralogy, geochemistry and archaegeological interpretations. For the research, the potteries are utilized at the analysis for 6 pieces of plain coarse potteries. Color of the these potteries are mainly light brown, partly shows the yellowish brown to reddish brown. The interior, surface and inside of the pottery appear as different colors in any cases. Original source materials making the Unjeonri potteries are used of mainly sandy clay soil with extreme coarse grained irregularly quartz and feldspar. The magnetic susceptibility of the Unjeonri pottery range from 0.20 to 1.20. And the Unjeonri soil's magnetic susceptibility agree almost with 0.20 to 1.30. In the same magnetization of soil and pottery, the results revealed that the Unjeonri soil and low material of pottery are same produced by identical source materials. The Unjeonri potteries and soil are very similar patterns with all characteristics of soil mineralogy, geochemical evolution trend. The result seems to be same relationships between the behavior and enrichment patterns on the basis of a compatible and a incompatible elements. Consequently, the Unjeonri potteries suggest that made the soil to be distributed in the circumstance of the relic sites as the raw material are high in a greater part. In the Unjeonri soil, the kaolinite is common occurred minerals. However, in the Unjeonri pottery, the kaolinite was not detected in all broken pieces. The kaolinite was presumed to destroy crystal structure during the firing processes of over $550^{\circ}C$. The quartz is phase transition from ${\alpha}$-quartz to ${\beta}$-quartz at $573^{\circ}C$, but the Unjeonri pottery did not investigated any phase transition evidences of quartz. The chorite was detected within the mostly potteries and soils. As the results, the Unjeonri potteries can be interpreted by not experiencing a firing temperature over $800^{\circ}C$. The colloidal and cementing materials between the quartz and low materials during the heating did not exist in the internal part of the potteries. An any secondary compounds by heating does not appear within the crack to happen during the dry of the pottery. The hyphae group are kept as it is with the root tissue of an organic matters to live in the swampy land. In the syntheses of all results, the general firing condition to bake and make the Unjeonri pottery is presumed from $550^{\circ}C$ to $800^{\circ}C$. However, the firing condition making the Unjeonri pottery can be different firing temperature partially in one pottery. Even, the some part of the pottery does not take a direct influence on the fire.

• 대중서사연구
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• 제25권4호
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• pp.73-108
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• 2019

본고는 'SF연극'의 역사와 현재를 논의하고자 하는 시도이다. SF연극은 대중에게 여전히 생소한 장르로, 연극이라는 장르의 특성상 무대는 과학적 상상력을 펼치기에 적절치 않은 공간으로 인지되었다. 연극에 과학적 상상력을 결합한 작품들이 빈번하게 공연되고, SF연극에 대한 인식이 확립되기 시작한 것은 2010년 이후로, 연출자들은 사실적 묘사를 포기하면서 기술의 진보 속에서 고립되는 인간의 심리와 세계의 부조리에 몰두하게 됐고, 이것이 오늘날 한국 SF연극을 개괄하는 바탕이 됐다. 이를 감안하여, SF연극에 대한 연구사와 개념 변화로부터 출발해 식민지시기부터 현재까지 SF극의 공연 현황에 대해 살펴보았다. 현재 SF연극에 대한 함의는 만들어지는 중이며, SF연극의 역사를 검토한 결과 다음의 문제점을 발견할 수 있었다. 첫 번째는 과학적 개연성이나 합리성과 관계없이 미래 사회를 배경으로 하거나 기술의 진보를 언급하면 모두 'SF연극'으로 명명되기에 과학적 상상력이 부재하다는 것이다. 두 번째는 융합을 강조하는 시대에 과학과 무대를 접목했다는 시도 자체가 높이 평가 받으면서, 소재의 진보성에만 천착하고 세계관은 여전히 퇴행적인 경우가 두드러진다는 점이다. 세 번째는 여전히 극본이 SF의 고전이나 일본 원작에 기대어 있는 경우가 많다는 점이다. 그럼에도 불구하고, 장르물에 대한 젊은 창작자들의 다양한 시도가 새로운 소재를 원하는 동시대 관객과 호흡할 수 있다면, 한국형 SF극의 저변은 보다 긍정적인 의미에서 확대될 수 있을 것이다.

• 박물관보존과학
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• 제4권
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• pp.1-16
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• 2003

용산 새 박물관에 전시될 중앙아시아 벽화의 보존처리를 위해 이들 벽화의 채색 안료 성분 분석과 벽체에 포함된 지푸라기의 식물종 식별을 위한 조사를 실시하였다. 또한 1916년 우리 박물관에 반입되기 이전에 일본에서 시행된 보존처리 재료 및 방법을 검토하기 위하여 나무 보호틀의 목재수종 및 종이의 재질을 분석하였다. 조사결과 본4075, 4078의 검은색 안료는 carbon(C), 바탕의 흰색은 gypsum[Ca(SO)₄(H₂O)₂], 적색 계통은 lead oxide(Pb₃O₄, PbO)와 hematite(Fe₂O₃), 녹색은 Cu, As, O 화합물 등을 채색 안료로 사용하였다. 또한 벽체를 조성할 때 흙벽이 갈라지는 것을 방지하기 위해 섞어 넣은 지푸라기는 밀짚 또는 귀리짚 종류인 것으로 조사되었다. 또한 현재 벽화를 둘러싸고 있는 나무 보호틀은 버드나무속, 사시나무속, 삼나무, 그리고 소나무 중 적송류로 만들어진 것으로 밝혀졌으며 벽화(본4054, 4097)의 보호틀 내부에서 발견된 종이는 뽕나무 껍질로 만든 것으로 조사되었다.

• 대한환경공학회지
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• 제38권11호
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• pp.611-617
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• 2016

사용 후 제품을 회수하여 완전 해체하고 부품들을 세척, 수리, 또는 새로운 부품으로 교체하여 재조립함으로써 신품과 동일한 성능 수준으로 재 제품화 하는 재제조는 천연자원과 에너지 사용의 저감 등 자원순환 측면에서의 환경적 개선효과가 뛰어나 자원 측면에서 주목받고 있다. 재제조는 뛰어난 환경개선 효과 및 자원보존으로 인해 우리나라에서 많은 연구가 수행되어왔으며, 현재 자동차 부품, 프린터 토너 및 카트리지를 중심으로 재제조가 이루어지고 있다. 하지만 코어의 상태가 양호한 상태로 반환되어 재제조 공정을 거쳐 새 제품과 동일한 상태의 재제조품 생산이 가능한 렌탈 제품은 아직까지 활성화 되어있지 않다. 따라서, 본 연구에서는 LCA 기법을 이용해 렌탈 제품 중 하나인 공기청정기 신품과 재제조 제품의 환경성평가를 수행하였으며, 이를 통해 렌탈 제품 신품 대비 재제조품의 환경적 개선 효과를 정량적으로 분석하였다. 분석결과 공기청정기 1대 재제조 시 환경영향은 신품대비 약 20.7% 감소하는 것으로 나타났다. 환경과 관련된 영향범주 중 오존층 파괴(ODP)가 94% 감소하여 가장 큰 효과가 있는 것으로 나타났으며, 공기청정기의 수명주기에서 원료 추출 단계에서는 자원고갈(ADP) 및 지구온난화(GWP)에 대한 환경개선 효과가 가장 큰 것으로 나타났다.

• 조형예술학연구
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• 제7권
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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.