• Journal of Computational Design and Engineering
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• v.3 no.2
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• pp.151-160
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• 2016

Cutter-workpiece engagement (CWE) is the instantaneous contact geometry between the cutter and the in-process workpiece during machining. It plays an important role in machining process simulation and directly affects the calculation of the predicted cutting forces and torques. The difficulty and challenge of CWE determination come from the complexity due to the changing geometry of in-process workpiece and the curved tool path of cutter movement, especially for multi-axis milling. This paper presents a new method to determine the CWE for general milling processes. To fulfill the requirement of generality, which means for any cutter type, any in-process workpiece shape, and any tool path even with self-intersections, all the associated geometries are to be modeled as triangle meshes. The involved triangle-to-triangle intersection calculations are carried out by an effective method in order to realize the multiple subtraction Boolean operations between the tool and the workpiece mesh models and to determine the CWE. The presented method has been validated by a series of case studies of increasing machining complexity to demonstrate its applicability to general milling processes.

• Economic and Environmental Geology
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• v.49 no.4
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• pp.315-323
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• 2016

This study reports a gneiss dome in the Hongseong area, southwestern margin of the Gyeonggi massif. This gneiss dome, named here as 'Oseosan dome' because it is located around the Oseosan, the highest peak along the western coastal area, is composed mainly of the Neoproterozoic to Paleozoic ortho- and paragneiss, mafic metavolcanic rock, and metadolerite. Migmatization affected these rock units, in which leucocratic(granitic) materials derived from anatexis frequently occur as patch and vein parallel to or cutting through internal foliation. The Oseosan dome shows overall concentric geometry and outward-dipping internal foliation, but also partly complicatedly changeable or inward-dipping foliation. Taking available petrological and geochronological data into account, the Oseosan dome is interpreted to be exhumed quickly into the upper crustal level during the Late Triassic, accompanied in part with anatexis and granite intrusion. In addition, extensional shear zone intruded by the Late Triassic synkinematic granite and sedimentary basin have been reported around the Oseosan dome. These evidences possibly suggest that the Oseosan dome formed in closely associated with the Late Triassic extensional movement and diapiric flow. Alternatively, 1) thrust- or reverse fault-related doming or 2) interference between independent folds during structural inversion of the Late Traissic to Middle Jurassic sedimentary basin can be also considered as dome-forming process. However, considering the northern limb of the Oseosan dome, cutting by the Late Traissic granite, and the southern limb, cutting by contractional fault reactivated after the Middle Jurassic, it is likely that the domal structure formed during or prior to the Late Triassic.

• Korean Journal of Applied Biomechanics
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• v.19 no.2
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• pp.369-377
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• 2009

The purpose of this study was to determine the relationship between different soccer cleat designs and knee joint moments. Twelve physically active males (mean(SD): age: 26.4(6.2)yrs; height: 176.4(4.1)cm; mass: 74.0 (7.4)kg) were recruited Kinematic and force plate data were collected for all subjects during normal running and a $45^{\circ}$ cutting maneuver, called a v-cut. Both motions were performed at $4.0{\pm}0.2\;m/s$ on infilled artificial turf with three pairs of soccer cleats of different sole plate designs, and one pair of neutral running shoes. Inverse dynamics were used to calculate three dimensional knee joint moments, with repeated measures ANOVA and post hoc paired Student's t-test used to determine significance between shoe conditions. Significant differences were found in the extension moments of the knee for running trials, and for external rotation and adduction moments in the v-cutting trials. Knee moments were greater in v-cut than running, and the traditional soccer cleats (Copa Mondial and World Cup) tended to result in greater knee moments than the Nova runner or TRX soccer cleat. Cleat design was found to influence 3-dimensional knee moments in a v-cut maneuver. In the translational traction test, there were significant differences between all conditions. In the rotational traction test, friction with soccer shoes were greater than friction with running shoes. However, no differences were found between soccer shoes. Higher moments may lead to increased loads and stresses on knee joint structures, and thus, greater injury rates.

• Journal of Fashion Business
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• v.9 no.4
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• pp.94-112
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• 2005

This study focuss on the futurism expressed in Paco Rabanne's works. Paco Rabanne, who has created experimental and prophetic avant-garde fashion by cutting edge techniques and revolutionary new materials, is known as one of the most influential fashion designer of modern times. First, Light, one of the most important element in Paco Rabanne's fashion design, shows some influence of medieval symbols of love and salvation. Second, the artistic trends which influenced on Paco Rabanne's fashion include surrealism, op art and kinetic art. His use of new materials and avant-garde style represents the influence of surrealism. His experimental use of waving plastics and glittering metal during his early period is especially related with op art and kinetic art in the early 1960's which emphasize the artistic effect of light and movement. Third, the characters of Paco Rabanne's works are the harmony of technology and the beauty oh machine by the geometrical figures like triangles, rectangles, and circles and represent and movement,and the innovational creative methods, voluptuous beauty.

• Tunnel and Underground Space
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• v.23 no.3
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• pp.180-191
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• 2013

The purpose of this research was to find an optimal quarrying for marble by analyzing the applicability and the work efficiency of a chain saw machine newly introduced in the underground Baekwoon mine. From the test results of the physical properties of Baekwoon marble, which affects the efficiency of rock cutting, it was found to have similar physical characteristics as the ones which are now being produced in the other areas in Korea. And especially it shows isotropic property, which can be thought to be advantageous as a dimensional stone. To check the long-term quality of the marble as a stone material, several tests such as corrosion resistance test and abrasion test were carried out. It was found to be vulnerable to acid rain with decrease of weight and seismic wave velocity after applying artificial rain at pH 5.6 for 50 times. The percentage of wear from abrasion test was 22.67%. The working time and cutting speed of the chain saw machine were recorded and analyzed during the test-run at the quarry. The overall work cycle was assorted into 9 unit operations and the operating time per each unit was drawn. The operating times for the two cutting patterns, which could be possibly applicable to the work site, were compared. The results indicated that the pattern B, that the cutting sequence was set to minimize the movement of the machine, showed 6% less working hours than the pattern A, which first cuts the outer boundary. With cutting pattern analysis, the ore body in the Baekwoon mine was 3 dimensionally modeled and a quarrying plan considering the existing conditions of the marble was suggested.

• Archives of design research
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• v.19 no.5 s.67
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• pp.119-128
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• 2006

The scale of visual expression has expanded from freeze frame to motion picture as media have developed. Moving pictures such as animation, movies, TV CM and GUI become formative elements whose movement is necessary compared to freeze frame as apparent movement phenomenon and unit structure such as short and scene appear. Therefore, of formative elements such as a shape, color, space, size and movement, movement is importantly distinguished in the moving image. The expression and form of image as a relationship between the signified and signifier explained by Saussure are accepted as a sign by mutual complement even though they limit the content. This makes it possible to infer that the formal feature of movement participates in the message content. To verify this, the result of moving picture visual perception experiment based on the gestalt grouping principle result shows that 70-80 percent of subjects think that 'movement' is the important grouping clue in perception. Movement affects the maintenance of the context of message content in the communication process when the meaning structure of moving picture is analyzed based on the structural feature. The identity can be maintained with if there is a movement with similar directive point even if the color and shape of people, things and background are changed. Second, the clarity of the content is elevated by a distinguished object as a figure by movement. Third, it acts as a knowledge representation which can predict similar movement process of next information processing. Forth, movement gives the content consistency even though more than two scenes have fast switch and complicated editing structure like cross-cutting. Movement becomes a clue which can make grouping information input by visual perception reaction. Also, it gives the order to the visual expression which can be used improperly by formation of structural frame of image message and has the effectiveness which elevates the clarity of signification. Moving picture has discourse with several mixed unit structures because it fundamentally contains time and the common and distinguished expression is needed by media-mix circumstances. Therefore, by the application of gestalt grouping principle to moving picture field, movement becomes the more distinguished than other formative elements and affects the formation of meaning structure. This study propose a viewpoint that develops structural formative beauty and new image expression in the media image field.

• Proceedings of the Korean Institute of Navigation and Port Research Conference
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• v.1
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• pp.401-405
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• 2006

A uniform velocity field of crust can be obtained by cumulative multi-year GPS data. Then the shortening and sliding of drape zones between Chinese Continent Blocks can be researched through the velocity field and dynamics meaning is also analyzed. A model of movement and strain is created to extract displacing and rotating information of blocks in this paper. On the basis of it, the shortening vectors and sliding states of drape zones between blocks can be obtained by the model of level center of gravity moving velocity vectors between neighboring blocks. Some result show as follows. India plate jostles greatly toward north, so a complicated movement situation is formed for 14 sub-blocks. And self-deformations of inner tectosomes can be greatly reflected according to the characteristics of drape zones between tectosomes. The extrusion deformation exists between Himalaya and Qiangtang blocks. Its contraction ratio is about 20.1 $mm.a^{-1}$. However, it only is $mm.a^{-1}$ between Tarim and Zhungar. The deformation characteristics and contraction ratio of other drape zones are obviously different with the former. The movement characteristics of contraction, shear, dislocation, etc. are showed in these zones. The average contraction ratio is about 5.0 $mm.a^{-1}$. The whole trend in the west continent has a big movement toward north, and in the east continent has a small movement toward south or southeast. The strain of west continent is far bigger than that of east, and the strain of southwest is bigger than that of the southeast. It is whole showed that India plate jostles toward north-east and the south-north zone has cutting and absorbing phenomena. The total characteristics and present-day trends of deformation of inland drape zones are basically described by the sinistrorse dislocation in south-north zone and Arjin fracture, the sinistrorse shear between south china and north china, etc.

• Proceedings of the Korean Institute of Navigation and Port Research Conference
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• 2013.10a
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• pp.165-166
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• 2013

When Coming alongside the shallow water or narrow pier, they apply sea area with small mooring facilities and Floating matter because of the diversity of ships and limitation and effective in cutting expenses. However, when ships, applying Small mooring facilities and Floating matter, come alongside, there can be some impulse by waves between the Floating things and ships which possibly leads to mass disaster. Therefore, there should be forecasts and analysis of the movement caused by waves. On this Study, it introduces the composition and principles of the developed system provides the base of the movement traits through measuring 3-D exercise data and acceleration of the Mooring and Floating matters.

• Journal of the Korean Society of Costume
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• v.38
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• pp.51-72
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• 1998

Futurists objected the existent style, that is the conventional fashion, and took part in these disciplines of fashion to make clothes the instruments being able to represent the individuality. Giacomo Balla and fortunato Depero, pain-ters who in 1915 were to work with Diaghilev's company, were the first to see clothing as a dynamic interfaced between th body and the atmosphere, between physical gestures and the urban context, which could be translated into encounters between forms and colours, volumes and architecture. For them, clothing began to exist as an object and an event, something to be removed from a mainly static conception and made mobile, active. The interaction between movement and clothing was based on the relativity of perception : the appearance and disappearance of the body produced points without dimension or duration which served, as Balla wrote in the Futurist Mnaifesto of Men's Clothing to“renew incessantly the enjoyment and impetuous movement of the body”. The historical achievement in the effort for the reformation of Futurist, Art to Wear. First, for Futurist, clothing is removed from a static conception and focused on dynamics. Second, Balla used asymmetry in men's clothing. Moreover he supposed dynamic men's clothes by using optical intersection. Third, the after image of Chronophotograph represented rapidity. This rhythmic expression is the fore-runner in Optical and Kinetic Art of Visual Art. Fourth, Futurist emphasized flexibility in fashion. They aimed to create‘Clothing Machines’whose parts would interact to aceelerate the real and virtual, inner and outer movement of the human being. Fifth, the variety and short life of cutting skills and colors are focused and‘Fast Substance’in fashion is admitted by Futurists. Futurist concern with clothing was not lim-ited its appearance in terms of cut and colour. What important was also the way it appeared and disappeared according to fashion. It was a“fast substance”, able to reflect rapid, sudden changes of social and aesthetic taste. To reach to the aim of internationalization, Gesamtkunstwerk in our Art to Wear, it is extremely meaningful to examine art fashion which is created under the conception of Gesamtkunstwerk production of avang garde artist in the early 20th century and look at formative conscious of truth, goodess and beauty synthetically which they faced on their works of art.

• Korean Journal of Human Ecology
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• v.18 no.3
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• pp.793-798
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• 2009

Hair cut is one of the best useful technical tool for hair styling. In this study using the rule of the layers of hair design, balanced for visual art, perceptual ability and form created by the principles of analysis and offer hair cuts and hair design of the representation of regions and even hair design as the basis of a student of Hair Beauty and all the people working in the field can create a variety of hair design puts the purpose to establish a basis. The result of this study can be outline as follows: First, the step line and the movement of the relationship between the law of the layers above and below the length of the same layer techniques, the same consists of a vertical cross-section of the overall round shape of the cut same layer is created and the appropriate volume and movement, the movement of low-layer round a little bit more feeling and expression is used when you want. High-layer used to want to move a lot of light and could see that. Second, the layer of the Law and over direction, lifting, section, the line control. weight control and analyzed by principle and the principle of the process of forming the written form was unknown. Third, hair design, the expansion of the expressive power of the law of the layers, and the section of the over direction depends on the presence of line control to express the length of the outline I had to, lifting the weight to adjust form controls, and the expression of Hair Design will be expanding the width. A hair designer, a layer style to create a zone he thought the law of the first layer formative area To further the reach will be a lot of research, leading up formative aspects of this research thesis do not have missing parts, or as a result of the Beauty of Hair Design and the width of a hair design education in the field can perform to help feed the reference materials that will be.