• Advances in nano research
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• v.9 no.1
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• pp.59-67
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• 2020

Filter cake formation during rotary drilling operation is an unavoidable scenario, hence there is need for constant improvement in the approaches used in monitoring the cake thickness growth in order to prevent drill-string sticking. This study proposes an improved model that predicts the growth of mud cake thickness overtime with the consideration of the addition of nanoparticles in the formulated drilling fluid system. Ferric oxide, titanium dioxide and copper oxide nanoparticles were used in varying amounts (2 g, 4 g and 6 g), and filtration data were obtained from the HPHT filtration test. The filter cakes formed were further analyzed with scanning electron microscope to obtain the morphological characteristics. The data obtained was used to validate the new filtrate loss model. This model specifically presents the concept of time variation in filter cake formation as against the previous works of constant and definite time. Regression coefficient which is a statistical measure was used to validate the new model and the predicted results were compared with the API model. The new model showed R² values of 99.9%, and the predictions from the proposed filtration model can be said to be more closely related to the experimental data than that predicted from the API model from the SSE and RMSE results.

• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.116-132
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• 2008

Continuity and discontinuity is a relative concept, and there are various categories of the continuity and discontinuity in our circumference. In the thought of postmodernism of the late of 20th Century, continuous creations of the difference and the repetition have being regarded as a discontinuity. But, because of that catches the moment occurring qualitative skip though the flowing of the everlasting time, this has been known to a shortsighted viewpoint overlooking characteristic of the qualitative continuity of an organism, which have being created continuous formation for life through the flowing of the time. Therefore, this had studied like this complex social condition and various relationships expressed in modern fashion focusing on permanently creative movements and behaviors equal to the qualitative continuity. This Thesis is following study about continuity, and aims at understanding of those formative characteristics through consideration about characteristics of qualitative continuity. And, this analyzes formative characteristics of the qualitative continuity into 5 sets: enlargement, conversion, structural variability, mutual combination, and deconstruction. This thesis intends to grasp complex modern social phenomenon and modern fashion into qualitative continuity that means continuous formation and the change of various relationships according to recognition about the course toward open thinking.

• Journal of Periodontal and Implant Science
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• v.34 no.1
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• pp.163-175
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• 2004

This study was performed to evaluate bone formation in the calvaria of rabbit by the concept of guided bone regeneration with titanium mesh membrane and demineralized freeze-dried bone. The animal was sacrificed at 2 weeks, 4 weeks, 8 weeks, and 12 weeks after the surgery. Non-decalcified specimens were processed for histologic analysis. 1. The titanium mesh but the biocompatibility was excellent the cell-occlusiveness was feeble. 2. The cell-occlusiveness was feeble and also the soft tissue growth of the upper part of the newly-formed bone after operating was excellent in early stage. 3. The maintenance ability of the space for the GBR very was excellent. 4. The titanium mesh the tissue-integration was superior the wound fixation ability excellent. 5. The demineralized freeze-dried bone did not promote the bone regeneration. 6. With the lapse of time, formation quantity of the bone some it increased, it increased quantity very it was feeble. Within the above results, the titanium mesh for the guided bone regeneration was excellent, the dεmineralized freeze-dried bone confirmed does not promote bone regeneration.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2008.05a
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• pp.134-138
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• 2008

In modern society, the place we live and reside decides quality of our lives and pattern of behaviors, and it appears with indeterminative and circulating forms. The place provides different experiences and restrictions to us as intentions of human being and order of nature merges into each other. Formation of such place decides the character depending on its relationship of orders. There would be various methods to prescribe for the ability, that is, characteristics, of space. It is the purpose of this research to classify different components defining the character of the space based on a general notion of place and to find out how it is reflected in the space itself. It is to analyze difference case studies by finding out the relationship between the factors affecting the formation of places and aspects of different expressions within the space. The research would assist in forming different harmonious places reflecting the phases of this modern time as designing interior spaces, and it is also to provide footstone for the formation of space which is not only growing but also future oriented.

• Korean Institute of Interior Design Journal
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• v.19 no.6
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• pp.141-149
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• 2010

This thesis is designed to take a close look into the characteristics of architectural space through the standard of beauty, which has been created apart from our desires at certain cultural or historical periods of time. It will try to construct the outline of conception about the beauty throughout many centuries. First of all, contents of the research will focus on the aspects, which people have been considering as beauty eversince the ancient time without having any assumptions on its concept. For example, if the beauty of art has been accepted by the theories of modern aesthetics while degrading the beauty of nature, its value could have possibly been much more appreciated. The standard of beauty has been going through the process of change in such history of mankind. The general standard of beauty, which was established in the ancient time was the proportion and harmony between many elements. Afterwards, beauty was expressed as colors and light in medieval times. Expression of beauty using ugly features such as monsters or demons also existed at the time. Beauty has been periodically developing from supernatural to gracious, rational, noble, romantic, religious, mechanical, and today's media. The concept of beauty established from the above has been appearing throughout various culture such as dress and decoration at the given period of time. It would later affect the formation of space as well as decoration for architectures and styles. It will be analyzed throughout the five design elements; style, composition, materials, components, and form. The thesis would like to find the spatial order of beauty from the result of the analysis. The analysis will examine the possibility for which the recomposition of beauty will be provided as a design process for the new era. The Greek beauty represents a shape. The shape represents proportion and the proportion represents given numbers. However, beauty is being expressed by the opposite process at the present time. In other words, computers will arrange the numbers, which would formalize the proportion between the numbers. Beauty would be presented when the shape is presented as certain forms.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Proceedings of the Korean Society of Food and Cookery Science Conference
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• 1993.05a
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• pp.149-159
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• 1993

The concept of Solid-State Fermentation is briefly explained in comparison to other fermentation principles, and several types of fermenters are presented. A recently developed "Swing Reactor" for SSF is shown. When inoculated on rice, the mould Monascus purpureus forms red pigments, Which can be used as food colors (Ang-kak, Red Rice). By Response Surface Methodology, serveral factors have been optimized for maximal red colour formation. Showing that presoaking time of rice, pH of soaking water, age of preculture and inoculum size were not of importance within the observed limits. For a fermentation time of 7 days, start humidity is optimal at 34% and temperature is optimal at 28.8 C. These results of small scale fermentation could be transferred to the Swing Reactor.

• Journal of Astronomy and Space Sciences
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• v.31 no.1
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• pp.67-72
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• 2014

The next generation small satellite-1 (NEXTSat-1) program has been kicked off in 2012, and it will be launched in 2016 for the science missions and the verification of space core technologies. The payloads for these science missions are the Instrument for the Study of Space Storms (ISSS) and NIR Imaging Spectrometer for Star formation history (NISS). The ISSS and the NISS have been developed by Korea Advanced Institute of Science and Technology (KAIST) and Korea Astronomy and Space science Institute (KASI) respectively. The ISSS detects plasma densities and particle fluxes of 10 MeV energy range near the Earth and the NISS uses spectrometer. In order to verify the spacecraft core technologies in the space, the total of 7 space core technologies (SCT) will be applied to the NEXTSat-1 for space verification and those are under development. Thus, the operation modes for the ISSS and the NISS for space science missions and 7 SCTs for technology missions are analyzed for the required operation time during the NEXTSat-1's mission life time of 2 years. In this paper, the operational concept of the NEXTSat-1's science missions as well as the verification of space core technologies are presented considering constraints of volume, mass, and power after launch.

• Journal of Science of Art and Design
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• v.1
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• pp.125-164
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• 1999

The Grid, a lattice structure adapted in paintings, is one of thesimplest plastic structures based on the intersection of horizontal and perpendicular lines. Though mankind has, from the pre-history to the present day, put it to good use in everyday life as a traditional practice or a magical, esoteric, religious emblem in the case of the teciform of primitve art, it was in the paintings of Piet Mondrian that the Grid showed its modern, artistic transformation. As we suggest in the title, before I state the Grid as a plastic construction of modern painting, this dissertation inquires the Grid structure that extends over paintings through the ages as a painterly conept, especially focused on their formation and deconstruction. To begin with, my dissertation investigates, as a historical background, a general idea of the geometrical structure and phases of its transition in art, prior to dealing with the Grids as plastic strures in modern painting. the core of my study on formal Grids is permeated through the third chapter. The first chapter concentrates on, firstly, difining the notion of the Grid and geometrical structure, secondly, searching for a historical backgrounb with whict the so- called modern Grid-paintings come in, inquiring into the formation of the illusion-Grid as aresult of discovering the linear perpective and the situation of the conflict and reconciliaton between reality and illusion. Based on these considerations, the second cecond chapter will examine the various sitations of formation and adaptation of the paintery Grids in the Literalism-Grid, as we have already seen in the chapter one. And the cardinal third chapter devotes itself to the process of the formation of the so-called Object-Grid and Literal-Grid in the Literalism or Minimalism as its logical extension of the Painterly Grid. With it we can get to an interpretation and understanding of the meaning and qualites of Grid dwelt in Modernism thst transformed the structure of Painterly Grid originally as a plane concept to the third dimentionl structure. And then, the fourth chapter, we try to draw a new meaning andre-interpretation of the Formal-Grid as a representatuinnal structure appeared in the post-modernist paintings, going with its deconstructional situation. Therefore, we can, in our study on Grids, see the various points of view in the interpretation of them as illusion-structure, as plane-structure, and as cubic-structure; its concept differs form times, oscillating between its formation and deconstruction. The Grid, as we have seen in my dissertation, contains various problems and significations in art that deserve to investigate throughly, including some important plastic problem such as space and plane, and, in the case of do-grid, time. We may expect new concepts of it that will have difference meanings. 1 hope my study makes some contributions to understanding the coordination of the abstruse modern and contemporary art.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.56-66
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• 2010

This study proposes a thesis of architectural concepts and visual dimension systems, and the comparison between steps of spatial formation and dimensional alteration. The second chapter, to form the basis of this study, explains the dimensional alterations and changes of fundamental notion of space. In the third chapter, history of space, architectural formations, and changes of the viewpoint are analyzed as objects of study. The forth chapter presents the interrelation between dimensional alteration and the transition in fundamental notion of space, demonstrating that modern architecture has been born from these cultural movements. Lastly, the fifth chapter suggests possibilities on further studies and the following conclusions: First, architectural spaces have been changed, in accordance with the changes of culture, art and the tools that regulate architectural design. Proportional regulations by two-dimensional tools and depth through three-dimensional drawings are created. Second, architectural spaces gained depth by recognizing movement and time that have induced formations to change, creating various aesthetic backgrounds and attempts. Third, the aesthetic background and cosmologic spatial concept have led the visualization and changes of architectural experience. It created the design tools and shapes originated in dynamism and vitality. Forth, diversification of fundamental spatial concepts has become palimpsest and complex, and been divided into four dimensions; expressional two-dimensional space, perspective three-dimensional space, forth-dimensional space of time and experience, and imagery space formed by body movement. Fifth, architecture has been influenced by the elevated viewpoint that understands the whole world as a space. It has evolved from the two-dimensional proportion principle, change of depth and vanishing point to multidimensional space of movement and time. Sixth, changes of fundamental notion of space have arisen from changes of visual dimensions in times. In other words, space has been developed from two-dimensional space to multidimensional space by accepting visual dimension, grasping distance, direction, depth, height, velocity, movement, gravity, power and structure.