• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.2
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• pp.1-11
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• 2023

This study intended to develop a technique for quantitatively and 3-dimensionally predicting the potential failure zone and impulse that may occur when trees are fall down. The main outcomes of this study are as follows. First, this study established the potential failure zone and impulse calculation formula in order to quantitatively calculate the risks generated when trees are fallen down. When estimating the potential failure zone, the calculation was performed by magnifying the height of trees by 1.5 times, reflecting the likelihood of trees falling down and slipping. With regard to the slope of a tree, the range of 360° centered on the root collar was set in the case of trees that grow upright and the range of 180° from the inclined direction was set in the case of trees that grow inclined. The angular momentum was calculated by reflecting the rotational motion from the root collar when the trees fell down, and the impulse was calculated by converting it into the linear momentum. Second, the program to calculate a potential failure zone and impulse was developed using Rhino3D and Grasshopper. This study created the 3-dimensional models of the shapes for topography, buildings, and trees using the Rhino3D, thereby connecting them to Grasshopper to construct the spatial information. The algorithm was programmed using the calculation formula in the stage of risk calculation. This calculation considered the information on the trees' growth such as the height, inclination, and weight of trees and the surrounding environment including adjacent trees, damage targets, and analysis ranges. In the stage of risk inquiry, the calculation results were visualized into a three-dimensional model by summarizing them. For instance, the risk degrees were classified into various colors to efficiently determine the dangerous trees and dangerous areas.

• Journal of the Korean earth science society
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• v.45 no.2
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• pp.136-146
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• 2024

This paper introduces the seismic facies classification and mapping of igneous bodies found in the sedimentary sequences of the Yellow Sea shelf area of Korea. In the research area, six extrusive and three intrusive types of igneous bodies were found in the Late Cretaceous, Eocene, Early Miocene, and Quaternary sedimentary sequences of the northeastern, southwestern and southeastern sags of the Gunsan Basin. Extrusive igneous bodies include the following six facies: (1) monogenetic volcano (E.mono) showing cone-shape external geometry with height less than 200 m, which may have originated from a single monogenetic eruption; (2) complex volcano (E.comp) marked by clustered monogenetic cones with height less than 500 m; (3) stratovolcano (E.strato) referring to internally stratified lofty volcanic edifices with height greater than 1 km and diameter more than 15 km; (4) fissure volcanics (E.fissure) marked by high-amplitude and discontinuous reflectors in association with normal faults that cut the acoustic basement; (5) maar-diatreme (E.maar) referring to gentle-sloped low-profile volcanic edifices with less than 2 km-wide vent-shape zones inside; and (6) hydrothermal vents (E.vent) marked by upright pipe-shape or funnel-shape structures disturbing sedimentary sequence with diameter less than 2 km. Intrusive igneous bodies include the following three facies: (1) dike and sill (I.dike/sill) showing variable horizontal, step-wise, or saucer-shaped intrusive geometries; (2) stock (I.stock) marked by pillar- or horn-shaped bodies with a kilometer-wide intrusion diameter; and (3) batholith and laccoliths (I.batho/lac) which refer to gigantic intrusive bodies that broadly deformed the overlying sedimentary sequence.

• The Journal of the Petrological Society of Korea
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• v.21 no.2
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• pp.129-150
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• 2012

The tectonic evolution of the Central Ogcheon Belt has been newly analyzed in this paper from the detailed geological maps by lithofacies classification, the development processes of geological structures, microstructures, and the time-relationship between deformation and metamorphism in the Ogcheon, Cheongsan, Mungyeong Buunnyeong, Busan areas, Korea and the fossil and radiometric age data of the Ogcheon Supergroup(OSG). The 1st tectonic phase($D^*$) is marked by the rifting of the original Gyeonggi Massif into North Gyeonggi Massif(present Gyeonggi Massif) and South Gyeonggi Massif (Bakdallyeong and Busan gneiss complexes). The Joseon Supergroup(JSG) and the lower unit(quartzose psammitic, pelitic, calcareous and basic rocks) of OSG were deposited in the Ogcheon rift basin during Early Paleozoic time, and the Pyeongan Supergroup(PSG) and its upper unit(conglomerate and pelitic rocks and acidic rocks) appeared in Late Paleozoic time. The 2nd tectonic phase(Ogcheon-Cheongsan phase/Songnim orogeny: D1), which occurred during Late Permian-Middle Triassic age, is characterized by the closing of Ogcheon rift basin(= the coupling of the North and South Gyeonggi Massifs) in the earlier phase(Ogcheon subphase: D1a), and by the coupling of South China block(Gyeonggi Massif and Ogcheon Zone) and North China block(Yeongnam Massif and Taebaksan Zone) in the later phase(Cheongsan subphase: D1b). At the earlier stage of D1a occurred the M1 medium-pressure type metamorphism of OSG related to the growth of coarse biotites, garnets, staurolites. At its later stage, the medium-pressure type metamorphic rocks were exhumed as some nappes with SE-vergence, and the giant-scale sheath fold, regional foliation, stretching lineation were formed in the OSG. At the D1b subphase which occurs under (N)NE-(S)SW compression, the thrusts with NNE- or/and SSW-vergence were formed in the front and rear parts of couple, and the NNE-trending Cheongsan shear zone of dextral strike-slip and the NNE-trending upright folds of the JSG and PSG were also formed in its flank part, and Daedong basin was built in Korean Peninsula. After that, Daedong Group(DG) of the Late Triassic-Early Jurassic was deposited. The 3rd tectonic phase(Honam phase/Daebo orogeny: D2) occurred by the transpression tectonics of NNE-trending Honam dextral strike-slip shearing in Early~Late Jurassic time, and formed the asymmetric crenulated fold in the OSG and the NNE-trending recumbent folds in the JSG and PSG and the thrust faults with ESE-vergence in which pre-Late Triassic Supergroups override DG. The M2 contact metamorphism of andalusite-sillimanite type by the intrusion of Daebo granitoids occurred at the D2 intertectonic phase of Middle Jurassic age. The 4th tectonic phase(Cheongmari phase: D3) occurred under the N-S compression at Early Cretaceous time, and formed the pull-apart Cretaceous sedimentary basins accompanying the NNE-trending sinistral strike-slip shearing. The M3 retrograde metamorphism of OSG associated with the crystallization of chlorite porphyroblasts mainly occurred after the D2. After the D3, the sinistral displacement(Geumgang phase: D4) occurred along the Geumgang fault accompanied with the giant-scale Geumgang drag fold with its parasitic kink folds in the Ogcheon area. These folds are intruded by acidic dykes of Late Cretaceous age.

• Journal of Science of Art and Design
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• v.7
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• Journal of the Korean Wood Science and Technology
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• v.13 no.1
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• pp.3-18
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• 1985

In Korea, a study on the anatomical features of pitch pine (pinus rigida Miller) branch wood through photo-microscopical method was reported in 1972 by Lee. Therefore, as a further study of Lee's on the anatomical features in branch wood of pinus rigida miller that grows in Korea, compression wood, opposite wood, and side wood were selected and treated for the purpose of comparing their structures revealed on cross and radial surface through scanning electron microscope in this study. The obtained results in this study were summarized as follows; 1. The trachied transition from earlywood to late wood is very gradual and the tracheids are nearly regular in both arrangement and size in compression wood but this transition in opposite wood and side wood is abrupt and the tracheids in opposite wood and side wood are less regular than those in compression wood. Also, the annual ring width of opposite wood is narrower than that of compression wood or side wood and the rays revealed on cross surface of side wood are more distinct than compression wood and opposite wood rays. 2. The tracheids of compression wood show roundish trends especially in earlywood but those of opposite wood and side wood show some angular trends. And intercellular space, helical cavity, and spiral check are present in both earlywood and latewood of compression wood but not present in opposite wood and side wood irrespective of earlywood and latewood. 3. The wall thickness of latewood tracheid is similar to that of earlywood tracheid in compression wood whereas the wall thickness of latewood tracheid is by far thicker than that of earlywood tracheid in opposite wood and side wood and the S3 layer of secondary wall is lack in compression wood tracheid unlike opposite wood and side wood tracheid. 4. The tracheids in compression wood are often distorted at their tips unlike those in opposite wood and side wood and the bordered pit in compression wood tracheid is located at the bottom of helical groove unlike that in opposite wood and side wood tracheid. 5. The bordered pits in radial wall of opposite wood and side wood tracheids are oval in shape but those of compression wood tracheids show some modified oval shape. 6. In earlywood of side wood, the small apertures of cross-field pits are roundish triangle to rectangle and the large one are fenestriform through the coalition of two small ones. However, the small apertures of cross-field pits are upright oval and the large ones are procumbent oval shape in earlywood of opposite wood and the apertures of cross-field pits in compression wood are tilted bifacial convex lens shape in earlywood and slit in late wood because of the border on tracheid side.

• Economic and Environmental Geology
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• v.44 no.5
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• pp.413-431
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• 2011

An Epithemal Au-Ag mineralized zone is developed in the Moisan area of Hwangsan-myeon, Haenam-gun, Jeol-lanam-do, Korea, which is located in the southwestern part of the Ogcheon metamorphic zone. It is hosted in the Hwangsan volcaniclastics of the Haenam Formation of the Late Cretaceous Yucheon Group. This research investigated the characteristics of bedding arrangement, fold, fault, fracture system, quartz vein and the time-relationship of the fracture system to understand the geological structure related to the formation of the mineralized zone. On the basis of this result, the tectonic environment at the time of the mineralization was considered. Beds mainly trend east-northeast and gently dip into north-northwest or south-southeast. Their poles have been rearranged by subhorizontal-upright open fold of (east)-northeast trend as well as dip-slip fault. Fracture system was formed through at least 6~7 different deformation events. D1 event; formation phase of the main fracture set of EW (D1-1) and NS (D1-2) trends with a good extensity, D2 event; that of the extension fracture of NW trend, and conjugate shear fracturing of the EW (dextral) and NS (sinistral) trends, D3 event; that of the extension fracture of NE trend, and conjugate shear refracturing of the EW (sinistral) and NS (dextral) trends, D4 event; that of the extension fracture of NS trend showing a poor extensity, D5 event; that of the extension fracture of NW trend, and conjugate shear refracturing of the EW (dextral) and NS (sinistral) trends, D6 event; that of the extension fracture of EW trend showing a poor extensity. Frequency distribution of fracture sets of each deformation event is D1-1 (19.73 %)> D1-2 (16.44 %)> D3=D5 (14.79 %)> D2 (13.70 %)> D4 (12.33 %)> D6 (8.22 %) in descending order. The average number of fracture sets within 1 meter at each deformation event is D6 (5.00)> D5 = D4 (4.67)> D2 (4.60)> D3 (4.13)> D1-1 (3.33)> D1-2 (2.83) in descending order. The average density of all fractures shows 4.20 fractures/1 m, that is, the average spacing of all fractures is more than 23.8 cm. The frequency distribution of quartz veins at each orientation is as follows: EW (52 %)> NW (28 %)> NS (12 %)> NE (8 %) trends in descending order. The average density of all quartz veins shows 4.14 veins/1 m, that is, the average spacing of all quartz veins is more than 24.2 cm. Microstructural data on the quartz veins indicate that the epithermal Au-Ag mineralization (ca. 77.9~73.1 Ma) in the Moisan area seems to occur mainly along the existing D1 fracture sets of EW and NS trends with a good extensity not under tectonic stress but non-deformational environment directly after epithermal rupture fracturing. The D1 fracturing is considered to occur under the unstable tectonic environment which alternates compression and tension of NS trend due to the oblique northward subduction of the Izanagi plate resulting in the igneous activity and deformation of the Yucheon Group and the Bulguksa igneous rocks during Late Cretaceous time.

• (The)Study of the Eastern Classic
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• no.63
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• pp.9-41
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• 2016

This paper focuses on 'clean(cheong: 淸)' kinds of style terminologies among various style terminologies appearing in Heo Gyun's Seongsushihwa("惺?詩話") and tries to analyze the distinctive points which 'clean(cheong: 淸)' kinds of style terminologies include. In Heo Gyun's Seongsushihwa, 11 of 'clean' kinds of style terminologies, such as "cheonggyeong(淸勁), cheonghryang(淸亮), cheongryeo(淸麗), cheongseom(淸贍), cheongso(淸?), cheongweol(淸越), cheongjang(淸壯), cheongjeol(淸絶), cheongjeol(淸切), cheongchang(淸?), cheongcho(淸楚)," were used. This paper focuses and analyzes 'cheonggyeong(淸勁)', 'cheongjeol(淸切)', 'cheongcho(淸楚)', and 'cheongweol(淸越)' that he suggested through applying to real literary pieces. The result of analysis indicates that 'clean' kinds of style terminologies 'cheonggyeong', 'cheongjeol', 'cheongcho', and 'cheongweol' share the same 1st character 'clean(淸)', yet have distinctive qualities by the 2nd characters. These 4 style terminologies all share 'cheong(淸)' image which means clear and clean, yet each one has the attribute of the 2nd character that indicates each one's individual characteristic. It is apparent that 'Cheonggyeong(淸勁)' reflects the 'gyeong(勁)' image meaning upright and solid and implies poems of poets' steadfast spirit within clear boundary; 'cheongjeol(淸切)' reflects the 'jeol(切)' image meaning either desperation and imminence or pitifulness and sorrow and implies poems of poets' urgent and pitiful emotions within clear and clean boundary; 'cheongcho(淸楚)' reflects the 'cho(楚)' image meaning either delicacy and fineness or slenderness and tenderness and implies poems of poets' beautiful but not luxurious, delicate and tender emotions within clear and clean boundary; and 'cheongweol(淸越)' reflects the image of 'weol(越)' meaning unworldliness and excellency and implies poems, within clear and clean boundary, of excellent appearance and mentality surpassing mundane world. Compared with the 1st character's attributes of the style terminologies which Heo Gyun used, the 2nd characters's attributes do not appear that vivid. Especially, in the case that the 2nd characters have similar meanings, it is not easy to clarify the categories. Indeed, in order to grasp clear and distinctive qualities of style terminologies, the kinds of them need to be initially categorized by the 1st characters, and then sorted by the 2nd characters. In this case, the contents which the 2nd characters of style terminologies indicate should be considered. It is because style terminologies explain both literary pieces' aesthetic qualities and writers' personalities, and because explanations about literary pieces' aesthetic qualities includes not only the conclusive poetic or semantic boundaries which literary pieces' created but also literary pieces' creation processes and expression techniques. Through the style terminologies with Heo Gyun used in Seongsushihwa, it can be aware that he evaluated poems focussing more on the conclusive semantic boundaries that poets' spirits and poems created than expression techniques or creation methods. The overall aspects Heo Gyun's such style criticism has will be checked out in more detail through further studies by examining more materials.