• Asian-Australasian Journal of Animal Sciences
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• v.30 no.6
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• pp.865-871
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• 2017

Objective: The aim was to evaluate carcass characteristics, cut yield, and meat quality in lambs that were fed different inclusion levels of palm kernel cake. Methods: Forty-five woolless castrated male Santa $In{\hat{e}}s$ crossbred sheep with an initial average body weight of $23.16{\pm}0.35kg$ were used. The experimental design was a completely randomized design with five treatments, with palm kernel cake in the proportions of 0.0%, 7.5%, 15.0%, 22.5%, and 30.0% with nine replications per treatment. After slaughter, the gastrointestinal tract was weighed when it was full, after which it was then emptied. The heart, liver, kidney, pancreas perirenal fat were also collected and weighed. The carcass was split into two identical longitudinal halves and weighed to determine the quantitative and qualitative characteristics. Results: The empty body weight, carcass weight and yield, and fat thickness decreased linearly (p<0.05) as a function of palm kernel inclusion in the diet. There was no difference (p>0.05) for the rib eye area of animals that were fed palm kernel cake. There was a reduction in the commercial cut weight (p<0.05), except for the neck weight. The weights of the heart, liver, kidney fat, small, and large intestine, and gastrointestinal tract decreased. Nevertheless, the gastrointestinal content was greater for animals that were fed increasing levels of cake. For the other organs and viscera, differences were not verified (p>0.05). The sarcomere length decreased linearly (p<0.05), although an effect of the inclusion of palm kernel cake was not observed in other meat quality variables. It is worth noting that the red staining intensity, indicated as A, had a tendency to decrease (p = 0.050). Conclusion: The inclusion of palm kernel cake up to 30% in the diet does not lead to changes in meat quality characteristics, except for sarcomere length. Nevertheless, carcass quantitative characteristics decrease with the use of palm kernel cake.

• The Research Journal of the Costume Culture
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• v.7 no.6
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• pp.129-139
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• 1999

This paper analyzes the trend of fashion and make-up in 1990s and their relevancy to each other. Based on the chronological analysis, we propose a new category for the fashion and make-up trend in 1990s, which is 1) traditional ecology period(1990∼1994), 2) versatile trial or decadent period(1995∼1997), and 3) soft landing period based on the minimal neo-ecology and romanticism(1998∼2000). Between 1990 and 1994, there was no differentiation in seasons. It appeared that spring/summer and fall/winter trend have had no big differences. At the beginning in 1990s, it was basically based on ecology concept that emphasizes the natural image. However after 1995, seasonal differences in trend are appeared and there were various make-up designs. The trends of spring/summer in 1996 could be named as color revolution period that emphasized the unique and individual expression of each person. In 1997, black, pastel, and brown colors were the result of reinterpreting the classic and sexy images of 1960s to natural and modernistic image of 1997. Purple color started to be introduced to us. In 1998, pastel tone, pink, and purple color expresses the glamorous look based on the romantic feminism. S/S of 1999 is mainly represented by minimalism and avant garde. For fall/winter trends, brown color lines make-up comes to mix with romantic image and developed into wine, orange, neon colors in 1995 and 1996. These colors were the symbol of property and sentiment. Gold make-up emphasizing the eye area was the tendency of that period. In 1997, the fear of coming end of century was expressed as decadent image. At that time, ethnic and romantic image appeared with vivid color lines, gold, red and violet. In 1998, romanticism was popular again with modernism and ethnic mood. It expressed the romantic elegant image. The trend has returned to the ecology mood again in 1999. This ecology is somewhat different from the previous ecology. It adds a sofistaiced feeling and sportic fashion. To express natural and sportic image, they choose pink blush. In coming 2000 as a new millennium, the yellow color will be main the stream to express vision, dream, and happiness in both fashion and make-up as an accent color. The minimal design and minimal tools will be used for the design and make-up, respectively. In addition, the fusion concept will dominate the fashion and make-up industry in the globalized and boundariless age. Through this paper, we hope that make-up can be accepted as a part of total fashion in its relationship with other elements such as shoes, clothes and accessory and that it can be considered as a independent art that has direct influence on people and industry.

• Korean Journal of Environmental Biology
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• v.17 no.4
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• pp.379-387
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• 1999

During the past several decades, electricity generating plant increased with remarkable rapidity in Korea. Recently the increase has been much more rapid as the rate of industrialization has accelerated. Construction of nuclear power plants in coastal areas inevitably caused the perturbation of critical coastal habitats and thus influenced marine algal species composition. Particularly, an increase in the building of nuclear power plants led the amounts of heat discharged to increase exponentially. As far as the effects of cooling water and thermal discharges are concerned, benthic marine algae are likely to be vulnerable to a discharge. Heated effluents from nuclear power plants, with the temperature rises of 7~12$^{\circ}C$ under normal operating and design conditions, are discharged through the discharge canal and into natural water bodies. It is clear that the characteristic marine algal community is developed in the area affected by the thermal discharges; i.e. low species richness and low species diversity. Nevertheless, it is worthwhile to note that elevated temperatures exert differential effects depending on the algal populations. Benthic marine algae grown at the discharge canal can be regarded as warm tolerant species. 35 species (4 blue-green, 9 green, 8 brown and 14 red algae) of marine algae occurred more than 20eye frequency at discharge canal of three nuclear power plants in the east coast during 1992 ~ 1998 and thus can be categorized as warm tolerant species in Korea. To minimize the ecological impacts of waste heat on benthic marine algae, it is recommended that, in the future, nuclear power plants will have to employ some form of closed-cycle cooling for the condensers.

• The Research Journal of the Costume Culture
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• v.6 no.1
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• pp.84-93
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• 1998

The main focus of this paper is to provide clear understanding about the concept of make-up as total fashion by defining the essential meaning of it. First, we would like to go over the concept of make-up and total fashion, then analyze the make-up image, the changes of colors and images of make-up overtime and fashion that have influenced over those changes. In this paper, we analyze the trend of fashion and make-up in 1990s and their relevancy. Through this paper we hope that make-up can be accepted as a part of total fashion in its relationship with other elements such as shoes, clothes and accessory and that it can be considered as a independent art that has direct influence on people. The trend of Spring/Summer between 1990 and 92is the image of natural beauty and comfortable and modernistic image that can be experienced through nature. In 1992, there was a revival look of 1960s and 1970s. Make-up also followed this trend. The overall color tone was to give natural and stable images with pastel tone to soften the images. This tone brought back the ecology of 1960s. The theme of restoration in humanity and nostalgia was reflected in clothing, and these trend changed the ecology of make-up to peace, love and romantic ecology which was expressed in coral, blue, and green tone to create intelligent image of woman. Year 1996 could be called as color revolution period that emphasized the unique and individual expression of each person. In 1997, black, pastel and brown colors were the result of reinterpreting the classic and sexy images of 1960s to natural and modernistic image of 1997. Purple color started to be introduced to us. The beginning of 1990s Fall/Winter season was based on ecology concept that emphasized the natural image. Until 1995 it appeared that spring/summer and fall/winter trend had no big differences. But from 1995 seasonal differences in trend are appeared and there were various make-up designs. In 1995, 1996, brown color lines make-up comes to mix with romantic image and developed into wine, orange, neon colors. These color were the symbol of property and sentiment and gold make-up emphasizing the eye area was the tendency of that period. In 1997, the fear of coming end of century was expressed as decadent image and at that time ethnic image, romantic image appeared with vivid color lines, gold, red and violet.

• Journal of the Korean Institute of Telematics and Electronics S
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• v.35S no.8
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• pp.1-11
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• 1998

One of the desired features for the realizations of high quality Information and Telecommunication services in future is "the Sensation of Reality". This will be achieved only with the visual communication based on the 3- dimensional (3-D) moving images. The main difficulties in realizing 3-D moving image communication are that there is no developed data transmission technology for the hugh amount of data involved in 3-D images and no established technologies for 3-D image recording and displaying in real time. The currently known stereoscopic imaging technologies can only present depth, no moving parallax, so they are not effective in creating the sensation of the reality without taking eye glasses. The more effective 3-D imaging technologies for achieving the sensation of reality are those based on the multiview 3-D images which provides the object image changes as the eyes move to different directions. In this paper, a multiview 3-D imaging system composed of 8 CCD cameras in a case, a RGB(Red, Green, Blue) beam projector, and a holographic screen is introduced. In this system, the 8 view images are recorded by the 8 CCD cameras and the images are transmitted to the beam projector in sequence by a signal converter. This signal converter converts each camera signal into 3 different color signals, i.e., RGB signals, combines each color signal from the 8 cameras into a serial signal train by multiplexing and drives the corresponding color channel of the beam projector to 480Hz frame rate. The beam projector projects images to the holographic screen through a LCD shutter. The LCD shutter consists of 8 LCD strips. The image of each LCD strip, created by the holographic screen, forms as sub-viewing zone. Since the ON period and sequence of the LCD strips are synchronized with those of the camera image sampling adn the beam projector image projection, the multiview 3-D moving images are viewed at the viewing zone.

• Journal of the Institute of Electronics and Information Engineers
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• v.50 no.9
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• pp.127-135
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• 2013

In order to acquire images in low-light environments, it is usually necessary to adopt long exposure times or resort to flash lights. However, flashes often induce color distortion, cause the red-eye effect and can be disturbing to subjects. On the other hand, long-exposure shots are susceptible to subject-motion, as well as motion-blur due to camera shake when performed hand-held. A recently introduced technique to overcome the limitations of traditional low-light photography is that of multi-spectral flash. Multi-spectral flash images are a combination of UV/IR and visible spectrum information. The general idea is that of retrieving details from the UV/IR spectrum and color from the visible spectrum. However, multi-spectral flash images themselves are subject to color distortion and noise. This works presents a method to compute multi-spectral flash images so that noise can be reduced and color accuracy improved. The proposed approach is a previously seen optimization method, improved by the introduction of a weight map used to discriminate uniform regions from detail regions. The weight map is generated by applying canny edge operator and it is applied to the optimization process for discriminating the weights in uniform region and edge. Accordingly, the weight of color information is increased in the uniform region and the detail region of weight is decreased in detail region. Therefore, the proposed method can be enhancing color reproduction and removing artifacts. The performance of the proposed method has been objectively evaluated using long-exposure shots as reference.

• Journal of Conservation Science
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• v.29 no.4
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• pp.297-309
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• 2013

Iron objects become corroded at fast speed from the moment when they are excavated, so it is needed to control corrosion through processes of conservation treatment. However, re-corrosion mostly takes place in excavate iron objects, although they have already gone through the process of conservation treatment, and it is more difficult to carry out the second conservation treatment of re-corroded excavated iron objects than the first conservation treatment, and it requires a longer period of time to treat them as well. In this study, aims to discover factors of re-corrosion by scientifically analyzing corrosion products generated during the process of storage after the process of conservation treatment. The finished on conservation treatment of the iron artifacts, which were unearthed from three ancient site in Gyeongju by using the same conservation method between 2002 and 2009, re-corrosion condition observed on the packaging-iron artifacts. Focused on 9 target forged iron artifacts among them, this study analyzed the physical changes by mass measurement, naked-eye and microscopic observations and the chemical changes by SEM-EDS, XRD, IC and ICP analysis. The results show that the yellowish brown corrosion products formed on the facing surface of part dropped from the artifacts had different associated forms but acicular shape. In addition, the acicular shape became clearer as the color changed from red to yellowish brown. According to the process when the conservation treatment was completed, the mass of the artifacts increased in proportion to the corrosion products and the chloride ion ($Cl^-$) concentration had a tendency to increase relatively. ${\beta}$-FeOOH (akaganeite) was confirmed in the XRD analysis for the corrosion products of all the collected samples. As a result of ICP analysis, $Na^+$ and $Ca^{2+}$ components were confirmed.

• Journal of Fashion Business
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• v.5 no.2
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• pp.15-34
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• 2001

Ornaments are accessories for the decoration of the body or dress. They aren't unavoidably required one, but serve to make one's dress perfect as decorative industrial art objects. In Morocco, ornaments were initially used as a sign of social position or the class or an incantatory symbol. In effect, they were originally employed to adjust one's dress, not just for decoration, and they were of use for household economy. Gold, silver and handcraft available for exchange were a means of increasing one's property and an indication of social standing and wealth. In particular, the dress and jewelry of a bride was a measure of her family's wealth, regarded as a symbol of her chastity and value. The ornaments symbolically back up people's faith in supernatural power, and their real value is based on implicit form or way of decoration, not the external shape. Specifically, there is a tendency to use the form of animal as a protector, not one to frighten people. In the artistic tradition of Morocco, fish pattern stands for water and rain, and eagle and bird are considered to be related to fate. Scorpion and lizard are depicted as an inquirer of sun, and snake is a symbol of abundance and sexual instinct, being viewed to have an ability to cure disease. Turtle pattern is a symbol of saint because it protects one from the evil. The ornaments are made of gold, silver, amber, clam, garnet, glass, nielle, enamel, glaze, coral or tree, and symbolic patterns are used, including hand(a symbol of five numerals), turtle, lizard, scorpion, eye, triangle, bird and eggs. They are very big and diverse, being categorized into ornaments for the head or the chest, neckless, fibula, earring, bracelet and ring. For Moroccans, make-up is a sort of instinctive behavior to meet aesthetic and sexual desire. They also wear make-up for practical purpose of protection, intentionally inflict a wound on the skin for ceremonial or religious purpose, paint the skin with pigment, or have the part of the body tattooed for incantatory purpose. All this actions are regarded as make-up. The raw material of cosmetics is aker, a vegetable dye. They get the lips or cheeks turn red and paint eyebrows with yellow saffran powder to have a bad devil lose its strength. Tattooing is mainly done by women and viewed as a sign of their value or social organization they belong to. Sometimes that is used to represent a woman's being old enough to marry or getting married already or the frequency of marriage. Besides, tattoo is believed to prevent or remedy loose bowels or cough, depending on its location or pattern, and they often change tattoo according to the change of beauty art.

• Conservation Science in Museum
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• v.14
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• pp.37-60
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• 2013

Conservation and analysis of wall painting Goguryeo was performed to classify the unknown fragments. The conservation naked eye observation, optical microscopy, and infrared examination were carried out in order to figure out the structure, quality of constituting materials, and damages such as cracks, and discolored fragments of colored areas. Based on such investigation, conservation was proceeded. and it was completed with strengthening the weakened pigment layer of wall blocks. In addition tombs where the wall painting fragments were excavated were investigated by making comparison with gelatin dry plates and copies possessed by National Museum of Korea. According to the result, they were Kaemachong, Gosan-ri Tomb No.1 Gamsinchong, and Wonbong-ri Tomb. The components of colors with which Goguryeo wall painting fragments were painted and the mineral pigments of the wall layer were analyzed. Portable µ-XRF spectrometer and X-ray diffractometer were employed. It showed that lime (CaCO₃) used for the wall layer, and the brown color is hematite(Fe₂O₃) and cerusite (PbCO₃) and lead oxide(PbO) were identified. In the red color, cinnabar (HgS) were detected.

• English & American cultural studies
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• v.14 no.1
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• pp.95-116
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• 2014

Paul Auster's The Locked Room, the third novel of The New York Trilogy, has been examined by many critics in terms of anti-detective fiction or postmodernism. However, this paper focuses upon how the author adopts and utilizes some key elements of the traditional detective novel and its literary tradition. Mystery storytelling is one of Auster's literary strategies and the theme of the double is another. For his novel Auster explores the theme of the double as in Poe's "William Wilson." In The Locked Room, the narrator "I" is described as a shadow of his childhood friend Fanshawe. After Fanshawe's disappearance "I" becomes a literary agent for his friend, and becomes a husband of his friend's wife and a father of his friend's child. Searching for information to write a biography of his friend, he realizes that his friend has always been living inside his skull condemned to a mystical solitude. When Fanshawe appears in the narrator's mind as an image of the door of a locked room, the locked room is also a metaphor for the closed consciousness of the narrator. In his strategy of mystery storytelling, Auster employs the quest of detective fiction as well as the irony of Oedipus the King, where the criminal pursued by the king turns out to be himself. The Locked Room starts with the mystery of Fanshawe's disappearance, and as the novel develops, the narrator pursues numerous clues about his biographical subject like a private eye. Ironically, however, he finds that the ghost of Fanshawe has always been with him and that this is inevitable. As the narrator resolves to quit his life as a double, he contrives to name a strange man Fanshawe as if he tries to turn his biographical subject into a fictional character in the same way Fanshawe has controlled the narrator like a character in Fanshawe's novel. Beaten by the fictional Fanshawe and recovering from a near-death experience, the narrator prepares for his final showdown with Fanshawe. The transcendence of his existence as a double is epitomized by his act to tear off the red notebook handed to him by Fanshawe, which confusingly delivers a message that a life is doomed to be a failure. The narrator's act to cut off Fanshawe's influence bespeaks his breaking out of his locked consciousness and a new start for his life with his own identity.