• The Journal of Art Theory & Practice
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• no.5
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.195-202
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• 2001

The stage facilities in the western culture originates in the scientifically planned Open Air Theater built in BC 3C and magnificent theaters built in the era of Rome. These buildings are the remains that reveal popularization of the play. Furthermore, the facilities continued to flourish in the medieval to the Industrial Revolution as stage art actualizing designers' imagination. Diverse systems developed in industrial technology have been transferred to the stage, and the balance between industrial and cultural art has been endeavored to be achieved. The conversion methods of the stage has been developing in various forms. Domestic stage setting arrangement techniques and material exploitation have also been developing. Therefore, in reality, it is very difficult to grasp the definite trend. Additionally, as for the stage system in Korea, plays are dependently directed by directors and stage artists. It is concluded that the current state should be understood based on actual examples to meet solve these problems. The purpose of the study is to provide basic data for stage facilities planning. To do this, how the stage system of large performance halls can be used in accordance with performance condition of the grounds in Korea and frequent scene changes is given a special attention. With this background, the surroundings of the stage and conversion system are examined.

• Journal of the Korean Ceramic Society
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• v.43 no.9 s.292
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• pp.537-543
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• 2006

Length change, hydration heat, setting time and compressive strength of OPC were measured by adding KCl and replacing limestone powder so as to examine the influence of limestone powder on hydration of the OPC contained much chloride. In general, the chloride modified cement was high in heat of hydration, short in its setting time, low in its fluidity and low in its strength at 28 days due to the sudden hydration in its initial stage. As a result of the experiment, it has been demonstrated that heat of hydration, became low as one replaced limestone powder to the chloride modified cement, and the fluidity and shrinkage rate of mortar decreased without change in setting time; furthermore, the compressive strength at 28 days was improved.

• Textile Coloration and Finishing
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• v.2 no.3
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• pp.1-7
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• 1990

The crystallinity and dyeability of PET filament were studied when the conditions of drawing and heat-setting were varied. The crystaltinity of PET filament was increased as the drawing ratio and heatsetting temperature were increased. The dye uptake and dyeing rate of PET filament were decreased as the drawing ratio was increased. With increasing the heat-setting temperature, however, the dye uptake and dyeing rate were decreased at an early stage, showing the minimum at $160^{\circ}C-180^{\circ}C$ and then increased above that temperature. The thermal shrinkage of PET filament was decreased as the drawing ratio was increased, while increasing as the heat-setting temperature was increased.

• The Transactions of the Korean Institute of Electrical Engineers A
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• v.50 no.9
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• pp.424-430
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• 2001

A multi-level optimal power flow(OPF) algorithm has been evolved from a simple two stage optimal Power flow algorithm for constrained power economic dispatch control. In the proposed algorithm, we consider various constraints such as ower balance, generation capacity, transmission line capacity, transmission losses, security equality, and security inequality constraints. The proposed algorithm consists of four stages. At the first stage, we solve the aggregated problem that is the crude classical economic dispatch problem without considering transmission losses. An initial solution is obtained by the aggregation concept in which the solution satisfies the power balance equations and generation capacity constraints. Then, after load flow analysis, the transmission losses of an initial generation setting are matched by the slack bus generator that produces power with the cheapest cost. At the second stage we consider transmission losses. Formulation of the second stage becomes classical economic dispatch problem involving the transmission losses, which are distributed to all generators. Once a feasible solution is obtained from the second stage, transmission capacity and other violations are checked and corrected locally and quickly at the third stage. The fourth stage fine tunes the solution of the third stage to reach a real minimum. The proposed approach speeds up the two stage optimization method to an average gain of 2.99 for IEEE 30, 57, and 118 bus systems and EPRI Scenario systems A through D testings.

• Korean Journal of Agricultural and Forest Meteorology
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• v.21 no.4
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• pp.269-276
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• 2019

A semi-greenhouse experiment with field grown soybean (Glycine max L. cv Deawon, Uram, Jinpong, Soyon, Pungsangnamul, and Haewon) was performed in 2018. The experiment was aimed to investigate individual impacts of drought stress on soybean characteristic and seed yield. The three treatments were used in non-water stress (Control) during the soybean growth season, vegetative stage stress (VS), and flowering period stress (FS). Leaf number, LAI, leaf nitrogen concentration, and leaf biomass were decreased by drought at R4. In our study, the number of pods was 33.6% and 40.5% lower, respectively, in control than in VS and FS. In 100 seed weight, was 16.1% and 10.1% lower, respectively, in control than in VS and FS at R8. As a result, seed yield was 39.8% and 45.1% lower, respectively, in control than in VS and FS. Depending on the drought period, Daewon and Haewon showed a large decrease in yield, while Soyon did not change. The results of this study showed that flower and beginning pod setting stage responded more sensitively to the drought period than vegetative stage. Overall, these results demonstrate soybean seed yield formation more sensitive the during the flowing and beginning pod setting stage. We conclude that adequate water supply for pod setting stage, guaranteeing a high seed yield.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.32 no.1
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• pp.34-39
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• 1987

This study was conducted to find out the adequate cutting method for propagation and the optimum treat-ing time of GA$_3$ to enhance the fruit setting of Pepino (Solanum muricatum AIT). Mixture of peat moss (50%) and vermiculite (50%) shows the best rooting for the Pepino stem cuttings. An active rooting was observed 15 days after the cuttings were treated with 1,000 ppm of NAA. Application of GA$_3$ at flowering stage was effective for fruit setting of Pepino and fruit setting was the most satisfactory when GA$_3$ was sprayed over the flowers.

• Proceedings of the KIEE Conference
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• 1998.07c
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• pp.926-928
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• 1998

A fast optimization algorithm has been evolved from a simple two stage optimal power flow(OPF) algorithm for constrained power economic dispatch. In the proposed algorithm, we consider various constraints such as power balance, generation capacity, transmission line capacity, transmission losses, security equality, and security inequality constraints. The proposed algorithm consists of four stages. At the first stage, we solve the aggregated problem that is the crude classical economic dispatch problem without considering transmission losses. An initial solution is obtained by the aggregation concept in which the solution satisfies the power balance equations and generation capacity constraints. Then, after load flow analysis, the transmission losses of an initial generation setting are matched by the slack bus generator that produces power with the cheapest cost. At the second stage we consider transmission losses. Formulation of the second stage becomes classical economic dispatch problem involving the transmission losses, which are distributed to all generators. Once a feasible solution is obtained from the second stage, transmission capacity and other violations are checked and corrected locally and quickly at the third stage. The fourth stage fine tunes the solution of the third stage to reach a real minimum. The proposed approach speeds up the coupled LP based OPF method to an average gain of 53.13 for IEEE 30, 57, and 118 bus systems and EPRI Scenario systems A through D testings.

• Journal of Arbitration Studies
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• v.27 no.4
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• pp.3-33
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• 2017

This paper examines some questions and issues of the effect of an arbitral award, and discusses about the restriction of the trial level in other separate actions permitted under the existence of grounds of setting aside arbitral award after the amendment of the Arbitration Act in 2016. Because there are no interests of litigation in the action for setting aside arbitral award due to the exclusion of res judicata by provisory clause of Article 35, filing an action for setting aside is not allowed even when the grounds of setting aside exist. If we examine the precedent on possibility of retrial for excluding the outward form of invalid judgement, we can find that the court did not approve the retrial. Therefore, the action for setting aside that which is for excluding the outward form of an arbitral award will not be allowed for filing. On the issue of whether an arbitral award having a ground for setting aside can be an object of the action for setting aside for excluding its outward form or not, the views of scholars are divided. In the case of an arbitral award that has grounds for setting aside, it could be interpreted that the arbitral award would not have a formale Rechtskraft or effect of sentence (bindende Kraft). Even if there is formale Rechtskraft or effect of sentence (bindende Kraft), the significance of existence of action for setting aside arbitral award under paragraph 1 of Article 36 is reduced because other actions separate from arbitration is permitted under the 2016 Act. The amendment of the Arbitration Act in 2016 provides an opportunity to review the position and the role of action for setting aside the arbitral award. It also requires further studies on efficiently treating other actions separate from arbitration. Because the restriction of the trial level of other separate actions can make arbitration active by making arbitration procedures become 3 trial levels from 4 trial levels, it needs to be solved with legislative action. Specifically, if the trial starts at the stage of trial on appeal, it can utilize the strength of both the arbitration and the litigation, playing a chief role in boosting arbitration by removing the problems of action for setting aside and enabling arbitration institutes and the person interested to promote the activation of arbitration.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.71-80
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• 2001

Since the beginning of the 90's, Fashion shows appear to be a type of performance form of art combining with other areas to visually entertain the viewers. This can be explained by the modern tendency to escape from society which requires formality and complicated lifestyles. Fashion shows take place in a scene Influenced by the idea of post-modernism which redefines the definition of space. A church, old factory, unoccupied ground, subway stations, or even place like a waste disposal are used as a setting. The stage set is no longer the T shape run way and the procinium arch has disappeared. The gap between audience and stage has diminished and theatrical element is added to the fashion performance by using viewers living and working environments as setting of the show. The human relation with machine based on the cutting edge technology such as the stage automation, robots and mist making sprinkler system introduces new elements with spontaneity and detailed planning in the stage performance. Music also plays an Important role in attracting viewers. The sound track covers house music to techno music. Instead of music being abstract, folks orchestral music, choirs, piano. even live concert performed by pop artist provide the liveliness of the fashion show. And the catwalk itself is a performance. Model needs to be well trained as the capable talent who can handle sensitive gestures, facial expressions, dancing and choreography. The improvisatorial interaction between audience and model lead to audience participation. Models now range from pop star, ordinary people, handicapped people, to elderly and so on. John Galliano introduced the theatrical factors for the fashion show and Alexander Mcqueen approached the fashion show as the visual art of communication. Hussein Chalayan utilized high technology skewing futurism as if in a magic show. Today the Fashion show tends to be a total performance which includes audience participation, impromptu, and that break the limitation that fashion shows previously had. This will lead the fashion industry in opening new horizon of its own.