• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.28 no.2
• /
• pp.23-36
• /
• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.

• Current Research on Agriculture and Life Sciences
• /
• v.4
• /
• pp.77-86
• /
• 1986

The purpose of this study is to estimate an optimum formula of rainfall intensity on basis of the characteristics for short period of rainfall duration in Kyungpook province for the design of urban sewerage and small basin drain system. Results studied are as follows; 1. The optimum method for Taegu and Pohang, Iwai's and Gumbel-Chow's method are recommended respectively. 2. The opotimum type of rainfall intensity for these area, $I=\frac{a}{\sqrt{t}+b}$ (Japanese type), is confirmed with 2.52~4.17 and 1.86~4.54 as a standard deviation for Taegu and Pohang respectively. The optimum formula of rainfall intensity are as follows. Taegu : T : 200 year - $I=\frac{824}{\sqrt{t}+1.5414}$ T : 100 year - $I=\frac{751}{\sqrt{t}+1.4902}$ T : 50 year - $I=\frac{678}{\sqrt{t}+1.4437}$ T : 30 year - $I=\frac{623}{\sqrt{t}+1.4017}$ T : 20 year - $I=\frac{580}{\sqrt{t}+1.3721}$ T : 10 year - $I=\frac{502}{\sqrt{t}+1.3145}$ T : 5 year - $I=\frac{418}{\sqrt{t}+1.2515}$ Pohang : T : 200 year - $I=\frac{468}{\sqrt{t}+1.1468}$ T : 100 year - $I=\frac{429}{\sqrt{t}+1.1605}$ T : 50 year - $I=\frac{391}{\sqrt{t}+1.1852}$ T : 30 year - $I=\frac{362}{\sqrt{t}+1.2033}$ T : 20 year - $I=\frac{339}{\sqrt{t}+1.2229}$ T : 10 year - $I=\frac{299}{\sqrt{t}+1.2578}$ T : 5 year - $I=\frac{257}{\sqrt{t}+1.3026}$ 3. Significant I.D.F. curves derived should be applied to estimate a suitable rainfall intensity and rainfall duration.

• The Journal of Art Theory & Practice
• /
• no.5
• /
• pp.217-229
• /
• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• Korean Journal of Remote Sensing
• /
• v.14 no.3
• /
• pp.213-222
• /
• 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 Wetlands Research
• /
• v.23 no.4
• /
• pp.352-363
• /
• 2021

The purpose of this study was to evaluate the load of nutrients contained in the drainage discharged from the facility horticultural complex and to use them for re-use of fluids and design for introduction of water treatment plants. Representative hydroponic cultivation crops were selected as tomato, paprika, cucumber, and strawberry, and the total number of samples analyzed for water quality was 80. As a result of the analysis, since various fertilizer components such as N, P, K⁺, Na⁺, Mg²⁺, Ca²⁺, Si₄⁺, HCO₃^-, Cl^-, S^2-, Fe, Mn, Cu, Zn, Mo and B are contained at very high concentrations in the drainage, the need for water treatment was confirmed. Through statistical analysis, it was analyzed that the drainage concentration of strawberries was lower than that of tomatoes, paprika, and cucumbers. In the case of tomatoes, these essential ion concentrations are the highest, so it was confirmed that they are subject to valuable resources in terms of reuse of fertilizers. The load of N and P of the drainage discharged from the facility horticultural complex 1m² was analyzed. For N, the daily processing capacity of 4.0 kg of tomatoes, 3.3 kg of paprika, 3.0 kg of cucumbers, and 1.5 kg of strawberries was calculated based on 1 ha. It was suggested that the P concentration needs a scale and capacity that can handle 0.5 kg of tomatoes, 0.6 kg of paprika, 0.4 kg of cucumber, and 0.2 kg of strawberries per day. Through this study, the amount of nitrogen and phosphorus contained in the drainage discharged from the greenhouse of each crop was evaluated to analyze the economy. In addition, it was expected to be used as basic data that can be used to calculate the treatment capacity to be reflected when introducing water treatment facilities in facility horticultural complexes for sustainable agriculture.

• Journal of Family Resource Management and Policy Review
• /
• v.25 no.3
• /
• pp.87-102
• /
• 2021

Child abuse and neglect are recently increasing in Korea, and although the government has actively improved the child protection system, the number of abused children and the rate of cases judged as abuse have continuously risen. Given that 75% of child abusers are parents, child abuse and neglect are expected to recur. To prevent such a recurrence, various intervention programs for abused children and their parents are required. The purpose of this study were to design a recovery support service process and investigate the effectiveness of pilot program for families of origin, including neglected(protected) children, to improve the system by which these programs are operated, and formulate policy alternatives that reinforce "family preservation" principles. The pilot program was implemented from June to November 2020 in 4-local healthy family support center. The number of program participants and the frequency of participation in each other differed, because of the difference in number of confirmed coronavirus cases in each region and the requirement for social distancing. Through the program, a community-based service process was developed for neglected(protected) children and their parents, and cooperative networks between related facilities and institutions were established. The study formulated the following recommendations: First, a cooperation system among government departments mandated to provide different services to neglected(protected) children is needed. Second, wider and various channels through which abused children can avail of protective services should be developed within communities. Third, more stable environments for program operation should be cultivated, and cooperative partnerships should be sought for knowledge sharing among relevant government departments. Another necessary measure is for a center to develop its own business model, in which the duplication of services provided by involved organizations is avoided. Finally, clear guidelines, administrative standards, and specific plans for program operation should be arranged. Also regional characteristics are maintained, but services should be standardized.

• Korea Science and Art Forum
• /
• v.37 no.4
• /
• pp.205-216
• /
• 2019

Today, there have been more museums with architectural freeform structure. From an academic perspective, that caused a change in the paradigm of the genealogy of architectural forms. Accordingly, it has been required to find whether the freeform architecture influences an exhibition space. Therefore, in order to analyze the correlation between freeform architecture and exhibition space, this study looks into the tendency of actual freeform architecture through case analysis after 2000. An exhibition space of museum serves as a socially, culturally, and locally symbolic icon and has the function of delivering information to viewers through the aesthetic presentation of articles on exhibition. This study is meaningful in the point that it drew the conclusion of the correlation between freeform architecture and exhibition space in order to infer that a freeform exhibition space is more effective at viewers' spatial experience. The method and results of this study are presented as follows: Firstly, literature survey on the concept of the freerform architecture of museum and the classification of architectural forms was conducted and previous studies were analyzed in order to establish criteria. Secondly, a case study was conducted through visits to Singapore, Germany, and the Netherlands in order to look into the current state and characteristics of freeform architecture and exhibition space. In this case, Karel Vollers' architectural freeform criteria were used for analysis. Thirdly, to prove the correlation between freeform architecture and exhibition space, each case was cross-checked on the basis of Karel Vollers' architectural freeform criteria and freeform exhibition classification, and then results were drawn. The study results are presented as follows: Firstly, EX(angle, ortho) of freeform architecture had a significant correlation with the diagonal form of exhibition space. That was proved 92.3% accurately more in the Netherlands and Germany than in Singapore. However, the curve form of exhibition space had a unclear correlation. In Singapore case, the curve form correlation was made through RO, FR, and TW. Secondly, freeform architecture had complex-typed combination with the diagonal and curve forms of exhibition space. In particular, N-02 and G-02 had a combination form, basically EX, and partially various forms so as to induce the complexity of free form. As such, architectural freeform makes it possible to achieve infinite transformation in various combinations. For responses, combinational approaches are required in multilateral ways. Based on this study, it will be planned to analyze the correlation between freeform architecture of museum and exhibition presentation.

• Clean Technology
• /
• v.27 no.4
• /
• pp.350-358
• /
• 2021

The results of this study shows that the combustor temperature ranged from 848.27 to 1,026.80 ℃, averaging about 976.61 ℃, and the NOx concentration increased as the temperature increased. The urea usage ranged from 291.00 to 693.00 kg d^-1, averaging about 542.34 kg d^-1, and the NOx concentration decreased as the urea usage increased. Residence time was about 3.38 to 9.17 s, averaging about 5.22 s, about 2.61 times larger than the 2 s of the design details. This is 1,086 kg h^-1, averaging about 55.71%, compared to the 1,950 kg h^-1 SRF input permission standard. The combustion chamber area is constant, but the residence time is shown to increase with the decrease of exhaust gas. The O₂/CO ratio was 847.05 to 14,877.34, averaging about 3,111.30, and the NOx concentration slightly increased as the O₂/CO ratio increased. As the combustor temperature and O₂/CO ratio increased, the combustion reaction with nitrogen in the air increased and the NOx concentration slightly increased. As the urea usage and residence time increased, the NOx concentration decreased slightly with an increase in reactivity with NOx. The NOx concentration at the stack ranged from 7.88 to 34.02 ppm with an average of 19.92 ppm, and was discharged within the 60 ppm emission limit value. The NOhx emission factor was 1.058 to 1.795 kg ton^-1, averaging about 1.450 kg ton^-1. This value was about 24.87% of the maximum emission factor of 5.830 kg ton^-1 of other solid fuels. Other synthetic resins and industrial wastes were 79.80% and 43.65% compared to 1.817 kg ton^-1 and 3.322 kg ton^-1, respectively. This value was similar to 1.400 kg ton^-1 of RDF in the NIER notice (2005-9), 10.98% compared to the maximum SRF of 13.210 kg ton^-1. Therefore, the NOx emission factor had a large deviation.

• Journal of Korean Society of Spine Surgery
• /
• v.25 no.4
• /
• pp.154-159
• /
• 2018

Study Design: Retrospective radiographic study. Objective: To evaluate the characteristics of concurrent degenerative cervical and lumbar spondylolisthesis. Summary of Literature Review: Concurrent degenerative cervical and lumbar spondylotic diseases have been reported. Given that severe spondylosis can result in spondylolisthesis, one might expect that concurrent spondylolisthesis of the cervical and lumbar spines might also be prevalent. However, the incidence of spondylolistheses in the lumbar and cervical spines might differ due to anatomical differences between the 2 areas. Nonetheless, there is minimal information in the literature concerning the incidence of concurrent cervical and lumbar spondylolisthesis. Material and Methods: We evaluated standing cervical and lumbar lateral radiographs of 2510 patients with spondylosis. Concurrence, age group, gender, and direction of spondylolisthesis were evaluated. Lumbar spondylolisthesis was defined as at least Meyerding grade I and degenerative cervical spondylolisthesis was defined as over 2 mm of displacement on standing lateral radiographs. Results: Lumbar spondylolisthesis was found in 125 patients (5.0%) and cervical spondylolisthesis was found in 193 patients (7.7%). Seventeen patients had both degenerative cervical and lumbar spondylolistheses (0.7%). Lumbar spondylolisthesis is a risk factor for coexisting cervical spondylolisthesis. Lumbar spondylolisthesis was more common in females than males, independent of advancing age. In contrast, degenerative cervical spondylolisthesis was more common in older patients, independent of gender. Anterolisthesis was more common in the lumbar spine. Retrolisthesis was more common in the cervical spine. Conclusions: There was a higher prevalence of degenerative cervical spondylolisthesis in patients with degenerative lumbar spondylolisthesis.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
• /
• v.14 no.1
• /
• pp.187-198
• /
• 2019

The purpose of this study is to seek ways of utilizing TLBMC by understanding business model of social ventures that are accompanied by social and environmental as well as economic missions. In order to achieve this, business models from economic, environmental and social perspectives will be analyzed, and we seek to enhance sustainability of social venture entrepreneurs. As the analysis tool, TLBMC(Triple Layered Business Model Canvas) expands upon the business model canvas that is widely utilized and recognizes economical terms. The TLBMC is proposed by Joyce, A., & Paquin, R. L.(2016) to help achieve a holistic view with horizontal and vertical associations. The study tries to overcome limitations of previous studies and observe a variety of economic, environmental, and social perspectives that social ventures should have with the TLBMC. As a result, it has the following implications; Firstly, creating separate social, environmental and economic business model canvas helps a business to have a holistic approach. Secondly, it was found that social venture characteristics of environmental and social perspectives were applied in practice. Lastly, we have established experience data on social venture business model. This study focuses on the opinions, the meanings and the subjective views of the participants. As a result, conclusions are drawn by the researchers ' assertions and has limitations as a research on case studies. However, this study will help people who are preparing or studying social ventures to have economic, environmental, and social perspectives. Also, redefinition of the direction and value of entrepreneurs operating social ventures, such as vision and mission, will help clarify the roles and responsibility of organizations. As a fundamental step for future empirical studies, this study could be the base for social venture business model studies.