• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.9
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• pp.247-254
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• 2019

Recently, in designing military equipment, considerable attention has been paid to maintaining operations, including reliability, maintenance, and maintenance time of equipment, from the early stages of development. Therefore, both users and developers stress the importance of design considering the maintenance time. This study evaluated the specific methodologies for predicting the realistic maintenance time, such as the access complexity of equipment, other than the standard maintenance time provided by the conventional method mil-hdbk-470a at the beginning of the design, and applied the time conversion factor using a measure of the maintenance complexity. In addition, the actual maintenance time reflecting the actual maintenance time of the developed equipment and the time-conversion factor applied was compared/verified to confirm the reliability of the data. In a study to set a target for repair and the repair of equipment design in the future, it is expected that the maintenance time of equipment that fails to measure the maintenance time for the initial actual equipment will be reflected as a more realistic time. Moreover, activities, such as research and design reflection activities, will be performed to reduce the maintenance time, operational maintenance cost, etc.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.223-233
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• 2021

This study is was conducted for 37 first-year students (including 27 males and 10 females) enrolled in the engineering product design class opened as a regular class in the second semester of 2018 at 'A' University in Seoul to examine creative problem solving experiences in class using design_thinking. In this study, creative problem-solving ability was divided into creative personality and problem-solving ability and in the results of examining the difference in pre- and post-creative problem solving abilities through Hotelling's T-square test and t-test, among the creative personality, the tolerance & passion, humor, curiosity, and progressive attitude were found to significantly increase after class. Next, in the results of examining the process of creative problem solving through the reflection journal, in the empathy and prototyping and testing stages of design thinking, more activities for problem solving appeared, and at the stage of problem definition and idea generation, it can be seen that more activities expressing creative personality appear. The results of this study show that creative problem-solving abilities can be improved through design thinking, suggesting that instructional support for effective design thinking should be designed.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.197-202
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• 2021

This paper focuses on the situation in which, as pluralistic democracy spreads globally from the mid-20th century, the concept of publicness, the reason for the existence of traditional public art, is not limited to the physicality of occupying public space or the conditions for creation by public funds, but is seeking a new direction and examine the social significance of these changes. For this purpose, the main body of this paper analyzes the major public art projects of Freee Art Collective who were active in the UK in the early 2000s. Freee performed various public art projects in which individuals constituting a community critically reflect on political, social, and economic issues related to public goods and provide a discourse space for democratic discussion. Their practice suggested a methodology for socially-engaged public art that resists the "Third Way" cultural policy of the New Labour administration. Therefore, this paper argues that Freee's public art seeks alternatives to publicness in that it allows one to resistively think about problematic aspects of hegemonic cultural production of neoliberal cultural policy that pursues political consensus and social harmony. This research about Freee's public art would be significant in that it can serve as an opportunity for critical reflection on the contemplative form and public role of contemporary public art.

• Journal of Veterinary Science
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• v.21 no.2
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• pp.26.1-26.14
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• 2020

Pancreatic ductal adenocarcinoma is a lethal cancer type that is associated with multiple gene mutations in somatic cells. Genetically engineered mouse is hardly applicable for developing a pancreatic cancer model, and the xenograft model poses a limitation in the reflection of early stage pancreatic cancer. Thus, in vivo somatic cell gene engineering with clustered regularly interspaced short palindromic repeats is drawing increasing attention for generating an animal model of pancreatic cancer. In this study, we selected Kras, Trp53, Ink4a, Smad4, and Brca2 as target genes, and applied Campylobacter jejuni Cas9 (CjCas9) and Streptococcus pyogens Cas9 (SpCas9) for developing pancreatic cancer using adeno associated virus (AAV) transduction. After confirming multifocal and diffuse transduction of AAV2, we generated SpCas9 overexpression mice, which exhibited high double-strand DNA breakage (DSB) in target genes and pancreatic intraepithelial neoplasia (PanIN) lesions with two AAV transductions; however, wild-type (WT) mice with three AAV transductions did not develop PanIN. Furthermore, small-sized Cjcas9 was applied to WT mice with two AAV system, which, in addition, developed high extensive DSB and PanIN lesions. Histological changes and expression of cancer markers such as Ki67, cytokeratin, Mucin5a, alpha smooth muscle actin in duct and islet cells were observed. In addition, the study revealed several findings such as 1) multiple DSB potential of AAV-CjCas9, 2) peri-ductal lymphocyte infiltration, 3) multi-focal cancer marker expression, and 4) requirement of > 12 months for initiation of PanIN in AAV mediated targeting. In this study, we present a useful tool for in vivo cancer modeling that would be applicable for other disease models as well.

• Geophysics and Geophysical Exploration
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• v.26 no.3
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• pp.114-125
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• 2023

The physics-informed neural network (PINN) has been proposed to overcome the limitations of various numerical methods used to solve partial differential equations (PDEs) and the drawbacks of purely data-driven machine learning. The PINN directly applies PDEs to the construction of the loss function, introducing physical constraints to machine learning training. This technique can also be applied to wave equation modeling. However, to solve the wave equation using the PINN, second-order differentiations with respect to input data must be performed during neural network training, and the resulting wavefields contain complex dynamical phenomena, requiring careful strategies. This tutorial elucidates the fundamental concepts of the PINN and discusses considerations for wave equation modeling using the PINN approach. These considerations include spatial coordinate normalization, the selection of activation functions, and strategies for incorporating physics loss. Our experimental results demonstrated that normalizing the spatial coordinates of the training data leads to a more accurate reflection of initial conditions in neural network training for wave equation modeling. Furthermore, the characteristics of various functions were compared to select an appropriate activation function for wavefield prediction using neural networks. These comparisons focused on their differentiation with respect to input data and their convergence properties. Finally, the results of two scenarios for incorporating physics loss into the loss function during neural network training were compared. Through numerical experiments, a curriculum-based learning strategy, applying physics loss after the initial training steps, was more effective than utilizing physics loss from the early training steps. In addition, the effectiveness of the PINN technique was confirmed by comparing these results with those of training without any use of physics loss.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.10-24
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• 2017

The research takes note of the formation process and settling period of Gwandong-Palkyung(關東八景, Eight Sites of Eastern Korea), the representative palgyeong(prominent eight sites) and jipgyeong(集景, landscape collection of scenic beauty), and investigates the time of formation regarding the palkyung and jipgeyong of Gwandong's scenic beauty through the analysis and interpretation of bibliographic data, and reference data. The result of the study is as follows. As the first document that records the terminology of "Gwandong-Palkyung" is "Daphongeunggil(答洪應吉)" of Yi, Hwang(李滉), Gwandong-Palkyung is inferred to be settled within the recognition of the people even before the 16th century. The geographic analysis result including "Sinjeung Donggukyeojiseungram(新增東國輿地勝覽)", Gwandong-Palkyung expanded as Gwandong-Sipkyung in early to middle of the 16th century. The first confirmed landscape collection regarding Gwandong-Palkyung in this study is confirmed in Shin Zup(申楫)'s "Yeonggwandong-Palkyung(詠關東八景)", thus, the terminology of Gwandong-Palkyung existed before 16th century at the latest. The settlement time of current "Palkyung" collection is estimated to be early 17th century at the latest. Poetries regarding Gwandong-Palkyung, and the frequency on the appearance of Gwandong scenic beauties are analyzed as making clear of the concentrated phenomenon on the sceneries of Gwandong-Palkyung. On the other hand, the collection of Gwandong-Palkyung in the domain of arts is confirmed initially in the ${\ll}$Gwandongpalkyungdobyeong(關東八景圖屛)${\gg}$ of Heo, Pil(許泌). Gwandong-Palkyung, expressed as the actual scene landscape painting shows similar tendencies of the conditions in the jipgyeong from the poetry, but the appearance rate of the painting subject was more prominent in visual solidarity and cohesion due to the reflection of the importance on icon(圖像) of the art works produced with particular meaning in the case of fixed ideal system. From late Joseon to modern times, ${\ll}$palpokbyeongpung(八幅屛風)${\gg}$ of various forms of folk painting is a corroborative evidence notifying that the cultural phenomenon of Gwandong-Palkyung has entered the universal period of embrace. Also, the 13 scenic beauties of Gangwon-Do appearing in the games of Namseungdo and Myeongseungyuramdo include Gwandong-Palkyung, which confirms the settlement of Gwandog-Palkyung even within the culture of games in late Joseon. Such results demonstrate the existence of awareness regarding Gwandong-Palkyung from the first half of the 15th century, which is presumed to have completely settled in the 17th century through the continuous development of formative process in the 16th century. Ultimately, Gwandong-Palkyung is the concrete formation of regional scenic beauties that individually gained its reputations as scenery from the Koryo Dynasty to late 17th century. Gwandong-Palkyung of the scenic beauty of Gwandong is a unique cultural scenery of the region that have germinated and formed through the process of cutting and polishing of long time to collect the best eight of scenic beauty from the many participation of sightseeing culture.

• The Korean Journal of Petroleum Geology
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• v.3 no.1 s.4
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• pp.1-15
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• 1995

Seismic reflection profiles and exploratory drilling well samples from the southern marginal-continental shelf basin of Korea delineate that the Tertiary sedimentary sequences can be grouped into five sequences (Sequence A, Sequence B, Sequence C, Sequence D and Sequence E, in descending order). Paleontologic data, K-Ar age datings, correlation with tuff layers and sequence stratigraphic analysis reveal that the sequences A, B, C, D and E can be considered as the deposits of Holocene $\~$ Pleistocene, Pliocene, Late Miocene, Early $\~$ Middle Miocene and Oligocene, respectively. The sequence stratigraphic and structural analyses suggest that the southern part of the Cheju Basin had experienced severe folding and faulting. NE-SW trending strike-slip movement is responsible for the deformation. The sinistral movement of strike-slip fault ceased before the deposition of Sequence B. Age dating and rare-earth elements analysis of volvanic rocks reveal+ that the Sequence D was deposited during the Early $\~$ Middle Miocene and the Sequence I was deposited earlier than the deposition of the Green Tuff Formation. Sedimentary petrological studies indicate that sediments of the Sequence I came from the continental block provenance. After the deposition of the Sequence E, uplift of the source area resulted in increase of sediment supply, subsidence and volcanic activities. The Sequence D show these factors and the sediments of the Sequence D are considered to be transported from the recycled orogenic belt.

• Korean Journal of Environmental Agriculture
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• v.8 no.2
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• pp.128-135
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• 1989

To find the effects of solar energy into the rice canopy and its balance on the rice plant growth, a Tongil type rice, Raekyeong and a japonica rice, Koganebare were used with four levels of nitrogen fertilizer application, 6, 10, 14, and 18kg $l0a^{-1}$ in Chigugo, Japan. The micrometerosological data, the solar radiation and absorbed solar radiation by the rice plants, and leaf area index on cardinal growth stage of the rice community were measured. The results are as follows : Raekyeong showed increased LAI by increased nitrogen fertilizer application rates, and larger LAI than Koganebear. 1. There was no difference in total dry weight till 20 days after transplanting regardless of nitrogen levels in the same variety, after that, however, Raekyeong showed higher dry matter productions for the same durations than Koganebare. 2. In early growth stage of transplanting rice, reflection ratio of solar radiation above the crop canogy was about 6%, however, it was increased up to 20% by the increased LAI at heading date. 3. In high levels of nitrogen application plots, LAI were increased so that values were decreased. 4. Relationship between the amount of absorbed radiation by plants and its dry matter production was linearly significant. Higher levels of nitrogen application produced higher dry matter in Raekyeong, however, in lower level, the dry matter production pattern was almost similar between both rice cultivars.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.4
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• pp.24-41
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• 2013

This study aims to investigate the complex planning processes and design ideas of the Gwanghwamun Plaza which was opened in 2009. The opening of the plaza was significant as it was built in order to restore the symbolic meaning of axis in the historical Joseon Dynasty that was distorted during the Japanese Imperialism. The plaza itself attracts many citizens and tourists by providing the empty ground carrying historical ambiences around. In this paper, the story of the Gwanghwamun plaza will be summarized. Particularly, the background of promoting the project will be discussed and the whole planning process will be dealt with. The plaza was realized through several stages. First, the planning stage will be reviewed. The planning stage had been a quite long process since the initial idea was discussed. Since the early 90s, the political decision of making the plaza was made through the change of people's understanding toward public space. At this stage, the city government worked together with diverse citizens and professionals to share the vision and to realize the right decision in making the plaza. Second, the design stage will be elaborated in detail. This is the second design stage. The former was the idea competition and the latter was the turn-key base. The final design scheme emphasized the restoration of symbolic axis and the forgotten Yukjo Street. The scheme consists of four zones such as history restoration zone, prospect and history representation zone, culture zone, and the urban zone. Through the whole design process, the original idea remained as it was. The design concept was "a place of memory and prospect." It emphasizes the history representation, view corridor, cultural activities platform as well as the emptiness and flexibility of the basic premise of the plaza. Finally, the construction stage will be discussed. There were some additions and omissions in the construction process. The design chances in the construction stage will be reviewed in detail. After the opening of the plaza, there were some changes in the detail design. We will discuss how and why these modifications were made. In the end, the social and cultural implication of the plaza will be discussed. The storytelling of the Gwanghwamun Plaza will contribute to the clear understanding of planning and design process of pubic places. Based on this reflection, we are able to think about some suggestions of public projects for the future.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.242-261
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• 2021

Sangjeong was a sculptor-monk who was active in the mid-to-late 18th Century, and the current study established the overall chronology of Sangjeong's Buddhist statues and their styles based on the six sculptures of Sangjeong already known and the Wooden Seated Buddha of 1767 in Songgyesa Temple, Geochang, which was found to be his last work. All of the Buddhist statues of Sangjeong have commonalities in terms of the appearance of the ears, wrinkles on clothing on the upper and lower body, position of hands, and expression of the lower body. The expression of the lower body, in particular, is classified into three types: Type A, where the clothing drapes through the lotus leaves on the bottom; Type B, with an 'S-shaped' drape over the lower body but no lotus leaves or pedestal; and Type C, with the Buddha and pedestal as a single unit, and the clothing draping through the lotus leaves on the pedestal. It appears that Sangjeong faithfully succeeded the style of Taewon, who was his only instructor for sculpture. This is verified based on the records of his participation in the creation of the Wooden Seated Sakyamuni Buddha Triad and Statue of Arhat in Bongeunsa Temple, Seoul, as the third sculptor-monk out of twelve sculptor-monks, and the reflection of the S-shaped drape on the lower body found on the statue of Buddha in Bongeunsa Temple on all of the statues created by Sangjeong. Not only that, but it was assumed that the expression of the pedestal and hair was also inherited by Sangjeong from Taewon and Jinyeol, who was a sculptor-monk from the early 18th Century. The work of Sangjeong and Taewon showed differences in the volume and thickness of statues, strength of unevenness on the wrinkles of clothing, drapes on the right side of chest, and details of the ears. The current study identified the original styles of each individual sculptor and attempted to categorize the fourteen pieces of ten Buddhist statues reflecting the styles of Sangjeong into Sangjeong-style or Taewon-style.