• Fire Science and Engineering
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• v.31 no.5
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• pp.53-62
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• 2017

Electric power which is the energy source of economy and industries requires long distance transportation due to regional difference between its production and consumption, and it is supplied through the multi-loop transmission and distribution system. Prior to its actual use, electric power flows through several transformations by voltage transformers in substations depending on the characteristics of each usage, and a transformer has the structure consisting of the main body, winding wire, insulating oil and bushings. A transformer fire that breaks out in substations entails the primary damage that interrupts the power supply to houses and commercial facilities and causes various safety accidents as well as the secondary economic losses. It is considered that causes of such fire include the leak of insulating oil resulting from the destruction of bottom part of bushings, and the chain reaction of fire due to insulating oil that reaches its ignition point within 1 second. The smoke detector and automatic fire extinguishing system are established in order to minimize fire damage, but a difficulty in securing golden time for extinguishing fire due to delay in the operation of detector and release of gas from the extinguishing system has become a problem. Accordingly, this study was carried out according to needs of active mechanism to prevent the spread of fire and block the leak of insulating oil, in accordance with the importance of securing golden time in extinguishing a fire in its early stage. A bushings fireproof structure was developed by applying the high temperature shape retention materials, which are expanded by flame, and mechanical flame cutoff devices. The bushings fireproof structure was installed on the transformer model produced by applying the actual standards of bushings and flange, and the full scale fire test was carried out. It was confirmed that the bushings fireproof structure operated at accurate position and height within 3 seconds from the flame initiation. It is considered that it could block the spread of flame effectively in the event of actual transformer fire.

• Journal of the Institute of Convergence Signal Processing
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• v.16 no.4
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• pp.149-155
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• 2015

Tooth implant is located in oral cavity and affects neck, skull base, and facail image. These magnetic inhomogeneities are usually frequency encoding direction which cause artifacts due to change of signal strength and geometric distortion. First, to evaluate signal to noise ratio (SNR) of magnetic resonance image caused by tooth implant this study uses meat phantom which is similar to human body and is consisted with fat, muscle, and water to measure signal to noise ratio. Second, signal to noise ratio by using custom-made fixed phantom is measured, and then signal to noise ratio size of different tooth implant types is compared and analyzed. The measured signal to noise ratio values of Brushite, HSA, Metal, and RBM for meat phantom were 2.76, 2.22, 1.88, and 1.57 on T1 SE, 1.88, 1.78, 1.65, and 1.79 on T2 FLAIR, 2.28, 2.25, 2.88, and 2.05 on T2 FSE, and 2.74, 1.94, 1.67, and 1.48 on T2 GRE. The measured signal to noise ratio values of Brushite, HSA, Metal, and RBM for fixed water phantom were 1.2, 1.06, 1.12, and 1.22 on DWI, 1.93, 1.87, 1.93, and 2.06 T1 SE, 1.83, 1.76, 1.82, and 1.92 on T2 FLAIR, 1.85, 1.79, 7.86, and 1.97 on T2 FSE, and 1.97, 1.93, 1.99, and 2.06 on T2 GRE. By considering through the results, patients and dentists need to consider some impacts from testing many aspects although their main purpose of having tooth implants is a dental restoration. Moreover, depending on the tooth implant characteristics of individual patients this study results can be used as baseline data when choosing test protocol.

• Korean Journal of Remote Sensing
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• v.14 no.3
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• pp.213-222
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• 1998

Electro-Optical Camera(EOC) is the main payload of the KOrea Multi-Purpose SATellite(KOMPSAT) with the mission of cartography to build up a digital map of Korean territory including a Digital Terrain Elevation Map(DTEM). This instalment which comprises EOC Sensor Assembly and EOC Electronics Assembly produces the panchromatic images of 6.6 m GSD with a swath wider than 17 km by push-broom scanning and spacecraft body pointing in a visible range of wavelength, 510~730 nm. The high resolution panchromatic image is to be collected for 2 minutes during 98 minutes of orbit cycle covering about 800 km along ground track, over the mission lifetime of 3 years with the functions of programmable gain/offset and on-board image data storage. The image of 8 bit digitization, which is collected by a full reflective type F8.3 triplet without obscuration, is to be transmitted to Ground Station at a rate less than 25 Mbps. EOC was elaborated to have the performance which meets or surpasses its requirements of design phase. The spectral response, the modulation transfer function, and the uniformity of all the 2592 pixel of CCD of EOC are illustrated as they were measured for the convenience of end-user. The spectral response was measured with respect to each gain setup of EOC and this is expected to give the capability of generating more accurate panchromatic image to the users of EOC data. The modulation transfer function of EOC was measured as greater than 16 % at Nyquist frequency over the entire field of view, which exceeds its requirement of larger than 10 %. The uniformity that shows the relative response of each pixel of CCD was measured at every pixel of the Focal Plane Array of EOC and is illustrated for the data processing.

• Journal of The Geomorphological Association of Korea
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• v.19 no.3
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• pp.1-22
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• 2012

The classification scheme of estuaries can be divided into two categories: qualitative classification based on geomorphic characteristics and quantitative classification based upon the physical properties of water body. While simple and intuitive scheme of the former is difficult to quantify, the latter is not easy to apply due to the lack of data. A classification scheme based on morphological convergence is very promising because it only requires easily accessible data such as width and depth of channels, as well as it can characterize estuaries in terms of tidal propagation. Thus, this paper examines the classification scheme based on estuarine morphological convergence using depth and width data obtained from 19 major Korean estuaries. Morphological convergence for each estuary was estimated with the estuarine length, width and depth data to get the convergence parameters, which includes the degree of funneling ${\nu}$ and the dimensionless estuarine length $y_0$. The transfer function ${\xi}({\nu},ky)$ is then deduced analytically from 1D depth-integrated hydrodynamic momentum equation and continuity equation for estuarine shapes. Tidal response of each estuary is finally calculated using ${\nu}$, $y_0$ and ${\xi}({\nu},ky)$ for comparison and classification. The 19 Korean estuaries were classified into three groups: tidal amplitude-dominated estuaries with standing wave-like tidal response (group 1), current-dominated estuaries with progressive wave-like tidal response (group 2), and the intermediate group (group 3) between groups 1 and 2. The sensitivity analysis revealed that uncertainties in determining the estuarine length can have a critical effect upon the results of classification, which indicates that the reasonable determination of the estuarine length is of critical importance. Once the estuarine length is feasibly determined, depth-convergence can be neglected without any negative effect on the classification scheme, which has an important ramification on the wide applicability of the classification scheme.

• Trans-
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• v.9
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• pp.37-66
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• 2020

Entering the 21st century, the flow of society and culture is emerging as a cultural phenomenon in which one experiences, enjoys, and experiences on one's own. This trend has emerged as community dance, which has been active since 2010. Community dances can be targeted by anyone and can be divided into children's, adult and senior citizens' dances depending on the characteristics and age of the group, allowing them to work in various age groups. It also refers to all kinds of dances for the happiness and self-achievement of everyone who can promote gender, race and religion health or meet the needs of expression and improve their physical strength at meetings by age group, from preschoolers to senior citizens. Community dance is a dance activity in which everyone takes advantage of their leisure time and voluntarily participates in joyous activities, making it expandable to lifelong education and social learning. It is a voluntary community gathering conducted by experts for the general public. The definition of community dance can be said to be the aggregate of physical activities that enrich an individual's daily life and enhance their social sense to create a bright society, while individuals achieve the goals of health promotion and aesthetic education. In the contemporary community dance, the dance experience in body and creativity as self-expression reflects the happiness perspective by exploring the positive psychological experience and influence of the participants in the process of participation, and participants have continued networking through online offline to enjoy the dance culture. Although research has been conducted in various fields for 10 years since the boom in community dance began, the actual methodology of the program has been insufficient to present the Feldenkrais Method, hoping that it will be used as a methodology necessary for local community dance, and will be used as part of the educational effects and choreography creation methods of artists that can improve the physical functional aspects of dance and give a sense of psychological stability.

• MISULJARYO - National Museum of Korea Art Journal
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• v.99
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• pp.10-29
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• 2021

This paper is an introductory study of the wooden Buddha images excavated in the Mekong Delta in present-day southern Vietnam. Approximately thirty examples of wooden Buddha images have been recovered in the Mekong Delta. As they were found among the major historic sites of Funan (the first kingdom in Southeast Asia), including Oc Eo, and likely date to the sixth century, they can be regarded as the works of Funan. Similarly to stone Buddha images, these wooden examples are considered important for their demonstration of aspects of early Buddhist sculpture in Southeast Asia. Most of these Funan wooden Buddha images are presumed to have been produced around the sixth century based on radiocarbon dating and their stylistic characteristics. This paper analyzed the iconography and style of eight examples whose forms are relatively recognizable. The eight images can be divided into four types according to their postures, dress styles, and hand gestures. They all share features of the Sarnath style of the Gupta period in India as seen in their slender bodies and the outer robe that clings to the body. However, some display a South Indian style of Buddha images in their upright posture, style of wearing a monastic robe with the right shoulder exposed, and making the vitarka mudra (preaching gesture) that is often seen in Sri Lankan Buddha images. This suggests that Buddhist sculptors in Funan devised a new style by incorporating the principal styles of Indian Buddhist sculpture. Another notable feature of these Funan images is their material, namely, wood. While none of the contemporaneous Hindu sculptures discovered from the same historic sites are made of wood, numerous Buddhist sculptures are. This paper postulates that the use of wood in Buddhist sculptures was promoted for reasons beyond ease of carving. According to the Buddhist literature, the first-ever Buddha image was the so-called 'Udayana image' made out of sandalwood. This image and its story was well-known in the Southern Dynasty of China around the sixth century. Interestingly, some auspicious sandalwood images of the Buddha was believed to have been brought into the Southern Dynasty from Funan. This suggests the possibility that the legend of the Udayana image might have been known in Funan as well and resulted in the production of wooden sculptures there.

• (The) Research of the performance art and culture
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• no.37
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• pp.5-31
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• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.

• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.24-41
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• 2014

Since the celadons excavated from the Son-gok 2-ri 4th kiln site are located in the Beopcheon temple site and at close range, the similarity to the celadons excavated from the Beopcheon temple site is being raised. Thus, this study examined the correlation using a natural-scientific method. In this study, historical ceramic properties of total 19 celadons were examined and they were scientifically analyzed. First of all, according to the scientific analysis, chemical compositions of celadon clay showed a dispersed distribution at RO2 3.79-7.77mole and RO+R2O 0.33-0.49mole. When the microstructure was analyzed, most celadons excavated from the Beopcheon temple site, Wonju, which are estimated to be used in real life, had a favorable state, and some celadons from the Son-gok 2-ri 4th kiln site were found not to be glazed and sintered properly. When analyzing body crystalline phases of the celadons using the XRD method, quartz and mullite were extracted from all of the samples. And corundum was extracted from sg4 sample. Though firing temperature of each sample was different, they were mostly fired to temperatures between 1150 and $1200^{\circ}C$ and some of them experienced a low temperature of $1100^{\circ}C$ or a high temperature above $1200^{\circ}C$. Various chemical compositions and producing techniques were observed in the celadons from the Beopcheon temple site and Son-gok 2-ri 4th kiln site and it is hard to assure that the Son-gok 2-ri 4th kiln site was the production kiln site of the celadons used in the Beopcheon temple site. But according to the analysis of rare earth elements, some of the celadons from the Beopcheon temple site and Son-gok 2-ri 4th kiln site displayed a distribution pattern with certain regularity and this implies there is a possibility that the raw materials used in producing the ceramics might have come from the same origin. From the perspective of ceramic history, the celadons excavated from the Beopcheon temple site and Son-gok 2-ri 4th kiln site were produced using the same molding and sintering technique. Also, it is estimated that they were produced in the 12th or 13th century, judging from the overall shapes and patterns of the celadons.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.4-21
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• 2016

Until now, most studies regarding stone pagodas of the Honam region have been about stone pagodas with Baekje style because it was the territory of Baekje. However, after reviewing the designated cultural properties, I found that among the 94 stone pagodas in the Honam region there are 15 stone pagodas with Baekje style built in the Goryeo Dynasty and 34 stone pagodas with Silla style. So far, most research efforts have been concentrating on stone pagodas with Baekje style. Through a review of stone pagodas with Silla style, I sought to reveal new aspects of the pagodas in the Honam region. After reviewing the placement of pagodas, I found stone pagodas with Silla style were built mostly in South Jeolla Province during the Unified Silla period. However, in the Goryeo Dynasty stone pagodas with Silla style were erected throughout the Honam region. This shows enhanced Buddhist control over the Honam region than in the previous period. It can be verified especially in Gimje, Jeongeup, Sunchang, Damyang, Yeongam, and Gangjin, where stone pagodas with Baekje style and stone pagodas with Silla style coexist. The types of stone pagodas with Silla style in the Honam region can be divided into two. There are 21 pagodas with two-story foundation, and 12 with single foundation. They seem to have inherited characteristics of the two-story foundation of Silla pagodas. Two pagodas with single foundation were made of a single rock or natural rock for lower foundation. Regarding the body of the pagoda, there are 21 three-story pagodas and 12 five-story pagodas. 25 pagodas have first floors made of a single rock. These are likely to be in the tradition of Silla pagodas. However, the lower part of the roof stones vary as there are three, four, or five-tiered ones. Overall, 12 out of 16 pagodas with middle column in foundation, and 15 out of 21 three-story pagodas are located in South Jeolla Province. This proves that stone pagodas in the South Jeolla Province well maintained the tradition of Silla and became popular.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.84-97
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• 2016

One of the assimilation policies of Japanese imperialism for the permanent domination in the colonial Joseon is the theory of integration of Japan and Joseon. The theory of integration of Japan and Joseon is a logic that Joseon (Korea) and Japan (Wae) were connected to the same ancestor on the basis of ancient myths. Also it is the assimilation ideology to justify the Colonial rule of those days through the objectification of historical identity or affinity of political and cultural relations of ancient Korean peninsula and Japan (Wae). Japan reorganized our history to meet the colonial point of view, as part of the assimilation policies based on the theory of integration of Japan and Joseon. On the other hand Japan attempted to objectify them through archaeological research and the reinterpretation of the historical remains. The survey, reinterpretation and tourist of the historic sites in historic cities such as Gyeongju and Buyeo were promoted in this context. In particular, the Buyeo, a capital of Baekje, was emphasized upon the close relevance and affinity between Sabi, Baekje and ancient Asuka (飛鳥) in Japan through research and reinterpretation on the Historic Sites. Based on them, Historic Sites Tourism was conducted by reconstructed historic sites toward the colonial Korean. In addition, after the Sino-Japanese war in 1937, Japan tried to realize the politics of space by upgrading and idealizing Buyeo as homeland or Shinto (神都) related to Japanese ancient mythology of the Asuka culture. This paper investigated in what context research, reinterpret and tourist of the historic sites progressed on Buyeo area and how it had soaked through the general public in the Japanese colonial era. First, it is on historic sites. Historic sites research on Buyeo area made an attempt by Sekino Tadashi in 1909 for the first time and the re-excavation of the old burial mounds and temple sites during the Japanese colonial period. Sekino set up a cultural relationship and influences between the ancient China (梁), Korea (百濟) and Japan (倭). Also, he emphasized that Sabi, Baekje largely received influence of Chinese culture and Baekje and Japan Asuka culture had closely relations and affinity. These views had been consistent during the Japanese colonial period. Second, it is the reinterpretation on Historic sites. Buyeo Historic Sites Preservation Society (Buyeo Gojeok Bojonhoe) was established in 1915 and Osaka Kintaro, curator of Baekje exhibition hall redefined the relationship between ancient Japan and Baekje as perspective of the assimilation ideology through the post contextual interpretation. In particular, they emphasized on the close relevance between Baekje's Historic sites and Japan, through the reinterpretation of Nakhwaam, Goransa and Cheongmasanseong. Third, it is the tourist on Historic sites. Buyeo Historic Sites Preservation Society played a leading role in Tourist on Historic sites at the Buyeo region. The main tourist destinations and course were restructured through a reinterpretation on the historic sites. Japan would like to show Buyeo as ideology area, homeland of ancient Japanese culture, toward the Koreans under Japanese colonial era. Thus, research, reinterpretation, and tourism on Historic sites were promoted while they were closely related to each other. The promoting body was Joseon Chongdokbu and pro-Japanese interest group. It's point was 'made' and 'shown' by the eyes of others and a rediscovery of Buyeo as representational space of colony.