• Transactions of the Korean Society of Mechanical Engineers B
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• v.35 no.2
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• pp.169-178
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• 2011

The dispersion of a pollutant in a turbulent boundary layer has been described in this study by using a two-dimensional lattice Boltzmann method (LBM) and the Smagorinsky sub-grid-scale (SGS) model. The scalar transport equation corresponding to the pollutant concentration is adopted; the pollutant is considered to be in a continuous phase. The pollutant source is classified as ground-level source (GLS) and elevated-point source (ES). Air velocity and particle concentration profile for the pollutant are compared with the respective results and profiles obtained in the experiments of Fackrell and Robins (1982) and Raupach and Legg (1983). The numerical results obtained in this study, i.e., the simulation and the experimental data for the mean flow velocity profiles and the pollutant concentration profiles, are in good agreement with each other.

• Journal of Korean Society for Atmospheric Environment
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• v.19 no.4
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• pp.397-414
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• 2003

The performance of one-particle stochastic Lagrangian models for passive tracer dispersion are evaluated against measurements in horizontally-homogeneous neutrally-stratified atmospheric surface layer. State-of-the-technology models as well as classical Langevin models, all in class of well mixed models are numerically implemented for inter-model comparison study. Model results (far-downstream asymptotic behavior and vertical profiles of the time averaged concentrations, concentration fluxes, and concentration fluctuations) are compared with the reported measurements. The results are: 1) the far-downstream asymptotic trends of all models except Reynolds model agree well with Garger and Zhukov's measurements. 2) profiles of the average concentrations and vertical concentration fluxes by all models except Reynolds model show good agreement with Raupach and Legg's experimental data. Reynolds model produces horizontal concentration flux profiles most close to measurements, yet all other models fail severely. 3) With temporally correlated emissions, one-particle models seems to simulate fairly the concentration fluctuations induced by plume meandering, when the statistical random noises are removed from the calculated concentration fluctuations. Analytical expression for the statistical random noise of one-particle model is presented. This study finds no indication that recent models of most delicate theoretical background are superior to the simple Langevin model in accuracy and numerical performance at well.

• Transactions of the Korean Society of Mechanical Engineers B
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• v.26 no.6
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• pp.772-778
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• 2002

A numerical analysis of turbulent gas-particle two-phase flow is performed in conjunction with the experiments of Fackrell ＆ Robins and Raupach & Legg that considered ground-level source and/or elevated source flat plate flow. K-$\omega$ turbulence model is used in order to analyze fully turbulent flow field and the concentration equation with settling velocity is adopted for the concentration field. The model of Einstein and Chien is applied that couples the velocity field and the concentration field. Turbulent eddy viscosity is re-evaluated in this model. The present numerical results have good agreement between the simulation and the experimental data for the mean flow velocities and particle concentrations. While the previous study shows about 27% error in the vicinity of the source of particle concentration, the .present study allows about 14% error. A new turbulent gas-particle flow model developed by this study is able to cut down error by 13% at a near source.

• Journal of Korean Philosophical Society
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• v.142
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• pp.295-321
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• 2017

This paper discusses Hegel's concept of Art criticism, focusing on the article "${\ddot{U}}ber$ die Bekehrten" in 16. Vol. of Hegel's Gesammelte Werke. Hegel is a theorist of the system of art, but also an art critic who actively participated in popular art practice. Until now, Hegel has been interpreted mainly as a theorist who usually constitutes the system of art. According to many interpretations, Hegel has been criticized for his theories frame interpretation of the Artwork compulsorily. But in this article we see another aspect of Hegel as an art critic. First, in this article Hegel shows as an art critic how romanticists distort the work with an emphasis on the theory. Hegel argues in his article written in early 1826 that romantic ironic theory does not help at all in understanding the "die Bekehrten" of Laupach. Whereas ironic theory emphasizes the contradiction between character and its action as the essential value of the work, Hegel interprets that the comic is at the center of the work, which lets the unessential sides of the unified character disappear, so that the unity of the character expresses itself. Hegel also interprets that the theory of irony represents the work of art for the scholars, which harms the objectivity of artwork and defends the artwork for the public. Second, Hegel began to apply the achievement of his criticism to his aesthetic lectures. Since 1826 Hegel has focused intensively on discussing two concepts, romantic irony and 'artwork for the public' in his aesthetics lectures. Thus, this article provides a basis for Hegel 's criticism of ironic theory after 1826 and the concept of artwork for the public. In this respect, we can confirm that Hegel has reinforced and extended his theories through his practice of criticism of concrete works of art rather than imposing systematic theories upon art criticism