• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.

• Cartoon and Animation Studies
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• s.50
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• pp.215-237
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• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.103-112
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• 2014

Oh, hein-kuhn is a representative portrait photographer in Korea. His works, , , , which treated portraits of women are a bit different from those of the past that described the appearance of characters. The artist expressed the figure of inner side that conflicts and feels uneasy between 'family and society' and 'child and woman' along with the look of character. That is, he included specific aura which the whole of aunts and girls' group radiates by showing similar photos repeatedly, that we can be aware of 'aunt' and 'girl' by seeing them. The important technique of Oh, hein-kuhn's Portrait Photograph is 'repetition' of image. The artist delivers the meaning of the photo by looking at the character upright in the front and showing photos with similar frame repeatedly. Such form and content of the work as this might feel a bit boring, since it's very simple just like identification picture. However, the photos in the frames which do not move in the fixed position can deliver the meaning of work more clearly rather than the image which expresses flowing time and moving space, we can grasp the message that the artist intends to deliver rather quickly. In the environment of photograph production mainly with image transformation, Oh, hein-kuhn's works of authentic original work method definitely stand forth. Through the portraits of aunts and girls, the artist tells an aspect of our society and we reconfirm the reality through the portraits made by him.

• Journal of the Korean earth science society
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• v.40 no.3
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• pp.212-226
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• 2019

This study derived spectral Lambertian Equivalent Reflectance (LER) over East Asia from the observations of Ozone Monitoring Instrument (OMI) onboard polar-orbit satellite Aura. The climatological (October 2004-September 2007) LER values were compared with the surface reflectance products of OMI or MODerate resolution Imaging Spectroradiometer (MODIS) in terms of the atmosphere-environment variables as follows: wavelength (UV, visible), surface properties (land, ocean), and cloud filtering. Four kinds of LER outputs in the UV and visible region (328-500 nm) were retrieved based on the averages of lowest (1, 5, and 10%) surface reflectance values as well as the minimum reflectance. The average of the lowest 10% among them was in best agreement with the OMI product: correlation coefficient (0.88), RMSE (1.0%) and mean bias (-0.3%). The 10% average and OMI LER values over ocean were 2% larger in UV than in visible, while the values over land were 1% smaller. The LER variability on the wavelength and surface property was highest (~3%) in the condition of both land and visible, particularly in the ice-cap and desert regions. The minimum reflectance values over the oceanic and inland sample areas overestimated the MODIS product by 1.4%. This high-resolution MODIS observations were effective in removing cloud contamination. The relative errors of the 10% average to MODIS were smaller (-0.6%) over ocean but larger (1.5%) over land than those of the OMI product to MODIS. The reduced relative error in the OMI product over land may result from additional cloud filtering using the Landsat data. This study will be useful when retrieveing the surface reflectance from geostationary-orbit environmental satellite (e.g., Geostationary Environment Monitoring Spectrometer; GEMS).

• Atmosphere
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• v.23 no.2
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• pp.123-130
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• 2013

Despite the extensive investigations to understand the difference between ground-based and space-borne measurements, there still exist differences in total ozone (TO) measured at those two different platforms. Comparisons were carried out for the first time between TO data obtaiend from the ground based Dobson and Brewer spectrophotometers, and the Ozone Monitoring Instrument (OMI) on board EOS-Aura satellite in a megacity site in Northeast Asia. The TO values retrieved by the OMI-DOAS (Differential optical absorption spectroscopy) algorithm tend to be lower than those measured by the ground based sensors in spring and summer as well as the low solar zenith angle condition. We found that such underestimation of the OMI-DOAS TO is caused by tropospheric ozone underestimated by the OMI-DOAS algorithm when tropospheric ozone are significantly enhanced.

• The Bulletin of The Korean Astronomical Society
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• v.40 no.2
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• pp.48.1-48.1
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• 2015

Active galactic nuclei (AGNs) are powered by a supermassive black hole with an accretion disk and exhibit prominent broad and narrow emission lines. The unification model AGNs requires the presence of a geometrically and optically thick torus component that hides the broad line region from observers lying in the equatorial direction. The strong far UV radiation characterizing AGN spectra is expected to be scattered inelastically in the torus region to reappear around hydrogen Balmer lines or Paschen lines in the form of broad wings. Adopting a Monte Carlo technique we produce broad wings around $H{\alpha}$, $H{\beta}$ and $Pa{\alpha}$ that are formed through Raman scattering. The widths of the wings are mainly affected by the neutral column density of the torus, and the overall strengths are primarily determined by the covering factor and the column density of the neutral region. It is concluded that deep spectroscopy of AGNs of broad wings around hydrogen emission lines may shed much light on the AGN unification model.

• Journal of environmental and Sanitary engineering
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• v.10 no.3
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• pp.67-77
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• 1995

This study was performed for minimization of excessive biofilm effects at the high strength organic wastewater treatment. As a results of biofilm attachment experiment using piggery wastewater, aggravation of water quality due to excessive biofilm showed after 15 days of operating times.4 excessive biofilm phase, the equivalent biofilm thickness and VSS contents per unit aura were observed in the range of 1,100 to $1,200{\mu}m$ and 2.5 to 3.0mg $VSS/cm^{2}$, respectively. In the aerobic fixed biofilm reactor/anoxic fixed biofilm reactor(AFBR/ANFBR) process with endogenous respiration phase, the BOD removal efficiency was obtained more than 90 percentage at the surface loading rate and volumetric loading rate of the AFBR maintained less than 17 g $BOD/m^{2}{\cdot}$day and 1.7kg $BOD/m^{3}{\cdot}$day, respectively. The removal efficiency of TKN and $NH_{3}$-N at the loading rates below 5.60g $NH_{3}-N/m^{2}{\cdot}day$ and 0.56kg $NH_{3}-N/m^{3}{\cdot}$day were above 76 percentage and 82 percentage, respectively. In order to reduced sludge production rate and aggravation of water quality, endogenous respiration phase was accepted at first AFBR reactor. As a results of this operating condition, sludge production was minimized and removal efficiency was maintained stability.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.3
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• pp.413-426
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• 2020

This study researches the association between associative vocabulary and fashion image language in order to extract ideas that can be used as basic data for design ideas. Classic - avant-garde imaged language were chosen as theme words and each 70 questionnaires per a final image word were used for analysis. We obtained the following results by researching keywords that explained classic image words through a word cloud technique. It was found to have high central representation in the order of suit, classical, basic, music, Chanel, black and traditional. The core key words explaining avant-garde image language were found to have a central representation in the order of : peculiar, huge, Comme des Garçons, artistic, creative, deconstruction and individuality. We extracted the necessary idea dimensions needed for design ideas through associative network graph analysis. In the case of classical image language, it was named as the Mannish Item, Music, Modern Color, and the Traditional Classicality dimensions. In the case of avant-garde image language, it was named as the Key Image, Artistic Aura, Key Design and Designers dimensions.

• Journal of Astronomy and Space Sciences
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• v.34 no.2
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• pp.119-125
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• 2017

We retrieved rotational temperatures from emission lines of the OH airglow (8-3) band in the sky spectra of the Sloan digital sky survey (SDSS) for the period 2000-2014, as part of the astronomical observation project conducted at the Apache Point observatory ($32^{\circ}N$, $105^{\circ}W$). The SDSS temperatures show a typical seasonal variation of mesospheric temperature: low in summer and high in winter. We find that the temperatures respond to solar activity by as much as $1.2K{\pm}0.8K$ per 100 solar flux units, which is consistent with other studies in mid-latitude regions. After the seasonal variation and solar response were subtracted, the SDSS temperature is fairly constant over the 15 year period, unlike cooling trends suggested by some studies. This temperature analysis using SDSS spectra is a unique contribution to the global monitoring of climate change because the SDSS project was established for astronomical purposes and is independent from climate studies. The SDSS temperatures are also compared with mesospheric temperatures measured by the microwave limb sounder (MLS) instrument on board the Aura satellite and the differences are discussed.

• Journal of the Korean housing association
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• v.18 no.1
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• pp.1-10
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• 2007

This study aims to examine the way in which magazines represent housings, since magazines are one of major channel to connect individual houses with the public including professionals and the mass as well. Not only the professional architectural magazine but also women's magazine produce discourses which exercise huge influences on the public's understanding of the housings. After examining the different ways of representing housings in the houses related articles of architectural magazine and women's magazine, serious discrepancies have been noticed in both form and content of the text. In representing housings, women's magazine uses headlines and standfirsts with various modifiers to enhance the chance of interventions of the magazine/journalists. Focusing of the interests upon residents and architects, women's magazines force the reader to look at the housings through the frame of social status and celebrity of the residents and architects marginalizing actual houses. On the other hand, architectural magazines adopt externalized and objective way of representation using minimum layout elements following relatively uniform editing format. The abstract, rigid and masculine way of representation in the architectural magazines endow the published housings with the masculine and normative senses which can be seen as some sorts of aura which obstruct easy access to the housings themselves.