• Journal of the korean academy of Pediatric Dentistry
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• v.49 no.2
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• pp.206-216
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• 2022

This study aimed to investigate the frequency of dental visits after coronavirus disease 2019 (COVID-19) in children and adolescents in comparison to that of adults. The data on the number of dental visits on the basis of different classification and treatment codes for all the age groups were provided by the Health Insurance Review and Assessment Service from January 2017 to December 2020. To reduce the impact of the population change, dental visits per 1000 people was used. After the start of the pandemic, dental visits per 1000 people decreased in all age groups when analyzed for the diseases of pulp and periapical tissues classification code and dental visits per 1000 people decreased over 5 years age groups when analyzed for the pulp treatment code. Regarding the restorative treatment code, visits in the 0 - 19 years age group decreased after the pandemic. Based on the comparison of the number of confirmed COVID-19 cases to that of monthly dental visits by treatment codes, the change rate of pulp and restorative treatments gradually decreased after the waves of the pandemic in February and August 2020 in Korea. Furthermore, dental visits per 1000 people for gingivitis and periodontal disease classification code increased after the pandemic in all age groups. The rate of decrease in dental visits per 1000 people for restorative treatments in children and adolescents was higher than that in adults. The rate of decrease in the number of dental visits for multi-visit pulp treatments showed a rapid decrease as compared to that of 1-visit pulp treatments after the pandemic. This study identified changes in the number of dental visits of children and adolescents after COVID-19 transmission in comparison to that observed in adults.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.14-23
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• 2022

The purpose of this study is to preserve the sustainable traditional landscape of the "Terraced Paddy Fields of Gacheon Village, Namhae". To this end, the changes in the traditional landscape and its factors were analyzed, and a conservation plan was sought to coexist with local communities. The results are as follows; First, the traditional scenery of "Terraced Paddy Fields of Gacheon Village, Namhae" is characterized by stonework built on a steep topography to secure cultivated land and narrow rice fields. To this end, local communities have maintained the traditional landscape through their long-established traditional knowledge, but after the designation of cultural heritage, the unique landscape of the "Terraced Paddy Fields of Gacheon Village, Namhae" changed as standardized stone construction methods were applied. Recently, the Cultural Heritage Administration recognized these problems and returned to the direct repair system of local communities, so cultivated land is regaining the scenery of the past. Second, the factors that changed the traditional landscape of the "Terraced Paddy Fields of Gacheon Village, Namhae" were largely found to be a decrease in voluntary conservation consciousness, a limited management range of preservation society, a decrease in agricultural population, and a lack of skilled traditional skills. After the designation of cultural heritage, expectations for policy support by the state or local governments accelerated the damage as existing farmland was neglected, and the lack of agricultural population also resulted in the same result. The preservation society is making efforts to preserve it, but the phenomenon of excessive and insufficient management personnel is intensifying. Conflicts between residents due to profit polarization have spread to the problem of escalating. In addition, there are concerns about the loss of traditional knowledge such as step farming technology and stone construction functions. Third, to suggest a win-win plan with local communities for preserving the traditional landscape, it is necessary to seek the ways to expand farming participants and generate profits through the placement of professional careers and public-private linkage system. In addition, it is desirable to improve the profit distribution system through the preservation society to strengthen the management authority and induce participation. And a support system is required for education on the transmission of terraced farming technology and stone construction functions.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.67 no.4
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• pp.253-264
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• 2022

In this study, we investigated the occurrence of viral diseases in the early growth stage of soybean to establish management practices. We collected 83 soybean samples showing abnormal symptoms, approximately 3-4 weeks after seeding in the breeding field of the National Institute of Crop Science. Viruses were detected in the collected samples using reverse transcription polymerase chain reaction (RT-PCR) and metatranscriptome analysis of all those samples. The incidence of viral diseases in the field was less than 1% overall and up to 50% in certain cultivars and lines. RT-PCR and metatranscriptome analysis detected Soybean yellow mottle mosaic virus (SYMMV), Soybean mosaic virus (SMV), Soybean yellow common mosaic virus, Peanut stunt virus, and soybean geminivirus A (SGVA). Among these detected viruses, SYMMV and SMV were identified as major viruses causing infection in the early growth stage of soybean, with detection rates of 53.7% and 42.6%, respectively. Soybeans infected with SYMMV showed typical mosaic symptoms, whereas those infected with SMV showed a variety of symptoms such as mosaic, mottle, stunt, and chlorotic spots. Transmission characteristics of these viruses are variable, such that SMV is primarily transmitted by seeds, whereas SYMMV could be transmitted by insects, soil, and seeds. In this study, SGVA was detected in the early growth stage of soybean, and research on the current status and its effects on soybean after the early growth stage should be conducted.

• Proceedings of the Korean Society of Near Infrared Spectroscopy Conference
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• 2001.06a
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• pp.4107-4107
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• 2001

Previous works have shown the viability of NIRS technology for the prediction of fatty acids in Iberian pig fat, but although the resulting equations showed high precision, in the predictions of new samples important fluctuations were detected, greater with the time passed from calibration development to NIRS analysis. This fact makes the use of NIRS calibrations in routine analysis difficult. Moreover, this problem only appears in products like fat, that show spectrums with very defined absorption peaks at some wavelengths. This circumstance causes a high sensibility to small changes of the instrument, which are not perceived with the normal checks. To avoid these inconveniences, the software WinISI 1.04 has a mathematic algorithm that consist of create a “Repeatability File”. This file is used during calibration development to minimize the variation sources that can affect the NIRS predictions. The objective of the current work is the evaluation of the use of a repeatability file in quantitative NIRS analysis of Iberian pig fat. A total of 188 samples of Iberian pig fat, produced by COVAP, were used. NIR data were recorded using a FOSS NIRSystems 6500 I spectrophotometer equipped with a spinning module. Samples were analysed by folded transmission, using two sample cells of 0.1mm pathlength and gold surface. High accuracy calibration equations were obtained, without and with repeatability file, to determine the content of six fatty acids: miristic (SECV$\sub$without/=0.07% r$^2$$\sub$without/=0.76 and SECV$\sub$with/=0.08% r$^2$$\sub$with/=0.65), Palmitic (SECV$\sub$without/=0.28 r$^2$$\sub$without/=0.97 and SECV$\sub$with/=0.24% r$^2$$\sub$with/=0.98), palmitoleic (SECV$\sub$without/=0.08 r$^2$$\sub$without/=0.94 and SECV$\sub$with/=0.09% r$^2$$\sub$with/=0.92), Stearic (SECV$\sub$without/=0.27 r$^2$$\sub$without/=0.97 and SECV$\sub$with/=0.29% r$^2$$\sub$with/=0.96), oleic (SECV$\sub$without/=0.20 r$^2$$\sub$without/=0.99 and SECV$\sub$with/=0.20% r$^2$$\sub$with/=0.99) and linoleic (SECV$\sub$without/=0.16 r$^2$$\sub$without/=0.98 and SECV$\sub$with/=0.16% r$^2$$\sub$with/=0.98). The use of a repeatability file like a tool to reduce the variation sources that can disturbed the prediction accuracy was very effective. Although in calibration results the differences are negligible, the effect caused by the repeatability file is appreciated mainly when are predicted new samples that are not in the calibration set and whose spectrum were recorded a long time after the equation development. In this case, bias values corresponding to fatty acids predictions were lower when the repeatability file was used: miristic (bias$\sub$without/=-0.05 and bias$\sub$with/=-0.04), Palmitic (bias$\sub$without/=-0.42 and bias$\sub$with/=-0.11), Palmitoleic (bias$\sub$without/=-0.03 and bias$\sub$with/=0.03), Stearic (bias$\sub$without/=0.47 and bias$\sub$with/=0.28), oleic (bias$\sub$without/=0.14 and bias$\sub$with/=-0.04) and linoleic (bias$\sub$without/=0.25 and bias$\sub$with/=-0.20).

• Journal of the Korea Society for Simulation
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• v.18 no.3
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• pp.73-82
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• 2009

Due to the many advantages including low price, low power consumption, and miniaturization, the CMOS camera has been utilized in many applications, including mobile phones, the automotive industry, medical sciences and sensoring, robotic controls, and research in the security field. In particular, the 360 degree omni-directional camera when utilized in multi-camera applications has displayed issues of software nature, interface communication management, delays, and a complicated image display control. Other issues include energy management problems, and miniaturization of a multi-camera in the hardware field. Traditional CMOS camera systems are comprised of an embedded system that consists of a high-performance MCU enabling a camera to send and receive images and a multi-layer system similar to an individual control system that consists of the camera's high performance Micro Controller Unit. We proposed the SL-AVS (Small Size/Low power Around-View System) to be able to control a camera while collecting image data using a high speed synchronization technique on the foundation of a single layer low performance MCU. It is an initial model of the omni-directional camera that takes images from a 360 view drawing from several CMOS camera utilizing a 110 degree view. We then connected a single MCU with four low-power CMOS cameras and implemented controls that include synchronization, controlling, and transmit/receive functions of individual camera compared with the traditional system. The synchronization of the respective cameras were controlled and then memorized by handling each interrupt through the MCU. We were able to improve the efficiency of data transmission that minimizes re-synchronization amongst a target, the CMOS camera, and the MCU. Further, depending on the choice of users, respective or groups of images divided into 4 domains were then provided with a target. We finally analyzed and compared the performance of the developed camera system including the synchronization and time of data transfer and image data loss, etc.

• (The) Research of the performance art and culture
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• no.41
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• pp.219-255
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• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.

• (The) Research of the performance art and culture
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• no.40
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• pp.71-109
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• 2020

Nihonbuyo(日本舞踊), a typical traditional Japanese dance, began with kabuki dancing and formed many schools, and was managed by Iemoto system. Iemoto(家元) is the head family of a school of a traditional Japanese art. Iemoto(家元) existed after the establishment of the ancient family system, and it was established as a system during the modern feudal period. Especially in Nihon Buyo, the Iemoto system has developed greatly since the modern era. Iemoto System has has contributed greatly to the succession of traditional arts and has been considered one of the characteristics of Japanese society. Basically, Iemoto system considers it the best authority to pass on the skills of excellent teachers without any distortion. It has various forms depending on the field and the school, but it is an organization with a family structure similar to that of a family with Iemoto at the top. In this article, I examined the establishment and background of the Nihonbuyo and considered the succession of the fame and authority of Iemoto through the system of succession. There are so many schools in the Nihonbuyo world that it is said to be a school kingdom. These schools were divided into kabuki actors, choreographers, female entertainers, ChiutaMai dance(地唄舞) and new dance styles, and the aspect of the Iemoto system was examined through the background and characteristics of each school. While Iemoto system has a positive aspect of inheriting the tradition, there are also many negative criticisms in the art world, such as rigid organizational management, the products of feudal society, the power of Iemoto, and the stalemate of arts. Nevertheless, in a Japanese society that places importance on tradition, the landlady system will not disappear easily. In fact, today, when there are many different art genres in common, young dancers are starting to challenge themselves along with self-examination of Iemoto in order to make the best use of traditional art. We hope that through consideration of the Japanese housekeeping system, it will become a place where intangible cultural properties will be re-acknowledged.

• (The) Research of the performance art and culture
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• no.43
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• pp.79-120
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• 2021

Nagyangchun is a Dangak that has been handed down to the present time with Boheoja as a Saak of the Song Dynasty which was introduced in the Goryeo Dynasty. The title and lyrics of Nagyangchun are conveyed in the Dangakjo of Goryeosa-akji and the Jeungbomunheonbigo. The remaining scores containing Nagyangchun include Akjangyoram, Sogagwonbo Vol.4 and Vol.6 of the Joseon Dynasty and Aakbu-akbo, the 6th Aaksaeng-gyogwacheol, Leewangjikaakbu-oseonakbo during the Japanese colonial period. Besides, the current melody of Nagyangchun is based on Hangugeumak and Gugakjeonjib published by the National Gugak Center. This paper aims to examine how Nagyangchun, which is currently being performed at the National Gugak Center, went through the process of change to have the same structure and form as it is now using these scores as a research subject. The study results are summarized as follows. First, the song of Nagyangchun, which was originally Saak but transmitted as an instrumental piece without lyrics, first appeared in the Hangugeumak Vol.16 and Gugakjeonjib Vol.7 published by the National Gugak Center in 1978 and 1979. In this process, the Janggu added by Kim Ki-soo is now disappearing and is replaced by Jwago. Second, though the five notes of 黃, 太, 仲, 林, and 南 have been maintained unchanged since the Akjangyoram, the pitch of 無/應 and 夾/姑, which appear once each, gradually rises and is unified into 應 and 姑 during the period of Aaksaeng-gyogwacheol or at the latest Leewangjikaakbu-oseonakbo, and reached the present. Third, the current melody of Nagyangchun consists of a structure in which the tones and range of each phrase rises within the form of Mijeonsa (a·b·c·d) and Mihusa (e·b'·c'·d'). Particularly, except for the a-type and e-type melodies, which are the introduction for the Mijeonsa and Mihusa, the remaining melodic types show a gradually descending structure within the corresponding phrase, so the structure of ascending and descending is generally in harmony. Forth, the Ganeum that appeared from Aakbu-akbo are currently classified into seven types, and they appear in ascending pitches of 2nd, 3rd, 4th, and 5th and play a role in smoothly or fluently connecting melodic progression. Fifth, after Akjangyoram, Nagyangchun, which had been handed down as an instrumental piece without lyrics, was restored in 1960 by Lee Hye-gu, and is being passed down as the form of male and female vocals added to the instrumental accompaniment. As a result of examining the current Nagyangchun, which was formed through the process of change after Akjangyoram, it was found that there were tasks that required reconsideration of the current Nagyangchun, which is being played at the National Gugak Center, such as the arrangement of Janggu, the identification of the key, and the investigation of the lyrics. When follow-up studies are continued in the future, it will be able to contribute to the cultural transmission of Nagyangchun.

• (The) Research of the performance art and culture
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• no.43
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• pp.121-143
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• 2021

The Aim of the this paper is to figure out impetus of the Naeseo Traditional Folk art Conservation Association. This Preservation Society derived from Hogaeri farmers' band. Through aging and hollowing out Hogaeri farmers' band got into a period of stagnation. In order to overcome slump villager and people of a township organized a conservation society in 1994. Members restored and directed folk song which from age to age for performance. are designated as cultural asset in 2017. Sutguldeong song is only song in inland area. This song are worthy of notice in . which is consist of various agricultural work songs experienced two changes. Rice-planting songs are characteristic. Especially, Executive playing a central role harden foundation of the Preservation Society. The mainspring of activity is the sense of responsibility. Preservation Society laying emphasis on recruiting new members. Preservation Society is planning to develop curriculum for Jurisdiction elementary and middle school students. This Preservation Society is made up of First generation members and Second generation members. First generation members who are born and bred in Hogaeri have been good friends both in joy and in sorrow Early days of Preservation Society. So, They has a strong family bond. In order to induce membership Members are practicing Nongak, popular folk songs, dancing program. Second generation members are not conversant with a folk song. Nonetheless They have a strong mind on a member line.

• (The) Research of the performance art and culture
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• no.43
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• pp.325-356
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• 2021

This study is to analyze the current status of transmission and musical characteristics of Naeseo-deulilsori in Changwon, and the purpose of this study is to illuminate the value of deulilsori in Naeseo region, so that it can be continuously inherited. Naeseo-deulsori consists of the Mosimgi-sori, Nonmaegi-sori, and Chingchingi-sori. Mosimgi-sori, which is called when planting a seedling, is divided into 6 types according to the order and situation of work. ① rice planting sound, ② rice planting sound called in the morning, ③ rice planting sound called at lunch time, ④ rice planting sound called after lunch, ⑤ rice planting sound called when it is raining or cloudy, ⑥ rice planting sound called at sunset. Mosimgi-sori, which is called when planting a seedling, is based on Menali-tori, but partly influenced by Yugjabaegi-tori. However, it was typical Menali-tori in the slow The sound of rice planting in the nearby Haman region, but as the speed increased in the fast The sound of rice planting, the characteristics of Menali-tori faded and la↘mi perfect fourth descending frequently appeared. In the sound of rice planting in Goseong, both slow and fast sounds were strongly influenced by Yugjabaegi-tori. In the end, the sound of rice planting in the Naeseo region is less Yugjabaegi-tori than in the Goseong region and stronger than in Haman region. This combination of tori is a musical bargaining phenomenon that appears in the border region, and it can be said to be a geographical and regional characteristic of the Naeseo region. Nonmaegi-sori has the same sound as 'Sangsadeio' throughout the nearby Goseong and Haman regions. However, in Nonmaegi-sori in the Naeseo region, a strong Gyeong-tori tendency is found in the sound received. Looking at the flow of the melody of Nonmaegi-sori, it seems that the pitch has been changed by the intestines in recent years, and this modified melodic form has continued as it is. In order to guarantee locality, this part seems to need to be corrected in the future.