• Transactions of the Korean Society of Mechanical Engineers A
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• v.34 no.4
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• pp.447-456
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• 2010

The application of a reliable motion simulator can contribute effectively in the evaluation of the performance of a vehicle platform in the development stage of a small unmanned aerial vehicle (UAV). Therefore, the research on a reliable motion simulator can accelerate the development of UAV and decrease the relevant cost. In this paper, the design factors considered in the preliminary design stage of a 6 degree-of freedom motion simulator are defined and the motion range of the simulator is described on the basis of these design factors. The length, acceleration, and the required thrust of actuators with respect to the motion simulator under development are also predicted. The motion range can be increased and a suitable actuator can be selected and produced by applying these results in the manufacturing process of the motion simulator. Thus, the reliability of the motion simulators can be achieved during the actual design operation of the UAV.

• Bulletin of the Society of Naval Architects of Korea
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• v.26 no.3
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• pp.51-61
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• 1989

Recently, the growth in the propulsion power and propeller size of typical energy saving ships has resulted in severe damages of the oil-lubricated stern tube bearing. Consequently, a more rational analytical method for the design of the shafting system is required. In this paper an analytical method applicable to the design of the oil-lubricated stern tube bearing and shafting system is presented. The method consists of the finite element analysis of the shafting system and the oil film hydrodynamics. The shafting system is modeled as a three-dimensional problem using beam elements taking account for the steady components of thrust, lateral forces and moments of the propeller as well as the elastic foundation effects. The oil film hydrodynamics is modeled as a two-dimensional problem. Equal and retangular elements employing hourglass control method are used for the construction of the oil film fluidity matrix. To search the quasi-static equilibrium position between the propeller shaft and the oil film, an optimization technique is employed. Some numerical results based on the proposed method are compared with some measured and numerical data available. They show acceptable agreements with the data.

• Journal of the korean academy of Pediatric Dentistry
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• v.29 no.3
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• pp.407-412
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• 2002

The primary cause of missing teeth vary depending on the region. The loss of posterior teeth is mainly due to dental caries, whereas that of the anterior teeth occur primarily due to trauma at the age of standing and walking and secondarily from the rampant dental caries. Particularly, reduction of the arch length in the cases of premature loss of primary teeth may compromise the eruption of succedaneous permanent teeth. This may result in crowding and impaction of the permanent teeth, and asymmetry of arch, thus a careful consideration for space maintenance should be made in such cases. Space maintainer is required in the case of premature loss of primary posterior teeth, because space loss result from the approximate and centrifugal movement of the neighboring teeth. Generally, in the case of primary incisor, space loss occurs when 1) tooth contact is relevant, 2) crowding in primary dentition is present, and 3) a primary incisor is lost before the eruption of primary canine. Contrarily, in the case of primary dentition with interdental space, space loss will not be observed, mostly when a primary incisor is lost after the eruption of primary canine. Thus, using a space maintainer in cases of premature loss of primary incisor has been introduced primarily not for the purpose of space maintaining but for an aesthetic purpose, prevention of parafunctional oral habits such as tongue thrust, and of pronunciation. Additionally, few case studies have been reported of space loss in cases of premature loss of primary incisor. This study is to report cases of the space loss following the premature loss of primary incisors observed in children.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.