• The Journal of Engineering Geology
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• v.32 no.1
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• pp.113-126
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• 2022

The tectonic history of the Chukchi Abyssal Plain in the Amerasia Basin, Arctic Ocean, has not been fully explored due to the harsh conditions of sea ice preventing detailed observation. Existing models of the tectonic history of the region provide contrasting interpretation of the timing of formation of the crust (Mesozoic to Cenozoic), crust type (from hyper-extended continental crust to oceanic crust), and formation process (from parallel/fan-shaped rifting to transformation faulting). To help determine the age of the oceanic crust, the geothermal gradient was measured at three stations in the south of abyssal plain at depth of 2,160-2,250 m below sea level. Heat flow measurement stations were located perpendicular to the spreading axis over a 40 km-long transect. In-situ thermal conductivity measurement, corrected by the laboratory test, gave observed marine heat flows of 55 to 61 mW/m². All measurements were taken during Arctic expeditions in 2018 (ARA09C expedition) and 2021 (ARA12C expedition) by the Korean ice-breaking research vessel (IBRV) Araon. Given the assumption of oceanic crust, the results correspond to formation in the Late Cretaceous (Mesozoic). The inferred age supports the hypothesis of formation activated by the opening of the Makarov Basin during the Late Mesozoic-Cenozoic. This would make it contemporaneous with rifting of the Chukchi Border Land immediately east of the abyssal plain. The heat flow data indicate the base of the gas hydrate stability zone is located 332-367 m below the seafloor, this will help to identify the gas hydrate-related bottom simulating reflector in the future seismic survey, as already identified on the Chukchi Plateau. Further geophysical surveys, including heat flow measurements, are required to increase our understanding of the formation process and thermal mantle structure of the abyssal plain.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.26-36
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• 2018

This study aims to examine the characteristics of landscape through the analysis of location and the landscape of Gugok while also conducting the empirical study through the literature review, field study, and digital analysis of the Okgung Gugok. Oksan Gugok is a set of songs set in Ogsan Creek(玉山川)or Jagyese Creek(紫溪川, 紫玉山), which flows in front of the Oksan Memorial Hall(李彦迪), which is dedicated to the Lee Eong-jeok (李彦迪). We first ascertained the location and configuration of Oksan Gogok. Second, we confirmed the accurate location of Oksan Gogok by utilizing the digital topographic map of Oksan Gogok which was submitted by Google Earth Pro and Geographic Information Center as well as the length of the longitude of the gravel measured by the Trimble Juno SB GPS. Through the study of the literature and the field investigation, The results of the study are as follows. First, Yi Eonjeok was not a direct composer of Oksan Gugok, nor did he produce "Oksan Gugokha(Music)". Lee Ia-sung(李野淳), the ninth Youngest Son of Tweo-Kye, Hwang Lee, visited the "Oksan Gugokha" in the spring of 1823(Sunjo 23), which was the 270th years after the reign of Yi Eonjeok. At this time, receiving the proposal of Ian Sung, Lee Jung-eom(李鼎儼), Lee Jung-gi(李鼎基), and Lee Jung-byeong(李鼎秉), the descendants of Ian Sung set up a song and created Oksan Gugok Music. And the Essay of Oksan Travel Companions writted by Lee Jung-gi turns out being a crucial data to describe the situation when setting up the Ok-San Gugok. Second, In the majority of cases, Gogok Forest is a forest managed by a Confucian Scholar, not run by ordinary people. The creation of "Oksan Bugok Music" can be regarded as an expression of pride that the descendants of Yi Eonjeok and Lee Hwang, and next generation of several Confucian scholars had inherited traditional Neo-Confucian. Third, Lee Jung-eom's "Oksan Donghaengki" contains a detailed description of the "Oksan Gugokha" process and the process of creating a song. Fourth, We examined the location of one to nine Oksan songs again. In particular, eight songs and nine songs were located at irregular intervals, and eight songs were identified as $36^{\circ}01^{\prime}08.60^{{\prime}{\prime}}N$, $129^{\circ}09^{\prime}31.20^{{\prime}{\prime}}E$. Referring to the ancient kingdom of Taojam, the nine-stringed Sainam was unbiased as a lower rock where the two valleys of the East West congregate. The location was estimated at $36^{\circ}01^{\prime}19.79^{{\prime}{\prime}}N$, $129^{\circ}09^{\prime}30.26^{{\prime}{\prime}}E$. Fifth, The landscape elements and landscapes presented in Lee Jung-eom's "Oksan Gugokha" were divided into form, semantic and climatic elements. As a result, Lee Jung-eom's Cho Young-gwan was able to see the ideal of mountain water and the feeling of being idle in nature as well as the sense of freedom. Sixth, After examining the appearance of the elements and the frequency of the appearance of the landscape, 'water' and 'mountain' were the absolute factors that emphasized the original curved environment at the mouth of Lee Jung-eom. Therefore, there was gugokga can gauge the fresh ideas(神仙思想)and retreat ever(隱居思想). This inherent harmony between the landscape as well as through the mulah any ideas that one with nature and meditation, Confucian tube.