• Korean Journal of Ecology and Environment
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• v.44 no.1
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• pp.75-84
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• 2011

We examined the effect of the turbid water on the periphytic diatom community in an artificial stream system. The artificial stream was constructed with transparent acryl and composed of four channels. Each channel ($20\;cm{\times}200\;cm{\times}40\;cm$) was supplied continuously with eutrophic lake water. In order to the freely colonize and grow diatoms, artificial substrate was installed with commercial slide glass soaked in 1% agar. Prior to introducing turbid water, the artificial stream was operated with lake water for 6 days to permit the propagation of diatom community on the substrates. The turbid water prepared with sediment sieved with ${\varphi}$ $64\;{\mu}m$ at $2\;g\;L^{-1}$ (final concentration, 300 NTU) was provided daily for 50 minute duration. The experiment was conducted for 7 days with manipulated experimental condition of light ($50{\sim}80\;{\mu}mol\;m^{-2}s^{-1}$, light:dark=24:0), temperature ($10{\pm}1^{\circ}C$), and flow rate ($0.31\;cm\;s^{-1}$). Sampling and analysis were conducted daily for water quality and diatom. Turbidity of the water varied 162.2~173.2 NTU during the experiment. After introduction of turbid water, DO, pH and TN were decreased, while SS and TP increased significantly. A total of 14 genera and 47 species of diatoms was observed on the artificial substrates during the experimental period. Of these, Navicula appeared to be a most dominant genus with 10 species, followed by Cymbella (6 species), Fragilaria (6 species) and Gomphonema (5 species). Achnanthes minutissima was the most dominant species (>70% of total frequency) in both control and treatment experiments. Increase in diatom abundance lasted for three days since turbid water introduction, after that they gradually decreased by the termination of the experiment. These results suggest that frequent supply of highly-concentrated turbid water significantly decreases the periphytic diatom community, and retard the recovery of the stable food-web within the stream.

• Journal of the Korean earth science society
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• v.32 no.4
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• pp.388-401
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• 2011

Asian dust was observed a total of 66 times in the springtime during the period from 2002 to 2010, with 26 cases in March, 23 cases in April and 17 cases in May. This study investigates a Asian dust episode that occurred during the period from 22 to 25 May 2010, based on synoptic weather patterns, wind vector at 850 hPa, relative humidity at 1000 hPa, Jet streams and wind vector at 300 hPa, PM10 concentration in Korea and satellite imagery. In this case, Asian dust originated on 22 May along the rear of a developing low pressure system in Mongolia. The Asian dust was then transported southeastward and bypassed the Korea peninsula from 23 to 24 May, before reaching Japan on 25 May. Jet streams on 24 May bypassed the Korean peninsula and induced the development of a surface low pressure centered over the peninsula. The resulting air flow was critical to the trajectory of the Asian dust, which likewise bypassed the Korean peninsula. 72-hour backward trajectory data reveal that the Shandong Peninsula and the East China Sea were the points of origin for the air flows that swept through the Japanese sites where Asian dust was observable to the naked eay. The Asian dust pathway is ascertained by horizontal distribution of the Asian dust of RGB imagery from MODIS satellites which captured the Asian dust moving over the Shandong Peninsula, the East China Sea, and northwest of the Kyushu region in Japan. Since the synoptic pattern and the transport way of the Asian dust case are far from typical ones, which Asian dust forecasting technique has long been based on, this study can be good example of exceptional Asian dust pattern and it will be used for more accurate Asian dust forecasting.

• Korean Journal of Ecology and Environment
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• v.41 no.spc
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• pp.50-60
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• 2008

We performed the experiment to evaluate the effect of different DO concentrations (0.5, 4.5 and 9.0 $mgO_2L^{-1}$) and water depths (20, 50 and 80 cm) on the filtering rate, mortality, and pseudifeces production of Unio douglasiae against the cyanobacterial bloom (mainly Microcystis aeruginosa). A solitary-living bivalve U. douglasiae was collected in the upstream region of the North Han River (Korea). The harvested mussels were carefully transferred to the laboratory artificial management system, which was controlled temperature $(18{\pm}2^{\circ}C)$, flow rate (10L $h^{-1}$), food $(Chlorella^{TM})$, sediment (pebble and clay), light intensity (ca. $20{\mu}mol$ photons), and photocycle (12 L : 12 D). In the field observation, the mussel mortality was significantly correlated with water temperature, pH and DO concentration (P<0.05). The mortality was decreased with water depth; 65, 90, 80% of mortality at 20, 50, 80 cm water-depth, respectively. Filtering rate (FR) showed the highest value at 50 cm water depth, and thereby the concentration of chlorophyll-${\alpha}$ decreased continuously by 94% of the control at the end of the experiment. In contrast, FR decreased by 34% of the initial concentration at 20 cm water depth. Over the given water-depth range, the mussel FR ranged from $0.15{\sim}0.20L\;gAFDW^{-1}hr^{-1}$ during the 18hrs of experiment, and thereafter, they appeared to be approximately 0.11, 0.26 and 0.30 L $gAFDW^{-1}hr^{-1}$ at 20, 50 and 80cm water depth, respectively. FR was highest with the value of 0.46L $gAFDW^{-1}hr^{-1}\;at\;0.5mgO_2 L^{-1}$ at the early stage of the experiment, while it increased with DO concentration. Maximum pseudofaeces production was 11.2 mg $gAFDW^{-1}hr^{-1}\;at\;9.0mgO_2L^{-1}$. Our results conclude that U. douglasiae has a potential to enhance water quality in eutrophic lake by removing dominant cyanobacteria, but their effects vary with environmental parameters and the water depth at which they are located.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.