• Proceedings of the Korea Water Resources Association Conference
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• 2005.09a
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• pp.471-472
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• 2005

• Journal of Korean Society on Water Environment
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• v.30 no.5
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• pp.477-485
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• 2014

Imha Reservoir is connected to Andong Reservoir via a diversion tunnel allowing water to pass between. The diversion tunnel is equipped with screens to exclude exotic largemouth bass due to their predatory impacts on prey assemblages resulting in a degradation of species richness of local fish fauna and extinction of local fish populations in Korea. Flow pattern changes resulting from the fish screens and trash racks were investigated using a computational fluid dynamics (CFD) model. Numerical simulations showed that the decrease in the discharge capacity of the tunnel is approximately 8.6% and the headloss coefficient for fish screen at Andong intake tower was determined to be 1.5. In order not to allow the small fishes enough to pass through the wire openings enter into Imha Reservoir through tunnel, the velocity in the tunnel should be greater than 1.48 m/s which is a critical ascending velocity of the bass. This study suggests that it can keep the velocity higher enough to exclude largemouth bass when a gate opens with the condition of 1.0m difference in water stage between two reservoirs.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.5 no.2
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• pp.50-56
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• 1972

This study has been carried out to observe the driving and the intercepting effects of air screen on some sea-water fishes ; Chrysophrys major, Mylio macrocephalus, Fugu pardalis. 1. By perforating fine holes on the compressed air pipes, air screen was formed in the water, and this screen was set at $45^{\circ}$, and $90^{\circ}$ against the fish passage to observe the reactions on the part of the fish. 2. Changes were given to the location of the air screen in the water to observe how the air screen drived the fish to its direction. 3. The effective distance between holes on the air piprs was determined by a series of experiments of setting up two air screens of various types in hole distance, by moving a screen to-ward the other, and of observing the distance between two screens when fish eseape through the space. The results of the above experiments observed as follows were : 1. The passage of fish was effectively intercepted by setting up the air screens at 45 degrees against the fish passage and it was also intercepted when the screen was set at 90 degrees against the passage. 2. Fish could be driven by moving the air screen toward the fish. 3. The air screen formed from the pipe above than 0.3mm in diameter was effective, but less than 0.2mm was not sufficiently effective. 4. The strength of the air pressure in the pipe should be higher than $0.087kg/cm^2$. 5. The fish holding ability to obtain effective air screen was ranged as following when the air pressure was $0.160kg/cm^2$. and the hole diameter was 0.3mm on the 12.6mm pipe, depending upon the intervals of the holes on the pipe: The shortest distance which could hold fish between two screens was 59.4cm when the holes were perforated at every 40cm; 33.5cm when at every 30cm; 28.75cm when at every 10cm: and 27.25cm when at every 5cm. Thus, no significant change was at served when the holes were perforated more densely than 30cm intervals. Therefor the hole intervals should be 30cm in designing fishing gear employing air screen.

• Korean Journal of Ichthyology
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• v.18 no.3
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• pp.251-265
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• 2006

To investigate the impingement of fish on the traveling screens, fishes were collected from the traveling screens at Hadong Power Plant through the year of 1999. A total of 84 fish species were collected during the study period. The dominant species were Leiognathus nuchalis, Engraulis japonicus, Trichiurus lepturus and Takifugu niphobles. These four species accounted for 78.2% of the total number of individuals and 52.0% of total biomass collected. The number of fish species, number of individuals, biomass and species diversity indices fluctuated with the seasons. The number of species and biomass were high in April and August, and the number of individuals was high in April and July. However, the number of fish species, number of individuals and biomass of fishes showed low values in winter.

• Journal of Korea Multimedia Society
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• v.12 no.1
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• pp.130-138
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• 2009

As time spent in front of the computer screens increases, an increasing number of people are using natural landscapes or virtual aquariums as their desktop and screen saver that can provide them with mental comfort. A virtual aquarium is constructed by an animation work that creates a variety of fish that freely move in a random virtual underwater environment to analyze their movement. This paper suggests a method that constructs an immersive virtual aquarium, using fluid animation method that expresses changes of shape of fluid in real time and the Smart Fish technology which is capable of an interaction according to the diverse characteristics of virtual fish. The suggested method can be used in a virtual aquarium, aquarium screen saver, virtual fish-raising game, etc., which express diverse undersea environment.

• Korean Journal of Ichthyology
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• v.9 no.1
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• pp.30-47
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• 1997

To investigate the impingement of fishes on the traveling intake water screens, fishes were collected from the traveling screens at Kori Nuclear Power Plant between April 1987 and March 1989. A total of 102 species was collected during the study period. Gasterosteus aculeatus aculeatus, Engraulis japonicus, Sardinella zunasi, and Trichiurus lepturus were the four most abundant species, and accounted for 97.4% of the total number and 92.2% of the total biomass of fishes collected. Impingement was very high in Febuary and March, but it was low during the rest of the year. There was an inverse relationship between intake water temperature and fish catch.

• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.19 no.1
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• pp.17-24
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• 1983

The authors carried out an experiment to find the optomotor response of killifish, Orizias latipes(TEMMINCK et SCHLEGEL) and Yellowtail, Seriola quinqueradiata (TEMMINCK et SCHLEGEL) according to the colors of the netting pattern on the visual screen and the revolving velocities of the visual screen. The experimental water tank was made of 0.5 cm thick transparent acryl in the cylindrical shape (100R$\times$42H cm). The water level in the tank was maintained 30cm high from the bottom. The colors of the netting pattern (mesh size: 19.1cm, width of netting twine: 1.5cm, hanging ratio: 84%) on the three visual screens were black, red and green respectively. The revolving velocities of the visual screen were controlled by pulley, bevel gear and variable speed motor in three steps; slow (15.0cm/sec), middle (37.4cm/sec) and high (62.9cm/sec). The fish was put into the water tank before each experiment and released in it for 30 minutes in order to acclimatize itself to the tank. The visual screen was revolved for 4 minutes per each experiment, at first the fish was released for 1 minute, and then the behavior of the fish was observed for 3 minutes. In the course of clockwise and counter clockwise experiments, 10 minutes-pause was given for the rest. The behavior of the fish was observed by video system, and rounding number and swimming speed of the fish were analysed. The results obtained are as follows: (1) Optomotor response rate of Killifish and yellowtail were 95% and 94% respectively. (2) Response of the fish according to the colors of the netting pattern on the three visual screens was best in black, and second in red and third in green. (3) Response of the fish according to the revolving velocities of the visual screen was best in high speed, and second in middle speed and third in slow speed.

• International Journal of Industrial Entomology and Biomaterials
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• v.17 no.1
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• pp.109-113
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• 2008

Realizing the scope of utilizing by-products of silk cocoons by applying appropriate methods is the immediate crave to optimize returns. The nutritive value of pupae suits for human diet, feed for poultry, carps, fish, rabbits, piggery and dogs. The pupal skin, fat, oil, cocoon palade have applications in oleo chemical, soap, glycerin, cosmetic, artificial fibres, membranes and n-triacontanol isolation. The pupal proteins Chitin, Shinki fibroin, Serrapeptidase, glucosamine are latent precursors of post surgical, anti-carcinogenic, anti-inflammative, anti-bacterial, anti-histaminic, gastric, hepatitis, pancreatitis, leukocytopenia, neurological, ophthalmic, blood pressure, cardiac and diabetic medicines and for preparation of vitamins A, E and K. The silk and its proteins sericin and fibroin are potentially used for wound healing, diabetes, impotence, sinusitis, arthritis, edema, cystitis, epididymitis, tissue regeneration, cancer, post-surgical trauma and used as anti-oxidatives, bio-adhesives, ultra violet screens and bio-active textiles. The waste cocoons can be used in making art crafts like garlands, carpets, overcoats, decoratives and greeting cards. The in-depth research towards utility optimization and make aware this reality to sericulturists, reelers, weavers, traders, entrepreneurs, policy makers etc., is the upright want of the today's Sericulture industry.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.

• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.14 no.1
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• pp.15-36
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• 1978

Underwater sounds of some fishes and crabs were analyzed in the laboratory. The behavioral responses to the playback sounds of their feeding and croaking sound were investigated. The samples used in the experiment were as follows: Nibea albiflora, seriola quinqueradiata, Navodon modestus, Fugu xanthopterus, chrysophrys major, Scylla serrata, Telmessus acutidens, Charybdis japonica, and Portunus trituberculatus. The feeding and croaking sounds of the samples were recorded by a tape recorder through a hydrophone in an anechoic aquarium. The sound intensity level was measured by means of a sound level meter at an anechoic chamber. The frequency, intensity and wave form of various sounds were analyzed with an analyzing system consisting of a 1/3 octave filter set, a high speed level recorder, an amplifier, an octave band analyzer and an oscilloscope. The most successful recording was edited into a sequence of sound track which repeats sound emitting for 5 to 7 seconds after pausing for 5 to 7 seconds. The sequence was then reproduced into an anechoic aquarium through the under water speaker. The experimental anechoic aquarium used for the sample fishes was divided into the four sections with any three screens selected from 40$\times$40mm, 60$\times$60mm, 80$\times$80mm and 100$\times$100mm mushes according to the species of the fishes, besides that for crabs were not sectioned. The results of the investigation are as follows: 1. Of the feeding sound of fish, the frequency of wave from of the sound produced by Nibea albiflora and seriola quinqucradiata was 125～250Hz, that by Navodon modestus 63～125Hz, and that by Fugu xanthopterus 400～500Hz. The pressure level of the feeding sound produced by Nibea albiflora and Seriola quinqueradiata was 56～62db, that by Navodon modestus 57～59db, and that by Fugu xanthopterus 60～64db. 2. Of the croaking sound of Nibea albiflora, the frequency of the sound was 125～250Hz almost equivalent to that of feeding sound, and the pressure level was 62～63db, slightly higher than that of feeding sound. 3. Of the croaking sounds of crabs, the frequency of the sound produced by scylla serrata was 125～250Hz, that by Charybdis japonica and Telmessus acutidens 500～1,000Hz, and that by Portunus trituberculatus 250～500Hz. The pressure level of the croaking sound by Scylla serrata was 68～70db, and that by Charybdis japonica, Telmessus acutidens and Portuens trituberculatus 50～62db. 4. Phonotactic responses of Nibea albiflora and Seriola quinqueradiata to the feeding sounds produced by their own species, the same body length were conspicuous with the phonotactic index of 56～87%, but that of Navodon modestus, Chrysophrys major and Fugu xanthopterus were hardly recognized. 5. Phonotactic responses of the sample fishes to the sinusoidal sound with the frequency range of 50 to 9,000 Hz were observed not conspicuous. 6. Phonotactic responses of Portunus trituberculatus to the croaking sounds produced by their own species was varied in the range of 40～100%, according to the carapace length and the sex.