• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.22-37
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• 2018

Unmanned aerial vehicles (UAV) have attracted considerable attention both at home and abroad. The UAV is equipped with a camera that shoots images, which is advantageous for access to areas where archaeological investigations are not possible. Moreover, it is possible to acquire three-dimensional spatial image information by modeling the terrain through aerial photographing, and it is possible to specify the interpretation of the terrain of the survey area. In addition, if we understand the change of the terrain through comparison with past aerial photographs, it will be very helpful to grasp the existence of the ruins. The terrain modeling for searching these remains can be divided into two parts. First, we acquire the aerial photographs of the current terrain using the drone. Then, using image registration and post-processing, we complete the image-joining and terrain-modeling using past aerial photographs. The completed modeled terrain can be used to derive several analytical results. In the present terrain modeling, terrain analysis such as DSM, DTM, and altitude analysis can be performed to roughly grasp the characteristics of the change in the form, quality, and micro-topography. Past terrain modeling of aerial photographs allows us to understand the shape of landforms and micro-topography in wetlands. When verified with actual findings and overlapping data on the modelling of each terrain, it is believed that changes in hill shapes and buried Microform can be identified as helpful when used in low-flying applications. Thus, modeling data using aerial photographs is useful for identifying the reasons for the inability to carry out archaeological surveys, the existence of terrain and ruins in a wide area, and to discuss the preservation process of the ruins. Furthermore, it is possible to provide various themes, such as cadastral maps and land use maps, through comparison of past and present topographical data. However, it is certain that it will function as a new investigation methodology for the exploration of ruins in order to discover archaeological cultural properties.

• Food Science and Industry
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• v.50 no.4
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• pp.82-91
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• 2017

The purpose of this study was to investigate development and nutrient analysis of traditional food in the Sunchang area. A total 6 kinds of set tables was excavated from storytelling. Among set tables, taste and season food were the best in Sunchang gochujang hanjeongsik and Sunchang arirang season table. Shape color, smell, and commercialization possibility and differentiation were best in Sunchang arirang season table. Mole Ratio of sodium and potassium was 1:1 in Sunchang gochujang hanjeongsik and Sunchang arirang season table. The calcium contents in Sunchang gochujang hanjeongsik and Sunchang arirang season table were higher than other traditional foods. This result indicated that Sunchang gochujang hanjeongsik and Sunchang arirang season table are useful for traditional functional food. Also, it is highly suggested to make a database system about local food and standardization of traditional foods cookery.

• Journal of Mushroom
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• v.21 no.3
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• pp.132-139
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• 2023

Light plays an important role in fruit-body development and morphology during Pleurotus spp. cultivation. To understand the effects of light color on fruit-body properties, we evaluated the fruit-body characteristics of Pleurotus spp. Varieties cultivated under blue, red, and purple LED light sources. The main results are as follows: The overall fruit-body shape showed differences depending on the color of the LED light. The fruit-bodies of mushroom cultivated under blue and purple light were generally similar to the mushroom shapes typically produced, while those of mushroom cultivated under green light were abnormally shaped, probably due to the absence of effective light source. The average cap lightness of mushrooms cultivated under blue, green, and purple LED lights was 57.0, 57.4, and 59.4, respectively. The average cap lightness of all varieties except Wonhyeong1ho and Hwang-geumsantari cultivated under the three LED light sources were statistically significantly different (P<0.05). The cap redness varied significantly depending on the LED lighting and variety. Only Gonji7hoM, the cap color mutant of Gonji7ho, showed negative cap redness values under all three LED light sources. Among the eight varieties excluding Gonji7ho, the highest cap redness was observed when cultivated under the blue LED. The average harvest weight of the varieties cultivated under purple, blue, and green LED light were 68.0, 58.3, and 50.1 g, respectively. The yield of Gonji7ho, the mushroom variety with the highest yield, cultivated under blue, green, and purple LED light were 92.8, 77.1, and 98.6 g, respectively. The earliness when grown under the purple, blue, and green LED lights were 5.3, 5.8, and 5.8 days, respectively. Among the varieties, six, three, and two cultivars showed the shortest earliness under the purple, green, and blue LED, respectively. The fruit-body lengths were 66.4, 51.8, and 46.8 mm when cultivated under green, purple, and blue lights, respectively. These results are expected to serve as a foundation for producing mushrooms with traits demanded in the market.

• Journal of the Society of Disaster Information
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• v.19 no.4
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• pp.976-983
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• 2023

Purpose: The dynamic behavior of a bridge structure under seismic loading depends on many uncertainties, such as the nature of the seismic waves and the material and geometric properties. However, not all uncertainties have a significant impact on the dynamic behavior of a bridge structure. Since probabilistic seismic performance evaluation considering even low-impact uncertainties is computationally expensive, the uncertainties should be identified by considering their impact on the dynamic behavior of the bridge. Therefore, in this study, a global sensitivity analysis was performed to identify the main parameters affecting the dynamic behavior of bridges with I-curved girders. Method: Considering the uncertainty of the earthquake and the material and geometric uncertainty of the curved bridge, a finite element analysis was performed, and a surrogate model was developed based on the analysis results. The surrogate model was evaluated using performance metrics such as coefficient of determination, and finally, a global sensitivity analysis based on the surrogate model was performed. Result: The uncertainty factors that have the greatest influence on the stress response of the I-curved girder under seismic loading are the peak ground acceleration (PGA), the height of the bridge (h), and the yield stress of the steel (fy). The main effect sensitivity indices of PGA, h, and fy were found to be 0.7096, 0.0839, and 0.0352, respectively, and the total sensitivity indices were found to be 0.9459, 0.1297, and 0.0678, respectively. Conclusion: The stress response of the I-shaped curved girder is dominated by the uncertainty of the input motions and is strongly influenced by the interaction effect between each uncertainty factor. Therefore, additional sensitivity analysis of the uncertainty of the input motions, such as the number of input motions and the intensity measure(IM), and a global sensitivity analysis considering the structural uncertainty, such as the number and curvature of the curved girders, are required.

• Korean Journal of Heritage: History & Science
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• v.57 no.3
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• pp.6-22
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• 2024

This paper examines the characteristics of wooden wells from the Three Kingdoms period that were discovered in the Yeongsan River basin, in addition to their functions based on the distribution of the remains and excavated artifacts found near the wells. A total of 11 wooden wells have been found at six archeological sites along the middle and upper reaches of the Yeongsan River basin. These wooden wells were built in a wider variety of forms than wells made of other materials due to the ease of processing resulting from the physical properties of wood. However, due to the limited geological conditions in which these wells can be installed and their rapid decay, the discovery of such wells is rare. They tend to be located in the clay and mud layers of old river channels or near river channels where it was relatively easy to obtain water from the riverbed. The wooden wells are mostly square or rectangular in shape and were assembled transversely, and some include support beams in their construction. The backfill was reinforced with either stone, a mixture of stone and clay, or a mixture of clay and pottery shards. The material mainly used was pine wood boards, with wood from chestnut trees being used as a sub-material. Various artifacts, such as pottery and wooden containers, animal bones, and seeds, have been excavated in small quantities. The excavated pottery items consist mostly of flat cups with a cover, mounted cups, pottery stands, wide-mouthed jars with a hole, and round pottery. Based on the environment and remains of the sites, the wells are thought to have been used for domestic and production purposes. The assumed primary function was to obtain domestic water, as most of the wells were located within residential spaces where the area's inhabitants lived. The wells were also used to obtain water for agricultural purposes, as well as for productive purposes such as for operating kilns and smelters. Lastly, the wooden wells were also found to be strongly associated with rites, as evidenced by the artifacts found inside them.

• Magazine of the Korean Society of Agricultural Engineers
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• v.17 no.1
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• pp.3642-3654
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• 1975

The purpose of this thesis is to derive a unit hydrograph which may be applied to the ungaged watershed area from the relations between directly measurable unitgraph properties such as peak discharge(qp), time to peak discharge (Tp), and lag time (Lg) and watershed characteristics such as river length(L) from the given station to the upstream limits of the watershed area in km, river length from station to centroid of gravity of the watershed area in km (Lca), and main stream slope in meter per km (S). Other procedure based on routing a time-area diagram through catchment storage named Instantaneous Unit Hydrograph(IUH). Dimensionless unitgraph also analysed in brief. The basic data (1969 to 1973) used in these studies are 9 recording level gages and rating curves, 41 rain gages and pluviographs, and 40 observed unitgraphs through the 9 sub watersheds in Nak Oong River basin. The results summarized in these studies are as follows; 1. Time in hour from start of rise to peak rate (Tp) generally occured at the position of 0.3Tb (time base of hydrograph) with some indication of higher values for larger watershed. The base flow is comparelatively higher than the other small watershed area. 2. Te losses from rainfall were divided into initial loss and continuing loss. Initial loss may be defined as that portion of storm rainfall which is intercepted by vegetation, held in deppression storage or infiltrated at a high rate early in the storm and continuing loss is defined as the loss which continues at a constant rate throughout the duration of the storm after the initial loss has been satisfied. Tis continuing loss approximates the nearly constant rate of infiltration (${\Phi}$-index method). The loss rate from this analysis was estimated 50 Per cent to the rainfall excess approximately during the surface runoff occured. 3. Stream slope seems approximate, as is usual, to consider the mainstreamonly, not giving any specific consideration to tributary. It is desirable to develop a single measure of slope that is representative of the who1e stream. The mean slope of channel increment in 1 meter per 200 meters and 1 meter per 1400 meters were defined at Gazang and Jindong respectively. It is considered that the slopes are low slightly in the light of other river studies. Flood concentration rate might slightly be low in the Nak Dong river basin. 4. It found that the watershed lag (Lg, hrs) could be expressed by Lg=0.253 (L.Lca)0.4171 The product L.Lca is a measure of the size and shape of the watershed. For the logarithms, the correlation coefficient for Lg was 0.97 which defined that Lg is closely related with the watershed characteristics, L and Lca. 5. Expression for basin might be expected to take form containing theslope as {{{{ { L}_{g }=0.545 {( { L. { L}_{ca } } over { SQRT {s} } ) }^{0.346 } }}}} For the logarithms, the correlation coefficient for Lg was 0.97 which defined that Lg is closely related with the basin characteristics too. It should be needed to take care of analysis which relating to the mean slopes 6. Peak discharge per unit area of unitgraph for standard duration tr, ㎥/sec/$\textrm{km}^2$, was given by qp=10-0.52-0.0184Lg with a indication of lower values for watershed contrary to the higher lag time. For the logarithms, the correlation coefficient qp was 0.998 which defined high sign ificance. The peak discharge of the unitgraph for an area could therefore be expected to take the from Qp=qp. A(㎥/sec). 7. Using the unitgraph parameter Lg, the base length of the unitgraph, in days, was adopted as {{{{ {T}_{b } =0.73+2.073( { { L}_{g } } over {24 } )}}}} with high significant correlation coefficient, 0.92. The constant of the above equation are fixed by the procedure used to separate base flow from direct runoff. 8. The width W75 of the unitgraph at discharge equal to 75 per cent of the peak discharge, in hours and the width W50 at discharge equal to 50 Per cent of the peak discharge in hours, can be estimated from {{{{ { W}_{75 }= { 1.61} over { { q}_{b } ^{1.05 } } }}}} and {{{{ { W}_{50 }= { 2.5} over { { q}_{b } ^{1.05 } } }}}} respectively. This provides supplementary guide for sketching the unitgraph. 9. Above equations define the three factors necessary to construct the unitgraph for duration tr. For the duration tR, the lag is LgR=Lg+0.2(tR-tr) and this modified lag, LgRis used in qp and Tb It the tr happens to be equal to or close to tR, further assume qpR=qp. 10. Triangular hydrograph is a dimensionless unitgraph prepared from the 40 unitgraphs. The equation is shown as {{{{ { q}_{p } = { K.A.Q} over { { T}_{p } } }}}} or {{{{ { q}_{p } = { 0.21A.Q} over { { T}_{p } } }}}} The constant 0.21 is defined to Nak Dong River basin. 11. The base length of the time-area diagram for the IUH routing is {{{{C=0.9 {( { L. { L}_{ca } } over { SQRT { s} } ) }^{1/3 } }}}}. Correlation coefficient for C was 0.983 which defined a high significance. The base length of the T-AD was set to equal the time from the midpoint of rain fall excess to the point of contraflexure. The constant K, derived in this studies is K=8.32+0.0213 {{{{ { L} over { SQRT { s} } }}}} with correlation coefficient, 0.964. 12. In the light of the results analysed in these studies, average errors in the peak discharge of the Synthetic unitgraph, Triangular unitgraph, and IUH were estimated as 2.2, 7.7 and 6.4 per cent respectively to the peak of observed average unitgraph. Each ordinate of the Synthetic unitgraph was approached closely to the observed one.

• Cartoon and Animation Studies
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• s.39
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• pp.215-231
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• 2015

The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.351-378
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• 2006

With the development of media, the methods for the documentation of intangible cultural heritage have been also developed and diversified. As well as the previous analogue ways of documentation, the have been recently applying new multi-media technologies focusing on digital pictures, sound sources, movies, etc. Among the new technologies, the documentation of intangible cultural heritage using the method of 'Motion Capture' has proved itself prominent especially in the fields that require three-dimensional documentation such as dances and performances. Motion Capture refers to the documentation technology which records the signals of the time varing positions derived from the sensors equipped on the surface of an object. It converts the signals from the sensors into digital data which can be plotted as points on the virtual coordinates of the computer and records the movement of the points during a certain period of time, as the object moves. It produces scientific data for the preservation of intangible cultural heritage, by displaying digital data which represents the virtual motion of a holder of an intangible cultural heritage. National Research Institute of Cultural Properties (NRICP) has been working on for the development of new documentation method for the Important Intangible Cultural Heritage designated by Korean government. This is to be done using 'motion capture' equipments which are also widely used for the computer graphics in movie or game industries. This project is designed to apply the motion capture technology for 3 years- from 2005 to 2007 - for 11 performances from 7 traditional dances of which body gestures have considerable values among the Important Intangible Cultural Heritage performances. This is to be supported by lottery funds. In 2005, the first year of the project, accumulated were data of single dances, such as Seungmu (monk's dance), Salpuri(a solo dance for spiritual cleansing dance), Taepyeongmu (dance of peace), which are relatively easy in terms of performing skills. In 2006, group dances, such as Jinju Geommu (Jinju sword dance), Seungjeonmu (dance for victory), Cheoyongmu (dance of Lord Cheoyong), etc., will be documented. In the last year of the project, 2007, education programme for comparative studies, analysis and transmission of intangible cultural heritage and three-dimensional contents for public service will be devised, based on the accumulated data, as well as the documentation of Hakyeonhwadae Habseolmu (crane dance combined with the lotus blossom dance). By describing the processes and results of motion capture documentation of Salpuri dance (Lee Mae-bang), Taepyeongmu (Kang seon-young) and Seungmu (Lee Mae-bang, Lee Ae-ju and Jung Jae-man) conducted in 2005, this report introduces a new approach for the documentation of intangible cultural heritage. During the first year of the project, two questions have been raised. First, how can we capture motions of a holder (dancer) without cutoffs during quite a long performance? After many times of tests, the motion capture system proved itself stable with continuous results. Second, how can we reproduce the accurate motion without the re-targeting process? The project re-created the most accurate motion of the dancer's gestures, applying the new technology to drew out the shape of the dancers's body digital data before the motion capture process for the first time in Korea. The accurate three-dimensional body models for four holders obtained by the body scanning enhanced the accuracy of the motion capture of the dance.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.172-205
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• 2011

Go bears significant meanings in terms of cultural and entertaining functions in Asia Eastern such as China and Japan. Beyond the mere entertaining level, it produces philosophical and mythic discourse as well. As a part of effort to seek an identity of Korean traditional garden culture, this study traced back to find meanings of rock-go-board and taste for the arts which ancestors pursued in playing Go game, through analysis and interpretation of correlation among origin of place name, nearby scenery, carved letters and vicinal handed-down place name. At the same time, their position, shape and location types were interpreted through comprehensive research and analysis of stone-go-boards including rock-go-board. Particularly, it focused on the rock names related to Sundoism(仙道) Ideal world, fixed due to a connection between traces of Sundoism and places in a folk etymology. Series of this work is to highlight features of the immortal sceneries, one of traditional landscaping ideals, by understanding place identity and scenic features of where the rock-go-boards are carved. These works are expected to become foundation for promotion and preservation of the traditional landscaping remains. The contents of this study could be summarized as follows; First, round stone and square board for round sky and angled land, black and white color for harmony of yin and yang and 361paths for rotating sky are symbols projecting order of universe. Sayings of Gyuljungjirak(橘中之樂), Sangsansaho(商山四皓), Nangagosa(爛柯故事) formed based on the idea of eternity stand for union of sky and sun. It indicates Go game which matches life and nature spatiotemporally and elegant taste for arts pursuing beauty and leisure. Second, the stone-go-boards found through this research, are 18 in total. 3 of those(16.1%), Gangjin Weolnamsaji, Yangsan Sohanjeong and Banryongdae ones were classified into movable Seokguk and 15(83.9%) including Banghakdong were turned out to be non-movable rock-go-boards carved on natural rocks. Third, upon the result of materializing location types of rock-go-boards, 15 are mountain stream type(83.9%) and 3 are rock peak type(16.1%). Among those, the one at Sobaeksam Sinseonbong is located at the highest place(1,389m). Considering the fact that all of 15 rock-go-boards were found at mountainous areas lower than 500m, it is recognizable that where the Go-boards are the parts of the living space, not far from secular world. Fourth, there are 7 Sunjang(巡將) Go with 17 Hwajeoms(花點), which is a traditional Go board type, but their existences, numbers and shapes of Hwajeom appear variously. Based on the fact, it is recognizable that culture of making go-board had been handed down for an extended period of time. Among the studied rock-goboards, the biggest one was Muju Sasunam[$80(82)cm{\times}80(82)cm$] while the smallest one was Yangsan Sohandjeong Seokguk ($40cm{\times}40cm$). The dimension of length and breadth are both $49cm{\times}48cm$ on average, which is realistic size for actual Go play. Fifth, the biggest bed rock, an under-masonry with carved Go-board on it, was one in Muju Sasunam[$8.7m{\times}7.5m(65.25m^2)$], followed by ones in Hoengseong Chuiseok[$7.8m{\times}6.3m(49.14m^2$] and Goisan Sungukam[$6.7m{\times}5.7m(37.14m^2)$]. Meanwhile, the smallest rock-go-board was turned out to be one in Seoul Banghak-dong. There was no consistency in directions of the Go-boards, which gives a hint that geographical features and sceneries of locations were considered first and then these were carved toward an optimal direction corresponding to the conditions. Sixth, rock-go-boards were all located in valleys and peaks of mountains with breathtaking scenery. It seems closely related to ancestors' taste for arts. Particularly, rock-go-boards are apprehended as facilities related to taste for arts for having leisure in many mountains and big streams under the idea of union of sky and human as a primitive communal line. Go became a medium of hermits, which is a traditional image of Go-game, and symbol of amusement and entertainment with the idea that Go is an essence of scholar culture enabling to reach the Tao of turning back to nature. Seventh, the further ancient time going back to, the more dreamlike the Go-boards are. It is an evident for that Sundoism, which used to be unacceptable once, became more visible and realistic. Considering the high relation between rock-go-boards and Sundoism relevant names such as Sundoism peak in Danyang Sobaeksan, 4 hermits rock in Muju and Sundoism hermit rock in Jangsu, Sundoism hermit rocks and rock-go-boards are sceneries and observation spots to express a communication of worship and longing for Sundoism. Eighth, 3 elements-physical environment such as location type of the rock-go-boards, human activities concentrated on 8 sceneries and Dongcheongugok(洞天九曲) setup and relevancy to Confucian scholars, as well as 'Sangsansaho' motif and 'Nangagosa' symbolic meaning were used as interpretation tools in order to judge the place identity. Upon the result, spatial investigation is required with respect to Sunyoodongcheon(仙遊洞天) concept based on enjoyment to unify with the nature rather than Dongcheongugok concept of neo-Confucian, for Dongcheon and Dongmoon(洞門) motives carved around the rock-go-boards. Generally, places where mountain stream type rock-go-boards were formed were hermit spaces of Confucianism or Sundoism. They are considered to have compromised one other with the change of times. Particularly, in the rock-go-board at the mountain peak, sublimity-oriented advent of Sundoism is considered as a significant factor to control place identity. Ninth, including where the rock-go-boards were established, the vicinal areas are well-known as parts of Dongcheongugok and Palkyung(八景) mostly. In addition, many of Sundoism relevant expressions were discovered even in the neighboring carvings written by scholars and nobility, which means sophisticated taste based on longing for Sundoism world played a significant role in making go-board. The rock-go-board is an integration of cultural phenomena naturally managed by seclusion of scholars in the Joseon Dynasty as well as remains and essence of Korean traditional landscaping. Some rock-go-boards out of 17 discovered in South Korea, including ones in Sobaeksan Sinsunbong, Banghak-dong, Chungju Gongili, Muju Sasunam, Yangsan Eogokdong Banryongdae Seokguk, are damaged such as cracks in rocks or fainted lines by hardships of time and hand stains. Worse yet, in case of Eunyang Bangudae Jipcheongjeong board, it is very difficult to identify the shape due to being buried. Rock-go-boards are valuable sculptures in terms of cultural asset and artwork since they reflect ancestors' love for nature and longing for Sundoism world. Therefore, they should be maintained properly with right preservation method. Not only rock-boards itself but also peripheral places are excellent cultural heritages and crucial cultural assets. In addition, vicinal sceneries of where rock-goboards and pavilion spots are the representative remains of embracing prototype of Korean traditional landscaping and major parts of cultural properties.