• Applied Chemistry for Engineering
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• v.26 no.1
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• pp.29-34
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• 2015

N,N'-Diferuloyl-putrescine (DFP) present in plants such as Sophora japonica has been reported to have skin depigmentative and antioxidative activities. In this study, DFP, usually presents in nature a very little amount and its derivative (DFP-D) were synthesized in a large quantity for the use as functional cosmetical materials. The antioxidative activities of synthesized DFP and DFP-D were evaluated by the 1,1-diphenyl-2-picrylhydrazyl (DPPH) assay, chemiluminescence assay, and cell protective effect induced by $^1O_2$, stress. DFP and DFP-D showed DPPH radical scavenging activities ($FSC_{50}$) at $61.25{\pm}2.25{\mu}M$ and $12.92{\pm}0.72{\mu}M$, respectively. ROS (reactive oxygen species) scavenging activities ($OSC_{50}$) in the $Fe^{3+}-EDTA/H_2O_2$ system of DFP and DFP-D were 2 times ($1.84{\pm}0.12{\mu}M$) and 13 times ($0.174{\pm}0.01{\mu}M$), respectively higher than that of L-ascorbic acid. $^1O_2$, one of ROS playing a key role in the skin photo-aging, induces cellular membrane damages. DFP-D ($50{\mu}M$) showed good cell protective effects (${\tau}_{50}=80.2min$) about 2 times more than that of (+)-${\alpha}$-tocopherol (${\tau}_{50}=43.6min$). These results suggest that the great antioxidative activities of DFP and DFP-D could be applied to cosmetic industries as functional cosmetic materials.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Cartoon and Animation Studies
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• s.40
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• pp.521-549
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• 2015

We recognize all objects by seeing. However, we are not sure that the things we see through our eyes are their essence. Here comes my question: What does it mean that humans see and recognize things? The things we see are images and so I consider recognizing an object as semiosis via our visual sensation and brain. That is because objects are defined not by their essence but as symbols we recognize. In the era of post-modernism art is a voluntary creative activity that creates a kind of spiritual value and plays an important role for appreciators who realize the fact to enjoy the life value. This paper focused on the art putting aesthetic value on humans' recognition and explored works of art in a visually perceptible way through semiosis. That is because art, an act of creating things, is symbolic and closely linked to semiotic system. Furthermore, derivative visual signs can be considered to be in line with the viewers' visual perception. If we interpreted by recognizing the works of art along with symbol, we can enjoy the works in depth through recognizing their color or shape. Therefore, I intended to discourse on color perception focusing on colors in order to analyze the relationship between art and symbol in the process of recognizing works of art. This paper looked into background of color recognition, status of colors and ways of expression for impressionist who painted with various colors and examined colors as a sensory language. In the process of interpreting art works by communication between the artist and viewers, the role of color is considered as visual symbol through the artist's experience, consciousness, emotions, and their senses. It can be interpreted the visual language through signification of the symbols when the colors are formed in works of art as a recognizable space. Therefore we expect to study in the Visual arts to be the colors symbolic analysis is extended to more effective communication tool.

• Cartoon and Animation Studies
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• s.44
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• pp.1-31
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• 2016

In this thesis, the movie with mise-en-scene established was compared with the peculiarity of the play that is the etymological source of the term to identify the peculiarity of mise-en-scene which was substituted into animation to find the peculiarity of mise-en-scene in animation. To emphasize the direct connection between the frame's visual peculiarity and the director's opinions, the mise-en-scene of director centered animation created under a restricted environment was reviewed. Mise-en-scene which started from movie critics theory does not simply mean the arrangement of images in a frame. Mise-en-scene emphasizes the exposure of the work's motive by the visual components. The animation's assuming the middle point of environmental share possessed by play and movie when schematizing the genre peculiarity of animation, play and movie was a noteworthy result. It can be said that the cause is that the animation's peculiarity yield different results depending on the making methods; we verified that this is a key factor in the analysis of animation's mise-en-scene. I emphasized that the peculiarity of animation mise-en-scene is in its making method and material and suggested identifying the work's making methods and analyzing the work's aesthetic results derived in this way. The russian animation which was perceived as peripheral arts was relatively free from the burden of censorship while receiving support from the Soviet as a media for propaganda. The russian animation's mise-en-scene which found the material for its works in the country's folklore was metaphorical, focused on new expression forms and achieved experimental elements. Russian animation pursues a unique aesthetic world through space expression based on the forms of opera or ballet and heavy motions formed static inbetweens.

• Journal of Nutrition and Health
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• v.48 no.2
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• pp.157-166
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• 2015

Purpose: The effects of water extract and distillate from the mixture of black goat meat and medicinal herb on MG-63 osteoblast proliferation and mouse bone marrow derived osteoclast formation were investigated. Methods: Proximate composition, volatile basic nitrogen (VBN), mineral content, free amino acid composition and free fatty acid composition in black goat meat were determined. Water extract and distillate were prepared with three groups; goat meat only (BG-E, BG-D), six herbs added group (BG-E6, BG-D6), and eight herbs added group (BG-E8, BG-D8). Osteoblast proliferation, mineralization and calcium uptake activity of MG-63 cells were measured and tartrate resistant acid phosphatase activity of osteoclasts was analyzed. Results: Black goat meat had remarkably low fat and high level of calcium. Glutamic acid was the most abundant amino acid. Herbs added extract groups (BG-E6 and BG-E8) showed increased MG-63 cell proliferation in a concentration dependent manner, while all the distillates did not show the effect. All extracts and distillates showed significantly increased osteoblast mineralization depending on the concentration. In particular, herb added extract, BG-E6, increased 170.3% of control and the distillate of BG-D and BG-D6 increased up to 168.5% and 159.8%, respectively. Calcium uptake activities of all water extracts showed remarkable increase of BG-E6 and BG-E8 up to 615.5% and 628.1% of control, respectively. Ditillates had no effect except BG-D6. All water extracts significantly reduced the activity of tartrate-resistant acid phosphatase (TRAP) in osteoclasts derived from mouse bone marrow. Conclusion: Combination of black goat meat and medicinal herb increased the MG-63 cell proliferation and effectively inhibited osteoclast differentiation in both water extracts and distillate of them, which implies that they could be used as potent functional food materials for bone health.

• Journal of Science of Art and Design
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• v.5
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• pp.175-216
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• 2003

시각이 아닌 오감체계에 관계하는 때문에 현대미술은 외관만으로 이루어지지 않는다. 곧 예술 작품들은 하나의 장소를 관객에게 제공하여, 심리적, 물리적, 또는 예술이 존재여부에 관한 갖가지 질문들을 제기한다. 모든 예술 작품은 메시지를 담고 있다. 이러한 관점에서 개념 또는 아이디어에 우선하는 현대미술은 그들의 메시지를 전달하기 위해 우리의 사회적 배경과 보편성을 간과할 수 없다. 우리의 물체 인식은 결국 우리의 경험체계를 통해서 이루어진다고 간주하면, 현대미술의 새로운 형태는 보편적 특질들이 그 특질들 이상의 상태로 보여지도록 유도한다. 이러한 창조 행위의 시작은 현대인간의 문화 읽기이며 문화는 인간과 자연의 긴밀한 관계 속에서 이루어진다. 역사는 지나간 시간을 기록한 것이며, 이 또한 우리의 지식과 정보 체계에 속한다. 회화가 평면에 입체감을 표현하는 것과는 달리 조각은 자연 속, 즉 실재공간 속에 있는 모든 것을 표현하기 때문에 시각(visible) 이외에도 촉각(tangible)이 관여하게 된다. 조각의 특수성은 촉각(tangible)이 우선하는 것이다. 그러나 시각과 촉각은 매우 적극적으로 미학적 경험에 참여하는 감각으로 이들을 서로 분리하여 생각하기가 무척 힘들다. 왜냐하면 어떤 경험에 있어서 기억연합 또는 감각 연합에 의해 하나의 감각이 다른 여러 감각을 촉발하여 연쇄반응 혹은 '형태 Gestalt'를 이루기 때문이다. 대부분의 근대 조각 작품들은 조각대 위에 고정되어 있는 구상 형태를 지녔기 때문에 조각작품 자체가 지닌 외적 형태와 그 자체내의 공간이 더욱 중요한 역할을 하게 된다. 말하자면 미로의 비너스 조각은 대리석과 비너스 형태의 결합이다. 때문에 관객은 그 주변을 돌면서 우리 신체의 내적 공간과 시각에 의존하면서 그 작품의 중량감, 양감, 형태 등의 특질과 만나게 된다. 그러나 현대 추상조각과 개념조각은 이보다 좀 더 확장된 공간을 제시한다. 이것은 현대조각이 건축개념을 수용한 때문이며, 그것이 때로는 안 쪽에서 때로는 바깥 쪽에서 그 형태를 결정하며, 보고 듣고 느끼고 만져지고 왕래하는 등의 인식 영역인 관객의 오감체계에 직접적으로 관계하기 때문이다. 우리는 건축 공간에서, 시각 외에도 청각이나 촉각을 통해 지각한다. 대강 요약하자면 공간은 객관적 상태이기보다는 인식영역의 주관성을 통해 받아들여진 우리가 지나쳐온 것들이나 체험된 공간이다. 여기서 '받아들여지는' 일은 과거 경험들의 주체들, 언어와 문화에 의해서 이루어져야 한다. 건물, 즉 둘러싸고 있는 공간은 중앙이 아니다. 중앙은 바로 나, 둘러싸여진 나이다 나는 나의 동작에 따라 그 공간의 시스템을 변화시킬 수 있는 유동적인 중심이다 (이때의 나는 위치의 축을 변화시키는 것이 아니라, 그들을 탐색하는 것이다). 작품이 대형화되면서 이러한 건축공간개념이 현대 조각가들의 작품개념에 이용되었다고 본다. 현대미술에서 In situ작업과 특정한 장소를 위한 기획되어진 최근의 프로젝트 작업들은 대형화되어있으며, 건축에서처럼 특정한 장소를 만들어낸다. 로잘린드 크라우스(Rosalind Krauss)는 또한 '조각영역의 확장 (La sculpture dans le champ elargi)'에서 현대조각이 건축과 환경의 영역을 침범하고 있음을 지적한다. 그녀에 의하면, 1960년대 이후의 현대조각은 이러한 탈 귀속성과 조각의 자율성을 획득함으로써 조각은 건축물이 아니면서 건축물 주변에 위치하거나 풍경이 아니면서 풍경 안에 자리잡게 되었다. 이와 같이 현대의 대형조각 작품들 - 예를 들어 대형화된 미니별 조각이나 개념미술, 또는 대지예술 등 -은 풍경의 실재가 아니기 때문에 환경으로부터 구분된다고 언급하고 있다. 이들 조각은 더 이상 만져지는 실체이거나 점유하는 공간의 상징언어를 지닌 조각의 범주에 한정되지 않게 된다. 조각과 건축의 공간인식을 인체의 크기와 관련하여 보면, 메를로 퐁티(Merleau-Ponty)의 '지각의 현상학' 은 우리가 논하는 작품의 공간체계를 분석하는데 지침표가 되어준다. 메를로 퐁티가 말하는 지각은 정신에 의해서만 이루어지는 것이 아니며, 몸과 함께 이루어지는 현상이다. 지각은 우리가 부단히 눈을 움직이고 만지고 냄새를 맡고 주변을 돌아 다니면서 세계와의 직접적인 접촉을 통해 이루어 진다. 몸의 움직임을 통하여 나타나는 신체적 표현은 몸 자체가 원천적으로 지향적 활동의 주체로서 파악되는 한 이미 항상(恒常, constant) 의미 현상을 지니다. 우리의 지각이 움직이는 몸의 지향 활동을 통해 이루어진다는 것은 우리의 몸의 지향활동이 의식에 선행함을 의미한다. 몸의 움직임은 의식의 의도를 표현할 때에만 의미를 나타내는 기호가 되는 것이 아니라, 이미 그 자체가 살아있는 표현이다. 우리의 몸짓, 표정은 우리 의식이 의도하기 전에 이미 의미가 담겨있다. 몸은 그 자체가 기호(Signe)적이다. 결국. 메를로 퐁티에게서 세상(le monde entier)은 그 자신이 주체가 되어 인식한다, 그리고 이 인식 구조에는 우리의 몸이 구심점(le point centripete)이 된다. 만약 우리가 이러한 메를로 퐁티의 개념을 염두에 둔다면, 예술작품의 특성에 매우 중요한 역할을 하고 있는 재료와 크기를 이해할 수 있을 것이다.

• Journal of Korean Society of Forest Science
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• v.57 no.1
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• pp.8-13
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• 1982

The present study was conducted during the period July 18-August 11, 1981, at the four industrial complexes(Pohang, Ulsan, Onsan, and Yeochon) using the naked eye method. The study included the survey of plant species growing within a 2km from the area of pollution source, selection of plants tolerant to air pollution and effects of pollution on their growth. The results obtained are as follows; 1) Vascular plants surveyed as to industrial complexes consist of 90 families, 6 subfamilies, 213 genera and 290 species. Major plant families and species for each area are as follows: 1) Pohang area: 54 families, 102 genera and 126 species Leguminosae(16) Graminae(11), Compositae(9) Rosaceae(9) 2) Ulsan area: 61 families, 131 genera, and 158 species Compositae(17) Gramineae(16) Leguminosae(15) Rosaceae(9) Polygonaceae(9) Solanaceae(6) 3) Onsan area: 46 families, 98 genera, and 158 species Compositae(12) Gramineae(12) Leguminosae(12) Rosaceae(6) Polygonaceae(6) 4) Yeochon: 71 families, 150 genera, and 188 species Rosaceae(15) Leguminosae(15) Compositae(14) Graminese(14) Polygonaceae(8) Salicaceae(6) 2. Table 1 shows tolerant plants to air pollution in this study. 3. The following plants may be recommended as planting species at the industrial complex area. Leguminosae: Amorpha fruticosa L. Lespedeza bicolor Turcz. Lespedeza maximowiczii Schneider Robinia pseudoacacia L. Sophora japonica L. Fagaceae: Quercus acutissima Carr. Quercus serrata Thunb. Quercus variabilis Bl. Salicaceae: Populus tomentiglandulosa T. Lee Salix Pseudo-lasiogyne Leveille Oleaceae: Ligustrum japonicum Thunb. Ligustrum obtusifolumn S. et Z. Betulaceae: Alnus hirsuta (Space) Ruprecht Celastraceae: Euonymus japonicus thunb. Cparifolicceae: Viburnum awabucki K. Koch. Pinaceae: Cedrus deodara Loundon.

• Journal of Life Science
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• v.24 no.6
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• pp.642-647
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• 2014

Although it is not a pathological symptom, Dentinal Hypersensitivity (DH) describes pain felt by patients whose tooth roots are exposed outside of the gums and are therefore sensitive to external stimuli. DH is caused by tooth brushing or gum diseases and treatment to reduce the sensitivity can include use of materials having stimulation activity for DH or a resin material applied periodontally. This study examined the hypersensitivity treatment effects of a four-week treatment with a toothpaste containing hydroxyapatite and tricalcium phosphate (Hap-TCP toothpaste). The Hap-TCP toothpaste was made by mixing a commercially available fluorine-containing toothpaste with 10% (W/W) hydroxyapatite and 19% (W/W) tricalcium phosphate (both 99% purity based on XRD analysis). The tooth hypersensitivity treatment effect was surveyed by scoring VRS values, and showed no significant initial difference compared with the control. However, after 1 week of use, the pain reduction value was 8% in the treatment group compared to the control group. This value increased to 30% and 60% after 2 and 4 weeks, respectively. Hypersensitivity to cold stimulation, which was used as a VAS value, showed no initial significant differences compared with the control, but was significantly decreased after 1, 2, and 4 weeks in the experimental group, with more than a 3-fold difference after 4 weeks. These findings confirmed that remineralization can alleviate DH as hydroxyapatite fills dentinal tubules and calcium, phosphorus, and tricalcium phosphate ion equilibrium is established.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.215-222
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• 2021

Duchamp chose readymades mainly for his denial of retinal painting and his desire and fluid thinking for changes inside him. His thinking is well presented in his readymade works. One of his early readymades, Bicycle Wheel, expresses correlations between beings and capital. Its essence is capital and the desire of beings. It is connected to Desire or Desire-Machine proposed as a social reform and creation model by Gilles Deleuze and Félix Guattari. Bicycle Wheel does not simply end in desire relations between capital and beings, though. When the desire of beings is converted into positive desire, it can keep inventing and creating something that is repetitive, fluid, and new. Duchamp tried to convey this positive desire through his readymade Fountain. Duchamp created a ready-made article toilet into a work of art in Fountain, being driven by desire flowing inside him. This is connected to the attributes of nomads that refused to settle down and continue to flow in search of new landscapes. This way of his thinking is clearly reflected in his Box in a Valise. He was motivated to create this work by his fluid thinking. In this work, various situations can unfold often according to the directions of two elements, place and arrangement. Here, place guarantees fluidity, and arrangement variability or desire. According to Gilles Deleuze and Félix Guattari, fluidity represents nomads with the characteristics of flow and variation, and desire represents productivity or production or creation. Box in a Valise represents nomads themselves. The nomads defined by Gilles Deleuze and Félix Guattari keep flowing and create a new world. They are in line with the thinking of Duchamp that refused to settle down at one place and escape from the old order to create a new artistic world. This type of nomads can be called revolutionists or creators that acknowledge differences and create. Nomads also contain the concept of resistance to the old order. Deleuze and Guattari proposed a war machine as a model of this resistance. Duchamp and his readymades can thus be called war machines.

• Korean Journal of Environment and Ecology
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• v.24 no.4
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• pp.395-405
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• 2010

This study was carried out to offer basic data to minimize the indiscreet development and damage of coastal wetlands through an evaluation from an ecological standpoint highlighting the importance of the coastal wetland in South Gyeongsang Province, Korea. The result of the macrobenthos survey for the coastal wetland assessment showed that Dongdal and Hwasan-ri, Yongnam-myeon, and Tongyeong city had the largest species number; Oegan-ri and Naegan-ri, Geoje-myeon, and Geoje city had the largest population and biomass; and Miryong-ri, Samsan-myeon, Goseong-gun had the highest species diversity. In the halophytes survey, Imyeong-ri, Jinjeon-myeon, Masan city and Oegan-ri and Naegan-ri, Geoje-myeon, Geoje city had the large character species and companion species. The evaluation results of the ecological values of the coastal wetlands were categorized into five grades based on the field surveys, and the sedimentary environment factor in the case of Danghang-ri, Hoehwa-myeon, and Goseong-gun; Miryong-ri, Samsan-myeon, Goseong-gun; Guho-ri, Gonyang-myeon, Sacheon city; Sulsang-ri Yangpo-ri, Jingyo-myeon, Hadong-gun; and Seokpyeong-ri, Idong-myeon, Namhae-gun, were appraised at the highest rating of grade II. The halophytes factor in the case of Imyeong-ri, Jinjeon-myeon, Masan city, Dongdal-ri and Hwasan-ri, Yongnam-myeon, Tongyeong city and Oegan-ri and Naegan-ri, Geoje-myeon, Geoje city, were highly evaluated as grade II. The macrobenthos factor in the case of Imyeong-ri, Jinjeon-myeon, Masan city and Oegan-ri and Naegan-ri, Geoje-myeon, Geoje city was highly evaluated as grade II. The final evaluation grade was calculated by the mean values of three evaluation factors, and Imyeong-ri, Jinjeon-myeon, Masan city and Oegan-ri and Naegan-ri, Geoje-myeon, and Geoje city had the highest rating of II. On the other hand, Seokpyeong-ri, Idong-myeon, Namhae-gun had the lowest rating of IV. These locations will require future research to survey and monitor the coastal wetland ecosystems by season, in addition to the construction of the GIS-based wetland information system with a view to manage the coastal wetlands.