• Title/Summary/Keyword: 손 형상

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STRESS DISTRIBUTION IN ESTHETIC ORTHODONTIC BRACKETS : AN ANALYSIS USING THE FINITE ELEMENT METHOD (유한요소 분석을 통한 심미적 교정 브라켓의 응력 및 구조분석에 관한 연구)

  • Lee, Won-You;An, Ju-Sam;Park, Young-Cheol;Park, Myeong-Kyun;Sohn, Hong-Bum;Jeong, Si-Dong
    • The korean journal of orthodontics
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    • v.28 no.1 s.66
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    • pp.43-49
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    • 1998
  • The aim of this study were to measure and compare the stress level on three type brackets and each other material (stainless steel, ceramic) with tipping and torquing forces by using the finite element analysis and to design biomechanically favorable brackets. For this study, three kinds of brackets were selected(A:Transcend-RMO, B:Signature-Unitek, C:PAW: plain archwire appliance-applied for a patent in Yonsei Udiversity). The slot size of bracket was 0.022inch and the size of archwire was 0.0175x0.025inch and taper shaped archwire was used in PAW. Loading force in tipping was 4.27N and torquing force was 32.858N applied by archwire torsion with 19.7degree and 11.3 degree in C type bracket. The conclusions were that (1) The finite element method proved to be a useful tool in the stress analysis of orthodontic bracket subjected to various forces. (2) With tipping, the stresses were concentrated at the gingival wall of the wire slot where it meets the mesial bracket surface and the incisal wall of the wire slot where it meets the distal bracket surface and with torquing, the stresses were concentrated at the junction of the gingival or incisal wall and base of the slot. (3) The maximum stress value was higher in torquing force than tipping force and therefore it is desirable to design on the basis of torquing force. (4) It was considered that the change in material might be affect on the diminish of stress value in the place of stess concentration. (5) The maximum stress value was highest on PAW bracket when the tipping and torquing force was applied and therefore it would be desirable to use mechanically favorable material on PAW bracket.

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Effect of Pesticide Residues on Perilla Leaf by Nozzle Types of Knapsack Sprayers (배부식 분무기 노즐이 들깻잎의 농약잔류에 미치는 영향)

  • Son, Kyeong-Ae;Kang, Tae Kyeong;Park, Byeong Jun;Jin, Yong-Duk;Gil, Geun-Hwan;Kim, Chan Sub;Kim, Jin Bae;Im, Geon-Jae;Lee, Key-Woon
    • The Korean Journal of Pesticide Science
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    • v.16 no.4
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    • pp.282-287
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    • 2012
  • This study was carried out to clarify the effects of the application of pesticide by different spray nozzle types on pesticide residues. The average droplet size and discharge rate were investigated when the manual compressed sprayer with two head disk type nozzle and the knapsack engine powered sprayer with two head fan shape nozzles were used. The fan type nozzles were classified into three types by the number of orifice in the nozzle. Three type nozzles tested were fan with one orifice, fan with two orifices and fan with three orifices. Fan (trade name : D-3) with 2.4 L/min. of the discharge rate and $76{\mu}m$ of the average droplet size while maintaining constant pressure $1.1{\pm}0.2$ MPa, and fan D-35 with 2.6 L/min. and $90{\mu}m$ while maintaining constant pressure $1.0{\pm}0.2$ MPa were appropriate. The orifice size of D-3 was 0.65 mm length ${\times}$ 0.45 mm width and the orifice size of D-35 was 0.62 mm length ${\times}$ 0.46 mm width. The residue levels of imidacloprid on perilla leaves among four applications by four different nozzles show significantly difference with 5% significance level. The residue levels $3.76{\sim}3.92mg\;kg^{-1}$ by fan or disk type is smaller than $4.52{\sim}4.92mg\;kg^{-1}$ by fan II or fan III. The residue levels of imidacloprid on perilla leaf were different depend on the spray nozzles type.

Estimation of Genetic Parameters for Linear Type and Conformation Traits in Hanwoo Cows (한우 암소의 선형 및 외모심사형질에 대한 유전모수 추정)

  • Lee, Ki-Hwan;Koo, Yang-Mo;Kim, Jung-Il;Song, Chi-Eun;Jeoung, Yeoung-Ho;Noh, Jae-Kwang;Ha, Yu-Na;Cha, Dae-Hyeop;Son, Ji-Hyun;Park, Byong-Ho;Lee, Jae-Gu;Lee, Jung-Gyu;Lee, Ji-Hong;Do, Chang-Hee;Choi, Tae-Jeong
    • Journal of agriculture & life science
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    • v.51 no.6
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    • pp.89-105
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    • 2017
  • This study utilized 32,312 records of 17 linear type and 10 conformation traits(including final scores) of Hanwoo cows in the KAIA(Korea Animal Improvement Association) ('09~'10), with 60,556 animals in the pedigree file. Traits included stature, body length, strength, body depth, angularity, shank thickness, rump angle, rump length, pin bone width, thigh thickness, udder volume, teat length, teat placement, foot angle, hock angle, rear leg back view, body balance, breed characteristic, head development, forequarter quality, back line, rump, thigh development, udder development, leg line, and final score. Genetic and residual(co) variances were estimated using bi-trait pairwise analyses with EM-REML algorithm. Herd-year-classifier, year at classification, and calving stage were considered as fixed effects with classification months as a covariate. The heritability estimates ranged from 0.03(teat placement) to 0.42(body length). Rump length had the highest positive genetic correlation with pin bone width(0.96). Moreover, stature, body length, strength, and body depth had the highest positive genetic correlations with rump length, pin bone width, and thigh thickness(0.81-0.94). Stature, body length, strength, body depth, rump length, pin bone width, and thigh thickness traits also had high positive genetic correlations.

A study on the interaction between visual perception and the body in contemporary painting space (20세기 회화공간에서 시지각과 신체의 상관성에 관한 연구)

  • Lee, Kum-Hee
    • Journal of Science of Art and Design
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    • v.11
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    • pp.109-152
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    • 2007
  • This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

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