• Applied Chemistry for Engineering
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• v.26 no.2
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• pp.199-204
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• 2015

Thermoplastic road markings are one of the most widely used road markings in the world. However, the durability of domestic road markings is relatively shorter than that of the global average of, approximately, three years. To overcome it, the conventional thermoplastic road markings were prepared by adding polyolefin and oxidized PE wax to conventional petroleum resin. In addition, the melting viscosity was designed below 500 cP at $220^{\circ}C$ as well as the optimum viscosity for spray painting, and embedding ratio of glass beads were controlled about 50~60% by spraying in an interval of 1 second. Also the glass bead adhesive ratio was improved by reducing the amount of $CaCO_3$ below 40 wt%. The retroreflectivity was tested under four different conditions to evaluate the abrasion resistance of thermoplastic road markings. The retroreflectivity coefficient satisfied the international standard ($150mcd{\cdot}m^{-2}{\cdot}lux^{-1}$) in this study, and TPRM-7 was determined as an optimal ratio.

• Journal of the Mineralogical Society of Korea
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• v.21 no.3
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• pp.271-281
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• 2008

The "Noerog", a traditional green mineral pigment occurs as veins or cavity-filings in the basaltic pyroclastic rocks of Quaternary Epoch in Mt. Noeseong in Janggi-myeon, Pohang. The "Noerog stone" mainly consists of celadonite with minor chlorite/smectite, mordenite and opal. Celadonite grains are several hundreds to several tens of ${\mu}m$ in size. The particle sizes under several tens of fm are likely to coagulate to aggregates. The coloring rate increases rapidly with decreasing particle size under $71{\mu}m$. The hiding power is maximum in the particle sizes of $0.2\sim0.3{\mu}m$. The resistance properties of the Noerog to both the light and the bacteria are absolutely superior to ordinary chemical pigments. The transparency of the Noerog is maximum in the nano-powders under 200 nm. Examination of the color of the Noerog pigment which has been prepared by traditional technique for "dancheong" shows that the best coloring effect is found in the particle sizes under $32{\mu}m$ and that the painting was not successful for the Noerog of particle size over $32{\mu}m$.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.600-611
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• 2016

This study examined the impacts of types of titles of artworks, especially 'untitled', on audience reponse. Generally, naming can be a tool to represent characteristics of objects, affecting their market value and price. Since contemporary artworks are often untitled, this study aimed to investigate how naming 'untitled' would affect audience response. As the size of arts market increasing, how the audience, potential buyer of artworks, responds to artworks is important. Based on prior research, we hypothesized that the audience would have different level of understanding, attention, attractiveness and curiosity to untitled artworks, controlling other factors. In the regression results from the data of 305 respondents, we found that people had significantly lower level of understanding and attention on untitled artworks than on artworks of explanatory or associative titles. In addition, respondents showed significantly higher level of curiosity when the artwork was an painting. This study confirmed the assertions of prior research that titles are indeed important, and further implied that artwork creators should be more concerned on naming their artworks since titles as well as artworks themselves could actually affect audience response.

• Journal of the Institute of Electronics Engineers of Korea SD
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• v.48 no.3
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• pp.7-11
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• 2011

In this paper, we proposed a simple and high-yield printing process for source and drain electrodes of organic thin film transistor (OTFT). The surface energy of PVP (poly 4-vinylphenol) gate dielectric was decreased from 56 $mJ/m^2$ to 45 $mJ/m^2$ by adding fluoride of 3000ppm into it. Meanwhile the surface energy of source and drain (S/D) electrodes area on the PVP was increased to 87 $mJ/m^2$ by treating the areas, which was patterned by photolithography, with oxygen plasma, maximizing the surface energy difference from the other areas. A conductive polymer, G-PEDOT:PSS, was deposited on the S/D electrode areas by brushing painting process. With such a simple process we could obtain a high yield of above 90 % in $16{\times}16$ arrays of OTFTs. The performance of OTFTs with the fluoride-added PVP was similar to that of OTFTs with the ordinary PVP without fluoride, generating the mobility of 0.1 $cm^2/V.sec$, which was sufficient enough to drive electrophoretic display (EPD) sheet. The EPD panel employing the OTFT-backpane successfully demonstrated to display some patterns on it.

• Journal of Korean Philosophical Society
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• v.145
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• pp.381-407
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• 2018

Gilles Deleuze presents his distinctive logic of sensation in "Francis Bacon: The Logic of Sensation" with his own approach to Bacon's paintings. What matters here is the sensation of 'haptic' that is 'one possibility of the eyes' but different from optical perception. The concept of 'haptic' has been translated into Korean variously, and Gilles Deleuze adopted this concept from Austrian art historian, Alois Riegl. Alois Riegl had used the concept of 'haptic' to mean proximate view (Nahsicht in German) as in seeing Egyptian bas-relief. Gilles Deleuze was in succession to Alois Riegl's way of thinking and used the concept of 'haptic' to discuss Bacon's paintings. By the way, Alois Riegl had adopted this concept anyway to read Egyptian bas-reliefs, but Gilles Deleuze applies this concept to paintings. Actually, this concept in Gilles Deleuze's theory of painting has more meanings than Alois Riegl'. That is to say, when we intend to understand "The Logic of Sensation" as a new logic of sensation to be represented more than just a discussion about Bacon's paintings, we would say that key word is the concept of 'haptic' being symbolic of Bacon's paintings. Yet, what kind of sensation is the 'haptic'? And, what is Deleuze's theory of sensation? I want to interpret "Francis Bacon: The Logic of Sensation" as a work being developed through his own theory of sensation, and further more I should like to draw special attention to the sensation of 'haptic' in order to make his theory of sensation with admirable clarity.

• Applied Chemistry for Engineering
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• v.28 no.4
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• pp.490-494
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• 2017

With increasing the number of vehicles, the accident rate also goes up and the damaged vehicles should be painted as a final repair process. At the painting stage the solvent-based paint causes environmental problems. To overcome these problems waterborne refinish paint is frequently used recently. However, for waterborne refinish, the costs of insurance coverage are too expensive, and insurance reimbursement costs could be burdensome. Because of the high price of aquatic paint treatment, the service shop might charge the malicious service price. In this study, the surfactant of Surfynol 104, which is the component in the paint, was used as an indicator whether the vehicle was painted with waterborne paint. The specimen was quantitatively analyzed to contain 0.38% of the surfactant through the standard addition method with isotope substituted internal standard (IS) of fluranthene-d10 by curie point pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS).

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.1
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• pp.97-102
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• 2020

With the advancement of technology, there are almost no constraints on expression in virtual reality (VR) art; however, it still has some limitations. VR artists can be largely classified into two groups in terms of style. The first group is artists who create their works as a live performance. In this case, a major limitation is that the artist cannot see how the audience reacts to the work because he/she wears a VR device while performing, and the audience cannot fully experience the work, since they view it only on-screen without any VR devices. This problem can be solved if all members of the audience wear VR devices; however, that requires astronomical costs and brings about another problem related to device management. If the price of VR devices decreases as technology develops, it may help solve this problem. The second group is exhibition artists who regularly display their works online. In this case, the limitation is that their work using VR remains only in the virtual digital space. In this case, a solution may be creating space in exhibition halls, and providing VR devices to audience members in existing art exhibitions.

• Journal of the Korean earth science society
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• v.37 no.2
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• pp.117-131
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• 2016

The purpose of this study was to compare of freshmen's cognitive frames about the 'Crisis of the Earth' upon taking the Earth science I course in high school to confirm if they reflect the goal of the curriculum reasonably. Data were collected from 67 freshmen who graduated from high school. All participants were asked to express about the 'Crisis of the Earth' in painting with explanation, then we picked meaningful units from paintings. We analyzed the words and frames presented in the paintings using the Semantic Network Analysis. Result are as follows. First, when both groups' (one that took the course vs. the other that did not take it) built their cognitive frames for the 'crisis of the Earth', they reasonably connected areas that are composed of the global environment and they understood that their relation was constantly changing by interacting each other. Second, when configuring a cognitive frame about the 'crisis of the Earth', both groups reflected the characteristics of interrelationship with human activities. In particular, the group that took the course of Earth Science I fully reflected the goal of the curriculum. It is suggested that students recognize the 'crisis of the Earth' not only from a cosmic perspective bot also from the Earth's interior since most of students have strongly connected it to the phenomenon of the Earth's interior rather than the Earth's outward symptoms. In addition, it is recommended that the Earth science curriculum put more emphasis on understanding the importance of problem-solving of the Earth's crisis.

• Journal of Broadcast Engineering
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• v.16 no.1
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• pp.33-43
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• 2011

Recently, 3D displays are supplied in the 3D markets so that the demand for 3D stereoscopic contents increases. In general, a simple method is to use a stereoscopic camera. As well, the production of 3D from 2D materials is regarded as an important technology. Such conversion works have gained much interest in the field of 3D converting. However, the stereoscopic image generation from a single 2D image is limited to simple 2D to 3D conversion so that the better realistic perception is difficult to deliver to the users. This paper presents a new stereoscopic content production method where foreground objects undergo alive action events. Further stereoscopic animation is viewed on 3D displays. Given a 2D image, the production is composed of background image generation, foreground object extraction, object/background depth maps and stereoscopic image generation The alive objects are made using the geometric transformation (e.g., translation, rotation, scaling, etc). The proposed method is performed on a Korean traditional painting, Danopungjung as well as Pixar's Up. The animated video showed that through the utilization of simple object transformations, more realistic perception can be delivered to the viewers.

• The Journal of Art Theory & Practice
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• no.8
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• pp.59-87
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• 2009

This thesis started from the attempt to make it clear that 80's American artist Keith Haring(1958-1990) had conducted social intervention of criticism, resistance, and participation through his works, and so pursued public value. Haring of graffiti fame left popular and familiar cartoon style pictures on the street wall, the billboards, the posters and so on. Popular and playful works was explained as his unique characteristics, but Haring's creative way at the field has more value than just being grasped as artist's personal characteristics. Haring's work pieces became everyday art by joining with people's life, and are working as a social speaking place. So I think that these Haring's art works possess characteristics of 'the public sphere'. 'The Public Sphere' means that is independent and free from the government or partisan economic forces, so that is not connected with the interested relations, and that is the sphere of rational argumentation without 'disguise' or 'fabrication', and that is the sphere where general public can participate in and is inspected by them. The public sphere between the sphere of public authority such a nation and a market and the private sphere of free individual, it is mutually connected with them and works as the space forming public opinion. Private individuals communicate with this public sphere and perform a role of direct and indirect check, balance, and social criticism way off from power. Openness that should include the voice of not only leading power but also the socially weak such as citizens, women, homosexuals, minority races, and so on, and alienated class, is an index of the public characteristics. The public sphere is not working just with speech and mass media. Many artists as well as Haring open their mouth and act through an art at the center of society, and create another public sphere by an art. I understood that the real participatory and practical characteristics on the Haring's work is a phenomenon and current of a part of the art world including Haring. Such current started from 1960s is the in-depth effort to be connected with the life more closely, to communicate with people, and to improve problems of life. And it has pursued public value on the different way from the nation or public power. Artists have intervened in the society with strategic and positive ways in order to raise pushed-out value and sinked rights as the public agenda, and labored to accept the value of variety and difference at the society. The aspect of such social intervention is the notable features, findable on the Haring's works and process. Haring's works include art historical meanings and are expressed with familiar and plastic language, so they were able to communicate with various classes. And he secured various customers at the field and the street. This communicative and public approach factor raised the possibility much for his works to work as the public sphere. Haring presented critical and resistant speech toward society with his works based on this factor. He asserted his position and justice of gender identity as a sexual minority. And his such work continued to movement for alienated class and social week over his own rights. His speech and message on the wall painting, poster, T-shirts, billboard of the subway, and so on worked as a spectacle and pressed concern with social issues and consciousness shift. And he's been trying to protect and care people who is injured by HIV and drug and to realize social justice through social week protection. Haring's works planned to meet many people as much as possible performed its role of intervening in society through criticism, resistance, speech, and participation, and controlling and checking social issues. These things considered, Haring's works show his consciousness about public attributes of art, and obviously include public value seeking. And also we can find the meaning of such his work as that an art is working as the public sphere and shows the possibility to discuss and practice public issues.