• Proceedings of the Korea Technical Association of the Pulp and Paper Industry Conference
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• 2000.06a
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• pp.16-23
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• 2000

The increasing functional needs of top-quality printing papers and packaging paperboards, and especially the rapid developments in electronic printing processes and various computer printers during past few years, set new targets and requirements for modern paper quality. Most of these paper grades of today have relatively high filler content, are moderately or heavily calendered , and have many coating layers for the best appearance and performance. In practice, this means that many of the traditional quality assurance methods, mostly designed to measure papers made of pure. native pulp only, can not reliably (or at all) be used to analyze or rank the quality of modern papers. Hence, introduction of new measurement techniques is necessary to assure and further develop the paper quality today and in the future. Paper formation , i.e. small scale (millimeter scale) variation of basis weight, is the most important quality parameter of paper-making due to its influence on practically all the other quality properties of paper. The ideal paper would be completely uniform so that the basis weight of each small point (area) measured would be the same. In practice, of course, this is not possible because there always exists relatively large local variations in paper. However, these small scale basis weight variations are the major reason for many other quality problems, including calender blacking uneven coating result, uneven printing result, etc. The traditionally used visual inspection or optical measurement of the paper does not give us a reliable understanding of the material variations in the paper because in modern paper making process the optical behavior of paper is strongly affected by using e.g. fillers, dye or coating colors. Futhermore, the opacity (optical density) of the paper is changed at different process stages like wet pressing and calendering. The greatest advantage of using beta transmission method to measure paper formation is that it can be very reliably calibrated to measure true basis weight variation of all kinds of paper and board, independently on sample basis weight or paper grade. This gives us the possibility to measure, compare and judge papers made of different raw materials, different color, or even to measure heavily calendered, coated or printed papers. Scientific research of paper physics has shown that the orientation of the top layer (paper surface) fibers of the sheet paly the key role in paper curling and cockling , causing the typical practical problems (paper jam) with modern fax and copy machines, electronic printing , etc. On the other hand, the fiber orientation at the surface and middle layer of the sheet controls the bending stiffness of paperboard . Therefore, a reliable measurement of paper surface fiber orientation gives us a magnificent tool to investigate and predict paper curling and coclking tendency, and provides the necessary information to finetune, the manufacturing process for optimum quality. many papers, especially heavily calendered and coated grades, do resist liquid and gas penetration very much, bing beyond the measurement range of the traditional instruments or resulting invonveniently long measuring time per sample . The increased surface hardness and use of filler minerals and mechanical pulp make a reliable, nonleaking sample contact to the measurement head a challenge of its own. Paper surface coating causes, as expected, a layer which has completely different permeability characteristics compared to the other layer of the sheet. The latest developments in sensor technologies have made it possible to reliably measure gas flow in well controlled conditions, allowing us to investigate the gas penetration of open structures, such as cigarette paper, tissue or sack paper, and in the low permeability range analyze even fully greaseproof papers, silicon papers, heavily coated papers and boards or even detect defects in barrier coatings ! Even nitrogen or helium may be used as the gas, giving us completely new possibilities to rank the products or to find correlation to critical process or converting parameters. All the modern paper machines include many on-line measuring instruments which are used to give the necessary information for automatic process control systems. hence, the reliability of this information obtained from different sensors is vital for good optimizing and process stability. If any of these on-line sensors do not operate perfectly ass planned (having even small measurement error or malfunction ), the process control will set the machine to operate away from the optimum , resulting loss of profit or eventual problems in quality or runnability. To assure optimum operation of the paper machines, a novel quality assurance policy for the on-line measurements has been developed, including control procedures utilizing traceable, accredited standards for the best reliability and performance.

• (The) Research of the performance art and culture
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• no.37
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• pp.5-31
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• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.

• (The) Research of the performance art and culture
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• no.35
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• pp.509-541
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• 2017

The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.

• Journal of the Korea Institute of Information Security & Cryptology
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• v.18 no.5
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• pp.3-16
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• 2008

A Wireless Sensor Network (WSN for short) is a wireless network consisting of distributed small devices which are called sensor nodes or motes. Recently, there has been an extensive research on WSN and also on its security. For secure storage and secure transmission of the sensed information, sensor nodes should be equipped with cryptographic algorithms. Moreover, these algorithms should be efficiently implemented since sensor nodes are highly resource-constrained devices. There are already some existing algorithms applicable to sensor nodes, including public key ciphers such as TinyECC and standard block ciphers such as AES. Stream ciphers, however, are still to be analyzed, since they were only recently standardized in the eSTREAM project. In this paper, we implement over the MicaZ platform nine software-based stream ciphers out of the ten in the second and final phases of the eSTREAM project, and we evaluate their performance. Especially, we apply several optimization techniques to six ciphers including SOSEMANUK, Salsa20 and Rabbit, which have survived after the final phase of the eSTREAM project. We also present the implementation results of hardware-oriented stream ciphers and AES-CFB fur reference. According to our experiment, the encryption speeds of these software-based stream ciphers are in the range of 31-406Kbps, thus most of these ciphers are fairly acceptable fur sensor nodes. In particular, the survivors, SOSEMANUK, Salsa20 and Rabbit, show the throughputs of 406Kbps, 176Kbps and 121Kbps using 70KB, 14KB and 22KB of ROM and 2811B, 799B and 755B of RAM, respectively. From the viewpoint of encryption speed, the performances of these ciphers are much better than that of the software-based AES, which shows the speed of 106Kbps.

• (The) Research of the performance art and culture
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• no.40
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• pp.71-109
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• 2020

Nihonbuyo(日本舞踊), a typical traditional Japanese dance, began with kabuki dancing and formed many schools, and was managed by Iemoto system. Iemoto(家元) is the head family of a school of a traditional Japanese art. Iemoto(家元) existed after the establishment of the ancient family system, and it was established as a system during the modern feudal period. Especially in Nihon Buyo, the Iemoto system has developed greatly since the modern era. Iemoto System has has contributed greatly to the succession of traditional arts and has been considered one of the characteristics of Japanese society. Basically, Iemoto system considers it the best authority to pass on the skills of excellent teachers without any distortion. It has various forms depending on the field and the school, but it is an organization with a family structure similar to that of a family with Iemoto at the top. In this article, I examined the establishment and background of the Nihonbuyo and considered the succession of the fame and authority of Iemoto through the system of succession. There are so many schools in the Nihonbuyo world that it is said to be a school kingdom. These schools were divided into kabuki actors, choreographers, female entertainers, ChiutaMai dance(地唄舞) and new dance styles, and the aspect of the Iemoto system was examined through the background and characteristics of each school. While Iemoto system has a positive aspect of inheriting the tradition, there are also many negative criticisms in the art world, such as rigid organizational management, the products of feudal society, the power of Iemoto, and the stalemate of arts. Nevertheless, in a Japanese society that places importance on tradition, the landlady system will not disappear easily. In fact, today, when there are many different art genres in common, young dancers are starting to challenge themselves along with self-examination of Iemoto in order to make the best use of traditional art. We hope that through consideration of the Japanese housekeeping system, it will become a place where intangible cultural properties will be re-acknowledged.

• (The) Research of the performance art and culture
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• no.43
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• pp.79-120
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• 2021

Nagyangchun is a Dangak that has been handed down to the present time with Boheoja as a Saak of the Song Dynasty which was introduced in the Goryeo Dynasty. The title and lyrics of Nagyangchun are conveyed in the Dangakjo of Goryeosa-akji and the Jeungbomunheonbigo. The remaining scores containing Nagyangchun include Akjangyoram, Sogagwonbo Vol.4 and Vol.6 of the Joseon Dynasty and Aakbu-akbo, the 6th Aaksaeng-gyogwacheol, Leewangjikaakbu-oseonakbo during the Japanese colonial period. Besides, the current melody of Nagyangchun is based on Hangugeumak and Gugakjeonjib published by the National Gugak Center. This paper aims to examine how Nagyangchun, which is currently being performed at the National Gugak Center, went through the process of change to have the same structure and form as it is now using these scores as a research subject. The study results are summarized as follows. First, the song of Nagyangchun, which was originally Saak but transmitted as an instrumental piece without lyrics, first appeared in the Hangugeumak Vol.16 and Gugakjeonjib Vol.7 published by the National Gugak Center in 1978 and 1979. In this process, the Janggu added by Kim Ki-soo is now disappearing and is replaced by Jwago. Second, though the five notes of 黃, 太, 仲, 林, and 南 have been maintained unchanged since the Akjangyoram, the pitch of 無/應 and 夾/姑, which appear once each, gradually rises and is unified into 應 and 姑 during the period of Aaksaeng-gyogwacheol or at the latest Leewangjikaakbu-oseonakbo, and reached the present. Third, the current melody of Nagyangchun consists of a structure in which the tones and range of each phrase rises within the form of Mijeonsa (a·b·c·d) and Mihusa (e·b'·c'·d'). Particularly, except for the a-type and e-type melodies, which are the introduction for the Mijeonsa and Mihusa, the remaining melodic types show a gradually descending structure within the corresponding phrase, so the structure of ascending and descending is generally in harmony. Forth, the Ganeum that appeared from Aakbu-akbo are currently classified into seven types, and they appear in ascending pitches of 2nd, 3rd, 4th, and 5th and play a role in smoothly or fluently connecting melodic progression. Fifth, after Akjangyoram, Nagyangchun, which had been handed down as an instrumental piece without lyrics, was restored in 1960 by Lee Hye-gu, and is being passed down as the form of male and female vocals added to the instrumental accompaniment. As a result of examining the current Nagyangchun, which was formed through the process of change after Akjangyoram, it was found that there were tasks that required reconsideration of the current Nagyangchun, which is being played at the National Gugak Center, such as the arrangement of Janggu, the identification of the key, and the investigation of the lyrics. When follow-up studies are continued in the future, it will be able to contribute to the cultural transmission of Nagyangchun.

• (The) Research of the performance art and culture
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• no.43
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• pp.325-356
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• 2021

This study is to analyze the current status of transmission and musical characteristics of Naeseo-deulilsori in Changwon, and the purpose of this study is to illuminate the value of deulilsori in Naeseo region, so that it can be continuously inherited. Naeseo-deulsori consists of the Mosimgi-sori, Nonmaegi-sori, and Chingchingi-sori. Mosimgi-sori, which is called when planting a seedling, is divided into 6 types according to the order and situation of work. ① rice planting sound, ② rice planting sound called in the morning, ③ rice planting sound called at lunch time, ④ rice planting sound called after lunch, ⑤ rice planting sound called when it is raining or cloudy, ⑥ rice planting sound called at sunset. Mosimgi-sori, which is called when planting a seedling, is based on Menali-tori, but partly influenced by Yugjabaegi-tori. However, it was typical Menali-tori in the slow The sound of rice planting in the nearby Haman region, but as the speed increased in the fast The sound of rice planting, the characteristics of Menali-tori faded and la↘mi perfect fourth descending frequently appeared. In the sound of rice planting in Goseong, both slow and fast sounds were strongly influenced by Yugjabaegi-tori. In the end, the sound of rice planting in the Naeseo region is less Yugjabaegi-tori than in the Goseong region and stronger than in Haman region. This combination of tori is a musical bargaining phenomenon that appears in the border region, and it can be said to be a geographical and regional characteristic of the Naeseo region. Nonmaegi-sori has the same sound as 'Sangsadeio' throughout the nearby Goseong and Haman regions. However, in Nonmaegi-sori in the Naeseo region, a strong Gyeong-tori tendency is found in the sound received. Looking at the flow of the melody of Nonmaegi-sori, it seems that the pitch has been changed by the intestines in recent years, and this modified melodic form has continued as it is. In order to guarantee locality, this part seems to need to be corrected in the future.

• (The) Research of the performance art and culture
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• no.39
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• pp.393-413
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• 2019

As one of a shaman song to reveal features of the byeolsin rite, East Sea coast, Gyeongbuk, Korea is matgut have been discussed for a long time. The rite is held to greet other shamans who were invited by a village resident and the highest shaman to perform the rite. When there is no highest shaman in the village, or when the highest shaman lacks the ability to perform the exorcism, other shamans are invited if a person is required to meet the scale of the rite, which is a rite of passage to verify their abilities and to become a community, even while the byeolsingut is held. The best shaman team, or village Pungmul team, and shaman team, When the strings are between them, they play music and struggle with each other, and the strings are lifted, they greet the god of the game at the altar, and the shaman turns around and plays with the field. However, the process of greeting the shaman at the exorcism rite after 2000 and the procedure of "Paggi-bogi" in which shamans take turns singing songs are disappearing. In addition, although the village Pungmul team has participated in the rite as a welcoming party for the shaman team, the purpose of the rite, which is to greet the shaman, is also being tarnished by leaving the role of the village Pungmul team to the outside team. This is due to changes in the villagers' perception of gut and shaman. As in the old days, it was necessary to greet a shaman as a rite of worship, although it was not necessary to confirm its ability to perform the rite of the village, due to the disparity of status. However, after the shaman has been transformed from a 'mysterious' existence into an intangible cultural asset functional owner, the perception of shaman changes and the village confirms the shaman's ability through an intangible cultural asset certificate. In addition, the number of villagers who know the details of the rite is decreasing, and most of the tasks such as preparation and proceedings of the rite are delegated to the shaman to hold the byeolsingut, and the nature of the exorcism of the exorcism is changing.

• (The) Research of the performance art and culture
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• no.39
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• pp.415-455
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• 2019

This paper aimed to clarify the identity and category of the Jeong Jeongnyeol-je Chunhyangga from the perspective of the pansori transfer, while revealing the trajectory of Jeong Jeong-ryeol-je Chunhyangga, which remains in the modern pansori. Jeong Jeong-ryeol's Chunhyangga pansori part has been handed out to date, and except for the love song section, the pansori section, which corresponds to the love-separate-suffering-reunion paragraph, is almost complete. In the case of "Lee Doryeong enters Dongheon," "Hwangneungmyo song," and "The royal secret inspector visits Chunhyang's house to console her", there is a difference in pansori rhythm compared to Chunhyangga, which is currently held. "Why Yi Doryeong came to Chunhyang's House" is used in the form of an Aniri in the current Chunhyangga and "Chunhyang is treated as a virtuous woman in Namwon" is the only one included in Park Rokju's Changbon. "The royal secret inspector gathers people of Namwon to give a feast" is a new part that is not found in Chunhyangga, which is now being held, and can be seen as the Changgeuk sori of pursuing theatrical fun. On the other hand, this paper confirmed that the period between 1936 and 1937, when the Joseon Traditional Vocal Music Group actively performed Changgeuk and the record companies released a series of Changgeuk records, such as and , was an important time for the re-establishment of the Jeong Jeong-ryeol-je Chunhyangga, and that the Chunhyangga of those who had learned it before 1936-1937 was different from those who had learned it after that period. The preceding group includes Park Rok-ju, Kim Yeo-ran and Kim So-hee, while the latter group includes Kim Yeon-soo, Jung Kwang-soo, Park Dong-jin, Jung Kwang-soo and Kang Do-geun. In addition, except for Kim So-hee, these two groups are divided by the time they have learned Jeong Jeong-ryeol-je, whether they inherit the Jeong Jeong-ryeol-je from beginning to end, and by the gender of male and female singers. In teaching his pupils, Jeong Jeong-ryeol chose to use the "old-fashioned pansori" teaching method with impromptu plate-making in mind and the "modern pansori" teaching method with stereotyped sounds in mind. As a result, there were two aspects of Jeong Jeongryeol-je Chunhyangga's succession: a female singer-centered succession, which was held as learned from beginning to end, and a male singer-centered succession, which was held differently depending on the pansori schools or versions.

• (The) Research of the performance art and culture
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• no.19
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• pp.88-123
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• 2009

Gyeongsanjain Dano Festival is a local festival of Yeongnam that was initially designated as Intangible Cultural Heritage No. 44 "Hanjanggun Nori" in 1971 and finally became Gyeongsanjain Dano Festival in 2007. At first, few parts of it were designated for preservation and it was succeeded as a whole without connections between each part. Problems also rise from the fact that it has not been closely studied. Gyeongsanjain Dano Festival is mostly classified into five parts: Keungut, Yeowonmu, Hojanggut, Hanmyoje, and Jainpalgwangdae. This study has closely discussed each part as follows: 1. Keungut 1) Process and Contents of Keungut - Characteristics of Gut in Daegu and Gyeongsan 2) Presence of Performers that can Execute Traditional Gut of Local Area 3) Problems with the Name of Keungut - Ex: 'Hanjanggungut' or 'Keungut' 4) Problems of Dano Festival without Parts to Summon and Send off Spirits before and After Keungut and Restoration Measures 2. Yeowonmu 1) Essence of Yeowonmu and Yeowonhwa 2) Problems with the Mass Game of Hundreds of High School Girls 3) Origin and Succession of Yeowonmu 3. Hojanggut 1) Changes in Characters of Hojanggut 2) Composition and Characteristics of Hojanggut 3) Problems with the Name and Characteristics of Hojanggut 4. Jainpalgwangdae Nori 1) Similarity with Newly Created Shows 2) Problems with the Name of Palgwangdae 3) Difference with the Composition of Other Mask Dances 4) Dances and Movements Distinguished from Other Mask Dances in Yeongnam The following are the solutions suggested for Gyeongsan Jain Dano Festival. First, for the restoration of Gyeongsanjain Dano Festival, Dano festivals and Byeolsinje of nearby areas with clear traditions could be benchmarked. Second, the major content of Gyeongsanjain Dano Festival is 'Hanjanggungut,' and it has to be the leading content of the festival. Third, the structural principle of Korean festival must be adopted and the process and principle must correspond to those of other traditional shows. Fourth, as Gyeongsanjain Dano Festival is the comprehensive form of art, folk, and festival, each part must be closely related in a well-planned scenario. Fifth, Intangible talents and successful training must be widely acknowledged for successful transmission and responsible performances. Sixth, traditional festivals must be restored along with the discovery and development of various festival repertories and spectacles such as tour programs and experiential tours that contribute to local economy.