• The Journal of Korean Academy of Prosthodontics
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• v.47 no.1
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• pp.61-69
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• 2009

Statement of problem: Porcelain veneers have become a popular treatment modality for aesthetic anterior prosthesis. Fitting porcelain veneers in the mouth usually involve a try-in appointment, which frequently results in salivary contamination of fitting surfaces. Purpose: An in vitro study was carried out to investigate the effect of silane treatment timing and saliva contamination on the resin bond strength to porcelain veneer surface. Material and methods: Cylindrical test specimens (n=360) and rectangular test specimens (n=5) were prepared for shear bond test and contact angle analysis. Whole cylindrical specimens divided into 20 groups, each of which received a different surface treatment and/or storage condition. The composite resin cement stubs were light-polymerized onto porcelain adherends. The shear bond strengths of cemented stubs were measured after dry storage and thermocycling (3,000 cycles) between 5 and $55^{\circ}C$. The silane and their reactions were chemically monitored by using Fourier Transform Infrared Spectroscopy analysis (FTIR) and contact angle analysis. One-way analysis of variance (ANOVA) and Dunnett's multiple comparison were used to analyze the data. Results: FT-IR analysis showed that salivary contamination and silane treatment timing did not affect the surface interactions of silane. Observed water contact angles were lower on the saliva contaminated porcelain surface and the addition of 37% phosphoric acid for 20 seconds on saliva contaminated porcelain increased the degree of contact angle. Silane applied to the porcelain, a few days before cementation, resulted in increasing the bond strength after thermocycling. Conclusion: Within the limitation of this study, it can be concluded that it would be better to protect porcelain prosthesis before saliva contamination with silane treatment and to clean the contaminated surface by use of phosphoric acid.

• The Journal of Korean Academy of Prosthodontics
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• v.56 no.3
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• pp.206-211
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• 2018

Purpose: Recently, a method of forming a slot in the prosthesis lingual has been introduced to solve the occlusal and aesthetic disadvantages of screw-retained prosthesis in the manufacture of implant-fixed prosthesis and to ensure retrievability in cement retained prostheses. The purpose of this study is to investigate the effect of the internal gap on the removal of the prosthesis in the preparation of cement-retained implant prostheses with lingual slots. Materials and methods: Titanium abutment and internal gap of the zirconia prosthesis to be attached to the upper part were set to 30, 35, and $50{\mu}m$, respectively. Three for each type total 15 were produced for each type. The zirconia prosthesis formed a retrievable cement-type slot with a space of 1 mm at the location where the titanium abutment meets the shelf area. Autocatalytic resin cement was used for bonding of abutment and zirconia prosthesis, and the maximum removal stress value was measured in units of Ncm by using the customized equipment of the cemented specimen. The Kruskal-Wallis test was used to compare the three groups by statistical analysis (${\alpha}=.05$), modified by post hoc test the Mann-Whitney U-test and the Bonferroni correction method were used to compare the two methods (${\alpha}=.017$). Results: There was no statistically significant difference in removal stress between the $30{\mu}m$ group and the $35{\mu}m$ group in the internal gap (P = .032), and there was a significant difference between the $30{\mu}m$ group and the $50{\mu}m$ group, between the $35{\mu}m$ group and the $50{\mu}m$ group (P < .017). Conclusion: Thus, the internal gap of computer-aided design affected the retention between the zirconia prosthesis and the titanium abutment.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.447-484
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• 2012

This study aims to analyze the characteristics of post-epic theatre in the Belgian theatre director Jan Lauwers' trilogy titled in "Happy Face/Sad Face": (2004), (2006) and (2008). I regard that it played a very important junction for him to create his own theatrical style compared to earlier years. From this period, Lauwers has tried to create his original plays in order to concentrate the story of our era and has showed to combine a variety of media such as dance, installation, video, singing etc. In this context, I would like to study his own theatricality from the three perspectives of dramaturgy, directing and acting largely based on Hans-Thies Lehmann's theory of post-epic theatre, who pointed out the significance of Lauwer's theatrical leading role very early. First, from the dramaturgical point of view, we need to pay attention to the theme of translunary death; where the living and the dead coexist on the stage. In fact, death is the theme that Lauwers has been struggling to research for quite long time. In his trilogy, the dead never exits the stage. The dead, who is not a representative tragic character, even meddles the things among or with the living and provide comments to people. As a consequence, it happens to reduce a dramaturgical strong tension, leads depreciation of suspense and produces humanism in a way. This approach helps to create his unique comical theatrical atmosphere even though he deals with the contemporary tragic issues such as war, horror and death. Second, from the directing point of view, it is worth to take a look at the polyphonic strategy in terms to applying various media. Among all the things, the arts of dancing and singing in chorus are actively applied in Lauwer's trilogy. The dance is used in individual and microscopic way, on the other hand, singing shows collective and is a macroscopic quality. The dance is the representing media to show Lauwer's simultaneous microscopic mise-en-scene. While main plot takes place around the center-stage, actors perform a dance around the off-centered stage. Instead of exiting from the stage during the performance, the actors would continue dance -sometimes more like movements- around the off-centered stage. This not only describes the narrative, but also shows how each character is engaged to the main plot or incident, and how they look into it as a character. Its simultaneous microscopic mise-en-scene intends to function such as: showing a variety moments of lives, amplifying some moments or incidents, revealing character's emotion, creating illusionary theatrical atmosphere and so on. Meanwhile, singing simple lyrics and tunes are an example of the media to stimulate the audiences' catharsis. As the simple melody lingers in the audiences' mind, it ends up delivering a theatrical message or theme after the performance. This message would be transferred from the singing in chorus functions as a sort of leitmotive in order to make an impression to the audience. This not only richens their emotion but also creates an illusionary effect. Third, from the acting perspective, I'd like to point out the "detachment" aesthetic which Lehmann has pointed out. The actors never go deep into the drama by consistently doing recognize a theatrical illusion. The audience happens to pay attention to their presence through the actor's deliberate gesture, business, movement, rhythm, language, dance etc. The actors are against forming closed action by speaking in various languages or by revealing deliberately stage directions or acts, and by creating expressive mise-en-scene with multiple media. As a consequent, the stage can be transformed to not a metaphoric but a metonymic place. These actions are the ultimate intention for a direct effect to the audience. So to speak, Lauwers uses the anti-illusionary theatrical method: the scenes of fantastic death, interruption of singing and dance, speaking many kinds of languages, acting in detachment-status and so on. These strategies function to make cracks in spectators' desire who has a desire to construct a linear narrative. I'd like to say that it is the numerous potentiality to let the reality penetrate though and collide the reality with a fiction. By doing so, it induces for spectators to see the reality in the fiction. As Lehmann says, "when theatre presents itself as a sketch and not as a finished painting, the spectators are given the chance to feel their own presence, to reflect on it, and to contribute to the unfinished character themselves". In this sense the spectators can perform an objective criticism on our society and world in Lauwer's theatre because there are a number of gaps and cracks in his theatrical illusion where reality can penetrate. This is also the point that we can find out the artists' responsibility in this era of our being.

• Journal of Global Scholars of Marketing Science
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• v.18 no.2
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• pp.147-187
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• 2008

Online game researchers focus on the flow and factors influencing flow. Flow is conceptualized as an optimal experience state and useful explaining game experience in online. Many game studies focused on the customer loyalty and flow in playing online game, In showing specific game experience, however, it doesn't examine multidimensional experience process. Flow is not construct which show absorbing process, but construct which show absorbing result. Hence, Flow is not adequate to examine multidimensional experience of games. Online game is included in hedonic consumption. Hedonic consumption is a relatively new field of study in consumer research and it explores the consumption experience as a experiential view(Hirschman and Holbrook 1982). Hedonic consumption explores the consumption experience not as an information processing event but from a phenomenological of experiential view, which is a primarily subjective state. It includes various playful leisure activities, sensory pleasures, daydreams, esthetic enjoyment, and emotional responses. In online game experience, therefore, it is right to access through a experiential view of hedonic consumption. The objective of this paper was to make up for lacks in our understanding of online game experience by developing a framework for better insight into the hedonic experience of online game. We developed this framework by integrating and extending existing research in marketing, online game and hedonic responses. We then discussed several expectations for this framework. We concluded by discussing the results of this study, providing general recommendation and directions for future research. In hedonic response research, Lacher's research(1994)and Jongho lee and Yunhee Jung' research (2005;2006) has served as a fundamental starting point of our research. A common element in this extended research is the repeated identification of the four hedonic responses: sensory response, imaginal response, emotional response, analytic response. The validity of these four constructs finds in research of music(Lacher 1994) and movie(Jongho lee and Yunhee Jung' research 2005;2006). But, previous research on hedonic response didn't show that constructs of hedonic response have cause-effect relation. Also, although hedonic response enable to different by stimulus properties. effects of stimulus properties is not showed. To fill this gap, while largely based on Lacher(1994)' research and Jongho Lee and Yunhee Jung(2005, 2006)' research, we made several important adaptation with the primary goal of bringing the model into online game and compensating lacks of previous research. We maintained the same construct proposed by Lacher et al.(1994), with four constructs of hedonic response:sensory response, imaginal response, emotional response, analytical response. In this study, the sensory response is typified by some physical movement(Yingling 1962), the imaginal response is typified by images, memories, or situations that game evokes(Myers 1914), and the emotional response represents the feelings one experiences when playing game, such as pleasure, arousal, dominance, finally, the analytical response is that game player engaged in cognition seeking while playing game(Myers 1912). However, this paper has several important differences. We attempted to suggest multi-dimensional experience process in online game and cause-effect relation among hedonic responses. Also, We investigated moderate effects of perceived complexity. Previous studies about hedonic responses didn't show influences of stimulus properties. According to Berlyne's theory(1960, 1974) of aesthetic response, perceived complexity is a important construct because it effects pleasure. Pleasure in response to an object will increase with increased complexity, to an optimal level. After that, with increased complexity, pleasure begins with a linearly increasing line for complexity. Therefore, We expected this perceived complexity will influence hedonic response in game experience. We discussed the rationale for these suggested changes, the assumptions of the resulting framework, and developed some expectations based on its application in Online game context. In the first stage of methodology, questions were developed to measure the constructs. We constructed a survey measuring our theoretical constructs based on a combination of sources, including Yingling(1962), Hargreaves(1962), Lacher (1994), Jongho Lee and Yunhee Jung(2005, 2006), Mehrabian and Russell(1974), Pucely et al(1987). Based on comments received in the pretest, we made several revisions to arrive at our final survey. We investigated the proposed framework through a convenience sample, where participation in a self-report survey was solicited from various respondents having different knowledges. All respondents participated to different degrees, in these habitually practiced activities and received no compensation for their participation. Questionnaires were distributed to graduates and we used 381 completed questionnaires to analysis. The sample consisted of more men(n=225) than women(n=156). In measure, the study used multi-item scales based previous study. We analyze the data using structural equation modeling(LISREL-VIII; Joreskog and Sorbom 1993). First, we used the entire sample(n=381) to refine the measures and test their convergent and discriminant validity. The evidence from both the factor analysis and the analysis of reliability provides support that the scales exhibit internal consistency and construct validity. Second, we test the hypothesized structural model. And, we divided the sample into two different complexity group and analyze the hypothesized structural model of each group. The analysis suggest that hedonic response plays different roles from hypothesized in our study. The results indicate that hedonic response-sensory response, imaginal response, emotional response, analytical response- are related positively to respondents' level of game satisfaction. And game satisfaction is related to higher levels of game loyalty. Additionally, we found that perceived complexity is important to online game experience. Our results suggest that importance of each hedonic response different by perceived game complexity. Understanding the role of perceived complexity in hedonic response enables to have a better understanding of underlying mechanisms at game experience. If game has high complexity, analytical response become important response. So game producers or marketers have to consider more cognitive stimulus. Controversy, if game has low complexity, sensorial response respectively become important. Finally, we discussed several limitations of our study and suggested directions for future research. we concluded with a discussion of managerial implications. Our study provides managers with a basis for game strategies.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.65-75
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• 2015

The findings of basic study on the awareness of falls in terms of Gwanpokdo(Paintings of Viewing Falls) were drawn as follows. First, there is a difference in an esthetic sense that water brings depending on the ratio of falls, and Gwanpokdo(Fall Landscape) in which falls take up more than 20% of the canvas focuses more on falls so that it brings about the awareness of landscape through direct communication with nature. Second, the diagonal composition of the canvas has symmetry between falls and a person viewing the falls, which makes view point even clear. In addition, margins of the canvas were missing due to the effect of True-View Landscape Painting during the late Joseon Dynasty, and overall composition of using the entire canvas became popular. This overall composition is stable and disposed with lopsided composition, so this heightens sense of balance and the meaning of falls. Third, Gwanpokdo(Paintings of Viewing Falls) of Josoen Dynasty showed various types of viewing falls in distant view, but as the distance between falls and persons got closer in the latter part of Joseon Dynasty, falls were no longer utopia but it expressed a sense of beauty and aesthetic contemplation through direct communication with real nature. Fourth, Gwanpokdo(Paintings of Viewing Falls) of Joseon Dynast had many drawings of a person viewing falls and viewing behaviors such as Supyeong gyeong(level landscape), Amgang gyeong(lower landscape), Bugam Gyeong(higher landscape), and glimpse viewing. Fifth, rocks out of landscape elements make falls vivid and are so expressed as yin and yang that falls and rocks are well contrasted with each other, maximizing beautiful scenery of falls. Sixth, woody plant of Gwanpokdo(Paintings of Viewing Falls) was mostly pine trees which symbolized the literati's fidelity and integrity at that time and emphasized the firm meaning of transcending the nature, matching with symbolization of falls.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.4
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• pp.492-504
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• 2018

This study was conducted to investigate the effects of seaweed peeling (SP), glycolic acid peeling (GP) and general scrub (GS), which are widely known as cures for acne in both medicine and esthetics on the keratosis pilaris skin and provide basic data for a keratosis pilaris improvement program. For the experiment, subjects were categorized into control (GS) and experimental (GP and SP) groups, and tests were performed on arms and legs with relatively high keratosis pilaris symptoms (5 parts for each group) for 6 weeks. The keratin quantity, sebum content, moisture level and pigmentation were measured before and after (2, 4 and 6 weeks) the experiment and comparatively analyzed. The GP group showed an increase in moisture level (t=-4.064, p<0.01) but a decrease in pigmentation (t=3.536, p<0.01), while a decrease in keratin quantity (t=2.370, p<0.05) and pigmentation (t=4.017, p<0.01) was observed in the SP group and a decrease in keratin quantity (t=2.834, p<0.05) and an increase in moisture level (t=-7.589, p<0.001) was observed in the control group (GS). Additionally, the skin irritation reaction was lowest in the GS group. The SP group had the highest satisfaction with the improvement in response to keratosis pilaris care. When asked if they were willing to get the treatment with the same product, both SP and GP groups were high. In other words, keratosis pilaris care was needed in both experimental and control groups. Overall, the results of this study indicate that SP, GP and GS, which are commonly used in remedying acne, normalize turnover cycle by removing the dead cells from around the pores and improve keratosis pilaris symptoms by increasing moisture in the skin. Therefore, to improve keratosis pilaris skin, it is important to keep removing keratin and using a moisturizer that provides a skin barrier on a regular basis. The results presented herein will be useful as basic data for a keratosis pilaris improvement program.

• Journal of the korean academy of Pediatric Dentistry
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• v.30 no.1
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• pp.161-170
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• 2003

The aesthetic restorative materials are widely used in recent dentistry, showed not only the different quality between each component but also showed that the environment of the material has important effect on the physical properties of the material. Especially, when the restoratives are restored in the mouth, and since saliva is existing, the restoratives are always exposed to water and affected by the saliva. The purpose of this study was to research and compare the change of the degree of water sorption after water immersion of three types of the resin-based materials and the compressive strength, and observe the relation between the change of the water absorbing degree and the compressive strength. Z-100(3M, U.S.A) as a composite resin, F-2000(3M, U.S.A) as a compomer and Vitremer Restoratives(3M, U.S.A) as a resin-modified GIC were used, and each specimen was made to measure the water sorption and to evaluate the compressive strength. The specimens for measurement of the water sorption and the compressive strength were divided into 4 groups(1 day, 2 weeks, 4 weeks, and 8weeks). Each specimen was filled in the 30cc vial with 20cc of distilled water during the fixed amount of period in $37^{\circ}C$. The water sorption is decided by dividing the difference of weight before and after the immersion by the volume, and the compressive strength was measured by using the instron after the immersion. The following results were obtained ; 1. The more the water sorption increased, the more the immersion period of three restorative materials was long. And the most of water sorption was obtained during the first 2 weeks(P<0.001). 2. The water sorption of resin-modified GIC was higher than composite resin and compomer. 3. The more the compressive strength decreased, the more the immersion period of three restorative materials increased(composite resin and compomer: P<0.001, resin-modified GIC: P<0.05). Especially, the amount of the reduction in compressive strength of the composite resin was the highest. 4. The more the water sorption of all materials increased, the more the compressive strength decreased(P<0.05).

• Journal of the Korean Society of Costume
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• v.36
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• Economic and Environmental Geology
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• v.51 no.4
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• pp.345-358
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• 2018

In this study, we have performed electron probe micro analyzer (EPMA), X-ray differaction (XRD), inductively coupled plasma spectroscopy (ICP), Fourier transform Raman spectroscopy (FT-Raman), far-infrared (FIR), nuclear magnetic resonance (NMR), and pH-DO Analyses for characterizing medicinal mineralogy aspect of the black tourmaline (Shantung, china), black and pink tourmaline (Minas Geraris, Brazil), black touemaline (Daeyu mine, Korea). In addition, heating effects of the tourmaline sauna as well as the effects of tourmaline powder-added soap on skin troubles have been investigated. It has been revealed that chemical composition of the tourmaline is either high in Fe-, Al-, B-rich types. Ratio of the K-Ca, Na-K, and Fe-B reflects the component change property of solid solution. $CaO/CaO+Na_2O$ and MgO/FeO+MgO ratio show high positive correlation. When tourmaline reacts with distilled water, extended reaction time DO values approximately decrease and it stabilizes at DO = 10. Otherwise, pH values increase until 6 hours and it stabilizes at pH = 8 after 24 hours. Distilled water changes to alkaline when it reacts with tourmaline powder and particles. Tourmaline showed lower absorption spectrum strength and transmittance at short wave, where absorption spectrum wavelength and strength were determined by the content of the composition elements and characteristics of crystallography. Increase of the Fe content has been confirmed to be the cause for the reduction of irradiation. For the chemical composition and spectral property of the tourmaline particle samples, it has been found that Si and Fe contents show positive correlation with Far-Infrared irradiation, while Al and Mg contents show negative correlation. For tourmaline powder, it has been confirmed that $^{17}O-NMR$ FWHM (full width at half maximum) decreases when reacts with distilled water. Tourmaline sauna (approximately $100^{\circ}C$) was found to increase $0.5-1.5^{\circ}C$ of body temperature, average of 12 heartbeat, and 10mg Hg of blood pressure. Tourmaline soap had very good aesthetic effect to skin and was confirmed to have above the average improvements to skin troubles (e.g., allergy or atopy).

• Korean journal of communication and information
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• v.57
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• pp.33-48
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• 2012

Over the last decades, the issue of work or labor has played a critical role in prevailing discourses to represent the changed economic reality. Aesthetic labor, cultural work, network labor, team-work and alike, have played a dazzling role to represent the emerging economic order, employing the word of labor. Certainly, it is not less than a part of a wide range of shifts in order to make capital work with more effect by making up a workable and governable subject. In this article, I try to examine shifts around the media work which has contributed to expand the new discourse of 'labor.' I will say that it is quite crucial for accounting for the reality of media work to shed light on moves to represent media work, and, among others, one to transform the subjectivity involved in it among others. Furthermore, it would be necessary to take a close look at the subjectivity of media work and its modification to deal with and eliminate the precariousness of media work. Saying about media work without paying any attention to heterogenous and various practices to compose a media work, one is forced to regard media work as the matter of economic and legal interests. In addition, it would bring about that the cultural political concerns of media work will be detached from critical sight of the media cultural studies. Referring to major studies around media work in critical media studies, cultural studies and political economy of communication, this article will briefly look into the arrangement of contentions around subjectivity of media work in South Korea. And it will try to suggest what cultural-political strategy we need to investigate, fighting against the hegemonic power to generate and regulate media work and its workers in precarious conditions. It does not intend to search the media work and its complicated realities in detail in South Korea. I wish that it would make a preliminary step to propose and elaborate the critical analysis of media work and its form of subjectivities.