• Restorative Dentistry and Endodontics
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• v.30 no.1
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• pp.58-65
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• 2005

The purpose of this study was to compare the shaping ability of the three $ProTaper^{(R)}$ instrumentation techniques in simulated canals. Thirty resin blocks were divided into 3 groups with 10 canals each. Each group was instrumented with manual $ProTaper^{(R)}$ (Group M), rotary $ProTaper^{(R)}$ (Group R), and hybrid technique (Group H). Canal preparation time was recorded. The images of pre- and post-instrumented root canals were scanned and superimposed. The amounts of canal deviation, total canal width, inner canal width, outer canal width and centering ratio were measured at apical 1, 2, 3, 4, 5 and 6 mm levels 1. Canal preparation time was the shortest in R group (p < 0.05). 2. The amounts of total canal width in R group was generally larger than the other groups, but no significant differences were observed except at the 1, 3 mm levels (p > 0.05) .3. The amounts of inner canal width in R group was larger than M group at the 1 mm level and H group was larger than R group at the 6 mm level (p < 0.05). The amounts of outer canal width in R group was larger than H group only at the 1 mm level (p < 0.05). 4. The direction of canal deviation in H, R group at the 1, 2, 3 mm levels was outward and that in M group at the 1, 2 mm levels was inward. The amounts of canal deviation in H group was larger than R group at the 6 mm level (p < 0.05). 5. The amounts of centering ratio in H group was larger than R group at the 6 mm level (p < 0.05).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.84-94
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• 2013

This study scrutinizes the titles of serial poems on Japanese Apricot, which have lucid characters on season and time changes, having been appreciated and recited by the scholars in the Choseon Dynasty era and analyses the records of Zhang zi(1153~1235), a writer in Song(宋) Dynasty in China, having presented the objects harmonizing perfectly with Japanese Apricot. The results of this study categorizes the objects of Japanese Apricot appreciation and establishes the landscape characteristics on Japanese Apricot appreciation affiliated with as follows. First, the objects of Japanese Apricot appreciation are categorized into 'form of blossoms', 'natural feature(景物)', 'place of tree planting', 'the picturesque scene(景色)' and 'behavior'. Second, the scholars regarded the single trees whose branches are grotesque as the objects of appreciation and enjoyed them. They preferred white and single petal Japanese Apricot and admired red Japanese Apricot which has Taoism images. Third, they admired pines and camelias which represent fidelity and strength and valued Japanese Apricot with cranes which remind themselves of solitary scholars. Fourth, they appreciated the images of Japanese Apricot reflected on the water, and the poetically inspiring atmosphere where the trees are planted by the window. Fifth, the moon and snow were crucial weather conditions for appreciating. cold weather and time from night to dawn were ideally suited for enjoying. Sixth, they enjoyed blossoms in various fashions like bottling(甁梅), potting(盆梅), green-housing(龕梅), searching(龕梅) and black-and-white painting(墨梅) with a view to seeing blossoms earlier than the usual flowering time. Moreover, they used paper drapes, bead curtains, mirrors and ice lamps for active appreciation. They also listened to the sound of Piri(wind) and Geomungo(string), played go and drew tea with noble and elegant beauties when they enjoyed Japanese Apricot. The scholars influenced by the neo-Confucianism, which contemplates the objects, attached the specific sentiments like memories, grieves, dreams and farewells to Japanese Apricot and appreciated them. As stated above the scholars enjoyed the landscape including the picturesque scene like climate-weather, time-season and human behaviors not to mention the physical beauty of Japanese Apricot themselves and objects in company with Japanese Apricot including animals and plants.

• Journal of Bio-Environment Control
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• v.28 no.4
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• pp.279-285
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• 2019

To estimate daily canopy photosynthesis, accurate estimation of canopy light interception according to a daily solar position is needed. However, this process needs a lot of cost, time, manpower, and difficulty when measuring manually. Various modeling approaches have been applied so far, but it was difficult to accurately estimate light interception by conventional methods. The objective of this study is to estimate the spatial distributions of light interception and photosynthetic rate of paprika with time by using 3D-scanned plant models and optical simulation. Structural models of greenhouse paprika were constructed with a portable 3D scanner. To investigate the change in canopy light interception by surrounding plants, the 3D paprika models were arranged at $1{\times}1$ and $9{\times}9$ isotropic forms with a distance of 60 cm between plants. The light interception was obtained by optical simulation, and the photosynthetic rate was calculated by a rectangular hyperbola model. The spatial distributions of canopy light interception of the 3D paprika model showed different patterns with solar altitude at 9:00, 12:00, and 15:00. The total canopy light interception decreased with an increase of surrounding plants like an arrangement of $9{\times}9$, and the decreasing rate was lowest at 12:00. The canopy photosynthetic rate showed a similar tendency with the canopy light interception, but its decreasing rate was lower than that of the light interception due to the saturation of photosynthetic rate of upper leaves of the plants. In this study, by using the 3D-scanned plant model and optical simulation, it was possible to analyze the light interception and photosynthesis of plant canopy under various conditions, and it can be an effective way to estimate accurate light interception and photosynthesis of plants.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

• The Korean Journal of Archival Studies
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• no.20
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• pp.151-212
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• 2009

Museums are producing new value and being redefined as places that reproduce context, as the process of globalization are being reflected in museum activities. The new additional functions and roles to the traditional mission of museums allow artworks to find potential functions of art archive and meseum. At the same time, the public has faced originality and aura of an artwork by viewing the physical subject. However, with the appearance of a new digital object, the initiative of viewing has moved over from the artwork to the hands of the public. Now, the public does not go to the museum to see an artwork, but has started to adopt to an opposite paradigm of bringing the artwork forward to the screen. Therefore, they are not satisfied any longer with just seeing an artwork, but demand more information about the artworks and reproduce it as knowledge. Therefore, this study aimed to find types and characteristics through definition and range selection of art archive at this point where the value of art archive is enhanced and systematic management is required, and to present record management methods according to art archive structure and core execution function. It especially stressed that the basis of overall art archive definition was in an 'approach' paradigm rather than a 'preservation' paradigm, and embodied various application methods of digitalized art records. The digital object of an artwork was recognized as the first materialization of an actual artwork, and the digital original of an artwork was presented as the core record. Art archive managed under physical and intellectual control were organically restructured focusing on digital original copies of artworks, which are the core record in a digital technology environment, and could be provided to users in forms of various services that meet their demands. The beginning of systematic management of such art records will become a first step to enhance historical value, establish art cultural identity, and truly possess art culture.

• Korean Journal of Environmental Biology
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• v.39 no.3
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• pp.362-373
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• 2021

This study was conducted to establish mosquito distribution density and habitat in Sejong city for the prevention of mosquito-borne infectious diseases. The overall distribution of mosquitoes in the Sejong City was investigated, and the population density of mosquitoes in the old and new city was analyzed. Mosquito populations were determined using MOSHOLE and Blacklight traps once a week overnight. We also compared the mosquito population density of the old city and the new city, and the daily mosquito population was calculated using the data from the smart mosquito trap(DMS). Of all the study sites, Geumnam-myeon had the highest number of mosquitoes captured, and the dominant species were Armigeres subalbatus and Culex pipienspallens. Mosquito species with the potential for transmitting diseases were mainly found in Yeonseo-myeon (106 individual), and Geumnam-myeon (101). Mosquito collection rates by MOSHOLE trap and Blacklight trap were 58.49% and 41.51%, respectively. We concluded that using CO₂ would be the most suitable approach for collecting mosquitoes. The mosquito population density in the old city (92.05±7.04) was approximately twice that of the new city(51.50±4.05). Since Sejong City is divided into old city and new city, it is difficult to spot remarkable effects in a standardized way. For effective quarantine, differentiation of quarantine must be established. This study results provide a basis for Sejong City's integrated mosquito control guidelines, and therefore effective control of which we believe will help control the spread of mosquito-borne diseases and reduce damage from mosquitoes.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.1
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• pp.54-69
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• 2021

In 2020, civilized society's overall lifestyle showed a distinct change from consumable analog media, such as paper, to digital media with the increased penetration of cloud computing, and from wired media to wireless media. Based on these social changes, this work examines whether the use of computer media in the field of landscape architecture is appropriately applied. This study will give directions for new computer media classes in landscape architectural education in the 4th Industrial Revolution era. Landscape architecture is a field that directly proposes the realization of a positive lifestyle and the creation of a living environment and is closely connected with social change. However, there is no clear evidence that landscape architectural education is making any visible change, while the digital infrastructure of the 4th Industrial Revolution, such as Artificial Intelligence (AI), Big Data, autonomous vehicles, cloud networks, and the Internet of Things, is changing the contemporary society in terms of technology, culture, and economy among other aspects. Therefore, it is necessary to review the current state of the use of computer technology and media in landscape architectural education, and also to examine the alternative direction of the curriculum for the new digital era. First, the basis for discussion was made by studying the trends of computational design in modern landscape architecture. Next, the changes and current status of computer media classes in domestic and overseas landscape education were analyzed based on prior research and curriculum. As a result, the number and the types of computer media classes increased significantly between the study in 1994 and the current situation in 2020 in the foreign landscape department, whereas there were no obvious changes in the domestic landscape department. This shows that the domestic landscape education is passively coping with the changes in the digital era. Lastly, based on the discussions, this study examined alternatives to the new curriculum that landscape architecture department should pursue in a new degital world.

• Journal of Distribution Science
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• v.8 no.3
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• pp.27-35
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• 2010

As the population, buying power, and intensity of self-expression of the elderly generation increase, its importance as a market segment is also growing. Therefore, the mass marketing strategy for the elderly generation must be changed to a micro-marketing strategy based on the results of sub-segmentation that suitably captures the characteristics of this generation. Furthermore, as a customer access strategy is decided by sub-segmentation, proper segmentation is one of the key success factors for micro-marketing. Segments or sub-segments are different from sectors, because segmentation or sub-segmentation for micro-marketing is based on the homogeneity of customer needs. Theoretically, complete segmentation would reveal a single voice. However, it is impossible to achieve complete segmentation because of economic factors, factors that affect effectiveness, etc. To obtain a single voice from a segment, we sometimes need to divide it into many individual cases. In such a case, there would be a many segments to deal with. On the other hand, to maximize market access performance, fewer segments are preferred. In this paper, we use the term "sub-segmentation" instead of "segmentation," because we divide a specific segment into more detailed segments. To sub-segment the elderly generation, this paper takes their lifestyles and life stages into consideration. In order to reflect these aspects, various surveys and several rounds of expert interviews and focused group interviews (FGIs) were performed. Using the results of these qualitative surveys, we can define six sub-segments of the elderly generation. This paper uses five rules to divide the elderly generation. The five rules are (1) mutually exclusive and collectively exhaustive (MECE) sub-segmentation, (2) important life stages, (3) notable lifestyles, (4) minimum number of and easy classifiable sub-segments, and (5) significant difference in voices among the sub-segments. The most critical point for dividing the elderly market is whether children are married. The other points are source of income, gender, and occupation. In this paper, the elderly market is divided into six sub-segments. As mentioned, the number of sub-segments is a very key point for a successful marketing approach. Too many sub-segments would lead to narrow substantiality or lack of actionability. On the other hand, too few sub-segments would have no effects. Therefore, the creation of the optimum number of sub-segments is a critical problem faced by marketers. This paper presents a method of evaluating the fitness of sub-segments that was deduced from the preceding surveys. The presented method uses the degree of homogeneity (DoH) to measure the adequacy of sub-segments. This measure uses quantitative survey questions to calculate adequacy. The ratio of significantly homogeneous questions to the total numbers of survey questions indicates the DoH. A significantly homogeneous question is defined as a question in which one case is selected significantly more often than others. To show whether a case is selected significantly more often than others, we use a hypothesis test. In this case, the null hypothesis (H0) would be that there is no significant difference between the selection of one case and that of the others. Thus, the total number of significantly homogeneous questions is the total number of cases in which the null hypothesis is rejected. To calculate the DoH, we conducted a quantitative survey (total sample size was 400, 60 questions, 4~5 cases for each question). The sample size of the first sub-segment-has no unmarried offspring and earns a living independently-is 113. The sample size of the second sub-segment-has no unmarried offspring and is economically supported by its offspring-is 57. The sample size of the third sub-segment-has unmarried offspring and is employed and male-is 70. The sample size of the fourth sub-segment-has unmarried offspring and is not employed and male-is 45. The sample size of the fifth sub-segment-has unmarried offspring and is female and employed (either the female herself or her husband)-is 63. The sample size of the last sub-segment-has unmarried offspring and is female and not employed (not even the husband)-is 52. Statistically, the sample size of each sub-segment is sufficiently large. Therefore, we use the z-test for testing hypotheses. When the significance level is 0.05, the DoHs of the six sub-segments are 1.00, 0.95, 0.95, 0.87, 0.93, and 1.00, respectively. When the significance level is 0.01, the DoHs of the six sub-segments are 0.95, 0.87, 0.85, 0.80, 0.88, and 0.87, respectively. These results show that the first sub-segment is the most homogeneous category, while the fourth has more variety in terms of its needs. If the sample size is sufficiently large, more segmentation would be better in a given sub-segment. However, as the fourth sub-segment is smaller than the others, more detailed segmentation is not proceeded. A very critical point for a successful micro-marketing strategy is measuring the fit of a sub-segment. However, until now, there have been no robust rules for measuring fit. This paper presents a method of evaluating the fit of sub-segments. This method will be very helpful for deciding the adequacy of sub-segmentation. However, it has some limitations that prevent it from being robust. These limitations include the following: (1) the method is restricted to only quantitative questions; (2) the type of questions that must be involved in calculation pose difficulties; (3) DoH values depend on content formation. Despite these limitations, this paper has presented a useful method for conducting adequate sub-segmentation. We believe that the present method can be applied widely in many areas. Furthermore, the results of the sub-segmentation of the elderly generation can serve as a reference for mature marketing.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.26-44
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• 2017

Regarded as Korea's traditional pond, Gungnamj Pond was surmised to be "Gungnamji" due to its geological positioning in the south of Hwajisan (花枝山) and relics of the Gwanbuk-ri (官北里) suspected of being components to the historical records of Muwang (武王)'s pond of The Chronicles of the Three States [三國史記] and Sabi Palace, respectively, yet was subjected to a restoration following a designation to national historic site. This study is focused on the distortion of authenticity identified in the course of the "Gungnamji Pond" restoration and the invention of tradition, whose summarized conclusions are as follows. 1. Once called Maraebangjuk (마래방죽), or Macheonji (馬川池) Pond, Gungnamji Pond was existent in the form of a low-level swamp of vast area encompassing 30,000 pyeong during the Japanese colonial period. Hong, Sa-jun, who played a leading role in the restoration of "Gungnamji Pond," said that even during the 1940s, the remains of the island and stone facilities suspected of being the relics of Gungnamji Pond of the Baekje period were found, and that the traces of forming a royal palace and garden were discovered on top of them. Hong, Sa-jun also expressed an opinion of establishing a parallel between "Gungnamji Pond" and "Maraebangjuk" in connection with a 'tale of Seodong [薯童說話]' in the aftermath of the detached palace of Hwajisan, which ultimately operated as a theoretical ground for the restoration of Gungnamj Pond. Assessing through Hong, Sa-jun's sketch, the form and scale of Maraebangjuk were visible, of which the form was in close proximity to that photographed during the Japanese colonial period. 2. The minimized restoration of Gungnamji Pond faced deterrence for the land redevelopment project implemented in the 1960s, and the remainder of the land size is an attestment. The fundamental problem manifest in the restoration of Gungnamji Pond numerously attempted from 1964 through 1967 was the failure of basing the restorative work in the archaeological facts yet in the perspective of the latest generations, ultimately yielding a replication of Hyangwonji Pond of Gyeongbok Palace. More specifically, the methodologies employed in setting an island and a pavilion within a pond, or bridging an island with a land evidenced as to how Gungnamji Pond was modeled after Hyangwonji Pond of Gyeongbok Palace. Furthermore, Chihyanggyo (醉香橋) Bridge referenced in the designing of the bridge was hardly conceived as a form indigenous to the Joseon Dynasty, whose motivation and idea of the misguided restoration design at the time all the more devaluated Gungnamji Pond. Such an utterly pure replication of the design widely known as an ingredient for the traditional landscape was purposive towards the aesthetic symbolism and preference retained by Gyeongbok Palace, which was intended to entitle Gungnamji Pond to a physical status of the value in par with that of Gyeongbok Palace. 3. For its detachment to the authenticity as a historical site since its origin, Gungnamji Pond represented distortions of the landscape beauty and tradition even through the restorative process. The restorative process for such a historical monument, devoid of constructive use and certain of distortion, maintains extreme intimacy with the nationalistic cultural policy promoted by the Park, Jeong-hee regime through the 1960s and 1970s. In the context of the "manipulated discussions of tradition," the Park's cultural policy transformed the citizens' recollection into an idealized form of the past, further magnifying it at best. Consequently, many of the historical sites emerged as fancy and grand as they possibly could beyond their status quo across the nation, and "Gungnamji Pond" was a victim to this monopolistic government-led cultural policy incrementally sweeping away with new buildings and structures instituted regardless of their original space, and hence, their value.

• Journal of Sasang Constitutional Medicine
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• v.8 no.1
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• pp.295-317
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• 1996

It is researched to elucidate the effects of Taeumjowuitang(TE,太陰調胃湯), Sibimikwanjungtang(SE, 十二味寬中湯) and Yangkeogsanwhatang(SY,凉膈散火湯) on the obesity induced by gold thioglucose and the differentiation and growth of preadipocyte 3T3-L1 in the mouse. The result were as follows: 1. TE,SE and SY extracts improved the blood level of transaminase in the obese mouse induced by gold thioglucose. 2. TE,SE and SY extracts inhibited the increase of liver fat and body fat in the obese mouse induced by gold thioglucose. 3. TE,SE and SY extracts inhibited the increase of body weight in the obese mouse induced by gold thioglucose. 4. TE,SE and SY extracts inhibited the growth of undifferentiate preadipocyte 3T3-L1. 5. TE,SE and SY extracts showed inhibitory effect on the differentiation of preadipocyte 3T3-L1. The above results suggest that the TE,SE and SY extracts may be used on the obesity induced by the overgrowth and differentiation of adipocyte, and the accumulation of fat in liver and body.