• Cross-Cultural Studies
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• v.28
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• pp.17-36
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• 2012

This essay places the South Korean film Thirst (2009) within Park Chan-wook's oeuvre as a filmmaker notorious for graphic depictions of violence and revenge. Park's use of dark humour in his films, which is emphasized in Thirst perhaps more than ever, allows for a more self-aware depiction of violence, where both the viewer and the protagonist are awakened to the futility of revenge. This ultimately paints his characters as fascinatingly crazy - simultaneously heroes, villains, and victims. Film theorist Wes D. Gehring's three themes of dark humour ('man as beast,' 'the absurdity of the world,' and 'the omnipresence of death') become most obvious in Park's most recent film, which pays closer attention to character development through narrative detail. Rather than portraying the characters as sentimental, dark humour depicts their misfortunes in an alternative way, allowing for consideration of such taboo subjects as religion, adultery, and death/suicide. These issues are further tackled through Thirst's portrayal of its vampire protagonist, which ultimately de-mystifies the traditional vampire figure. While this character has more often been associated with romance, exoticism and the mystical powers of the supernatural, Thirst takes relatively little from the demons of Nosferatu (Murnau, 1922) and various other Dracula adaptations, nor the romantic figures of Interview with the Vampire (Jordan, 1994), and Twilight (Hardwicke, 2008). Instead, it is part of a much smaller group of contemporary vampire films, which are rather informed by a postmodern reconfiguration of the monster. Thus, this paper examines Thirst as an important contribution to the global and hybrid nature of those films in which postmodern vampires are sympathetic and de-mystified, exhibiting symptoms stemming from a natural illness or misfortune. Park's undertaking of a vampire film allows for a complex balance between narrative and visuals through his focus on the Western implications of this myth within Korean cinema. This combination of international references and traditional Korean culture marks it as highly conscious of New Korean Cinema's focus on globalization. With Thirst, Park successfully unites familiar images of the vampire hunting and feeding, with more stylistically distinct, grotesque images of violence and revenge. In this sense, dark humour highlights the less charming aspects of the vampire struggling to survive, most effective in scenes depicting the protagonist feeding from his friend's IV in the hospital, and sitting in the sunlight, slowly turning to ash, in the final minutes of the film. The international appeal of Park's style, combining conventions of the horror/thriller genre with his own mixture of dark humour and non-linear narrative, is epitomized in Thirst, which underscores South Korea's growing global interest with its overt international framework. Furthermore, he portrayal of the vampire as a sympathetic figure allows for a shift away from the conventional focus on myth and the exotic, toward a renewed construction of the vampire in terms of its contribution to generic hybridization and cultural adaptation.

• Journal of the Korean Society of Marine Environment & Safety
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• v.25 no.5
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• pp.609-616
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• 2019

When the fouling of a vessel occurs, its resistance at sea increases and there is a corresponding increase in fuel consumption. The maintenance cost of the vessel also increases because it is time-consuming to remove the fouling. To solve this problem and minimize environmental contamination of sea-water, there have been recent developments in anti-fouling paints as self-polishing copolymers that not include toxic elements such as tin. When these conventional techniques are applied to vessels, polishing is promoted during the operation whereby friction or vibration with seawater occurs. This leads to enhanced anti-fouling performance. However, when fouling is intensified such as during an anchorage, there is no flow of seawater and polishing is suppressed. This leads to a deterioration of the performance of anti-fouling. To solve these problems, we developed a system that induces vibration in a vessel during anchorage. As such, the deterioration of polishing due to insuf icient flow of seawater is inhibited. The reliability of the ultrasonic antifouling system was evaluated by calculating its repeatability. The removal efficiency of fouling of the proposed system was qualitatively evaluated using test specimens. The test revealed that the value of the coefficient of variation for the reproducibility of the frequency and amplitude was 0.2 % and 4.0 % on average. The degree of fouling of the specimens was the highest at 73.3 g in the No.5 sepcimen. Moreover, efficiency of fouling removal was 93.2 % on average compared to the specimens without the proposed system.

• Journal of the Korea institute for structural maintenance and inspection
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• v.25 no.1
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• pp.75-84
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• 2021

In this study, to evaluate deterioration propagation life and deterioration curve of the shop painted and field re-painted steel bridges, accelerated corrosion tests were carried out on 4 types of heavy-duty painting systems with different surface treatments. The surface treatments prior to painting were examined by hand tool(SSPC SP-2), power tool(SP-3,) or blast cleaning(SP-10) considering shop painting and field re-painting. The paint deterioration curves for each painting system and surface treatment were evaluated based on corrosion propagation from the initial paint defects. From the test results, the paint deterioration life of shop painted and field re-painted system was evaluated and compared by using corrosivity categories and durability performance evaluation of structural steel. The deterioration propagation life of shop and field paint was estimated in 18 to 21 years and 5.3 to 8.0 years with atmospheric corrosion category C4.

• Conservation Science in Museum
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• v.27
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• pp.67-90
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• 2022

A C-46 transport aircraft, which can be thought of as a large cultural heritage item from the modern period, was subjected to paint analysis and conservation treatment in preparation for its exhibition. The C-46 is the first aircraft ever dispatched to overseas combat zones by the Korean Air Force and carried out missions during the Vietnam War. The aircraft is mainly made of aluminum and shows signs of corrosion on its surface, including pitting and etching, as well as gray and white powdery attachments. In the analysis of the paint, diatomite(SiO₂·nH₂O) was confirmed in the red paint, titanium dioxide(TiO₂) was identified in the white paint, black iron oxide(Fe₃O₄) was detected in the black paint, and colcothar(Fe₃O₄) mixed with putty was confirmed in the blue paint. Infrared spectroscopy revealed the use of alkyd resin in the paint on the main body and nitrocellulose in the Taegeuk pattern. During the conservation treatment, mechanical cleaning, such as sanding, was conducted to remove paint and varnish from the surface. Corrosion was removed by sanding and cleaning with chemical solvents, and new paints and varnishes were applied. Through the paint analysis and conservation treatment, the aircraft was made available for exhibition in a stable condition.

• Analytical Science and Technology
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• v.21 no.6
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• pp.443-458
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• 2008

Brominated flame retardants (BFRs) are chemical compounds that inhibit the combustion of organic materials by scavenging free radicals that would otherwise encourage the spread of flames. These compounds are found in a wide variety of materials including paints, plastics, textiles, furniture and electronics. Mounting evidence, however, suggests that the non-reactive BFRs can easily leach into the environment and pose significant environmental and health concerns. PBDDs/PBDFs are often formed in the process of manufacturing brominated flame retardants and from the combustion of waste products containing flame retardants BFR. Therefore, this paper describes the general characteristics, management status, residual concentration in environments and analytical method.

• Journal of the Korea Organic Resources Recycling Association
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• v.32 no.1
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• pp.39-47
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• 2024

In this study, LiDAR-detective black material is synthesized by recycling silicon sludge (SS) that is generated from semiconductor manufacturing process, and its recognition is confirmed using two types of LiDAR sensors (MEMS and Rotating LiDAR). In detail, metal impurities on the surface of SS is removed, followed by coating of titanium dioxide (TiO₂) and subsequent chemical reduction to obtain SS-derived black TiO₂ (SS/bTiO₂) material. As-prepared SS/bTiO₂ is mixed with transparent paint to prepare hydrophilic black paints and applied to a glass substrate using a spray gun. SS/bTiO₂-based paint shows similar blackness (L^*=15.7) compared to commercial carbon black-based paint, and remarkable NIR reflectance (26.5R%, 905nm). Furthermore, MEMS and Rotating LiDAR have successfully detected the SS/bTiO₂-based paint. This is attributed to the occurrence of high reflection of light at the interface between the black TiO₂ and the silicon sludge according to the Fresnel's reflection principle. Hence, the new application field to effectively recycle silicon sludge generated in the semiconductor manufacturing process has been presented.

• Applied Chemistry for Engineering
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• v.31 no.1
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• pp.43-48
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• 2020

Fe₂O₃ nanoparticles with the mixed structure of cubic and nanorod were synthesized by precipitation, hydrothermal, sol-gel method, etching process and heat treatment. Fe₂O₃/TiO₂ core-shell (CS) of type Fe₂O₃@TiO₂ composite was fabricated on a 20 nm nanolayer of TiO₂ coated on the surface of Fe₂O₃ nanoparticles. Fe₂O₃/TiO₂ yolk-shell (YS) composite was prepared by chemical etching and heat treatment of Fe₂O₃/TiO₂ CS nanoparticles. Physical properties of Fe₂O₃, Fe₂O₃@TiO₂ CS and Fe₂O₃@TiO₂ YS nanoparticles were characterized by FE-SEM, HR-TEM and X-ray diffraction. The solar reflectance, commission internationale de l'Elcairage (CIE) color coordinate and heat shield temperatures of Fe₂O₃, CS and YS type Fe₂O₃@TiO₂ pigments filled with poly acrylate (PA) paints were investigated by UV-Vis-NIR spectrometer and homemade heat shield temperature measuring device. The Fe₂O₃@TiO₂ YS red pigment filled PA composite exhibited excellent near infrared light reflecting performance and also reduced the heat shield temperature of 13 ℃ than that of Fe₂O₃ filled counterparts.

• Environmental Analysis Health and Toxicology
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• v.18 no.2
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• pp.89-94
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• 2003

Tributyltin (TBT) used world-wide in antifouling paints for ships is a widespread environmental pollutant and cause reproductive organs atrophy in rodents. At low doses, antiproliferative modes of action have been shown to be involved, whereas at higher doses apoptosis seems to be the mechanism of toxicity in reproductive organs by TBT. In this study, we investigated that the mechanisms underlying DNA fragmentation induced by TBT in the rat leyding cell line, R2C. Effects of TBT on intracellular Ca$\^$2+/ level and reactive oxygen species (ROS) were investigated in R2C cells by fluorescence detector. TBT significantly induced intracellular Ca$\^$2+/ level in a time-dependent manner. The rise in intracellular Ca$\^$2+/ level was followed by a time-dependent generation of reactive oxygen species (ROS) at the cytosol level. Simultaneously, TBT induced the release of cytochrome c from the mitochondrial membrane into the cytosol. Furthermore, ROS production and the release of cytochrome c were reduced by BAPTA, an intracellular Ca$\^$2+/ chelator, indicating the important role of Ca$\^$2+/ in R2C during these early intracellular events. In addition, Z-DEVD FMK, a caspase-3 inhibitor, decreased apoptosis by TBT. Taken together, the present results indicated that the apoptotic pathway by TBT might start with an increase in intracellular Ca$\^$2+/ level, continues with release of ROS and cytochrome c from mitochondria, activation of caspases,and finally results in DNA fragmentation.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• Journal of Preventive Medicine and Public Health
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• v.19 no.1 s.19
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• pp.16-30
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• 1986

In order to prepare the fundamental data for the improvement of noisy working environments and the effective hearing conservation program on workers exposed to industrial noise, the authors surveyed the working processes and evaluated the noise levels on 56 manufacturing industries in Pusan area from April to July in 1985. The results were summarized as follows : 1. The noise level was the highest in shipbuilding and repairing(95.6 dBA), and followed by steel rolling(94.0 dBA), manufacture of motor vehicles(93.1 dBA), manufacture of fishing nets(92.9 dBA), manufacture of testiles(92.5 dBA), iron and steel foundries(89.3 dBA), manufacture of metal products(89.1 dBA), preserving and processing of marine foods(87.0 dBA), manufacture of rubber products(85.3 dBA), manufacture of plywood(84.9 dBA) and manufacture of paints(84.5 dBA). 2. Among fifty surveyed working processes, the noise level of twenty-one processes (42%) exceeded the threshold limit value for 8 hours per day. 3. As the allowable exposure times by governmental threshold limit values to industrial noise level(dBA), cocking of shipbuilding and repairing and plating(CGL) of steel rolling were the shortest(30 minutes), and followed by assembling(rivet) of manufacture of motor vehicles(1 hour) weaving of manufacture of textiles and shot, machine, pipe laying of shipbuilding and repairing(2 hours). 4. By the result of octave band analysis on noisy working processes in excess of 90 dBA, the sound level was the highest at 2,000 Hz or 4,000 Hz. 5. It was recognized that the measurement of overall sound pressure level was also effective as octave band analysis in evaluating the industrial noise.