• Journal of Dairy Science and Biotechnology
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• v.29 no.2
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• pp.25-35
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• 2011

The objectives of this study were to evaluate the sensory characteristic quality of commercial milk brands selling in the market under the preservation at the temperature of $7^{\circ}C$ and $10^{\circ}C$ stored during the period of shelf-life. Quantitative descriptive analysis after developing of descriptive terms and cluster characterization by PCA analysis over a total of 128 LTLT, HTST, UHT and UHT-ESL milks, were conducted by 8 trained panelists. A total of fourteen attributes; three aroma attributes (grassy, milky, cultured milk aroma) and seven flavor/taste attributes (sweet, salty, sour, milk, cooked, cheesy, paper board) and one aftertaste attributes (rancid flavor) and one texture attributes (viscous), were developed as descriptive terms. Significant differences (P<0.01) in the sensory attributes; sweet, milky, cheesy etc. in UHT milk and sour, cheesy, paper board, rancid etc. in UHT-ESL milk were also found between the two different temperatures within the shelf life, but both type of pasteurized milk samples (LTLT and HTST) showed significant differences (P<0.01) in the attributes, such as cultured milk aroma, salty, sour, cheesy, rancid in LTLT milk and grassy, milky, salty in HTST milk and difference (P<0.05) in cultured milk aroma for HTST milk. Therefore, from the viewpoint of not only hygienic quality but also sensory characteristics, it is required for the better acceptance of milk consumers to amendment on the regulation in relation to the preservation standard of pasteurized milk as well as UHT milk to lower than $7^{\circ}C$.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.319-357
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• 2014

Formation of 'body schema' is the start for actor to create role and becomes the root and the foundation of existing as a role on the stage. For this, an actor needs to form 'scheme of role' with escaping from own 'body schema.' 'Schema of role' is formed by acquiring through synthesizing daily basic actions, namely, walking, standing, sitting, hand stretching, bending, and touching. The body schema, which was made with simple and usual actions, has fundamental significance in a sense of becoming the body in which the past traces in a role are habituated while energy as a role flows. As for the process of forming body schema, an actor first needs to obtain the visualized materials like photo, magazine, picture and image available for seeing a role specifically and clearly based on what analyzed a character. An actor needs to have three-dimensional image available for always recalling it in the head during acting. To do this, image data available for fundamentally capturing routine actions along with body structure are still more useful. Next, the body schema is formed by interaction with environment. Thus, there is a need of passing through the two-time process of forming body schema. Firstly, the body schema is made on routine actions in a role as physical condition of a role in actor's own everyday life. Secondly, the body schema is made on routine actions available for moving efficiently and economically in line with the environment of performance. A theatrical stage is the temporal space of rhythm and rule different from routine space. What forms body schema immediately in the second phase without body schema in the first phase ultimately becomes what exists as actor's own body, not the body of a role. The body schema, which was formed as the second process, is what truly has identity as a role in the ontological aspect, comes to experience the oppositional force in muscle, a qualitative change in energy, and emotional agitation in the physical aspect, and experiences perception, thinking, volition, and even consciousness with the entire body in the cognitive dimension. Thus, the formation of body schema can be known to be just a method of changing even spiritual and emotional layer. Body schema cannot be made if there is no process of embodiment and habit. Embodiment and habit are not simply the repeated, empty and mechanical action in the body. But, habit itself has very important meanings for forming body schema for role creating. First, habit allows the body itself to learn and understand a meaning. Second, habit relies upon environment, thereby allowing an actor of making the habituated body schema to recognize environment. Third, habit makes the mind. The habituated body schema is just the mind and the ego of a person who possesses the body schema. Fourth, habit comes to experience the expansion in energy and the expansion in existence. It may be experienced through interrelation among actor's body, tool, and environment. Fifth, habit makes identity of the body. Hence, this just becomes what secures identity of a role. These implications of habit are the formation of body schema, which is maintained with the body of being remembered firmly through being closely connected with the process of neural adaptation. Finally, it sought for possibility of practice as one method of forming body schema for role creating through Deleuze's '-becoming' theory. As 'actual animal-becoming' is real '-becoming' of forming structural transformation in the physical dimension, it meets with what the formation of body schema pursues actuality and reality. This was explained with a concept as saying of 'all '-becoming' molecular' by Deleuze/Guattari. 'Animal of having imitated animal's characteristic- becoming' is formed by which the body schema relies upon environment. In this way, relationship among the body, tool and environment has influence even upon a change in consciousness, thinking, and emotion, thereby being able to be useful for forming body schema in a sense of possibly experiencing ultimately expansion in role, namely, expansion in existence.

• Journal of Intelligence and Information Systems
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• v.27 no.1
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• pp.151-176
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• 2021

As the information technology industry develops, various kinds of data are being created, and it is now essential to process them and use them in the industry. Analyzing and utilizing various digital data collected online and offline is a necessary process to provide an appropriate experience for customers in the industry. In order to create new businesses, products, and services, it is essential to use customer data collected in various ways to deeply understand potential customers' needs and analyze behavior patterns to capture hidden signals of desire. However, it is true that research using data analysis and UX methodology, which should be conducted in parallel for effective service development, is being conducted separately and that there is a lack of examples of use in the industry. In thiswork, we construct a single process by applying data analysis methods and UX methodologies. This study is important in that it is highly likely to be used because it applies methodologies that are actively used in practice. We conducted a survey on the topic to identify and cluster the associations between factors to establish customer classification and target customers. The research methods are as follows. First, we first conduct a factor, regression analysis to determine the association between factors in the happiness data survey. Groups are grouped according to the survey results and identify the relationship between 34 questions of psychological stability, family life, relational satisfaction, health, economic satisfaction, work satisfaction, daily life satisfaction, and residential environment satisfaction. Second, we classify clusters based on factors affecting happiness and extract the optimal number of clusters. Based on the results, we cross-analyzed the characteristics of each cluster. Third, forservice definition, analysis was conducted by correlating with keywords related to happiness. We leverage keyword analysis of the thumb trend to derive ideas based on the interest and associations of the keyword. We also collected approximately 11,000 news articles based on the top three keywords that are highly related to happiness, then derived issues between keywords through text mining analysis in SAS, and utilized them in defining services after ideas were conceived. Fourth, based on the characteristics identified through data analysis, we selected segmentation and targetingappropriate for service discovery. To this end, the characteristics of the factors were grouped and selected into four groups, and the profile was drawn up and the main target customers were selected. Fifth, based on the characteristics of the main target customers, interviewers were selected and the In-depthinterviews were conducted to discover the causes of happiness, causes of unhappiness, and needs for services. Sixth, we derive customer behavior patterns based on segment results and detailed interviews, and specify the objectives associated with the characteristics. Seventh, a typical persona using qualitative surveys and a persona using data were produced to analyze each characteristic and pros and cons by comparing the two personas. Existing market segmentation classifies customers based on purchasing factors, and UX methodology measures users' behavior variables to establish criteria and redefine users' classification. Utilizing these segment classification methods, applying the process of producinguser classification and persona in UX methodology will be able to utilize them as more accurate customer classification schemes. The significance of this study is summarized in two ways: First, the idea of using data to create a variety of services was linked to the UX methodology used to plan IT services by applying it in the hot topic era. Second, we further enhance user classification by applying segment analysis methods that are not currently used well in UX methodologies. To provide a consistent experience in creating a single service, from large to small, it is necessary to define customers with common goals. To this end, it is necessary to derive persona and persuade various stakeholders. Under these circumstances, designing a consistent experience from beginning to end, through fast and concrete user descriptions, would be a very effective way to produce a successful service.

• Journal of Sericultural and Entomological Science
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• v.23 no.1
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• pp.1-31
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• 1981

Rootability of the hardwood cuttings of mulberry was related not only histological characteristics but dependent on biochemical properties. In this connection, the characteristics of the hardwood cuttings were histologically observed and the growth substances produced by the cuttings were also identified by means of mung bean bioassay. Amino acid, carbohydrate, nucleic acid contents, and the C/N ratio were also analysed. The results are summarized as follows. 1. There were differences in rootability of cuttings between mulberry species and varieties Among the three mulberry species tested, Morus Lhou Koidz. showed the highest rootability while M. bombycis showed the lowest one. In varietal differences in rootability, it was shown that the varieties could be grouped according to rootability: high varieties(above 80%), medium(41~79%), and low(below 40%). The higher varieties were Kemmochi, Nakamaki, Kosen, and Wusuba roso. 2. The histological characteristic of the hardwood cuttings most closely related to rootability was cell layer arrangement in the sclerenchyma tissue. The lower rootability varieties developed two or three overlapping cell layers in the bark tissue and in the higher rootability varieties they were scattered over the primary cortex. 3. In the higher rootability varieties, there was a positive correlation between the development of root primodia and rootability of the hardwood cuttings. It was also shown that there was a close relationship between the size of primodia and the surface area of the lenticel with rootability of the cuttings. 4. Effect of growth substances extracted from the hardwood cuttings were determined by mung bean bioassay. The higher rootability varieties usually showed higher activities of the growth substances, in contrast the lower rootability varieties showed higher activities of the inhibitory substances. 5. It was evident that the substance separated by paper chromatography was identified as indole acetic acid with $R_f$ value ranging from 0.3 to 0.5. The other substances detected at a $R_f$ value ranging from 0.8 to 1.0 and origin to 0.1 were also responsible for rooting. 6. There exists a quantitatively different distribution of growth substances in a synergistic system in the tissues of cuttings, and the balance between growth and inhibitory substances gives rise to the development of rooting. Particularly, no descent of the substances from winter buds resulted in no rooting of cuttings but these substances were produced a week after planting in a warm environment. 7. It was shown that there were positive correlations between carbohydrate ($r=0.72^*$) and total sugar ($r=0.67^*$) and rootability, respectively, but there were negative correlations between reducing sugars ($r=-0.75^*$) and rootability. 8. High C/N ratio gave rise to high rootability($r=0.67^*$). The latter therefore depended on high amount of carbohydrate rather than nitrogen in the cuttings. 9. The content of RNA and DNA in the cuttings was not changed for upto two weeks after the cuttings were planted. Then an increase in RNA content took place in only the high rootability varieties. 10. There were quantitative and qualitative differences in the compositions of the amino acids between the high rootability varieties and the low rootability varieties. More aspartic acid and cystine were found in the higher rootability varieties than in the low rootability varieties.

• Asia Marketing Journal
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• v.12 no.4
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• pp.27-54
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• 2011

This research attempted to present the efficiency of culture marketing to the organizations producing culture-art products and to the companies utilizing art and suggest the practical viewpoints to the culture and art policy agencies. The methodology used was to take an in-depth look at the consumer value cognition and benefits of culture-art products in contemporary consumption culture from a social context by conducting a total of 12 Focus Group Interviews, consisting of 58 males and females in their 10s~50s who can represent culture-art product consumers. The culture-art products refer to the artist's spiritual, actual act of creating or to the end products with economic exchange value. They are also sense goods and merit goods that affect the mental state of consumers. By looking at culture-art products as consumer merit goods, this research examined consumer value cognition of culture-art products based on the characteristics culture-art products. As a result, this research determined that consumers view culture-art products largely as 'aesthetic and sensuous merit goods', 'actual and individual merit goods', and 'social public property'. As 'aesthetic and sensuous merit goods', culture-art products are considered as the products of an artist's creative activities; as 'social public property', culture-art products have a public value in terms of ownership; and as 'actual and individual merit goods', culture-art products act on the spirit and reality of a consumer in terms of consumption. As a result of analyzing the benefits of culture-art products based on the above-mentioned consumer value cognition, it was observed that the benefits of culture-art-product consumption are chiefly divided into 'aesthetic character-oriented', 'social relationships-oriented', and 'individual benefits-oriented' depending on how consumers see culture-art products. A 3-conceptional structures model was constructed according to the relationship between consumer value cognition of culture-art products and the benefits. This research revealed that consumers who pursue the aesthetic value or sense of beauty as the central reason experience culture-art products themselves, enjoy intellectual quests, and pursue their satisfaction by expressing affection for and interests in culture-art products. On the other hand, consumers who pursue social value as the central reason as a means of communication by perceiving culture-art products as a public property of society, pursue sympathy with people close to them through the symbolic power of culture-art product consumption or the joy of self-display. Consumers who perceive art products as spiritual and actual merit goods and pursue consumer value as a central reason want to express their own personality, develop themselves, and differentiate themselves or identify themselves with others in the context of social relations for the ultimate goal of living a happy and satisfied life while pursuing to satisfy imminent and actual necessities as emotional stability and rest. The fact that culture-art product benefits could vary according to how a consumer perceives them implies that consumer value cognition of culture-art products and their benefits significant affect consumers' decision in choosing and consuming various culture-art products. It turned out that such benefits from the consumption of culture-art products reflect the complex contemporary consumption culture of rational consumption, symbolic consumption, experiential consumption, and social reflective consumption. This research identified conceptional structures of consumer value cognition on culture-art products and benefits that can be used for studying and understanding culture-art products consumers who pursue a variety of consumption values. They can also be used by private companies in utilizing art, as well as by national agencies in enhancing the population's quality of life. However, since this research could only conceptually grasp consumer perception of culture-art products and reveal the dimension of classification due to its own limitations arising from characteristic investigation, quantitative data on the benefits of culture-art product consumers should be measured in future studies through a quantitative investigation, while using the value cognition of culture-art products and the individual characteristics of consumers as variables based on this research.