• Journal of the korean Society of Automotive Engineers
• /
• v.1 no.1
• /
• pp.28-41
• /
• 1979

Propane-Air premixed combustible gas was ignited by the conventional current break system inside the open combustion chamber under the atmospheric pressure and the room temperature to measure the flame propagating speed and the burning speed, also to elucidate the history of the propagating flame behavior and wall effects to flame shape by using Ion Gap Method and High Speed Schlieren Photography. The results obtained show that the maximum flame propagating speed and maximum burning speed are approximately 292 cm/sec and 36 cm/sec at the mixture ratio 4.6%, respectively. The cellular flame structures can be observable in the rich mixture region, moreover, the cellular structures become finer, with increasing the mixture strength.

• Journal of the Korean Society for Library and Information Science
• /
• v.25
• /
• pp.215-232
• /
• 1993

The Long-Term Development Plan of the Pusan National University(PNU) has announced on 1991 in order to reach its roles and levels as an University with international standards, a Graduate School research-oriented and a core university in its community through accomplishment of this Plan. University libraries would be planned to support their universities' goals. Therefore the Library of PNU is facing on the task for supporting the Plan. The Collection for Korean Classical Materials (CKCM) is not limited in Korean Literature, Korean History, Korean Philosophy fields but covered the academic fields except a hightech science : Humanities, social science. pure science, applied science and arts etc. However, the Library of PNU does not have the organization, special librarian and budget for CKCM. Under this notion organization, budget and librarian for the collection would be followed. The CKCM contains the original editions, photography editions, copied issues. microform reproductions with comprehensive subjects in the fields of studies. Especially for the collection of treasure books the role of the Library of PNU induce to open individuals' collections or families' collections to public through the Library. The equipments for preserving rare books and treasure books are the conditioners for humidity and temperature, automatic extinguishment system. The reference materials, copy machine and reading room are requested for the user service of CKCM. The materials would be one of the most important thing in study and research. Therefore the Library of PNU need to pay attention to develop and preserve CKCM.

• Proceedings of the Korea Water Resources Association Conference
• /
• 2023.05a
• /
• pp.175-175
• /
• 2023

Detection and monitoring of wildfires are essential for limiting their harmful effects on ecosystems, human lives, and property. In this research, we propose a novel method running in the Google Earth Engine platform for identifying and characterizing burnt regions using a hybrid of Sentinel-1 (C-band synthetic aperture radar) and Sentinel-2 (multispectral photography) images. The 2022 Uljin wildfire, the severest event in South Korean history, is the primary area of our investigation. Given its documented success in remote sensing and land cover categorization applications, we select the Random Forest (RF) method as our primary classifier. Next, we evaluate the performance of our model using multiple accuracy measures, including overall accuracy (OA), Kappa coefficient, and area under the curve (AUC). The proposed method shows the accuracy and resilience of wildfire identification compared to traditional methods that depend on survey data. These results have significant implications for the development of efficient and dependable wildfire monitoring systems and add to our knowledge of how machine learning and remote sensing-based approaches may be combined to improve environmental monitoring and management applications.

• Cross-Cultural Studies
• /
• v.36
• /
• pp.97-122
• /
• 2014

During the Edo-period [江戶時代 1603-1867], Japan accepted the modern western science and culture while trading with Holland since 1609, and also through the influx of optical instruments in the $18^{th}$ century the culture of viewing pictures began to be developed. Especially, the peep-boxes and their pictures had been imported from China and Holland since the mid 1750s when they were flourished. The peep-box was rapidly and widely spread. Soon after, the peep-boxes and pictures had begun to be produced in Japan (megane [眼鏡] and megane-e [眼鏡繪]) since 1770s when the early visual culture settled down in Kyoto and Tokyo etc. The visual culture developed with the peep-box contains two remarkable factors in the cultural history of the $18^{th}$ century Japan. First, the peep-boxes became the popular device of visual entertainment, and opened the first phase of the modern visual culture before the advent of photography and cinema in the mid and end of the $19^{th}$ century. Secondly, the peep-box played a role of an educative media as a 'window to the unknown world' in the $18^{th}$ century Japan, by showing various pictures of many European cities. Through the peep-box pictures the 'western images' were spread and knowledges of Japanese about the west increased, although they were recognized just as 'Holland's images' without differentiation in each country.

• The Journal of Art Theory & Practice
• /
• no.14
• /
• pp.187-215
• /
• 2012

In recent studies of art historical methodology, such as Critical Terms for Art History and The Art of Art History, subjectivity, identity, abjection, and other terms have been placed safely in the genealogy of contemporary art history. This paper questions the contemporaneity in the story of contemporary art in our time in relation to two other critical terms that have been regularly cited by contemporary critics, not only in Euro-American fields but also in Korea. The terms are postmedium and postproduction, respectively, as used by Rosalind Krauss and Nicolas Bourriaud. This paper stems from the critical condition in which art criticism and theory have their power in the rise of neo-liberalism. But this paper does not deal with the contemporary as a chronological term for art history but rather examines the three critical terms-contemporaneity, post-medium, and postproduction-that have garnered scholarly attention. I would like to put aside postmodernism for the moment; I don't disregard the postmodern condition although the death of postmodern critical terms has resulted in the loss of its polemical power in art worlds such as in exhibitions, etc. To look at "the postproduction in the age of post-medium age after postmodernism," I first explore Krauss's notion of post-medium because, unlike media artists like Lev Manovich and Peter Weibel, Krauss's post-medium condition is different and insists on medium specificity. In this sense, Krauss has turned out to be another Greenberg in disguise. For her, photography and video are expanded mediums after Greenberg, because Krauss has spent her life explicating those mediums. Under the Cup, her recent publication, came out in 2011, and discusses her desire to defend medium-specificity against the intermedia of installation art found ubiquitously in international exhibitions and biennales. Her usage of post-medium has been taken up by Weibel as postmedia in a broader sense. But whether the post-medium condition or the postmedia age, we nonetheless enter the new age of the contemporary. Consequently, this paper questions what constitutes contemporaneity in our times. It is said that there is nothing new on earth, yet I find original artistic strategies among the younger generation in the postmedia age. The contemporary justifies its place in art fields and criticism by keeping its distance from postmodernism although we still find the remnants of postmodern artistic practices and theoretical foundations. By looking at materials written by Terry Smith, I would like to examine contemporaneity as a rhetoric where artists, critics, and curators endeavor to set up a new spirit of criticism, distant from the past of modernism and postmodernism. In discussions, modernism and postmodernism act as catalysts interacting with each other while justifying their own place. In conclusion, my paper reaches to delineate where the contemporary finds its place among artists' responses and working methods. It explores the postproduction of the Internet and the World Wide Web generations, where images become data rather than representation (of modernism) and appropriation (of postmodernism). This paper analyzes Bourriaud's text, as well as relevant artists like Pierre Huyghe, Liam Gillick, and others. By examining the aforementioned critical terms, I would like to reconsider our own contemporary art in Korea, especially among young artists influenced by digital media and the World Wide Web in the 1990s.

• Journal of Korean Philosophical Society
• /
• v.143
• /
• pp.245-266
• /
• 2017

Walter Benjamin's unique concept of the aura is mainly presented in his three essays, Little History of Photography(1931), The Work of Art in the Age of Mechanical Reproduction(1935-1939), and On Some Motifs in Baudelaire(1939), whereas the studies on this concept are principally conducted on the basis of the first two essays. But considering Benjamin elaborated the concept through Baudelaire studies, the aura needs to be reexamined on the axis of "On Some Motifs in Baudelaire". He approached Baudelaire studies in one of the essential items for The Arcades Project at first. These studies acquired a new prospect soon after he mapped out these studies for an independent book in 1938. His Baudelaire studies come to fruition in On Some Motifs in Baudelaire, written one year after The Paris of the Second Empire in Baudelaire(1938). For Benjamin, Baudelaire is not only a poet who sharply testified to the age of the decay of aura, but also the one who elaborated new poetic motifs such as the metropolis, the crowd: the poet searched for his poems in the crowd of the metropolis, by accepting as poetic nourishment all sorts of experiences of the impact of daily occurrunces in Paris. In On Some Motifs in Baudelaire, the aura is defined as the response of a gaze, that is, the capability to gaze on something. It is principally a poetic capacity to give the capability of opening the eyes to an animal, or even to an inanimate object. If a gaze is responded by the other for which the gaze is placed upon, we experience the other's own aura. The media of the mechanical reproduction (such as the photography, the film) give rise to the decay of aura, because the expectation of returning one's gaze becomes frustrated from the outset.

• Journal of Science of Art and Design
• /
• v.11
• /
• pp.79-108
• /
• 2007

"Printing is an Art of reproduction & a Technique of However printing has extended its limitation from a genre of reproduction itself and now it stands on the turning point as an art such as painting or sculpture which expresses artist's originality. Early Printing has had relations in depth with press printing in terms of information recording, preservation, and transmission. It was acknowledged value in a way of information satisfaction different from how it is valued as a pure art today. But, later printing has transferred its function from a mean of reproduction to pure art due to the development of printing skills and photography invention. It can be said that the concept of modern printing is taking over its genealogy as a creative work not as just printing. Also its expression capability is widen to dimensional printing and high-tech multimedia from original tradition techniques. As we discussed above, modern painting is very open to various changes. This modern painting aspect can be seen as an extended interpretation of 'board' concept. This dissertation raises a question why monotype and monoprint couldn't secure its position in printing history in spite of numerous artists' tryouts in its way. Monotype and monoprint fundamentally based on intaglio technique in its history. Yet, its systematic study hasn't been worked out. This is because of the lack of recognition of monotype and monoprint's originality as printing. Especially in monoprint, it has known as an early stage in copperplate printing process which is an attempt to solve the technique limitation or trial work for edition. Likewise the reason why monotype and monoprint remains at the edge of printing border ambiguously is because of conceptual, technical characteristics which are against traditional printing. In traditional printing, the concept of board is important as a method of reproduction. Different from the fact, monotype and monoprint accept the form of medium 'board' conceptually out of limited condition as mentioned. Thus monotype and monoprint hasn't stand out for several reasons until late 20th century when it started come out to public as people starts to have interests that works from famous artists are actually based on monotype and monoprint. This dissertation likes to step into the monotype and monoprint theoretically which is not well known in domestic and try to study the meaning of monotype and monoprint as a printing medium which is also hasn't been considered sincerely. For this study the process follow as below. First, look into how monotype and monoprint has a concept and history. Next, check differences through comparison with traditional printing and how printing can be understood in what aspects at the same time. After, verify how monotype and monoprint have influence on the acceptance of extended concept of 'board'. This study will show the expressional possibility of monotype and monoprint which has already known as 'tableau printing' in today's situation where adventurous experiments of printing medium are going on with the development of technology.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.21 no.7
• /
• pp.224-232
• /
• 2020

This study aimed to verify the relationship of a city's history and identity through an architectural assets survey of Daejeon Metropolitan City. To achieve these purposes, the architectural assets survey was carried out, and the characteristics were reviewed. The results of this study are as follows. (1) The architectural assets are composed of 86.5% buildings, 7.4% space environments, and 6.1% infrastructure. (2) Of the architectural assets, 52.7% were constructed in the 1960s~1980s, and 25.0% were built before the Korean War. (3) The physical characteristics of the architectural assets are represented by the single floor, housing and religious facilities, traditional Korean roof tiles, and cement mortar and wood finishing. The characteristics of the architectural assets of Daejeon Metropolitan City are related to the allocation of public offices, banks, and government buildings after the relocation of Chungnam-Do Province Office in the 1930s, and reconstruction and revival around Daejeon station after the Korean War. In particular, the accumulation of Hanok for the shrine in Isa-dong and the townhouse for railroad officers in Soje-dong represent the regional and modern history of Daejeon Metropolitan City.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.16 no.4 s.44
• /
• pp.357-369
• /
• 1992

The purpose of this study was to clarify the relationship between the Ideal Beauty of Body and the Form of Dress, and to analyze its historical perspectives. First of all, the concept of the Ideal Beauty of Body, the definition of Dress Form, and the method and system to clarify Dress Form were depicted. Based on this frame work, the Form of Dress related to the Ideal Beauty of Body was described historically. For this purpose, documentary research were conducted and representative photography and paintings were used. The analysis was limited to the female one-Piece dress from Ancient Egypt, Greece, Rome, Byzantine, Gothic, Renaissance, Baroque, Rococo, Naoclassicism, and to Romanticism. The results were as follows: 1. The Ideal Beauty of Body was found to be different throughout history and to be intimate- ly linked with fashionable dress. 2. The Form of Dress consisted of four basic components: The form of body itself, the form of clothing itself, the method of wearing, and the relationship between body and clothing. 3. The standards for classification of body form were body structure, body type, body proportion, posture, and movement. Clothing form was generally classified into flat type (unstructured type) and three dementional type (structured type); flat type was subclassified into draped type and tunic type. The method of wearing was classified into attached type, tying-up type, wrap·around type, pull-over type, open type and plastistic type. The relationship between body and clothing after wearing was generally classified into body priority type and clothing priority type. The clothing priority type was further divided into body exaggeration type and body concealment type; Body exaggeration type was further divided into upward type, downward type, forward type, backward type, right type and constriction type. 4. The pursuit of venus coelestis, metaphysical body part, ectomorphic body type, flat type clothing, body priority type; the pursuit of Venus Naturalis, physical body part, endomorphic body type, three dementional type clothing, clothing priority type proved to be closely related respectively by the historical study on the Ideal Beauty of Body and the Form of Dress.

• Archives of Plastic Surgery
• /
• v.34 no.5
• /
• pp.635-640
• /
• 2007

Purpose: Mid and lower facial convexity is more common in Oriental people than in Caucasian. Bimaxillary dentoalveolar protrusion is characterized by procumbent teeth, protruding lips, acute nasolabial angle, gummy smile, receding chin, facial convexity. Especially, pure maxillary dentoalveolar protrusion is less frequent than bimaxillary dentoalveolar protrusion. Therefore, it is important to make an accurate decision for the operation throughout the history taking, cephalogram, dental cast to arrive at accurate diagnosis and surgical plan. Methods: From December 2002 to June 2004, ten patients with maxillary dentoalveolar protrusion and microgenia were corrected by maxillary anterior segmental osteotomy and advancement genioplasty. 10 patients were analyzed by preoperative and postoperative clinical photography, posteroanterior and lateral cephalograms. Results: No major complications were occurred throughout the follow-up period except one of the over-recessed, otherwise most of the patients were satisfied with the result. Conclusion: We could correct the occulusal relationship with teeth and improve lower facial profile, asthetically and functionally, by maxillary anterior segmental osteotomy and advancement genioplasty.