• Journal of Korean Tunnelling and Underground Space Association
• /
• v.20 no.5
• /
• pp.809-822
• /
• 2018

A quantitative risk assessment has been introduced to quantitatively evaluate fire risk as a means of performance based fire protection design in the design of railway tunnel disaster prevention facilities. However, there are insufficient studies to examine the effect of various risk factors on the risk. Therefore, in this study, the risk assessment was conducted on the model tunnel in order to examine the effects of the evacuation start time delay and the fire growth curve on the quantitative risk assessment. As a result of the analysis of the scenario, the fatalities occurred mainly when escapes in the same direction as the direction of the fire smoke movement. In addition, after the FED exceeded 0.3, the maximum fatalities occurred within 10 minutes. In the range of relatively low risk, distance between cross passages, evacuation delay time and fire growth curve were found to affect the risk, but they were found to have little effect on the condition that the risk reached the limit. Especially, in this study, it was evaluated that the evacuation delay time reduction, fire intensity and duration reduction effect were not observed when the distance between cross passages was more than 1500 m.

• Korean Chemical Engineering Research
• /
• v.51 no.5
• /
• pp.575-579
• /
• 2013

1,3-Propandiol is a promising chemical which can be produced from fermentation of glycerol because the application of 1,3-propanediol is mainly in the production of bio-polytrimethylene terephthalate (bio-PTT). However, the cost of downstream processes in the biological production of 1,3-propanediol can make a high portion in the total production cost due to the large amount of water and the by-produced carboxylic acids such as succinic, lactic and acetic acids in 1,3-propanediol fermentation broth. In this study, aqueous two-phases systems composed of hydrophilic alcohols and phosphate salts were applied to the recovery of 1,3-propanediol from its artificial aqueous solution. Formation of aqueous biphases in hydrophilic alcohols and phosphate salts was due to the salting-out effect of salts in bottom phase, thereby 1,3-propanediol in bottom phase was moved into top phase. Extraction efficiency for 1,3-propanediol was proportional to the polarity of hydrophilic alcohols and the basicity of salts and the maximum value of extraction efficiency was more than 98%. In the aqueous two-phases systems after extraction, there was no carboxylic acid in top phase. Therefore, it was concluded that the aqueous two-phases systems composed of hydrophilic alcohols and phosphate salts were effective for the selective recovery of 1,3-propanediol without any coextraction of carboxylic acids.

• Clean Technology
• /
• v.20 no.4
• /
• pp.349-353
• /
• 2014

Succinic acid is an important precursor in industries producing biopolymers, pharmaceutical and food additives and green solvents. However, due to the high price of petroleum and the global $CO_2$ emission, the biological production of succinic acid from renewable biomass is a novel process due to the fixation of $CO_2$ into succinate during fermentation. In this study, aqueous two phase systems based on imidazolium ionic liquids/$K_2HPO_4$ were used as an effective separation and concentration process for succinic acid. Experimental results show that aqueous two phase systems can be formed by adding appropriate amount of imidazolium ionic liquids to aqueous $K_2HPO_4$ solutions in the presence of succinic acid. It can be found that the ability of imidazolium ionic liquids for phase separation followed the order [HMIm][Br]${\fallingdotseq}$[OMIm][Br]>[BMIm][Br]>[EMIm][Br]. The maximum value of extraction efficiency for succinic acid was about 90% and the amount of coextracted water into top phase is proportional to the chain length of cation in imidazolium ionic liquids. It was concluded that the aqueous two phase systems composed of imidazolium ionic liquids/$K_2HPO_4$ was effective for the selective extraction and concentration of succinic acid.

• Journal of IKEEE
• /
• v.7 no.2 s.13
• /
• pp.288-298
• /
• 2003

We consider a window-controlled selective-repeat ARQ scheme for error control between two adjacent nodes lying on a communication path. In this scheme, each packet to be transmitted is endowed with a serial number in a cyclic and sequential fashion. In turn, the transmitting node is not allowed to transmit a packet belonging to a window before every packet in the previous window is positively acknowledged. Such postponement of packet transmission incurs a degradation in throughput and delay performance. In this paper, aiming at improving packet delay performance, we employs a supplement scheme in which a serial number is duplicated within a frame. Classifying duplication rules into fixed, random and adaptive categories, we present candidate rules in each category and evaluate the packet delay performance induced by each duplication rule. From numerical examples, we observe that duplicating serial numbers, especially ADR-T2 effectively reduces mean packet delay for the forward channel characterized by a low packet error rate. We also reveal that such delay enhancement is achieved by a high probability of hitting local optimal window size.

• Cartoon and Animation Studies
• /
• s.36
• /
• pp.349-374
• /
• 2014

The light is the language. Directors have to describe the scene component effectively his intention to configure the scene as an appropriately. After this act of the character, the layout of the props and scene lights will enter to the scene components. Those things help to audiences can understand narrative of work and emotion that producer want to send. Expressing their emotions especially using the lights by adjusting the colors and contrast makes audience to concentrate on work and understand naturally. This lighting technique clearly appears on early year theaters stage of England and Rembrandt's paintings. Properly dividing and controlling the lights dramatically increases the beauty of the work elements to express a variety of emotions such as worries and fear. Therefore, it can be evolve depending on director's intent of using lights on his work. Lights can increase involvement of human emotion through basic features that cognition of object, visualization of space-time and by artistic method in the product. This study will examine the role and how to use lighting to express the proper sentiment based on the narrative of the work. Making research named "Lighting Research of 3D animated film which applying light features to express emotion" previous study and have to combine emotional vocabulary and emotion-based theory for classifying the emotional language that can be applied on 3D animation. And choosing most emotional scene from 3D animation for analyze how they used lighting to expressing emotions. Directors trying to show up about the light role through light method that matched perfectly with an emotional language. Expecting this research work of directing 3D animations light for expressing emotional feelings will be continue successfully.

• (The) Research of the performance art and culture
• /
• no.37
• /
• pp.223-247
• /
• 2018

A reading aloud performance is an activity in which the actors convey the meaning of the play to the audience through reading the play without memorizing the play. Although this term has been used for a long time, it can be said in the early 2000s that Korea began to pay attention to reading aloud performance in the cultural world. As the theater education is strengthened in the 2015 revision curriculum, interest in this "reading aloud performance" is also growing. In this article, we analyzed the reading aloud performance of the 8th contemporary Japanese drama '2018' in order to utilize the reading aloud performance in the educational field and to utilize it in the lecture of the children education. There are two types of rehearsals for the actors on stage: 'Reading by watching drama', 'Playing by memorizing drama', and 'Mixing two types'. In the end, the key is that there is no set rule for the type of reading aloud performance. It's not trouble to see or not to see the play. It is not necessary to have a stereotype that you should do a proper reading aloud performance in consideration of your situation, but that you should do this. If children understand the concept of read aloud performance in a flexible way, the educational effect will be greater. Based on this analysis, we suggested 'not sticking to the form of reading aloud performance' and 'choosing various types of reading aloud performance' as a criterion for applying to the education field for children. In addition, the sub-criteria required for selecting 'various types of lecture performances' include' selecting a specific scene in the content of the play ',' considering the level or situation of the student ',' not hesitating to make a new type of lecture performance '. I hope that this article will be a stepping stone to revitalize the discussion in the educational world where discussion on the performance of reading aloud is requested, and to solve the problem of lack of educational design due to lack of theory.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.6
• /
• pp.43-52
• /
• 2020

This paper is a study of Gustav Deutsch's film (2013). The film transformed the painting of Edward Hopper into an homage film. So it gives the impression that the picture is moving. In this regard, it raises the issue of 'remediation' between film and pictures. In this study, We ask how (2013) dealt with the movement in turning Hopper's paintings into movies. To that end, To this end, we look at two aspects of movement: the actor's movement and the screen's movement. The concepts of "tableau vivant," Agamben's gesture and mediation were used in the process. The actor's movement in the film is not an act of making and developing events. It is a gesture that moves a person's body and expression itself. It is not a story-oriented acting, but a gesture that Giorgio Agamben said. Editing and camera movements are used while maintaining frontality. This suggests that the movement of the screen is the eye of the audience. At first glance, it embodies the voyeuristic gaze of the original work. However, But the audience isn't looking at the image unilaterally, as in mainstream fiction films, but they are also being seen by that image. Also, the camera's movement to take a closer look at the details of the screen shows the movement itself rather than the means to reveal the details. The 'vision of reality' in a film is made through movement. The film questions the vision of reality between painting and film, between words and images. The move is a means of mediating reality, but the film is regaining the "lost gesture" that Giorgio Agamben once said by revealing its mediated nature. This tells us that the vision of reality appears when it obscures its mediated nature.

• Journal of Life Science
• /
• v.33 no.8
• /
• pp.639-650
• /
• 2023

The levels of harmful components in aerosols from heated tobacco products (HTPs) have been reported to be significantly lower than in cigarette smoke. However, it remains unclear whether the use of HTPs can mitigate the cardiovascular risks associated with cigarette smoking (CS). The objective of this study was to investigate the effects of a short-term switch from CS to HTP use on cardiac autonomic regulation (CAR). Seven healthy male smokers completed an open-label, randomized, cross-over trial consisting of five days of CS, use of three different HTPs (IQOS use, IQ; lil SOLID use, LS; lil HYBRID use, LH), or non-smoking (NS). Each session was separated by a one-week washout period, and levels of exhaled carbon monoxide (CO) and carboxyhemoglobin (COHb), systolic (SBP) and diastolic blood pressure (DBP), and heart rate variability (HRV) reflecting CAR were assessed before use of the product assigned to each session and at 24, 48, 72, 96, and 120 hr after use. Levels of exhaled CO and COHb were statistically significantly reduced only during NS. There were no statistical changes in SBP and DBP within any session. However, in HRV spectral analysis, log-transformed high frequency (lnHF) increased statistically significantly in IQ, LS, and NS, respectively. Normalized HF (HFnu) was significantly increased in NS and LH, respectively. lnHF and HFnu showed significant interaction effects. The findings of this study suggest that a short-term switch to HTPs instead of CS may lead to different distribution patterns of CAR, primarily driven by enhanced cardiac vagal tone.

• Journal of The Korean Society of Integrative Medicine
• /
• v.12 no.1
• /
• pp.139-150
• /
• 2024

Purpose : Scapular dyskinesis, it have been shown to be common in overhead athletes and has been associated with RC muscle strength. Posterior shoulder tightness (PST) has been suggested as an important factor causing scapular dyskinesis. Therefore, rehabilitation programs should focus on a posterior shoulder stretch combined with scapular stabilization exercise (PSSE) intervention. Determine the effects of posterior shoulder stretch combined with scapular stabilization exercise on the rotator cuff (RC) muscles strength, functional strength ratio (FSR), range of motion (ROM), and pain. Methods : 30 adolescent baseball players participated and subjects were allocated PSSE group (n=15) or the SSE group (n=15). Both group performed a 6-weeks intervention and measured of isokinetic peak torque/body weight (PT/BW) of concentric external rotator (CER), eccentric external rotator (EER), concentric internal rotator (CIR), eccentric internal rotator (EIR), FSR, ROM, and pain. Results : After 6 weeks PSSE, significant increase CER PT/BW (+6.02±4.76 %), EER PT/BW (+5.39±4.22 %), EER to CIR ratio (+.17±.16), and internal rotation ROM (+15.08±3.57 °). Whereas, significant decrease EIR to CER ratio (-.14±.18), external rotation ROM (-12.00±6.94 °), and GIRD (-17.41±2.84 °) compared with pre-intervention. No significant difference of isokinetic PT/BW of CIR and EER post-intervention. In the SSE group showed no significant difference all measurements for isokinetic PT/BW, FSR, and ROM post-intervention. The pain was significant improve both PSSE group (-3.25±1.60) and SSE group (-2.83±1.85) post-intervention. Conclusion : Both the PSSE and SSE interventions led to more pain relief. However, only the PSSE group showed ROM, CER, EER PT/BW, and FSR improvements. These results might suggest that the PSSE intervention is a more effective program for improving RC muscle strength and balance, in particular, concentric and eccentric ER muscle strength, FSR and can expect to prevent shoulder injuries in adolescent baseball players with scapular dyskinesis.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.31 no.12
• /
• pp.1761-1771
• /
• 2007

The artificial exaggeration of stage costumes is thought to be one of the major techniques of enhancing dramatic expression on stage, whichever for visual impact or symbolic effect of dramatization. In the history of stage dressing, a variety of styles has been tried using different materials and production techniques. This may be reviewed as an effort to express dramatic effects more effectively. As this trend became obvious in Europe after the Second World War, this study analyzes the stage costume to deepen our understandings of the role of costumes in expressing dramatic effects. To accomplish this, we first summarized the history of stage costume materials and technical advance and chose five major cases representing the history of stage costume since the Second World War in Europe based on aesthetic and creative aspects: 1) Simplified stage of Jacques Copeau, 2) Stylized stage of Bertolt Brecht, 3) Essential stage of Grotowski, 4) Measured stage of Robert Wilson the Master, and 5) Post-dramatic stage of Philippe $Decoufl\'{e}$. In each of particular case, the historical, material and dramatic contexts were examined as well as different material-effects. The results are as followings: 1) Costume for Copeau's simplified stage: its simplicity plays a supporting role to the gesture of actors(intensifying effect). 2) Costume for Brecht's stylized stage: the artificial stylization integrates into the play with the importance approximately equal to the actors's acting. 3) Costumes for Grotowski's essential stage: costumes disappeared to emphasize only actor's presence on stage. 4) Costumes for Robert Wilson's measured stage: costumes made concrete impression to the extent of obtaining the same importance of actor's body among other stage art elements(lighting, sound, props, actor, text, etc). 5) Costumes for Decoufle's post-dramatic stage: costumes in the era of multi technology possess multi functional aspects that surrogate actors' body. This study suggests that stage costumes take an important part in dramaturgy to the extent that the intent of dramaturgy can be induced enough from stage costume. Thus, costume makers are expected to incorporate the appropriate dramatic factor more than before.