• Journal of Conservation Science
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• v.16 s.16
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• pp.27-38
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• 2004

This study was performed to characterize historical paper artefacts from 16th to 19th century from Chungbuk National University Museum (CNUM) in Korea. In order to know the fiber composition, surface features and fiber orientation in historic paper artefacts, LM, SEM and EDX analysis observations were applied. Based on tested results, it was concluded that Korean historic papers from 16 to 19th century were made of paper mulberry fibers called dak, which had 2.79-16.03 m of fiber lengthes and $4.5-26{\mu}m$ of lumen widthes, and they were relatively well preserved. According to EDX analysis, the examined papers differed to the contents of inorganics. High contents of S, Si, Ca, P and Al refer to use fillers, such as gypsum, clay and talc, for paper artifacts. In particular, half of samples contained some amounts of S, Cl and Fe. Since those inorganics might be potentially harmful for the paper permanency, therefore it should be considered special restoration measures from the preservation point of view.

• Journal of the Institute of Electronics Engineers of Korea SC
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• v.45 no.5
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• pp.21-27
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• 2008

Despite recent studies on development of pulse diagnosis systems and needs for commercializing them, the reproducibility is one of the most controversial issues as ever. Because the pulse pressure value, which is one of the important parameters to evaluate reproducibility, is very vulnerable to moving artifacts, the reproducibility can not be obtained easily. In this paper, we suggested a moving artefacts detection system for a pulse diagnosis system so that a pulse diagnosis system can be robust to theses kinds of artefacts by excluding the contaminated parts from the pulse wave signal to be analyzed. This moving artifacts detection system was designed to consist of a three-axis accelerometer, an electromyography amplifier and a two-axis tilt sensor. To assess the suitability of the system, we examined the characteristics of each sensor's output signals with regard to the three specific motions such as extension, flexion and rotation. And, we also examined the each sensor's response to the high-frequency and low-frequency moving artifacts while the pulse wave signal was acquired from a pressure sensor for the pulse diagnosis. From these results, we could find that the response to subject's motions would be reflected in electromyography signal first, in accelerometer signals and in tilt sensor sequently. And, the facts that a stable pulse wave can be acquired in two seconds after high frequency or low frequency motions ended, were also found. Consequently, based on these findings, we set up some rules on the moving artifacts detection and designed an algorithm which is fit for our moving artifacts detection system.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2004.06a
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• pp.13-20
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• 2004

This study aims to rethink fashion or, namely, the anthropology of fashion through examining issues generated by the relationship between art and the anthropology of art. Since their crossing paths, sound discussions have emerged between the anthropology of art and the art world, such as subjects about 'artworks and artefacts', 'Western and non-Western discourse' and 'art and agency'(Gell 1992; 1993; 1996; 1998).(omitted)

• Proceedings of the Korean Quaternary Association Conference
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• 2006.06a
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• pp.17-20
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• 2006

• Journal of the Mineralogical Society of Korea
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• v.26 no.4
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• pp.319-324
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• 2013

• 보존과학연구
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• s.15
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• pp.1-20
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• 1994

A typology was established for 15 pottery artefacts at Chejuisland. Conjectured methods of manufacture were confirmed by radiography X-ray diffraction. Scanning electron microscopy etc. The compositions and mineralogy of $500^{\circ}C$ to $1200^{\circ}C$ was measured and compared with those of microstructure. The mechanism of sintering was impurity-initiated, liquid-phase sintering. The making, firing, and sometimes exploding of the figurines may have been the prime function of the pottery at this site rather than being manufactured as permanent, portable object.

• The Bulletin of The Korean Astronomical Society
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• v.39 no.1
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• pp.78.2-78.2
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• 2014

Many techniques for data analysis also based on gaussian noise assumption which is often valid in various situations. However, the sensitivity of gravitational wave searches are limited by their non-gaussian and non-stationary noise. We introduce various on-going efforts to overcome this limitation in Korean Gravitational Wave Group. First, artificial neural networks are applied to discriminate non-gaussian noise artefacts and gravitational-wave signals using auxiliary channels of a gravitational wave detector. Second, viability of applying Hilbert-Huang transform is investigated to deal with non-stationary data of gravitational wave detectors. We also report progress in acceleration of low-latency gravitational search using GPGPU.

• Journal of Conservation Science
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• v.23
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• pp.39-51
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• 2008

Adding chemical additives in bamboo paper making procedure in China became common in last decades to increase productivity. Supply of repair paper for paper based artefacts became more and more difficult due to this tendency. Furthermore, stains and spots on paper which happen to appear during dying procedure make it difficult to use modern bamboo paper for repair treatment. In this research, lime fermentation and sun bleaching were main elements which affect texture and color of paper. Impurities, however, add some effects on paper quality. Less thouroughly washed raw materials after fermentation also affects texture of paper substrate. One most significant impurity is lime. Minimum residue of lime can make stains and spots after dying. Reproduction of white bamboo paper would become useful resource in various conservation treatments as a repair paper, and also, for reproduction of paper woven painting. However, further research to improve quality at early stage of paper making procedure in China required.

• Journal of The Korean Association of Information Education
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• v.20 no.4
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• pp.409-420
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• 2016

In the digital age, children can express their ideas in both physical and digital environments. Electronic textile or e-textiles with Lilypad Arduino provides children with opportunities to explore design ideas and to realize their imagination into physical artefacts. This study aims to analyze the nature of activities and perceptions among 16 children in fifth and sixth grade in a primary school in Seoul who participated in the 12-week e-textile project. To this end, two teachers who taught the class evaluated student-created artefacts from technical, critical, creative and ethical perspectives, and interviewed seven students to extract concrete experiences. The contribution of this study is that it offers a case study of how e-textile programs integrating arts and technology can be implemented in primary school settings and provides implications for future research directions.

• Journal of architectural history
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• v.16 no.4
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• pp.7-22
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• 2007

In San Francisco, two new museums were recently built in 1995 and 2005. The one is San Francisco Museum of Modern Art designed by Mario Botta and the other is De Young Museum designed by Jacques Herzog & Pierre de Meuron. The urban settings for the museums are compared with each other and theories of the architects are evolved on different branches in the modernist trends. The theories and settings are followed by the representation in the forms, facades, interior spaces and towers. SFMOMA is located on the SoMa area, which was recently developed into a cultural urban core with Moscone Center and Buena Yerba Garden. De Young Museum was rebuilt in the old museum site in the Golden Gate Park. The one is on the context of urban artefacts and the other on the context of natural artefacts. To Botta, the museum in today's city plays a role analogous to that of the cathedral of yesterday. It is a place of common encounter and confrontation. The volume of SFMOMA which is geometrical and symmetric with double pylons. The frontality on the street and public green open space and the axiality of SFMOMA runs through the Buena Yerba Garden over Buena Yerba Center for the Arts are reminded us of an urban core with a religious monument and a city square. The staircase with grandiose design in the atrium seems to work as an altar with lighting from skylight above enhancing the liturgical ambiance. De Young Museum is shaped in a rectangle with long narrow courtyards. Three bands of volumes are juxtaposed and the nature flows into the museum corridors and galleries. The tower is distorted so as to be aligned to the street grids of the surrounding area. The copper panel of De Young Museum and natural context evoke modern concept of "machine in the garden". The two museums from different pedigrees of Modern Architecture are now major landmarks of SF and urban expressions for the 21st century.