• Journal of Conservation Science
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• v.27 no.2
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• pp.191-199
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• 2011

A study was done to compare the properties of artificially deteriorated silk with ultraviolets for reinforcing of loss area of paintings on silk. Deteriorated surface of raw silk irradiated by long-wavelength ultraviolet(UV-A) than short-wavelength ultraviolet(UV-C) was similar to naturally aged raw silk. UV-A irradiation raw silk was slowly decreased in tensile tenacity and elongation and lowered in yellowness index than that of UV-C. Water content of UV-A irradiation raw silk than that of UV-C was higher. UV-A irradiation raw silk had no problem in dyeing and inpainting for conservation because of low yellowness index. UV-C irradiation raw silk was brittle, but UV-A irradiation raw silk was seemed to tough and similar to naturally aged raw silk. Korean painting conservator estimated that UV-A irradiation raw silk was more proper for reinforcing of loss area of paintings on silk than that of UV-C.

• Journal of the Korean Society of Food Science and Nutrition
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• v.31 no.2
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• pp.236-240
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• 2002

Characteristics of ostrich egg shell and optimal ashing conditions for preparation of calcium lactate were investigated. Average weight, girth, and length of ostrich egg shell with membrane (OESM) were 255.17 g, 39.50 cm, and 15.20 cm, respectively. Ostrich egg shell without membrane (OES) contained 0.35% moisture, 40.98% Ca as a maior mineral, 2.43% protein, and 235.0 mg/100 g of amino acids. Optimal ashing times for preparation of white-colored ashing powder from OES were 12 hr at $700^{\circ}C$, 80 min at 80$0^{\circ}C$, and 15 min at 90$0^{\circ}C$, respectively. These ashing conditions resulted in ashing powder with yields of 54.5~54.6% and color values of 97.26 ~97.51 for $L^{*}$, -0.30~-0.34 for $a^{*}$, and 0.63~0.98 for $b^{*}$. Ashing powders, from three different particle size ranges of OES, did not show significant differences in yield.eld.d.

• Journal of Korean Philosophical Society
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• v.145
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• pp.381-407
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• 2018

Gilles Deleuze presents his distinctive logic of sensation in "Francis Bacon: The Logic of Sensation" with his own approach to Bacon's paintings. What matters here is the sensation of 'haptic' that is 'one possibility of the eyes' but different from optical perception. The concept of 'haptic' has been translated into Korean variously, and Gilles Deleuze adopted this concept from Austrian art historian, Alois Riegl. Alois Riegl had used the concept of 'haptic' to mean proximate view (Nahsicht in German) as in seeing Egyptian bas-relief. Gilles Deleuze was in succession to Alois Riegl's way of thinking and used the concept of 'haptic' to discuss Bacon's paintings. By the way, Alois Riegl had adopted this concept anyway to read Egyptian bas-reliefs, but Gilles Deleuze applies this concept to paintings. Actually, this concept in Gilles Deleuze's theory of painting has more meanings than Alois Riegl'. That is to say, when we intend to understand "The Logic of Sensation" as a new logic of sensation to be represented more than just a discussion about Bacon's paintings, we would say that key word is the concept of 'haptic' being symbolic of Bacon's paintings. Yet, what kind of sensation is the 'haptic'? And, what is Deleuze's theory of sensation? I want to interpret "Francis Bacon: The Logic of Sensation" as a work being developed through his own theory of sensation, and further more I should like to draw special attention to the sensation of 'haptic' in order to make his theory of sensation with admirable clarity.

• Journal of Korean Philosophical Society
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• v.117
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• pp.85-111
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• 2011

Topics with which chis paper deals are as following; (1)Zizek's interpretation of Rothko's painting, (2)Lacan's gaze and picture, (3)the real as object a, (4)primal jouissance and death-drive, (5)a new identity of man-emptiness in Zizek, (6) existential level and existential conflict, (7)a variety of meanings of emptiness, (8)transpecsonal drive and meditation, (9) the different Real-Emptiness, (10)Rochko's painting and transpersonal drive.

• Journal of Life Science
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• v.32 no.10
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• pp.792-802
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• 2022

In this study, the antioxidant and antibacterial activities of Sophora japonica extracts were investigated to determine the potential of S. japonica as a functional food and medicinal materials. S. japonica was divided into flowers, fruits, and branches, and ethanol extraction was used. The total polyphenol and flavonoid contents were significantly higher in the flower and fruit extracts than in the branch extracts, but the ABTS and DPPH radical scavenging activity and ORAC value were higher in the branch extracts. Among the ethanol extracts of S. japonica, branch extracts showed strong antibacterial activity against Porphyromonas gingivalis, and the MIC was 0.2 mg/ml. Branch extracts showed bacteriostatic activity against P. gingivalis at a concentration of 0.4 mg/ml or less and bactericidal activity at a concentration of 0.6 mg/ml or more. Biofilm biomass production and cell growth of P. gingivalis in the culture medium treated with the branch extract at a concentration of 0.2-2.0 mg/ml were significantly decreased in a concentration-dependent manner. In addition, the mRNA expression of fimA and mfa1 associated with fimbriae formation in these cultures was suppressed in a concentration-dependent manner. Based on these results, S. japonica branch extracts can be used as functional food and medicinal materials, as demonstrated by their antioxidant and antibacterial activities against P. gingivalis and the inhibition of biofilm formation resulting from P. gingivalis.

• The Optical Journal
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• s.135
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• pp.68-71
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• 2011

정물화는 회화에서부터 긴 역사를 두고 변천해 왔다. 17세기 네덜란드에서 성행하기 시작한 정물화는 일상적인 생활에서 만나는 사물을 회화적으로 재구성한 결과물이다. 눈에 보이는 사물을 그대로 그려 낼 수 있는 화가의 기량을 평가하는 기준으로 제시되었으며 인간의 생활상과 작가의 심상을 표현하는 하나의 장르로 자리잡았다. 또한 정물은 시대의 변화에 따라 그 소재가 다양해지면서 무한히 변화되었다. 특히, 현대사진에서의 정물사진은 대상이나 의미에 따라 그 시대의 일상적인 삶과 연관된 소재들이 다양해지면서 단순히 재현에만 머무르는 것이 아니라 사회를 반영하고 미학, 철학과 함께 구조적으로 변화됐다.

• Proceedings of the Korea Multimedia Society Conference
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• 2003.11b
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• pp.626-629
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• 2003

본 논문은 회화적 렌더링에 있어서 브러쉬 스트로크의 방향을 결정하는 새로운 방법을 제안한다. 전류가 흐르는 도선 주위에는 자기장이 생성된다는 물리적 이론을 기초로 자기장 모델의 벡터를 생성한다 이 모델을 이용하여 원형(circular) 스트로크나 방사형(emissive)의 벡터 필드를 만들어 내고 스트로크에 적용함으로써 고흐와 같은 화가의 브러쉬 기법을 효과적으로 표현할 수 있다.

• Journal for History of Mathematics
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• v.29 no.4
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• pp.233-242
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• 2016

The painter Leon Battista Alberti insisted that mathematics was very important in painting in his famous book "Della Pittura(On Painting)" at 15th century. At the first part of the book, he explained about points, lines, and planes mathematically. And he emphasized that the proportion was very useful for accurate description of objects. This is the perspective that Alberti showed by using visual pyramid. In this paper, we investigate the Alberti' s method and the background of Alberti's perspective.

• Proceedings of the KSLP Conference
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• 1996.11a
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• pp.91-91
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• 1996

현재 시판되고 있는 전기 인공후두는 손으로 인공후두를 경부에 장착하고, 음의 intensity와 pitch를 변하기 위하여 스위치를 손가락으로 조절해야만 하는데, 실제 회화 중에 잘 조절한다는 것은 거의 불가능하므로, 음질과 명료도가 나쁘며, 발성을 의도했을 때 자유롭게 발성하는 것도 어렵다. 또한 회화 중에는 한손은 항상 전기 인공후두를 위해 사용해야 한다. 이러한 단점을 개선하기 위해, 본 연구에서는 흉골설골근 근전위에 의해 제어되는 인공후두를 제작하여 그 성능을 평가하였다. (중략)

• 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.