• Restorative Dentistry and Endodontics
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• v.34 no.6
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• pp.467-476
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• 2009

The aim of this study was to measure the dentinal tubular fluid flow (DFF) during and after amalgam and composite restorations. A newly designed fluid flow measurement instrument was made. A third molar cut at 3 mm apical from the CEJ was connected to the flow measuring device under a hydrostatic pressure of 15 $cmH_2O$. Class I cavity was prepared and restored with either amalgam (Copalite varnish and Bestaloy) or composite (Z-250 with ScotchBond MultiPurpose: MP, Single Bond 2: SB, Clearfil SE Bond: CE and Easy Bond: EB as bonding systems). The DFF was measured from the intact tooth state through restoration procedures to 30 minutes after restoration, and re-measured at 3 and 7days after restoration. Inward fluid flow (IF) during cavity preparation was followed by outward flow (OF) after preparation, In amalgam restoration, the OF changed to IF during amalgam filling and slight OF followed after finishing. In composite restoration, application CE and EB showed a continuous OF and air-dry increased rapidly the OF until light-curing, whereas in MP and SB, rinse and dry caused IF and OF, respectively. Application of hydrophobic bonding resin in MP and CE caused a decrease in flow rate or even slight IF. Light-curing of adhesive and composite showed an abrupt IF. There was no statistically significant difference in the reduction of DFF among the materials at 30 min. 3 and 7 days after restoration (p > 0.05).

• Archives of design research
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• v.12 no.4
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• pp.171-179
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• 1999

Originally the COS system was developed based on fashion colors. But in interiors many other color groups are used frequently, so the COS system is somewhat insufficient for interior design work. The purpose of this study is to verify the pratical use of the COS system in finishing colors of housing interiors and to propose the additional colors based on interior finishings. The COS system and the NCS color system were used for color measurement. The results was as follows. In the hues, Y.YR.GY.PB.B.BG color groups were used for interior material more frequently. And regardless of hues, low saturation and high value colors were used. Most of the colors were inscribed as the COS system and the NCS color system simultaneouly, but muted and grayed color tones like pale.light.grayish.soft cannot be founded in the COS system. Therefore more subdued and soothing tones of Y.YR.GY.PB.B.BG color groups should be added to the COS system.

• Journal of the Korean Institute of Gas
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• v.26 no.3
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• pp.27-37
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• 2022

With the recent increase in the spread of ESS (Electric Storage System), the damage to human life and property is also rapidly increasing due to continuous fires caused by ESS. In the manufacture of urethane sandwich panels used in ESS, it is necessary to improve the flame retardant performance. In this study, in order to realize the flame retardant properties of flexible polyurethane foam, the effect of the tissue density of the product due to the change of the isocyanate functional group parameter that changes the physical properties of the product on the fire performance was studied. The product was manufactured by changing the density of the urethane structure, and combustion performance tests, gas toxicity tests, and smoke density tests were performed. As a result, it was confirmed that the total amount of heat released had excellent performance when the isocyanate functional group was high, and had no correlation with the maximum heat release rate. When the value of the isocyanate functional group was 2.7 or more, the collapse of the shape could be prevented. In the gas hazard test, the performance was increased when the isocyanate functional group was relatively high, so a flame retardant for the Char system, which had a dense structure and easy to form a carbonized film, was added. confirmed to be. Therefore, as a result of this study, it is thought that it will be possible to lay the foundation for the development of a flame retardant to replace the cheap urethane sandwich panel used in the past.

• The Journal of the Acoustical Society of Korea
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• v.42 no.2
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• pp.152-160
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• 2023

Sound barrier walls are the most basic way to cope with noise problems in urban residential environments. The most important acoustic function of sound insulation board is represented by sound transmission loss and sound absorption coefficient. However, Korea has not yet established a standard for measuring the sound absorption rate of sound insulation boards. In addition, even in the European standard, where the overall acoustic standard of soundproofing boards has already been established, the sound absorption rate is applied only to the standard for measuring the sound absorption rate of general building finishing materials, and a separate measurement method considering the characteristics of soundproof walls and soundproofing boards is not presented. The sound absorption coefficient should be evaluated by summing up the energy absorbed into the material as well as the energy transmitted through the material, but the current European standard has a problem in that the transmitted sound energy is not taken into account. In this paper, we reviewed the sound absorption coefficient measurement standards of sound insulation boards currently being presented, and verified the difference between the results and the new measurement method considering transmission sound for sound insulation boards actually used in Korea.

• Journal of Animal Science and Technology
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• v.45 no.1
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• pp.41-48
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• 2003

Two experiments were conducted to investigate the effect of dietary supplementation of yeast culture on the performance of broiler chicks and noxious gas emission in broiler houses. Two hundred forty and three hundred and twenty, one day old Cobb male broiler chicks in Expt 1 and Expt 2, respectively were alloted to four treatment levels of yeast culture (0, 0.1, 0.2, 0.4%). To each treatment, 60 birds were assigned in Expt 1 and 5 replicates of 16 birds each were assigned in Expt 2. Basal diets contained 21.5% and 19.0% CP, and 3,100kcal/kg ME for the starting and finishing periods, respectively. Ammonia and $CO_2$ gas emission were detected twice a day for seven days during the five week period of Expt 1. Weight gain, feed intake and feed efficiency were measured for five weeks in Expt 2. Intestinal microbes, blood cholesterol and ND antibody titer were examined at the end of Expt 2. In Expt 1, the concentration of $NH_3$ in the house of birds fed yeast culture tended to be lower than the control. It was significantly lower in the 0.4% yeast culture treatment than the control (P<0.05). $CO_2$ concentration was significantly lower in all yeast culture treatments regardless of its dietary supplemental level than the control (P<0.05). different from others. Feed efficiency (feed/gain), however, was significantly improved in all yeast culture treatments relative to that of the control for starting period (P<0.05) and that of 0.2% yeast culture treatment was significantly lower than those of the control and 0.4% for the overall period. Total number of E. coli in the ileum of birds fed yeast culture at 0.1 and 0.2% was significantly lower than those of the control and 0.4% in the ileum. The CFU of Lactobacillus spp. of birds fed yeast culture at 0.1% was higher in the cecum compared to other treatments (P<0.05). Total cholesterol level of chicks fed 0.1% yeast culture seemed to be lower compared to that of other treatments, whereas LDL-cholesterol level was significantly lower than those of the control and 0.4% treatment. ND antibody titer tended to be higher in the yeast culture treatments than the control, but was not significantly different. The results of these experiments indicated that 0.2% yeast culture may have a potential to reduce the noxious gas emission in broiler houses and maximize the performance of broiler chicks.

• Journal of Korean Society of Forest Science
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• v.105 no.2
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• pp.193-201
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• 2016

This study was carried out to analyze the nutritional composition, bioactive components, antioxidant activity, and cytotoxic assay of cancer cells on Rubus crataegifolius (RC) : R. crataegifolius from Jangseong (RC-J), R. crataegifolius from Hwaseong (RC-H), R. crataegifolius from Ulsan (RC-U), R. crataegifolius from Sunchang (RC-S), and R. crataegifolius from Pohang (RC-P). The peroximate composition had the largest amount of carbohydrate content among all kinds of RC. As far as the mineral contents of RC, Calcium comprised the highest amount ($996.6{\mu}g/g{\pm}0.8%$) and Natrium the lowest ($6.2{\mu}g/g{\pm}1.0%$). A total of 26 kinds of free amino acids and 18 kinds of component amino acids were analyzed in RC. The results of electron donating were high scavenging effects of 80% in water extract (RC-UW) and 82.6% in ethanol extract (RC-UE) in $500{\mu}g/ml$ concentration from RC-U. Also, the cytotoxic effects of cancer cells B16F10 (RC-UW and RC-PE), H1299 (RC-SW and RC-PE), and MCF-7 (RC-JW and RC-SE) appeared in RC. Therefore, we confirmed that new varieties may possibly be developed with functional materials.

• Food Science of Animal Resources
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• v.27 no.1
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• pp.87-94
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• 2007

This study was carried out to know the effect of the oriental medicinal plants byproduct containing vitamin E and 0.1% antibiotics (T1) and the oriental medicinal plants byproduct containing vitamin E and the replacing antibiotics by 0.03% herb extracts (T2) and 0.1% aminolevulinic acid (T3) on production performance of finishing hog and its meat qualities. There were no significant differences in the daily weight gain, feed intake, and feed conversion rate values between all treatment groups. However, the T2 group tends to have a higher daily weight gain (g/day) than the other groups (p>0.05). The T2 group showed lower total-cholesterol and LDL-cholesterol contents (114.71 and 68.09 mg/dl, respectively) than the control in the blood serum (p<0.001), and all the treated groups of oriental medicinal plants byproduct and vitamin E increased HDL-cholesterol and decreased LDL-cholesterol contents in the blood serum. Content of vitamin E in muscles from the group T1, T2 and T3 (2.11, 2.21 and 2.18 mg $kg^{-1}$, respectively) showed higher levels than those of control. The presence of antibiotics (chlortetracycline) in hog loin meat were detected (0.08 ppm) in control sample. However, there was no antibiotic in other treated hog loin meats (T1, T2 and T3, respectively). The thiobarbituric acid reactive substances and volatile basic nitrogen values of the groups T2 (0.06 mg MA $kg^{-1}$ and 11.21 mg%, respectively) and T3 (0.05 mg MA $kg^{-1}$ and 8.23 mg%, respectively) were significantly (p<0.05) lower than that of control in loin meat. However, there was no significant difference between treated samples (T1, T2 and T3, respectively) and control in cooking loss and drip loss.

• Journal of the Speleological Society of Korea
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• no.95
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• pp.35-49
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• 2009

Ever since the beginning of time, caves not only have offered a place to live for humans but they have also been used as cultural spaces. That is, in the event of making some sounds in a location within the cave, the sound that is created is greatly magnified and sounds out as if it is being amplified from a giant megaphone. This, as we well know it, is known as the resonance effect. Here, the cave itself appears to function as a massive wind instrument. Especially in cases like the Altamira Cave (Spain) where cave paintings were found, the point where the cave drawings were found has commonalities in that it is a wide space and that it is usually discovered together with flutes and drums that are made with mammoth bones. We need to focus on this point. We can infer from these facts that the prehistoric people have carried out cultural activities along with their incantation rituals within those caves. In the meantime, amongst the Korean traditional arts, in the case of pansori which is a representative vocal genre, there have been examples where caves were used as practicing locations for those people who are training to perfect their singing. This is known as toguldoggong(土窟獨功) which literally means 'obtaining one's own art by oneself in the earth cave by practicing incessantly'. This process along with pokpodoggong (瀑布獨功) (same as above except that the location is by the waterfall) is the final training stage in order to become a recognized virtuoso on the part of the apprentice. This could be compared to the final annealing and finishing process of producing a metalwork. This has been a long tradition followed by most Korean traditional artists in order to perfect their sound which is harmonious with nature within natural surroundings. By honing in on this point, I have come to think about this matter repeatedly while coaching the university students in vocal singing. In short, I came to the conclusion that "the making of natural sounds will be obtained naturally within natural surroundings like caves!" Consequently, The Society for Studying Cave Sounds was inaugurated on January 1992 along with some of my students. We made use of times like vacations to go around exploring caves all over Jeju and carried out investigations of sounds along with cave exploration on an experimental basis. After 5 years, in September of 1997, we were able to host the first ever cave concert domestically at the Whale Nostril Cave(東岸鯨窟) on Wu-do. After that, we have been hosting the cave concert once every year. We have achieved a record of a total of 14 cave concerts until 2009 of this year. Out of these, 2 were held in Seokhwaeam Cave in Kangwon Province, another two were held in Manjang Cave which is a lava cave, and the remaining 10 were held in the Whale Nostril Cave of Wu-do. Along with that, I have carried out a special recording for the production of a cave music CD in May of 1999. This paper was written and organized by using the main materials that were derived from the experiences of using caves as concert halls in the past. It is hoped that this cave concert will offer a very unique experience to tourists who come to Jeju every year and give them the best possible superior natural sound effect that only Jeju caves can offer.

• (The) Research of the performance art and culture
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• no.34
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• pp.9-42
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• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.152-171
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• 2009

The Dancheong(丹靑) of the main building of Mihwangsa Buddhist Temple(美黃寺) in Haenam(海南) is the leading work of the Jeolla Dancheong style, which was created in the 18th century and has been passed down to the early modern days, and boasts its excellence and originality. On the outside, one can only see the traces of the Dancheong due to the colors that fell off and deteriorated severely. On the inside, however, the general Dancheong pattern is accompanied by the painting of 1,000 Buddhas(千佛圖), which is hardly found in other Buddhist temples, and the Arahan painting, which is truly magnificent in technique and can pass as an independent painting. The Dancheong also has unique methodological characteristics that can't be found in other Dancheong works such as the painting and attaching technique. The Dancheong inside is estimated to have been created in 1754 considering the records of "Dalmasan Mihwangsasa Daebeopdang Jungsusangryangmun(達摩山美黃寺大法堂重修上樑文)", the calligraphical writings of "Mudeungsanindanhwakya(無等山人丹?也)"and "Geonryungshipgu(乾隆十九)" left in the Jungryang, and the style characteristics reflected in the Dancheong patterns and the painting of 1,000 Buddhas. The fact that there are no traces of re-Dancheong also supports the estimation that the Dancheong was created in the absolute age of 1754. The absolute age will be the reference of deciding the chronological years of Dancheong patterns and be helpful in examining the characteristics and changes by the periods. There were certain style characteristics in Dancheong by the periods and regions. The Dancheong of Jeolla region also had its own style, which includes the tendency of finishing with two- or three-fold green belts without giving meokdanggi to the meoricho and the huge jar decoration of huigol. Treating the baetbadak of all materials, whether it's Geumdancheong or morodancheong, with lines of certain thickness and colors is another style of Jeolla Dancheong from the 18th to the 20th century. The Dancheong of the Geukrakbojeon(極樂寶殿) of Cheoneunsa Buddhist Temple and Daewoongbojeon(大雄寶殿) of Naesosa Buddhist Temple in Jeolla is especially noteworthy in that it bears similar patterns and techniques to that of the main building of Mihwangsa Buddhist Temple in addition to the characteristics mentioned above. The Dancheong of Mihwangsa Buddhist Temple must have exerted so great influences on that of the two temples that it's called "the style of Mihwangsa Buddhist Temple."When adopting a broader point of view, it can be classified as one of the Dancheong styles of Jeolla. The common icons and techniques found in the Dancheong of Mihwangsa, Cheoneunsa, and Naesosa Buddhist Temple provide some clues about the influential relationships among painters of the days. They may have been created by the painters of the same school or the painters affected by those who created the Dancheong of Mihwangsa Buddhist Temple.