Positron Annihilation Spectroscopy of Active Galactic Nuclei
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- Journal of Astronomy and Space Sciences
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- v.36 no.1
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- pp.21-33
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- 2019
This paper focuses on the interpretation of radiation fluxes from active galactic nuclei. The advantage of positron annihilation spectroscopy over other methods of spectral diagnostics of active galactic nuclei (therefore AGN) is demonstrated. A relationship between regular and random components in both bolometric and spectral composition of fluxes of quanta and particles generated in AGN is found. We consider their diffuse component separately and also detect radiative feedback after the passage of high-velocity cosmic rays and hard quanta through gas-and-dust aggregates surrounding massive black holes in AGN. The motion of relativistic positrons and electrons in such complex systems produces secondary radiation throughout the whole investigated region of active galactic nuclei in form of cylinder with radius R= 400-1000 pc and height H=200-400 pc, thus causing their visible luminescence across all spectral bands. We obtain radiation and electron energy distribution functions depending on the spatial distribution of the investigated bulk of matter in AGN. Radiation luminescence of the non-central part of AGN is a response to the effects of particles and quanta falling from its center created by atoms, molecules and dust of its diffuse component. The cross-sections for the single-photon annihilation of positrons of different energies with atoms in these active galactic nuclei are determined. For the first time we use the data on the change in chemical composition due to spallation reactions induced by high-energy particles. We establish or define more accurately how the energies of the incident positron, emitted
This study evaluated the degree of interaction between the people and the environment using perceived naturalness measure. The seventh-grade index of Hemeroby was divided into subclasses of land cover according to degrees of human influence. The grade was standardized for each indicator to evaluate the current state of urban parks in Seoul by applying probability density function and weight. User evaluation was conducted on six distinctive parks selected. In the results, three implications were found between spatial evaluation according to the perceived naturalness. First, park users evaluated highly for the spaces such as broad-leaved forest, coniferous forest and mixed forest evaluated highly in the Hemeroby grade index. Park users generally recognized that various types of trees in the area had high naturalness. The density of trees is one of the factors in perceived naturalness. Second, water spaces were highly evaluated for naturalness in the Hemeroby grade index. However, the perceived naturalness of water spaces such as inland wetlands, pond and reservoir evaluated in various ways depending on environmental conditions around the park. Third, perceived naturalness is easily evaluated through vertical landscape elements such as trees rather than horizontal landscapes such as grassland. The perceived naturalness is similar to the naturalness evaluation using land cover. However the study found the perceived naturalness for a specific space was different from the Hemeroby index. Perceived naturalness by the user includes the content that the individual sees, hears, and experiences. Park users are usually structuring naturalness through evaluating the value of urban green spaces based on personal perception. Therefore there is no absolute standard criterion for evaluating the naturalness of urban green spaces. A deeper study is needed that considers user bundles or user groups with conflicting interests on the perceived naturalness in urban parks. These studies will be essential data on the direction of naturalness urban park service should provide.
This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.
We carried out the sensitive high resolution ion microprobe (SHRIMP) zircon U-Pb age dating and whole-rock geochemical analysis of granitoids and felsic porphyries in the Ssangyong Valley, Yongchu Valley, and Mungyeong Saejae geosites in the Mungyeong Geopark. The igneous rocks crop out in the western, northwestern and central parts of the Mungyeong city area, respectively, and intruded (meta)sedimentary successions of the Ogcheon Metamorphic Belt, Cambro-Ordovician Mungyeong Group and Jurrasic Daedong Group. The U-Pb isotopic compositions of zircon from two felsic porphyries and one granite samples in the Ssanyeong Valley yielded the Cretaceous intrusion ages of 93.9±3.3 Ma (tσ), 95.1±4.0 Ma (tσ) and 94.4±2.0 Ma (tσ), respectively. On the other hand, a felsic dike sample and a granite in the Yongchu Valley and a porphyritic granite in the Mungyeong Saejae had intrusion ages of 90.2±2.0 Ma (tσ), 91.0±3.0 Ma (tσ) and 88.6±1.5 Ma (tσ), respectively. Based on the average standard error calculated in combination with results of previous studies in this area (Lee et al., 2010; Yi et al., 2014; Aum et al., 2019), the geochronological results show that spatial variation in intrusion age of ~5 Myr between the Ssangyong (94.5±0.2 Ma) and Yongchu Valleys (89.7±0.4 Ma) is apparent. The geochemical compositions of major and trace elements in the samples showed an affinity of typical post-orogenic granite, indicating their petrogenesis during the late stage of Early Cretaceous magmatic activity possibly in association with subduction events of the Izanagi Plate.
This study requires a strict distinction between the sculptures we call 'Jangseung' because their origins, history, or functions are different from each other. Therefore, a theoretical consideration was made through the origin and history of Jangseung. Currently, Jangseung is widely distributed throughout the country, but the Honam region shows the largest distribution, and 73 out of 167 locations nationwide remain in the Chungcheongnam-do region. Among these, there are 54 stone jangseungs in Jeollanam-do, 37 in Jeollabuk-do, and 19 in Jeollabuk-do. In particular, the original shape of the stone jangseungs in the Honam region is well preserved, and as a center of the agricultural economy, the jangseung culture is active in this region. It was popular, and many stone jangseungs were built in the Daejeon area amid social changes in the late Joseon Dynasty. However, in the South Chungcheong region, there is not much culture about stone jangseungs, but there is a village meaning and consciousness that stone jangseungs have, but it is true that research on stone jangseungs is insufficient in various aspects. Among them, the form of the stone jangseung built between the 17th and 19th centuries is a sculpture that contrasts with the wooden pillar-type jangseung that is common in the central region, and shows the simple mentality of the people of the Daejeon region without any embellishment. Through Jangseung, we were able to discover the unconscious and potential creativity of national aesthetic consciousness. Therefore, the purpose is to trace the change process of the stone jangseung in the Daejeon area, investigate the functional aspects of this structure, and based on this, examine the various current status and locational characteristics of the so-called stone jangseung. In addition, the wooden figures and stone statues that are now commonly known as Jangseung were each erected in different times and for different reasons. Centering around Daejeon, the study attempted to research and identify representative stone monuments or 'stone jangseungs' that appear as stone statues, and even suggest their form through locational characteristics and suggestions. As a result, traditional jangseungs have changed in various forms as times change, reaching their present form, and the religious elements of modern jangseungs made and erected today are weakened or disappeared, and are used as symbolic symbols or sculptures of tradition. Although it has lost its traditional function as an object of village faith, it functions as a milestone or sign at the entrance to a village or event site, or as an exhibition in special places. It was found that the modern jangseung is a representative symbol of Korean traditional culture and is being re-created as an artistic sculpture that expresses common, simple, natural beauty and humor. Therefore, through this study, based on more specific and systematic investigation and research on the jangseung, it was materialized into a more developed form considering its utilization plan to prevent miscellaneous spirits from entering the village through the currently existing stone jangseung and to improve the spatial space accordingly. It is believed that what is located at the entrance can greatly convey its meaning. Therefore, it is judged necessary to maintain the strong characteristics of folk religion without the sophistication of foreign religions for various deities.
The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.
The wall shear stress in the vicinity of end-to end anastomoses under steady flow conditions was measured using a flush-mounted hot-film anemometer(FMHFA) probe. The experimental measurements were in good agreement with numerical results except in flow with low Reynolds numbers. The wall shear stress increased proximal to the anastomosis in flow from the Penrose tubing (simulating an artery) to the PTFE: graft. In flow from the PTFE graft to the Penrose tubing, low wall shear stress was observed distal to the anastomosis. Abnormal distributions of wall shear stress in the vicinity of the anastomosis, resulting from the compliance mismatch between the graft and the host artery, might be an important factor of ANFH formation and the graft failure. The present study suggests a correlation between regions of the low wall shear stress and the development of anastomotic neointimal fibrous hyperplasia(ANPH) in end-to-end anastomoses. 30523 T00401030523 ^x Air pressure decay(APD) rate and ultrafiltration rate(UFR) tests were performed on new and saline rinsed dialyzers as well as those roused in patients several times. C-DAK 4000 (Cordis Dow) and CF IS-11 (Baxter Travenol) reused dialyzers obtained from the dialysis clinic were used in the present study. The new dialyzers exhibited a relatively flat APD, whereas saline rinsed and reused dialyzers showed considerable amount of decay. C-DAH dialyzers had a larger APD(11.70
The wall shear stress in the vicinity of end-to end anastomoses under steady flow conditions was measured using a flush-mounted hot-film anemometer(FMHFA) probe. The experimental measurements were in good agreement with numerical results except in flow with low Reynolds numbers. The wall shear stress increased proximal to the anastomosis in flow from the Penrose tubing (simulating an artery) to the PTFE: graft. In flow from the PTFE graft to the Penrose tubing, low wall shear stress was observed distal to the anastomosis. Abnormal distributions of wall shear stress in the vicinity of the anastomosis, resulting from the compliance mismatch between the graft and the host artery, might be an important factor of ANFH formation and the graft failure. The present study suggests a correlation between regions of the low wall shear stress and the development of anastomotic neointimal fibrous hyperplasia(ANPH) in end-to-end anastomoses. 30523 T00401030523 ^x Air pressure decay(APD) rate and ultrafiltration rate(UFR) tests were performed on new and saline rinsed dialyzers as well as those roused in patients several times. C-DAK 4000 (Cordis Dow) and CF IS-11 (Baxter Travenol) reused dialyzers obtained from the dialysis clinic were used in the present study. The new dialyzers exhibited a relatively flat APD, whereas saline rinsed and reused dialyzers showed considerable amount of decay. C-DAH dialyzers had a larger APD(11.70
Go bears significant meanings in terms of cultural and entertaining functions in Asia Eastern such as China and Japan. Beyond the mere entertaining level, it produces philosophical and mythic discourse as well. As a part of effort to seek an identity of Korean traditional garden culture, this study traced back to find meanings of rock-go-board and taste for the arts which ancestors pursued in playing Go game, through analysis and interpretation of correlation among origin of place name, nearby scenery, carved letters and vicinal handed-down place name. At the same time, their position, shape and location types were interpreted through comprehensive research and analysis of stone-go-boards including rock-go-board. Particularly, it focused on the rock names related to Sundoism(仙道) Ideal world, fixed due to a connection between traces of Sundoism and places in a folk etymology. Series of this work is to highlight features of the immortal sceneries, one of traditional landscaping ideals, by understanding place identity and scenic features of where the rock-go-boards are carved. These works are expected to become foundation for promotion and preservation of the traditional landscaping remains. The contents of this study could be summarized as follows; First, round stone and square board for round sky and angled land, black and white color for harmony of yin and yang and 361paths for rotating sky are symbols projecting order of universe. Sayings of Gyuljungjirak(橘中之樂), Sangsansaho(商山四皓), Nangagosa(爛柯故事) formed based on the idea of eternity stand for union of sky and sun. It indicates Go game which matches life and nature spatiotemporally and elegant taste for arts pursuing beauty and leisure. Second, the stone-go-boards found through this research, are 18 in total. 3 of those(16.1%), Gangjin Weolnamsaji, Yangsan Sohanjeong and Banryongdae ones were classified into movable Seokguk and 15(83.9%) including Banghakdong were turned out to be non-movable rock-go-boards carved on natural rocks. Third, upon the result of materializing location types of rock-go-boards, 15 are mountain stream type(83.9%) and 3 are rock peak type(16.1%). Among those, the one at Sobaeksam Sinseonbong is located at the highest place(1,389m). Considering the fact that all of 15 rock-go-boards were found at mountainous areas lower than 500m, it is recognizable that where the Go-boards are the parts of the living space, not far from secular world. Fourth, there are 7 Sunjang(巡將) Go with 17 Hwajeoms(花點), which is a traditional Go board type, but their existences, numbers and shapes of Hwajeom appear variously. Based on the fact, it is recognizable that culture of making go-board had been handed down for an extended period of time. Among the studied rock-goboards, the biggest one was Muju Sasunam[