• Fisheries and Aquatic Sciences
• /
• v.17 no.1
• /
• pp.47-57
• /
• 2014

Thai Jasmine rice (Oryza sativa, long grain Indica var.) is popular in southeastern Asia and China due to its non-glutinous, fluffy texture and fragrant smell. However it has a high starch digestibility, which leads to an increased glycemic index (GI). Therefore it may require modified cooking methods for diabetes patients. The objectives of this study were to optimize the ratio of Thai Jasmine rice, sea tangle, and olive oil (CLTR) based on consumers' acceptance. The GI of plain cooked Thai Jasmine rice (CLR) was measured as a control. Sensory evaluation and response surface methodology were used to determine the optimal ratio. Texture analysis and nutritional evaluation were also performed on the optimal recipe of cooked Jasmine rice with sea tangle. A multiple regression equation was developed in quadratic canonical polynomial models. We used 26 trained Chinese panelists in their forties to rate color, flavor, adhesiveness, and glossiness, which we determined were highly correlated with overall acceptability. The optimal CLTR formula was 34.8% rice, 2.8% sea tangle, 61.9% water, and 0.5% olive oil. Compared to CLR, CLTR had a lower hardness, but a higher springiness and cohesiveness. However, CLR and CLTR had the same adhesiveness and chewiness. The addition of sea tangle and olive oil delayed retro-gradation of starch in CLTR and increased total dietary fiber, and protein and ash contents. The degree of gelatinization, and in vitro protein and starch digestibility of CLTR were lower than those of CLR. Based on Wolver' method, the GI of CLTR (52.9, incremental area under the glycemic-response curve, ignoring the area below fasting, as used for calculating the GI [Inc]) was lower compared with that of CLR (70.94, Inc), which indicates that CLTR is effective in decreasing and stabilizing blood glucose level, owing to its lower degree of gelatinization and starch digestibility. Our results show that CLTR can contribute to the development of a healthier meal for families and the fast food industry.

• Journal of Convergence for Information Technology
• /
• v.10 no.8
• /
• pp.259-264
• /
• 2020

This study classified the hairstyle types of flight attendants in flight on A airline, the largest low-cost carrier in Asia. The cabin crew does not maintain a constant commute time, but the hairstyle will change with the diversification of commute time according to flight schedules. Therefore, in the case of a female cabin attendant, if there is a lot of time before going to work, a hairstyle such as a up hair style may be maintained. However, when you have less time to trim your hair, keep your daily hairstyle, such as one-length cuts and gradation cut, or keep your hair ponytail-like. The cabin crew maintains a variety of hairstyles, but the color of the hair prefers natural brown or slightly lighter dyeing, and the lighter hair due to excessive bleach is not preferred.

• Journal of the Korean Society of Costume
• /
• v.62 no.5
• /
• pp.125-137
• /
• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

• Journal of the Mineralogical Society of Korea
• /
• v.16 no.4
• /
• pp.333-339
• /
• 2003

A new mineral, Zn analogue of rancieite (Chimooite), has been discovered at the Dongnam mine, Korea. It occurs as compact subparallel fine­grained flaky or acicular aggregates in the massive manganese oxide ores which were formed by supergene oxidation of rhodochrosite­sulfide ores in the hydrothermal veins trending NS­N25E and cutting the Pungchon limestone of the Cambrian age. The flakes of chimooite are 0.2 mm for the largest one, but usually less than 0.05 mm. The acicular crystals are elongated parallel to and flattened on (001). This mineral shows gradation to rancieite constituting its marginal part, thus both minerals are found in one and the same flake. Color is bluish black, with dull luster and brown streak in globular or massive aggregates. Cleavage is perfect in one direction. The hardness ranges from 2.5 to 4. Under reflected light it is anisotropic and bireflectant. It shows reddish brown internal reflection. Chemical analyses of different parts of both minerals suggest that rancieite and chimooite constitute a continuous solid solution series by cationic substitution. The empirical chemical formula for chimooite has been calculated following the general formula, $R_2_{x}$ M $n^{4+}$$_{9­x}$ $O_{18}$ $.$n$H_2O$ for the 7 $\AA$ phyllomanganate minerals, where x varies from 0.81 to 1.28 in so far studied samples, thus averaging to 1.0. Therefore, the formula of Zn­rancieite is close to the well­known strochiometric formula $_Mn_4^{4+}$ $O_{9}$ $.$4$H_2O$. The mineral has the formula (Z $n_{0.78}$N $a_{0.15}$C $a_{0.08}$M $g_{0.01}$ $K_{0.01}$)(M $n^{4+}$$_{3.98}$F $e^{3+}$$_{0.02}$)$_{4.00}$ $O_{9}$ $.$3.85$H_2O$, thus the ideal formula is (Zn,Ca)M $n^{4+}$$_4$ $O_{9}$ $.$3.85$H_2O$. The mineral has a hexagonal unit ceil with a=2.840 $\AA$ c=7.486 $\AA$ and a : c = 1 : 2.636. The DTA curve shows endothermic peaks at 65, 180, 690 and 102$0^{\circ}C$. The IR absorption spectrum shows absorption bands at 445, 500, 1630 and 3400 c $m^{1}$. The mineral name Chimooite has been named in honour of late Prof, Chi Moo Son of Seoul National University.ity.versity.ity.y.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.32 no.12
• /
• pp.1837-1847
• /
• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.