• (The) Research of the performance art and culture
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• no.36
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• pp.693-724
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• 2018

This article was started to find a way for creating a performance out of Gut. In order to find such way, the first thing that had to be done was to organize the Gut performances that had been made until now. It was to organize the existing study on the performances and to seek a different way from it, believing that the virtue of a performance is to 'create diversity'. However, it was not easy to organize the Gut performances, which became full-scale in the 1980s, because they were never organized before. Therefore, based on my direct and indirect experience, I have organized the most important performances in chronological order. Most importantly, as the planners of the performances (can sometimes be a group or an organization instead of an individual) are the ones who make the show possible, I have noted on them with keen interest. The National Folk Art Performance Contests in Korea, Theater 'Space Sarang', The Association of Gut, Theater 'Madangsesil', Seoul Nori Madang, and National Gugak center were the center space and planning body of the Gut performances. Recording the history of Gut is a worthwhile work of its own. However, it is a substantial amount of task to be done with individual effort, and it has to be progressed as a public project in order to promote and spread its value. Therefore, this article raises the need for it. Meanwhile, as stated earlier, this article has recorded the history of Gut performances as a precondition to finding a way to create a performance out of Gut. From the experimental organization of the Gut performances history, I could find out that most of the performances had the people who did Gut as the main body and the method of the Gut performance did not significantly deviate from just reenacting the original Gut at the time of when it was performed. Therefore, I have introduced Shinmyeong, the Nori-Pae (troupe), and TheGwangdae, the Korean Traditional Performance troupe, who create Madangguk from various Gut materials. By refining the wholly complicated performance elements of the Gut, it could escape from the 'reenacting' performance to becoming a material or a metaphor for a whole new performance.

• Cross-Cultural Studies
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• v.50
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• pp.395-424
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• 2018

The purpose of this paper is to examine the current situation and background of the Russian consumer music market, where digital music sources are making great strides in the noted recent years. In addition, music storage technology, media and change are considered together in this report. Moreover, Russia is the 12th largest music market in the world. The Russian music industry is following the recent trend of the global music industry, where the digital music market is growing rapidly on many different levels. The explosive growth of the digital sound sources in Russia's music industry is attributed to the explosive increase in available consumer downloads, streaming sound source service, and the increase in the number of digital sound sources using mobile technologies due to the development of the Internet. In particular, the sales of the available and accessible streaming sound sources are expected to grow explosively by the year 2020, which is expected to account for more than 85% of total digital music sales. In other words, the spread of smartphones and the resulting changes in the lifestyle of the Russians have created these changes for the global consumer of music. In other words, the time has come for anyone to easily access music and listen to music without a separate audio or digital player. And the fact that the Russian government's strong policy on the eradication of illegal copying of music is becoming an effective deterrent, as is also the factor that led to the increase of the share of the digital sound source to increase sales in Russia. Today, the Russian music industry is leading this change through the age and process of simply adapting to the digital age. Music is the most important element of cultural assets, and it is the beneficial content, which drives the overall growth of the digital economy. In addition, if the following five improvements(First, strengthen the consciousness of the Russian people about copyright protection; Second, utilizing the Big Data Internet resources in the digital music industry; Third, to improve the monopoly situation of digital music distributors; Fourth, distribution of fair music revenues; and Fifth, revitalization of a re-investment in the current Russian music industry) are effective and productive, Russia's role and position in the world music market is likely to expand.

• Cross-Cultural Studies
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• v.52
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• pp.277-312
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• 2018

First-order cybernetics during the 1940s and 1950s aimed for control of an observed system, while second-order cybernetics during the mid-1970s aspired to address the mechanism of an observing system. The former pursues an objective, subjectless, approach to a system, whereas the latter prefers a subjective, personal approach to a system. Second-order observation must be noted since a human observer is a living system that has its unique cognition. Maturana and Varela place the autopoiesis of this biological system at the core of second-order cybernetics. They contend that an autpoietic system maintains, transforms and produces itself. Technoscientific recreation of biological autopoiesis opens up to a new step in cybernetics: what I describe as third-order cybernetics. The formation of technoscientific autopoiesis overlaps with the Fourth Industrial Revolution or what Erik Brynjolfsson and Andrew McAfee call the Second Machine Age. It leads to a radical shift from human centrism to posthumanity whereby humanity is mechanized, and machinery is biologized. In two versions of the novel Demon Seed, American novelist Dean Koontz explores the significance of technoscientific autopoiesis. The 1973 version dramatizes two kinds of observers: the technophobic human observer and the technology-friendly machine observer Proteus. As the story concludes, the former dominates the latter with the result that an anthropocentric position still works. The 1997 version, however, reveals the victory of the techno-friendly narrator Proteus over the anthropocentric narrator. Losing his narrational position, the technophobic human narrator of the story disappears. In the 1997 version, Proteus becomes the subject of desire in luring divorcee Susan. He longs to flaunt his male egomaniac. His achievement of male identity is a sign of technological autopoiesis characteristic of third-order cybernetics. To display self-producing capabilities integral to the autonomy of machinery, Koontz's novel demonstrates that Proteus manipulates Susan's egg to produce a human-machine mixture. Koontz's demon child, problematically enough, implicates the future of eugenics in an era of technological autopoiesis. Proteus creates a crossbreed of humanity and machinery to engineer a perfect body and mind. He fixes incurable or intractable diseases through genetic modifications. Proteus transfers a vast amount of digital information to his offspring's brain, which enables the demon child to achieve state-of-the-art intelligence. His technological editing of human genes and consciousness leads to digital standardization through unanimous spread of the best qualities of humanity. He gathers distinguished human genes and mental status much like collecting luxury brands. Accordingly, Proteus's child-making project ultimately moves towards technologically-controlled eugenics. Pointedly, it disturbs the classical ideal of liberal humanism celebrating a human being as the master of his or her nature.

• Food Engineering Progress
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• v.15 no.4
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• pp.404-412
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• 2011

The purpose of this study is to prepare extruded rice flours suitable for baking rice cookies. The extruded rice flours were prepared at 100 and 130$^{\circ}C$ temperature and 25 and 27% moisture content in a co-rotating twin screw extruder. The rice extrudates were dried at 100$^{\circ}C$ for 18 hr and subsequently ground into the fine flour. Characteristics of the extruded rice flours were examined by rapid visco analysis, hydration property analysis, differential scanning calorimetry (DSC), and in vitro digestion test. Water absorption, solubility, and swelling power of all extruded rice flours were higher than those of native rice flour. DSC analysis showed that native rice flour had a peak at about 65$^{\circ}C$ while all extruded rice flours did not show any peaks since they were already gelatinized during the extrusion proess. Viscosity of the extruded rice flours decreased with increasing temperature and lowering moisture content in the extrusion proess. The extruded rice flours prepared at 130$^{\circ}C$ exhibited lower viscosity than those prepared at 100$^{\circ}C$. The operating temperature of the extrusion proess was critical for the starch digestion in vitro. The extruded rice flours prepared at 130$^{\circ}C$ showed a rapid decrease in digestible starch content while an increased level of slowly digestible starch content was observed compared to those treated at 100$^{\circ}C$ in the extruder. Cookies were prepared with a mixture of wheat flour and extruded rice flours at the ratio of 7 to 3. The cookies made with the extruded rice flours had lower spread factor and darker yellow color than those prepared with wheat flour only. Hardness of the extruded rice flour-added cookies was similar to that of the wheat flour cookie whereas their overall acceptance was better. Therefore the rice cookies partially supplemented with extruded rice flours may have a potential as early childhood foods which require soft texture and allergy reduction.

• Korean Journal of Environmental Agriculture
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• v.37 no.4
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• pp.268-276
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• 2018

BACKGROUND: In the month of January 2018, fine dust alerts and warnings were issued 36 times for $PM_{10}$ and 81 times for PM2.5. Air quality is becoming a serious issue nation-wide. Although interest in air-purifying plants is growing due to the controversy over the risk of chemical substances of regular air-purifying solutions, industrial spread of the plants has been limited due to their efficiency in air-conditioning perspective. METHODS AND RESULTS: This study aims to propose a vegetation-based bio-filter system that can assure total indoor air volume for the efficient application of air-purifying plants. In order to evaluate the quantitative performance of the system, time-series analysis was conducted on air-conditioning performance, indoor air quality, and comfort index improvement effects in a lecture room-style laboratory with 16 persons present in the room. The system provided 4.24 ACH ventilation rate and reduced indoor temperature by $1.6^{\circ}C$ and black bulb temperature by $1.0^{\circ}C$. Relative humidity increased by 24.4% and deteriorated comfort index. However, this seemed to be offset by turbulent flow created from the operation of air blowers. While $PM_{10}$ was reduced by 39.5% to $22.11{\mu}g/m^3$, $CO_2$ increased up to 1,329ppm. It is interpreted that released $CO_2$ could not be processed because light compensation point was not reached. As for the indoor comfort index, PMV was reduced by 83.6 % and PPD was reduced by 47.0% on average, indicating that indoor space in a comfort range could be created by operating vegetation-based bio-filters. CONCLUSION: The study confirmed that the vegetation-based bio-filter system is effective in lowering indoor temperature and $PM_{10}$ and has positive effects on creating comfortable indoor space in terms of PMV and PPD.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.90-119
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• 2019

The purpose of this study is to investigate the significance of Buddhist stone art in the cultural zone of Mt. Bukhan. Mt. Bukhan witnessed the prevalence of Buddhist culture in and around it since the introduction of Korean Buddhism and served as the center of Buddhist culture in the nation, where new Buddhist temples continued to be built from the Three Kingdoms Period to the Joseon Period. Of the characteristics of its Buddhist culture, it is very noteworthy that the construction of military temples in and around it in the latter half of Joseon supported the function of Buddhist temples as basic places of worship. These military temples were closely related to the mountain's geopolitical location, traffic routes, and position in the national defense system-- its mountain fortress was an important defense facility. The stone art works of Mt. Bukhan can be categorized into various types, including stone stupas, stone pagodas, rock-carved Buddhas, stone Buddhas, towers and monuments (stone monuments), stone lanterns, flagpole supports, and rock-carved sarira pagodas. There are diverse types of stone art left on the mountain. As for its period characteristics, it is clear that the Buddhist art of Silla spread even to the Gyeonggi region, and that most of the works of stone art were created during the first half of Goryeo and the latter half of Joseon. Starting in Goryeo, the Buddhist temples of the mountain maintained close relations with the royal court by operating as the royal buddhist shrine for the royal family. In the latter part of Joseon, the construction of the Bukhan mountain fortress became the most important opportunity to produce stone art. As for the distribution of the stone artwork, it was usually created in the west part of the mountain from Unified Silla to the first half of Goryeo and in the southern and eastern parts of the mountain from the latter half of Goryeo to the latter half of Joseon. It is estimated that central Buddhist temples of the mountain changed due to Silla's military goal of advancing toward the west coast along the Han River in its early days and the construction of the Bukhan mountain fortress in the latter half of Joseon to protect the capital city. Finally, the stone art of Mt. Bukhan holds very high significance in art history because various types of stone art continued to be created on and around the mountain, the stone artwork of the mountain reflected representative styles for each period, and e rare and ofthe works produced on the mountain exemplified rare and unique styles.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.104-121
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• 2018

The purpose of this paper is to contribute to a more comprehensive understanding of the Buddhist art in Jeju which has rarely been in the mainstream discussions about the Korean art by focusing on the statues of Jabok Mireuk, or Maitreya of Wealth and Fortune. The Buddhist art in Jeju reached its heyday during the late phase of the Goryeo period (918-1392). The imperial court of Yuan (1271-1368) established Beophwasa, one of its guardian temples which was also a "complementary temple" of Goryeo (918-1392). In 1296, the community of monks based in Myoryeonsa Temple published the Jeju edition of the Buddhist canon granted by the royal court of Goryeo, contributing to the foundation of the island's academic culture. Other items representing the heyday of the Buddhist art of Jeju include the Vajra Guardian carved on the greenschist pagoda of Sujeongsa Temple built during the late Goryeo period and the Five-story Stone Pagoda of Bultapsa Temple made from the locally obtained basalt rock during the early $14^{th}$ century. The Buddhist art of Jeju during the Joseon period (1392-1910) is represented by Jabok Mireuk, or Maitreya of Wealth and Fortune, a pair of stone statues of Maitreya Buddha carved to feature three aspects of the Maitreya worship spread among the local folks in the period. Each of the statues is in a peaked cap and official's robe and characterized by bulging eyes comparable to those of the Buddhist guardian deities such as the Vajra guardian who were designed to protect a sacred area against evil forces. The Maitreya statues provide valuable sources of knowledge about the types of Maitreya adopted by the worshippers of local folk religion in the Joseon period. The Jabok Mireuk statues in Jeju can be easily compared with the Two Rock-carved Standing Buddhas in Yongmi-ri, Paju (1471), and the two standing stone Buddhas in Daeseongsa Temple in Okcheon (ca 1491) and on the Sipsinsa Temple site in Gwangju in that they all wear peaked caps in the "treasure canopy" style which gained popularity during the early Joseon period. One may conclude then that these statues are related with the Neo-Confucian elites who wanted the Joseon dynasty they established to prosper under the auspices of the Buddha of the Future. Interestingly, the enshrinement of the stone Buddha of Daeseongsa Temple is presumed to have been participated by Yuk Han who had served as the Governor (Moksa) of Jeju, suggesting its connection with the Jabok Mireuk despite the regional difference in their style.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.190-205
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• 2016

Buddhist stupas, which are a symbolic architecture of Buddhism and enshrine the Jinsinsari of Buddha, were reinvented as stone stupas appropriate for the natural soil of Korea from existing wooden stupas around the 7th century after the introduction of Buddhism. Later, the construction of a stone stupa was expanded to local areas from the central area around the 9th century; thus, stone stupas of more diverse local colors were built in a nationwide scale, and today it is called a "country of stone stupas". While focusing on the stylistic interchanges between stone stupas, which were established in each region in accordance with the localization of the establishment of stone stupas that was begun actively from the 9th century, this paper selected several cases of stone stupas among about 50 stone stupas in the Gangwondo-region. First, the study compared the stone stupas and Buddhist priest tower of Seollimwonji, Jinjeonsaji, and Geodonsaji, which are located at the same temple site as the current Buddhist priest tower, from among typical Silla style stupas that match the 9 stone stupas in the Gangwon-do region. This is because stylistic interchanges were possible while there were mutually organic relationships between Buddhist statues such as stone stupas, Buddhist priest towers, stone lanterns, and Buddhist pedestals, which used the same stone material along with the expansion of Buddhism to local areas in accordance with the spread of Zen Buddhism in the 9th century. Second, a comparison was made of the stylistic similarities between the Woljeongsa Palgakgucheong (eight sides nine-storied) stone stupa and the Sinboksaji Samcheung (three-storied) stone stupa, which are totally different in regard to the number of stories and the flat form. These two stone stupas are representative Goryeo stone stupas. The Woljeongsa stone stupa is a Goguryeo-oriented stone stupa with many sided multiple stories whereas the Sinboksaji stone stupa has been known as an early case of the insertion of the support of Tapsin in each story. Although the two stone stupas may look very different, but through close investigation it was confirmed that there were many stylistic interchanges between them and not only the seated stone Buddha statue in the cylinder jewel case in front of the stupa but also the stone stupa established by the same master. Consequently, this paper aimed not merely to mention the simple patterns of stone stupas, but, further, to trace the interchange in patterns in accordance with the construction period based on those patterns.

• Journal of Life Science
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• v.29 no.6
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• pp.671-678
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• 2019

Antibacterial and antioxidant activities of plant sources have attracted a wide range of interest across the world over the last decade. This is due to the growing concern for safe and alternative sources of antibacterial and antioxidant agents. In this study, we focused on the antibacterial and antioxidant activities and the chemical composition of a methanol extract from Viburnum sargentii seeds. The chemical composition was determined by gas chromatography-mass spectroscopy (GC-MS), and the antibacterial activity was screened by a disc diffusion assay. The minimum inhibitory concentration (MIC) and minimum bactericidal concentration (MBC) were determined using the microbroth dilution and spread plate method, respectively. The V. sargentii extract showed growth inhibition activity on all tested Gram-positive (Listeria monocytogenes, Staphylococcus aureus, and Staphylococcus saprophyticus) and Gram-negative (Escherichia coli, Pseudomonas putida, and Proteus vulgaris) pathogenic bacteria. The MIC and MBC ranged from 0.156~1.25 mg/ml for Gram-positive and 0.625~5.0 mg/ml for Gram-negative tested bacteria. The GC-MS results revealed the presence of several phytochemicals such as ${\beta}-sitosterol$ and vitamin E, which are known for their pharmacological applications. The antioxidant activities of V. sargentii extract were investigated by three different methods: the 2,2-diphenyl-1-picrylhydrazyl free radical scavenging assay, the reducing power assay, and the total antioxidant capacity assay. The results showed a concentration-dependent antioxidant potential for all three used methods. In sum, our findings suggest that the methanol extract of V. sargentii seeds has the potential to inhibit the growth of pathogenic bacteria and provide antioxidant compounds, making it therefore worthy of further investigation.

• Journal of the Korea Organic Resources Recycling Association
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• v.27 no.2
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• pp.19-30
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• 2019

Objective of this study was to develop an organic fertilizer utilizing domestic livestock horn meal and to investigate the application effect of rice and eggplant. The possibility of utilization of livestock horn meal as an organic resource to replace imported expeller cake fertilizer was examined. In order to select domestic organic resources with high nitrogen content, 8 kinds of organic matter such as chicken manure, fish meal, soybean meal, sesame meal, perilla meal, blood meal, livestock horn meal, and beer sludge were analyzed and organic resources with high nitrogen content were selected. In addition, the conditions for the production of organic fertilizers that can be used in organic agriculture were established by mixing of the rice husk biochar and the rice bran as the supplements with the raw materials for mixing ratios. The content of total nitrogen (T-N) in the livestock horn meal was 12.0 %, which was the next low in 13.5 % blood meal. The content of total nitrogen was 5.9 ~ 7.9 % in fish meal and oil cakes. Total nitrogen content of non-antibiotic chicken manure for organic farming was 3 % and nitrogen content in beer sludge was 3.5 %. Organic fertilizer was produced by using biochar, rice bran as a main ingredient of non-antibiotic chicken manure, livestock horn meal and beer sludge. Compared to nitrogen content (4.0 to 4.2 %) of imported expeller cake fertilizer (ECF), the nitrogen content of organic fertilizer utilizing domestic livestock horn meal is as high as 7.5 %. The developed organic fertilizer is met as Zn 400 mg/kg, Cu 120 mg/kg the quality of organic agricultural materials such as or less. To investigate the effect of fertilizer application on the crops, prototypes of developed organic fertilizer were used for the experiment under selected conditions. As a result of application the developed organic livestock horn meal fertilizer (LHMF) for cultivation of the rice and eggplant, the application quantity of the developed organic LHMF 100 % was decreased by 40 % compared to that of the mixed expeller cake fertilizer (MECF). The application of LHMF, which refers to the application rate corresponding to the nitrogen fertilization recommended by the soil test, was reduced by 40% compared to the application rate of MECF, but the same results were obtained in crop growth and yield. The selection of a new high concentration nitrogen source utilizing domestic organic resources and the development of organic fertilizer is the starting point of the research for substitution of imported ECF using domestic local resources at the present time that the spread of eco-friendly agriculture is becoming increasingly important. If it is expanded in the future, it is expected to contribute to the stable production of eco-friendly agricultural products.