• Korean Journal of Soil Science and Fertilizer
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• v.20 no.3
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• pp.209-216
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• 1987

The experiments were carried out in lab. as well as in pots, to develop the agricultural usage of water swellable polymer, a kind of polyacrylic acid(K-sorb) synthesized by the Korea Advanced Institute of Science & Technology (KAIST) recently. The changes of soil physical properties and the influences to crops were investigated with various levels of K-sorb. When the K-sorb mixed with soils and soaked up distilled water, the volume of soils increased with the increase of soil available water contents and increase of K-sorb application levels. The rate increase of soil available water was higher in the coarse textured soils than in the fine while the swelling rate of soil volume showed adverse tendencies. A positive linear regression was observed between the contents of available soil water and levels of K-sorb. K-sorb application decreased bulk density and hardness due to the increase of porosity after soybean cultivation. The permeability in coarser textured soils such as sandy and coarse loamy families was decreased with the increase of K-sorb but in the medium textured soils it was opposite. At higher levels of K-sorb, about 0.5%, the permeability abruptly decreased due to dispersion and vertical movement in silty soils, while it was not changed in fine clayey soils but has the same trend with silty soils. In the plot of 0.3% of K-sorb application, the growth of soybean such as number of pods and stem length etc. increased and the yield also increased about 1.2-1.8 times of control. The optimum amounts of K-sorb were slightly different according to soil texture but estimated from regression curves were about 0.2% to 0.35% of soils in dry weight bases.

• Journal of the Korean association of regional geographers
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• v.2 no.2
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• pp.205-217
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• 1996

Today in the industrial society, the urban park is the place for citizens' health, recreation, exercise, and education. This is a very important place as a fine sight and maintenance of public security. As the results of rapid economic growth during the last thirty years, citizens are in the age of material civilization and are challenged with many serious urban problems such as pollution, noise, traffic congestion, human alienation, etc. Rapid material civilization brought to citizens' mental and physical diseases. To some of the problems, it is necessary that we should have proper leisure and recreation facilities, and that we should have the active, positive posture to them. Especially we need the out door recreational spaces and facilities. But nowadays the urban parks are given little thought in spites of the necessity of parks which should be used as a recreational spaces in the urban areas. So, This study attempt to comprehend the function, quantity and quality of the urban park system in Taegu. It is clear that the quantity is inappropriate. Because of inappropriate disposition and management, its coefficiency of utilization is low. In view of the population and park ratio, Dong Gu, Nam Gu, Suseong Gu and Dalseong Gun have comparative good, environments. However, Dalseo Qu, Seo Gu and Jung Gu have less geographical features. There are some methods to provide expansion of the aggregate of urban parks. We can use the school-grounds and their facilities. which were moved from C.B.D. to the outskirts of Daegu, or some parts of urban redevelopment, or the riverside of Sincheon river. In the urban park-program, users' satisfaction-factors are analyzed. We must reconsider the efficiency. The above problems are improved. Active administration and inhabitants' Positive participation are demanded so that the sound development of cities and daily life-surroundings are promoted.

• Korean Journal of Agricultural Science
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• v.14 no.1
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• pp.164-185
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• 1987

The Korean economy has been developed rapidly in the course of implementing the five year economic development plans since 1962. Accordingly the industrial and employment structure have been changed from the traditional agriculture to modem industrial economy. In the course of implementing export oriented industrialization policies, rural farm economy has been encountered labour shortage owing to rural farm population drain to urban areas, rural wage hike and pressure on farm operation costs, and possibility of farm productivity decrease. To cope with the above problems the Korean government has supplied farm machinery such as power tillers, tractors, transplanters, binders, combines, dryers and etc. by means of the favorable credit support and subsidies. The main objectives of this study are to identify the investment effects of farm mechanization such as B/C and Internal Rate of Return by machinery and operation patterns, changes of labour requirement per 10a for rice culture since 1965, partial farm budget of rice with and without mechanization, and estimation labour input with full mechanization. To achieve the objectives Saemaeul farm mechanization groups, common ownership and operation, and farms with private ownership and operation were surveyed mainly in Nonsan granary area, Chungnam province. The results of this study are as follows 1. The national average of labor input per 10a of paddy has decreased from 150.1Hr in 1965 to 87.2Hr in 1985 which showes 42% decrease of labour inputs. On the other hand the hours of labour input in Nonsan area have also decreased from 150.1Hr to 92.8Hr, 38% of that in 1965, during the same periods. 2. The possible labor saving hours per 10a of Paddy was estimated at 60 hours by substituting machine power for labor forces in the works of plowing, puddling, transplanting, harvesting and threshing, transporting and drying The labor savings were derived from 92.8 hours in 1986 deducting 30 hours of labor input with full mechanization in Nonsan area. 3. Social benefits of farm mechanization were estimated at 124,734won/10a including increment of rice (10%): 34,064won,labour saving: 65,800won,savings of conventional farm implements: 18,000 won and savings of animal power: 6,870won. 4. Rental charges by works prevailing in the area were 12,000won for land preparation, 15,000won for transplanting with seedlings, 19,500won for combine works and 6,000won for drying paddy. 5. Farm income per 10a of paddy with and without mechanization were amounted to 247,278won and 224,768won respectively. 6. Social rate of return of the machinery were estimated at more than 50% in all operation patterns. On the other hand internal rate of return of the machinery except tractors were also more than 50% but IRR of tractors by operation patterns were equivalent to 0 to 9%. From the view point of farmers financial status, private owner-operation of tractors is considered uneconomical. Tractor operation by Saemaeul mechanization groups would be economical considering the government subsidy, 40% of tractor price. 7. Farmers recommendations for the government that gained through field operation of farm machinery are to train maintenance technology for rural youth, to standardize the necessary parts of machinery, to implement price tag system, to intercede spare parts and provide marketing information to farmers by rural institutions as RDA,NACF,GUN office and FLIA.

• Journal of The Korean Society of Clinical Toxicology
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• v.3 no.2
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• pp.79-85
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• 2005

Purpose: With the recent boom in 'eating healthy', many adults are interested in dieting to prevent future diseases. However only well trained experts can distinguish between what are edible vegetables and herbs from their poisonous look-alikes. In cases where a patient unknowingly ingests a poisonous herb, is caught off guard by the poisonous side effects that occur because of their lack of knowledge of what they have ingested. This paper will focus on the need to educate the public about the risks involved with ingesting wild vegetables and herbs and study the emergency diagnosis and treatment of poisoned patients that enter the emergency room. Method: This study was done in the spring of 2004 (from March to May) in the Kangwon Young-Seo districts of Korea. 15 subjects used in this study, entered the emergency room showing signs of toxic symptoms. Data was collected by examining subject's records. Additional data was collected by collaborating with physicians in the hospital that diagnosed and treated the subjects. Identifying the poisonous vegetable or herb is the first step to proper diagnosis and treatment. Subjects admitted to the emergency room, underwent a battery of tests: laboratory examination, ECG, radiological exam and etc. Results: The demographics of the study encompassed subjects with the average age of $50{\pm}19$ years old. There were 10 men and 5 women. Common symptoms of this study included; gastrointestinal symptoms such as nausea, vomiting, epigastric pain and so on. In the case of Caltha palustris ingestion, additional symptoms were present; bradycardia and hypotension which lasted for a long time. While cases that ingested Scopolia parviflora had little effect on vital signs but manic episodes lasted for about three days. Veratrum patulum ingestion showed signs of bradycardia and hypotension but contrary to Caltha palustris recovery was shorten by treating with dopamine. However, dizziness, headache and paresthesia of the extremities continued for a long time. Finally Sium ninsi ingestion showed visual disturbance, paresthesia of the extremities, dizziness as their initial symptoms. Conclusion: The risks involved with ingesting wild plants without the proper knowledge can lead to serious side effects and steps need to be taken to educate the public. In addition, all emergency physicians need to have a working knowledge of the symptoms and signs associated with ingesting toxic wild plants and need to treat accordingly.

• The Journal of Art Theory & Practice
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• no.5
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• Journal of Korean Society of Forest Science
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• v.90 no.1
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• pp.113-123
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• 2001

The main purpose of this study was to provide information on attenuation effects in forest tree belt of pine stand and oak stand. The relationships between DBH, tree height, clear length, crown area and number of trees and also between distance from noise origin, landslope etc. were analysed by correlation and multiple regression. The results obtained were as follows : 1. There was no difference between pine stand and oak stand in effecting noise attenuation. 2. The noise pressure was highly correlated with all of seven elements tested and both DBH and distance from noise origin have higher r-values than the others. For the pine stand, it was 0.9133 in DBH and 0.9630 in the distance and for the oak stand, 0.9296 in DBH and 0.9565 in the distance. 3. The optimum regression equation for pine stand and oak stand were made by combination of two variables (DBH and distance). The table of noise attenuation was made by optimum regression equation. In the case of pine stand, the attenuation ratio was 29% at 5m, 31.6~32.6% at 10m, 38.3~39.8% at 20m and 45.2~46.6% at 30m. And case of oak stand, the attenuation ratio was 29% at 5m, 31.6~34.2% at 10m, 38.6~41.4% at 20m and 45~47.2% at 30m. 4. As the noise pressure limit at the Urban housing area according to environmental laws is under 55dB, it is suggested by the table of noise attenuation that the distance, and DBH for the pine and oak stand are over 20m, 400cm and 30-35 trees, respectively.

• Journal of Climate Change Research
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• v.1 no.2
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• pp.121-131
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• 2010

This study was carried out to evaluate spatial variations in rice production areas by simulating rice growth and yield with CERES-Rice growth model under GCM $2{\times}CO_2$ climate change scenarios. A modified window version(v4.0) of CERES-Rice was used to simulate the growth and development of three varieties, representing early, medium, and late maturity classes. Simulated growth and yield data of the three cultivars under the climate for 1971 to 2000 was set as a reference. Compared with the current normal(1971 to 2000), heading period from transplanting to heading date decreased by 7~8 days for the climate in $2^{\circ}C$ increase over normal, and 16~18 days for the climate in UKMO with all maturity classes, while change of ripening period from heading to harvesting date was different with maturity classes. That is, physical maturity was shortened by 1~3 days for early maturity class and 14~18 days for late maturity class under different climate change scenarios. Rice yield was in general reduced by 4.5%, 8.2%, 9.9%, and 14.9% under the climate in $2^{\circ}C$, $3^{\circ}C$, $4^{\circ}C$, and about $5^{\circ}C$ increase, respectively. The yield reduction was due to increased high temperature-induced spikelet sterility and decreased growth period. The results show that predicted climate changes are expected to bring negative effects in rice production in Korea. So, it is required for introduction of new agricultural technologies to adapt to climate change, which are, for example, developing new cultivars, alternations of planting dates and management practices, and introducing irrigation systems, etc.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Journal of Korea Water Resources Association
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• v.54 no.11
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• pp.903-913
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• 2021

In the flood season, the measurement of the river discharge has many restrictions due to reasons such as budget, manpower, safety, convenience in measurement and so on. In particular, when heavy rain events occur due to typhoons, etc., it is difficult to measure the amount of flood due to the above problems. In order to improve this problem, in this study, a method was developed that can measure the river discharge in a flood season simply and safely in a short time with minimal manpower by combining the functions of a drone and a surface velocity doppler radar. To overcome the mechanical limitations of drones caused by weather issues such as wind and rainfall derived from the measurement of the river discharge using the conventional drone, we developed a drone with P56 grade dustproof and waterproof performance, stable flight capability at a wind speed of up to 36 km/h, and a payload weight of up to 10 kg. Further, to eliminate vibration which is the most important constraint factor in the measurement with a surface velocity doppler radar, a damper plate was developed as a device that combines a drone and a surface velocity Doppler radar. The velocity meter DSVM (Dron and Surface Veloctity Meter using doppler radar) that combines the flight equipment with the velocity meter was produced. The error of ±3.5% occurred as a result of measuring the river discharge using DSVM at the point of Geumsan-gun (Hwangpunggyo) located at Bonghwang stream (the first tributary stream of the Geum River). In addition, when calculating the mean velocity from the measured surface velocity, the measurement was performed using ADCP simultaneously to improve accuracy, and the mean velocity conversion factor (0.92) was calculated by comparing the mean velocity. In this study, the discharge measured by combining a drone and a surface velocity meter was compared with the discharge measured using ADCP and floats, so that the application and utility of DSVM was confirmed.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.189-219
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• 2020

This study is an analysis of Handol Heung-Gun Lee's Tarae, which is a coinage combining the Korean words for "playing an instrument" and "song", in terms of narrative and aesthetics. The components for analysis are the phenomena and nature of binary oppositions between nature and human beings, between alienation and interest, between division and unification, and between diaspora and people of the national community. Tarae in the period from the late 1970s to the early 1990s described the experience of pain and loss from non-resistance and disobedience in protest against social problems that emerged during the era of miliary dictatorship, such as industrialization, urbanization, reckless development, Westernization, university-oriented education, the gap between rich and poor, human alienation, and the conflicts arising from the division of the nation. After Handol overcame the lack of creative motivation with self-reflection and effort, Tarae took the form of a diaspora epic meta-narratives integrating the "sound of nature and his true nature" and "the awareness of diaspora and the spirit of the Korean people". The epics of the homeland, the national soil and the people, which began with "Teo", became more intense in terms of a sense of diaspora as they shifted their focus from an origin to a path with "Hanmoejulghi" as the turning point. Handol seeks inspiration in the source of narrative rather than in music. His Tarae focuses on "adding rhythm for lyrics". For this reason, the semiotic features of Tarae have a limitation in that its extrinsic phonology is simple even if its intrinsic meaning (i.e., emotion of sadness) is profound and subtle. In order to elicit sympathy from the audience and impress them, it is necessary to strike a balance between the implicit (semantic) part and the explicit (phonological) part. To share the emotion of sadness with more people, it is necessary to strengthen phonological elements. Sympathy for sadness and deep impression on the audience are more often induced by the mood of similar sentiments than by the stories of the same experience. The aesthetics of sadness in Tarae began with the narratives of past experience which were expressed in the contexts of loss, loneliness, and poverty that Handol had experienced since childhood. However, the aesthetics of sadness, deepened over the period of a long hiatus in Handol's career as a composer, formed the narratives of ultimate salvation, embodying even the diaspora experience of others (e.g., displaced people, overseas adoptees, ethnic Koreans in Russia, victims of Japanese military sexual slavery, etc.). This gave Tarae the potential to go beyond the limits of the ethnic group of Korea. Tarae, as a "dispersed sound", can benefit from the appeal of deep sadness at the point of contact with other forms of world music. It may form a global diaspora discourse because Tarae is oriented towards interculturalism rather than anti-multiculturalism. The future challenge and goal of Handol's Tarae would be to continue to find areas of sympathy and broaden the horizon of awareness as diaspora music.