• Journal of radiological science and technology
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• v.27 no.2
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• pp.29-33
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• 2004

Until early 1980s we have lived without thinking that radon ruins our health. But, scientists knew truth that radon radioactive danger is bedeviling on indoor that we live for a long time. Specially, interest about effect that get in danger and injury for Radon and human body is inactive in our country. Recently, with awareness for Radon contamination, We inform about importance and danger of Radon in some station of the Seoul subway, indoor air of school facilities and We had interest with measure and manages. Usually, Radon gas emitted in base of building enters into indoor through building floor split windage back among radon or indoor air of radon daughter nucleus contamination is increased. Therefore, indoor radon concentration rises as there are a lot of windages between number pipe of top and bottom and base that enter crack from estrangement of the done building floor, underground to indoor. Thus, Radon enters into indoor through architecture resources water as well as, kitchen natural gas for choice etc., but more than about 85% from earth's crust emit. Danger and injury of health by Radon and Radon daughter nucleus that is indicated for cause of lung cancer incerases content of uranium of soil rises specially from inside pit of High area and a mine, cave, hermetical space with house. Safe sub-officer of radon concentration can not know and danger always exists large or small during. So, Important thing reduces danger of lung cancer by lowering concentration of Radon within house and building. Therefore, is thought that need general house Radon concentration measurement, measured Radon concentration monthly using Sintillator radon monitor. Study finding appeared high all underground market 1 year than the ground, and the winter appeared high than the summer. Specially, month that pass over 4pCi in house that United States Environmental Protection Agency advises appeared in underground, and appeared and know Radon exposure gravity by 4 months during 12 months. Therefore, Thinking that establishment and regulation of norm and preparation of reduction countermeasure about Radon are pressing feels, and inform result that measure Radon concentration.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.111-120
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• 2012

This study regards a series of achievement on Wonlim(Garden) Cultural Properties Excavation Project, led by field of landscape architecture. It will mainly describe excavation results of Gwiam(龜巖: Turtle rock) and historical value of it in terms of Nakseojae(樂書齋) restoration in Bogil-do Yun,Seondo Wonlim(Scenic Sites, No.34). Gwiam(Turtle rock) was found 14.6m apart from the north of Nakseojae, and it covered with 10~15m topsoil tilted toward Nakseojae, The size of Gwiam, which was Granite, was 360cm length, 270cm width, 95cm high. The Edge of Gwiam's North west part was of triangular shape forming Turtle head. The back of the Turtle head was form of Tortoise-shell because of wide backboard with both side groove. The southeast part of Gwiam projected was Turtle's tail. This Granite was obvious Turtle shape artificially made, and there are less likely to relocate from place to place. This Turtle-shaped Gwiam is important landmark for Nakseojae, which is one of the four spiritual creatures written in Bogildoji(甫吉島識) and Gosanyugo(孤山遺稿) by Yunwi. According to Bogildoji, it is estimated that Gwiam were on the axis with Soeunbyung(小隱屛), Nakseojae and was buried when Yiguan(Gosan's grandson) reconstructed a building. Also, it was place for enjoying the moon. But, Even after three times excavation in Nakseojae, there was no way to identify further information regarding Gwiam, so it was a matter of mystification. As a result of this study, Gwiam is laid bare to light in at least 260 years, so it is good example for boosting importance of landscape architecture field and restoring Nakseojae. Furthermore, firm base-soil was discovered in 135m high Rock Mass below, so natural ground of Nakseojae can be estimated by this basis. To be conclusion, Preservation Process for Gwiam and Estimation Space through interpretation of four spiritual creatures(四靈) in Gosan's Poetry should be continue.

• The Journal of Art Theory & Practice
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• no.8
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• pp.59-87
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• 2009

This thesis started from the attempt to make it clear that 80's American artist Keith Haring(1958-1990) had conducted social intervention of criticism, resistance, and participation through his works, and so pursued public value. Haring of graffiti fame left popular and familiar cartoon style pictures on the street wall, the billboards, the posters and so on. Popular and playful works was explained as his unique characteristics, but Haring's creative way at the field has more value than just being grasped as artist's personal characteristics. Haring's work pieces became everyday art by joining with people's life, and are working as a social speaking place. So I think that these Haring's art works possess characteristics of 'the public sphere'. 'The Public Sphere' means that is independent and free from the government or partisan economic forces, so that is not connected with the interested relations, and that is the sphere of rational argumentation without 'disguise' or 'fabrication', and that is the sphere where general public can participate in and is inspected by them. The public sphere between the sphere of public authority such a nation and a market and the private sphere of free individual, it is mutually connected with them and works as the space forming public opinion. Private individuals communicate with this public sphere and perform a role of direct and indirect check, balance, and social criticism way off from power. Openness that should include the voice of not only leading power but also the socially weak such as citizens, women, homosexuals, minority races, and so on, and alienated class, is an index of the public characteristics. The public sphere is not working just with speech and mass media. Many artists as well as Haring open their mouth and act through an art at the center of society, and create another public sphere by an art. I understood that the real participatory and practical characteristics on the Haring's work is a phenomenon and current of a part of the art world including Haring. Such current started from 1960s is the in-depth effort to be connected with the life more closely, to communicate with people, and to improve problems of life. And it has pursued public value on the different way from the nation or public power. Artists have intervened in the society with strategic and positive ways in order to raise pushed-out value and sinked rights as the public agenda, and labored to accept the value of variety and difference at the society. The aspect of such social intervention is the notable features, findable on the Haring's works and process. Haring's works include art historical meanings and are expressed with familiar and plastic language, so they were able to communicate with various classes. And he secured various customers at the field and the street. This communicative and public approach factor raised the possibility much for his works to work as the public sphere. Haring presented critical and resistant speech toward society with his works based on this factor. He asserted his position and justice of gender identity as a sexual minority. And his such work continued to movement for alienated class and social week over his own rights. His speech and message on the wall painting, poster, T-shirts, billboard of the subway, and so on worked as a spectacle and pressed concern with social issues and consciousness shift. And he's been trying to protect and care people who is injured by HIV and drug and to realize social justice through social week protection. Haring's works planned to meet many people as much as possible performed its role of intervening in society through criticism, resistance, speech, and participation, and controlling and checking social issues. These things considered, Haring's works show his consciousness about public attributes of art, and obviously include public value seeking. And also we can find the meaning of such his work as that an art is working as the public sphere and shows the possibility to discuss and practice public issues.

• Trans-
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• v.8
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• pp.95-127
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• 2020

This research is based on using Bartenieff Fundamentals to analyze the fundamentals of Tai Chi Chuan's movements in order to develop the methods of relaxation from Tai Chi Chuan's principle movement movements It also shows that the two techniques have commonalities in many ways. First of all, taking a philosophical approach on the body movements of Tai Chi Chuan and Bartenieff, for both methods the ultimate goal is the integration of mind and body. In other words, there is a thread of connection between the East's body and mind monism and the west's Body Awareness. Secondly, looking at it from a Breath Support standpoint as used in the Bartenieff method, the two methods both use the breathing to naturally move the body and relax the body. In Tai Chi Chuan the Breath is the basis of life and the strength of the Body. So the breathing of Tai Chi chuan is what makes body and mind communicate, harmonize and integrate. In other words, Breathing in Tai Chi is realized through mental fusion and affects the movements. This is the same as the Breath Support of Bartenieff. It is said that in every aspect the Breath Support of Bartenieff influences the movement and changes both the inner and outer form of the body. Thirdly, looking at the Core Support used in the Bartenieff method, both methods emphasize core. At the same time of moving and being conscious of one's core, the usage of muscles can be deeper rather than superficial and this enables strong and flexible movement. In Tai Chi Chuan abdominal muscles used when one coughs are consciously engaged through abdominal breathing and so strength is collected in the core. When one exercises like that the core becomes more stable and breathing becomes more smooth. Fourthly, analyzing the Rotary Factor used in the Bartenieff Fundamentals, they both use rotary movement to reach the goal of physical relaxation. The rotation factor of Bartenieff allows movement to be easier and more free because of the characteristic of joint exercise where the center axis moved in three dimensions, this is the same in Tai Chi chuan. According to Tai Chi chuan's circle and Spiral Movements, it can achieve the relaxation through switching into a seamless flow and access space as much as possible. Finally, when looking at Developmental Patterning through Bonnie Bainbridge Cohen's Body-Mind Centering Work theory, presented from Bartenieff developmental model are similar with the developmental process of Tai Chi chuan Breath, Core-Distal Connectivity/Navel Radiation, Head-Tail Connectivity/Spinal Movement, Upper-Lower Connectivity/Homologous, Body-Half Connectivity/Homo-Lateral Connectivity, Cross-Lateral Connectivity/Contra-Lateral Connectivity. They are all similar. In other words, in Tai Chi Chuan energy is gathered in the core through breathing, upper and lower body are connected through the spine, not only homo-laterally but also cross-laterally. Through this study the expression of the dance movements can be more natural. Additionally based on the Body Awareness balance usage of the central axis, joints and body can develop the relax technique.

• Journal of the Korean Chemical Society
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• v.37 no.2
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• pp.191-198
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• 1993

The crystal structures of $Cd_{6-}A$ evacuated at $2{\times}10^{-6}$ torr and $750^{\circ}C$ (a = 12.204(1) $\AA$) and dehydrated $Cd_{6-}A$ reacted with 0.1 torr of Cs vapor at $250^{\circ}C$ for 12 hours (a = 12.279(1) $\AA$) have been determined by single crystal X-ray diffraction techniques in the cubic space group Pm3m at $21(1)^{\circ}C.$ Their structures were refined to final error indices, $R_1=$ 0.081 and $R_2=$ 0.091 with 151 reflections and $R_1=$ 0.095 and $R_2=$ 0.089 with 82 reflections, respectively, for which I > $3\sigma(I).$ In vacuum dehydrated $Cd_{6-}A$, six $Cd^{2+}$ ions occupy threefold-axis positions near 6-ring, recessed 0.460(3) $\AA$ into the sodalite cavity from the (111) plane at O(3) : Cd-O(3) = 2.18(2) $\AA$ and O(3)-Cd-O(3) = $115.7(4)^{\circ}.$ Upon treating it with 0.1 torr of Cs vapor at $250^{\circ}C$, all 6 $Cd^{2+}$ ions in dehydrated $Cd_{6-}A$ are reduced by Cs vapor and Cs species are found at 4 crystallographic sites : 3.0 $Cs^+$ ions lie at the centers of the 8-rings at sites of $D_{4h}$ symmetry; ca. 9.0 Cs+ ions lie on the threefold axes of unit cell, ca. 7 in the large cavity and ca. 2 in the sodalite cavity; ca. 0.5 $Cs^+$ ion is found near a 4-ring. In this structure, ca. 12.5 Cs species are found per unit cell, more than the twelve $Cs^+$ ions needed to balance the anionic charge of zeolite framework, indicating that sorption of Cs0 has occurred. The occupancies observed are simply explained by two unit cell arrangements, $Cs_{12}-A$ and $Cs_{13}-A$. About 50% of unit cells may have two $Cs^+$ ions in sodalite unit near opposite 6-rings, six in the large cavity near 6-ring and one in the large cavity near a 4-ring. The remaining 50% of unit cells may have two Cs species in the sodalite unit which are closely associated with two out of 8 $Cs^+$ ions in the large cavity to form linear $(Cs_4)^{3+}$ clusters. These clusters lie on threefold axes and extend through the centers of sodalite units. In all unit cells, three $Cs^+$ ions fill equipoints of symmetry $D_{4h}$ at the centers of 8-rings.

• Economic and Environmental Geology
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• v.45 no.3
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• pp.317-333
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• 2012

The Yeongweol Group is a Lower Paleozoic mixed carbonate-siliciclastic sequence in the Taebaeksan Basin of Korea, and consists of five lithologic formations: Sambangsan, Machari, Wagok, Mungok, and Yeongheung in ascending order. Sequence stratigraphic interpretation of the group indicates that initial flooding in the Yeongweol area of the Taebaeksan Basin resulted in basal siliciclastic-dominated sequences of the Sambangsan Formation during the Middle Cambrian. The accelerated sea-level rise in the late Middle to early Late Cambrian generated a mixed carbonate-siliciclastic slope or deep ramp sequence of shale, grainstone and breccia intercalations, representing the lower part of the Machari Formation. The continued rise of sea level in the Late Cambrian made substantial accommodation space and activated subtidal carbonate factory, forming carbonate-dominated subtidal platform sequence in the middle and upper parts of the Machari Formation. The overlying Wagok Formation might originally be a ramp carbonate sequence of subtidal ribbon carbonates and marls with conglomerates, deposited during the normal rise of relative sea level in the late Late Cambrian. The formation was affected by unstable dolomitization shortly after the deposition during the relative sea-level fall in the latest Cambrian or earliest Ordovician. Subsequently, it was extensively dolomitized under the deep burial diagenetic condition. During the Early Ordovician (Tremadocian), global transgression (viz. Sauk) was continued, and subtidal ramp deposition was sustained in the Yeongweol platform, forming the Mungok Formation. The formation is overlain by the peritidal carbonates of the Yeongheung Formation, and is stacked by cyclic sedimentation during the Early to Middle Ordovician (Arenigian to Caradocian). The lithologic change from subtidal ramp to peritidal facies is preserved at the uppermost part of the Mungok Formation. The transition between Sauk and Tippecanoe sequences is recognized within the middle part of the Yeongheung Formation as a minimum accommodation zone. The global eustatic fall in the earliest Middle Ordovician and the ensuing rise of relative sea level during the Darrwillian to Caradocian produced broadly-prograding peritidal carbonates of shallowing-upward cyclic successions within the Yeongheung Formation. The reconstructed relative sea-level curve of the Yeongweol platform is very similar to that of the Taebaek platform. This reveals that the Yeongweol platform experienced same tectonic movements with the Taebaek platform, and consequently that both platform sequences might be located in a body or somewhere separately in the margin of the North China platform. The significant differences in lithologic and stratigraphic successions imply that the Yeongweol platform was much far from the Taebaek platform and not associated with the Taebaek platform as a single depositional system. The Yeongweol platform was probably located in relatively open shallow marine environments, whereas the Taebaek platform was a part of the restricted embayments. During the late Paleozoic to early Mesozoic amalgamations of the Korean massifs, the Yeongweol platform was probably pushed against the Taebaek platform by the complex movement, forming fragmented platform sequences of the Taebaeksan Basin.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.1
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• pp.40-52
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• 2016

Buyongjeong, a pavilion in the Rear Garden of Changdeok Palace, was appointed as Treasure No. 1763 on March 2, 2012, by the South Korea government since it shows significant symmetry and proportion on its unique planar shape, spatial configuration, building decoration, and so forth. However, the designation of Treasure selection was mainly evaluated by concrete science, in that the selection has not clearly articulated how and why Buoungjeong was constructed as a present unique form. Therefore, this study aims to clarify the identity of Buyongjeong at the time of construction by considering its historical, ideological, philosophical background and building intention. Summary are as follows: First, Construction backgrounds and characters of Buyongjeong: Right after the enthronement, King Jeongjo had founded Kyujanggak(奎章閣), and sponsored civil ministers who were elected by the national examination, as a part of political reform. In addition, he established his own political system by respecting "Kaksin(閣臣)", Kyujanggak's officials as much as "Kain(家人)", internal family members. King Jeongjo's aggressive political reform finally enabled King's lieges to visit King's Rear Garden. In the reign of King Jeongjo's 16th year(1792), Naekaksangjohoe(內閣賞釣會) based on "Kaksin" was officially launched and the Rear Garden visitation became a regular meeting. The Rear Garden visitation consisted of "Sanghwajoeoyeon(賞花釣魚宴)" - enjoying flowers and fishing, and activities of "Nanjeongsugye". Afterward, it eventually became a huge national event since high rank government officials participated the event. King Jeongjo shared the cultural activities with government officials together to Buyongjeong as a place to fulfill his royal politics. Second, The geographical location and spatial characteristics of Buyongjeong: On the enthronement of King Jeongjo(1776), he renovated Taeksujae. Above all, aligning and linking Gaeyuwa - Taeksujae - a cicular island - Eosumun - Kyujangkak along with the construction axis is an evidence for King Jeongjo to determine how the current Kyujangkak zone was prepared and designed to fulfill King Jeonjo's political ideals. In 17th year(1793) of the reign of King Jeongjo, Taeksujae, originally a square shaped pavilion, was modified and expanded with ranks to provide a place to get along with the King and officials. The northern part of Buyongjeong, placed on pond, was designed for the King's place and constructed one rank higher than others. Discernment on windows and doors were made with "Ajasal" - a special pattern for the King. The western and eastern parts were for government officials. The center part was prepared for a place where government officials were granted an audience with the King, who was located in the nortern part of Buyongjeong. Government officials from the western and eastern parts of Buyongjeong, could enter the central part of the Buyongjeong from the southern part by detouring the corner of Buyongjeong. After all, Buyongjeong is a specially designed garden building, which was constructed to be a royal palace utilizing its minimal space. Third, Cultural Values of Buyongjeong: The Buyongjeong area exhibits a trait that it had been continuously developed and it had reflected complex King's private garden cultures from King Sejo, Injo, Hyunjong, Sukjong, Jeongjo and so forth. In particular, King Jeongjo had succeded physical, social and imaginary environments established by former kings and invited their government officials for his royal politics. As a central place for his royal politics, King Jeongjo completed Buyongjeong. Therefore, the value of Buyongjeong, as a garden building reflecting permanency of the Joseon Dynasty, can be highly evaluated. In addition, as it reflects Confucianism in the pavilion - represented by distinguishing hierarchical ranks, it is a unique example to exhibit its distinctiveness in a royal garden.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.43-57
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• 2013

The purpose of this study is to identify potential semantic landscape makeup of "the Forty Eight Poems of Soswaewon" according to Yin-Yang and Five Elements Principle(陰陽五行論). that speculation system between human's nature and cosmical universal order. Existing academic discussions made so far concerning this topic can be summed up as follows: 1. Among Yin-Yang-based landscape makeups of the Forty Eight Poems of Soswaewon, poetic writings for embodiment of interactions between nature and human behaviors focused on depicting dynamic aspects of a poetic narrator when he appreciates or explores hills and streams as of to live free from worldly cares. Primarily, many of those writings were created on the east and south primarily through assignment of yang. On the other hand, poetic writings for embodiment of nature and seasonal scenery - as static landscape makeup of yin - were often created on or near the north and west for many times. Those writings focusing on embodiment of nature and artificial scenery as a work are divided into two categories: One category refers to author Kim In-hu's expression of semantic landscape from seasonal scenery in nature. The other refers to his depiction of realistic garden images as they are. In the Forty Eight Poems of Soswaewon, the poetic writings show that author Kim focused on embodying seasonal scenery rather than expressing human behaviors. In addition, both Poem No. 1 and Poem No. 48(last poem; titled 'Jangwon Jeyeong') were created in a same place, which author Kim sought to understand the place as a space of beginning and end where yin and yang - i.e. the principle of natural cycle - are inherent. 2. According to construction about landscape in the Forty Eight Poems of Soswaewon on the basis of Ohaeng-ron (five natural element principle), it was found that tree(木) and fire(火) are typical examples of a world combined by emanation. First, many of poetic writings depicting the sentiments of tree focused on embodying seasonal scenery and were located in the place of Ogogmun(五曲門) area in the east, from overall perspective of Soswaewon. The content of these poems shows generation and curve / straightness in flexibility and simplicity. Many of poems depicting the sentiments of fire(火) focused on embodying human behaviors, and they were created in Aeyangdan area on the south of Soswaewon over which sun rises at noon. These poems are all on a status of side movement that is characterized by emanation and ascension which belong to attributes of yang. 3. With regard to Ohaeng-ron's interpretation about landscape in the Forty Eight Poems of Soswaewon, it was found that metal(金) and water(水) are typical examples of world combined by convergence. First, it was found that all of poems depicting sentiments of metal focused on embodying seasonal scenery, and were created in a bamboo grove area on the west from overall perspective of Soswaewon. They represent scenery of autumn among 4 seasons to symbolize faithfulness vested in a man of virtue(seonbi) with integrity and righteousness. Poems depicting sentiments of water were created in vicinity of Jewoldang on the north, possibly topmost of Soswaewon. They were divided into two categories: One category refers to poems embodying actions of welcoming the first full moon deep in the night after sunset, and the other refers to poems embodying natural scenery of snowscape. All of those poems focused on expressing any atmosphere of turning into yin via convergence. 4. With regard to Ohaeng-ron's interpretation of landscape in the Forty Eight Poems of Soswaewon, it was found that poems depicting sentiments of earth(土), a complex body of convergence and emanation, were created in vicinity of mountain stream around Gwangpunggak which is located in the center of Soswaewon. These poems focused on carrying actions of author Kim by way of natural phenomena and artificial scenery.

• Korean Journal of Agricultural Science
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• v.3 no.1
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• pp.95-104
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• 1976

This study was conducted to test the harvesting operation of two kinds of rice varieties such as Milyang #15 and Tong-il with a imported two furrow Japanese combine and was performed to find out the operational accuracy of it, the adaptability of this machine, and the feasibility of supplying this machine to rural area in Korea. The results obtained in this study are summarized as follows; 1. The harvesting test of the Milyang #15 was carried out 5 times from the optimum harvesting operation was good regardless of its maturity. The field grain loss ratio and the rate of unthreshed paddy were all about 1 percent. 2. The field grain loss of Tong-il harvested was increased from 5.13% to 10.34% along its maturity as shown in Fig 1. In considering this, it was needed that the combine mechanism should be improved mechanically for harvesting of Tong-il rice variety. 3. The rate of unthreshed paddy of Tong-il rice variety of which stem was short was average 1.6 percent, because the sample combine used in this study was developed on basisof the long stem variety in Japan, therefore some ears owing to the uneven stem of Tong-il rice could nat reach the teeth of the threshing drum. 4. The cracking rates of brown rice depending mostly upon the revolution speed of the threshing drum(240-350 rpm) in harvesting of Tong-il and Milyang #15 were all below 1 percent, and there was no significance between two varieties. 5. Since the ears of Tong-il rice variety covered with its leaves, a lots of trashes was produced, especially when threshed in raw materials, and the cleaning and the trashout mechanisms were clogged with those trashes very often, and so these two mechanisms were needed for being improved. 6. The sample combine of which track pressure was $0.19kg/cm^2$ could drive on the soft ground of which sinking was even 25cm as shown in Fig 3. But in considering the reaping height adjustment, 5cm sinking may be afford to drive the combine on the irregular sinking level ground without any readjustment of the resaping height. 7. The harvesting expenses per ha. by the sample combine of which annual coverage area is 4.7 ha. under conditions that the yearly workable days is 40, percentage of days being good for harvesting operation is 60%, field efficiency is 56%, working speed is 0.273m/sec, and daily workable hours is 8 hrs is reasonable to spread this combine to rural area in Korea, comparing to the expenses by the conventional harvesting expenses, if mechanical improvement is supplemented so as to harvest Tong-il rice. 8. In order to harvest Tong-il rice, the two furrow combine should be needed some mechanical improvements that divider can control not to touch ears of paddy, the space between the feeding chain and the thrshing drum is reduced, trash treatment apparatus must be improved, fore and rear adjust-interval is enlarged, and width of track must be enlarged so as to drive on the soft ground.

• Journal of the Korean Chemical Society
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• v.43 no.4
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• pp.384-385
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• 1999

Two anhydrous crystal structures of fully dehydrated, $Ca^{2+}$- and $Tl^+$-exchanged zeolite X, TEX>$Ca_{18}Tl_{56}Si_{100}Al_{92}O_{384}($Ca_{18}Tl_{56}$-X;\alpha=24.883(4)\AA)$ and TEX>$Ca_{32}Tl_{28}Si_{100}Al_{92}O_{384}($Ca_{32}Tl_{28}$-X;\alpha=24.973(4)\AA)$ per unit cell, have been determined by single-crystal X-ray diffraction techniques in the cubic space group Fd3 at $21(1)^{\circ}C.$ $Ca_{18}Tl_{56}-X$ was prepared by ion exchange in a flowing stream of 0.045 M aqueous $Ca(NO_3)_2$ and 0.005 M $TlNO_3$. $Ca_{32}Tl_{28}-X$ was prepared similarly using a mixed solution of 0.0495 M $Ca(NO_3)_2$ and 0.0005M $TlNO_3$. Each crystal was then dehydrated at 360 $^{\circ}C$ and $2{\times}10^{-6}$ Torr for 2 days. Their structures were refined to the final error indices, $R_1=0.039\;and\;R_2=0.036$ with 382 reflections for $Ca_{18}Tl_{56}-X$ , and $R_1=0.046\;and\;R_2=0.045$ with 472 reflections for $Ca_{32}Tl_{28}$-X for which $/>3\sigma(I).$ In the structures of dehydrated $Ca_{18}Tl_{56^-}X\;and\;Ca_{32}Tl_{28}$-X, $Ca^{2+}\;and\;Tl^+$ ions are located at six crystallographic sites. Sixteen $Ca^{2+}$ ions fill the octahedral sites I at the centers of double six rings ($Ca_{18}Tl_{56}$-X:Ca-O=2.42(1) and O-Ca-O=93.06(4)$^{\circ}$; $Ca_{32}Tl_{28}$-X Ca-O=2.40(1) $\AA$ and O-Ca-O=93.08(3)$^{\circ}$). In the structure of $Ca_{18}Tl_{56}$-X, another two $Ca^{2+}$ ions occupy site II (Ca-O=2.35(2) $\AA$ and O-Ca-O=111.69(2)$^{\circ}$) and twenty six $Tl^+$ ions occupy site II opposite single six-rings in the supercage; each is 1.493 $\AA$ from the plane of three oxygens $(Tl-O=2.70(8)\AA$ and O-Tl-O=92.33(4)$^{\circ}$). About four $Tl^+$ ions are found at site II',1.695 $\AA$ into sodalite cavity from their three oxygen plane (Tl-O=2.81 (1) and O-Tl-O=87.48(3)). The remaining twenty six $Tl^+$ ions are distributed over site III'(Tl-O=2.82 (1) $\AA$ and Tl-O=2.88(3)$^{\circ}$). In the structure of $Ca_{32}Tl_{28}$-X, sixteen $Ca^{2+}$ ions and fifteen $Tl^+$ ions occupy site III' (Ca-O=2.26(1) $\AA$ and O-Ca-O=119.14(4)$^{\circ}$; Tl-O=2.70(1) $\AA$ and O-Tl-O=92.38$^{\circ}$) and one $Tl^+$ ion occupies site II'. The remaining twelve $Tl^+$ ions are distributed over site III'. It appears that $Ca^{2+}$ ions prefer sites I and II in that order and $Tl^+$ ions occupy the remaining sites.