• Journal of the Korean earth science society
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• v.21 no.4
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• pp.449-468
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• 2000

The Ordovician Chongson Limestone deposited in the carbonate ramp to the rimmed shelf shows diverse diagenetic features. The marine diagenetic feature appears as isopachous cements surrounding ooids and peloids. Meteoric diagenetic features are recrystallized finely and coarsely crystalline calcite, evaporite casts filled with calcite, and isopachous sparry calcite surrounding ooid grains. Shallow burial diagenetic features include wispy seam, microstylolite, and dissolution seam whereas deep burial features include stylolite, burial cements. blocky calcite with twin lamellae, and poikilotopic calcite. Dolomites consist of very finely to finely crystalline mosaic dolomite formed as supratidal dolomite, disseminated dolomite of diverse origin, patchy dolomite formed from bioturbated mottles, and saddle dolomite of burial origin. Silicified features include calcite-replacing quartz and fracture-filling megaquartz. Burial cements characterized by poikilotopic texture show ${\delta}^{18}$O value of -10.4 %$_o$ PDB, ${\delta}^{13}$C value of -1.0%$_o$ PDB and 504ppm Sr, 3643ppm Fe, and 152ppm Mn concentrations. Finely and coarsely crystalline limestones show similar ${\delta}^{18}$O and ${\delta}^{13}$C value to those of burial cements; however, they show lower Sr and higher Fe and Mn concentrations than burial cements. This suggests that very finely and coarsely crystalline limestones were recrystallized in freshwater and then they were readjusted geochemically in the burial setting whereas the burial cements were formed in relatively high temperature and low water/rock ratio conditions. Very finely and finely crystalline mosaic dolomites with ${\delta}^{18}$O value of -8.2%$_o$ PDB, ${\delta}^{13}$C value of -1.9 %$_o$ PDB, and 213ppm Sr, 3654ppm Fe, and 114ppm Mn concentrations, respectively are interpreted to have been formed penecontemporaneously in supratidal flat and then recrystallized in the low water/rock ratio burial environment. Geochemical data suggest that the low water/rock ratio burial environment was the dominant diagenetic setting in the Chongson Limestone. The Chongson Limestone has experienced marine and meteoric diagenesis during early diagenesis. With deposition of Haengmae and Hoedongri formations part of the Chongson Limestone was buried beneath these formations and it experienced shallow burial diagenesis. During the Devonian the Chongson Limestone was tectonically deformed and subaerially exposed. During the Carboniferous to the Permian about 3.3km thick Pyongan Supergroup was deposited on the Chongson Limestone and the Chongson Limestone was in deep burial depths and stylolite, burial cements, blocky calcite and saddle dolomite were formed. After this burial event the Chongson Limestone was subaerially exposed during the Mesozoic and Cenozoic by three periods of tectonic disturbance including Songnim, Daebo and Bulguksa disturbance. Since the Bulguksa disturbance during Cretaceous and early Tertiary the Chongson Limestone has been subaerially exposed.

• Journal of Korean Ophthalmic Optics Society
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• v.7 no.1
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• pp.45-50
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• 2002

The 'hands-on' craftsmanship of the 20th century has came and gone. Today, we are dealing with whole new, 'cerebral approach,' to concept and design with this new approach, design and function are very much dependant upon planning, sales, promotion, and the formative technique of the design industry. The innovative process of design constantly change as it reflects the needs and wants of society. It is and industry that constantly change as it reflects the needs and wants of society. It is and industry that constantly remakes and reshapes itself to suit current trend and outlook. The current idea being that consumers are looking for quality over quantity. Due to the 20th centuries dominant philosophy of functionalism, production intended to standardize the individual's purchasing choice. Aesthetic, or philosophic qualities played a second fiddle to the functional bias of a product, With production, Marketing, and research and development are integrated into the management process. This translates as good which include efficiency, quality, durability, and credibility an trademark and style. There is a definite 'post-modernist' movement and style in 21st century. Every possibility is available as the old boundaries of the 20th century are laid aside. There is a new, transformative quality to the current paradigm of design. The old "should" and "should not" of design no longerapplies. The integrated rative of design solves the usual disparity between aesthetic qualities and production. Design and profirability need not be stranger to one another. It can differentiate the image perceived of both enterprises and consumers by making use of integrated goods services. With an integrated system. both producers and designers win. While design gets full access to design in turn. All consumers make decisions based upon the evaluation of quality, service, and image ; even though it may not be a conscious decision to do so. Consumers are fully integrated human beings ; therefore producers who apply the new, integrated paradigmatic approach to concept, design, and production will reap the harvest of making a true relationship with individual buyer.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.985-996
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• 2007

The purpose of this study is to analyze the symbolism of traditional Korean patterns which reflect an emotional cultural background of Korean people, to apply modernized and developed patterns to Textile Design for fashion cultural products, and to explore productive direction of developing designs of fashion cultural products. The process of developing Textile Design of fashion cultural products which applied symbolism of traditional Korean patterns was conducted as follows. Firstly, based on '05 S/S-'07 S/S fashion trends, a design concept wat decided(man-urban ethnic style, woman-romantic ethnic style). Secondly, motive was abstracted from selected traditional patterns to develop into modem patterns. Thirdly, items were selected according to symbolic meaning of traditional Korean patterns. Man's items included shirts, necktie, and handkerchief which were highly preferred by Korean and foreign visitors. Finally, developed textile designs were diagrammed by item using textile CAD and an illustrator 10 and presented as images. The following results were obtained. First, textile designs for fashion cultural products, in which apply traditional patterns may reflect the understanding of traditional aesthetic beauty and philosophical approach by applying symbolic significance inherent in patterns as well as the aesthetics of the patterns. Second, traditional patterns have been recognized as old fashioned to consumers because they have been often used for traditional handicrafts or folk products. If their unique shapes are changed or simplified, emphasizing images, and trend styles and colors are used, they will be recreated as a modem design. Third, textile designs using traditional patterns may provide various images and visual effects according to techniques and production methods. Then, the method will be applied to many items. Finally, since traditional patterns in fashion cultural products can be used as our unique design elements, they can be utilized as the source of design inspiration for the development of value-added products.

• Cartoon and Animation Studies
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• s.37
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• pp.439-461
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• 2014

Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.

• Journal of the Korean Geosynthetics Society
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• v.6 no.1
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• pp.9-16
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• 2007

Geotextile is one of the most useful and effective polymer material in civil construction works and the main function of geotextile is separation, reinforcement, filtering and drainage. Recently, because of the shortage of natural rock, traditional forms of river and coastal structures have become very expensive to build and maintain. Therefore, the materials used in hydraulic and coastal structures are changing from the traditional rubble and concrete systems to the cheaper materials and systems. One of these alternatives employs geotextile tube technology in the construction of coastal and shore protection structures, such as embankment, see dyke, groins, jetties, detached breakwaters and so on. Geotextile tube technology has changed from being an alternative construction technique and, in fact, has advanced to become the most effective solution of choice. This paper presents case history of sea dyke filter construction using geotextile tube mattress and also, various issues related to the tube mattress design and construction technology.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.12
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• pp.1784-1792
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• 2007

This study set out to identify the problems with hat labels and to search for improvement measures by examining and analyzing consumers' practice of managing their hats. It also intended to provide accurate and enough information about how to keep and wash hats and thus help consumers use their hats for a long period. In an attempt to investigate how consumers wash and manage their hats, a survey was carried out to 395 individuals in their twenties and over who owned hats living in urban areas including Seoul, and were quota sampled according to age and gender. The survey period is March to April 2007. The collected data were statistically treated with the SPSS 12.0 program in terms of frequency, percentage, mean, standard error, cross tabulation, t-test, and one-way ANOVA. The findings were as followed. First, the respondents were in the average level of perceiving and practicing the washing methods of their hats. The female respondents who had more experiences with laundering than the males knew and practiced the washing methods for hats better than males. Second, compared to other clothing items, hat wearers were more likely to pay careful attention to their hats by putting their hats in a laundry net and applying a laundry detergent for wool fabrics when using a washing machine or washing their hats with their own hands. And third, most of the hat wearers were aware of the importance of hat labels and showed a lower level of trust in them than other clothing items. The suppliers need to offer accurate and practical labels in order to regain the consumers' trust. Many consumers had some difficulties figuring out the size system of hats. In particular, the male consumers had a low level of perception of labels, which implies that there should be specific efforts to educate them about general labels.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.118-129
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• 2011

This study is about the governor general's official residence and its garden in Yongsan that were constructed during the Japanese occupational time. The garden design drawing was also made while planning such Neo-Baroque style building, and it contains particular information of the garden unlike the other existing landscape drawings. The content of garden translated and landscape historical value drawn out by analysis of garden drawings, press articles and literatures are as follows; First, such governor general's official residence garden in Yongsan is likely to be the Korean first western style landscape form. For, from the point that it was completely constructed together with such official residential building in 1909, its construction time should be before that of the garden of Seokjojeon, Deoksu Palace, which was constructed in 1911. Second, it shows the garden style and garden planting factors introduced together with the modern architecture then. Such garden planting factors are placed from the center axis of the garden that is connected to the center of the building and monument as well. Such style and factors cover and show the flower bed appearing in Baroque style gardens, the monument that forms Vista playing the center of audience's vision, water space that is placed symmetrically against the axis, planting pattern that emphasizes the plants' space, flower bed shape and axis, and what kinds of plants were introduced then. Third, it shows the using pattern of western style gardens. Western style garden parties used to take in place in this garden while official dinner and reception were held in the evening in the official residence. Fourth, it shows the historical value as a modern landscape drawing, which is the Korean first landscape drawing that shows the plants' names and planting techniques marking the current height and planned height for change of topography and water system as a water landscape factor. That is, this drawing has the value that it was upgraded from the other existing ones that expressed only simple plants' symbols or flower bed shapes. I, therefore, hope that the studies on the modern landscape would be getting wider by excavation of new historical records in the future.