• Magazine of the Korean Society of Agricultural Engineers
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• v.16 no.1
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• pp.3263-3291
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• 1974

Experimental work of grain bin was carried out to develop the methods of natural air in-bin drying and storage. The method is considered to be more economical, labour saving, and an effective countermeasure to grain loss. To examine the possibility of farm use of the grain bin and to analyze the related factors concerned with in-bin grain drying and storage, ambient air conditions (especially the change of air temperature and relative humidity) and grain quality during drying and storage periods were investigated. A laboratory model bin was constructed to investigate the effect of different forced air conditions on the drying characteristics of rice. In addition, a grain bin with 2.2m diameter and 1.8m height, considered to be the optimum size for the average Korean farm, was constructed and tested to examine the drying and storing characteristics of rice. The weather data analyzed in this study was the nine-year (from 1964 to 1972) record of air temperature and relative humidity in the Suweon area, and the thirty-year (from 1931 to 1960) record of pentad normal relative humidity and air temperature in the Seoul area. From the results of the weather data analyses, the adequate air delivery hours (which was arbitrary defined as the condition to give less than 75% relative humidity) to dry the rice during October were about nine hours (from approximately 10 A.M. to 7 P.M, ) a day, in which the average air temperature was about 15.9$^{\circ}C$ and average relative humidity was 66%. The occurence of days having three hours of such conditions was 1, 2, and 1-day within the 1st, 2nd add last 10-day periods for the month of October, respectively. Therefore, it may be considered that the weather condition in October was satisfactory for the forced natural air drying. The results of the laboratory model bin test were analyzed to obtain the drying curve and drying rate for different drying stages and grain layers in the bin corresponding to various conditions of forced natural air. A drying experiment with a prototype grain bin showed that an approximate 5 percent grain moisture gradient through a 1.6 meter grain deposit was observed after 80 hours of intermittent drying, giving an over dried zone in the lower grain layers and an extremely high grain moisture zone in the upper layers. This indicates that an effective measure should be taken to reduce this high moisture gradient. In order to investigate the drying characteristics of bulk grain in a layerturning operation a grain bin test was performed. This showed a significant improvement of uniform drying. In this test, approximate 107 hours were required to dry a depth of 1.6 meter of grain from an initial moisture content of 22.2 percent to a moisture content of 16.7 percent using an air delivery rate of 2.8 cubic meter per a minute per every cubic meter of grain. This resulted in a 2 percent moisture gradient from the top to the bottom of the bin. During storage period, till the end of June the average temperature of grain was 2~3$^{\circ}C$ higher than ambient air temperature. But during July when the grain moisture content went up slightly (less than 1 percent), the average temperature of the grain also increased to 3~5$^{\circ}C$ higher than ambient air temperature. It is therefore recommended that for safe grain storage, grain should not be stored in sheet metal bins after mid May. From the above results, in-bin rice drying and storage can be used effectively on Korean farms. It is strongly recommended that the use of grain-bin system should be implemented for farm use to improve farm drying and storage of rice.

• Korean Journal of Veterinary Research
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• v.39 no.3
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• pp.653-664
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• 1999

This study was undertaken to determine the normal appearance of the postpartum uterine involution. Postpartum changes in uterine shape, architecture, echogenicity and diameter were monitored with ultrasonography in 11 Korea Jin-do dogs. Serial ultrasonographic examination was done daily during the first week, 3 days interval from 8 to 30 days, and weekly from 31 to 100 days postpartum, respectively. Of 11 postpartum bitches, 10 bitches (90.9%) had normal involution and 1 bitch (9.1%) had subinvolution of the placental sites (SIPS) by gross findings, vaginal discharges, and by ultrasographic findings, uterine shape and echogenicity. The excretory period of vaginal discharges in 10 normal bitches of uterine involution was finished completely at $20.2{\pm}4.6$ days (Mean${\pm}$SD) postpartum, but in 1 SIPS at 50 days postpartum. The short axis shape of the uterus was initially often flaccid-appearing. It varied from circular to crescent shaped to polygonal. This lasted until $16.5{\pm}3.7$ days postpartum, during which time the short axis uterine shape gradually changed to circular. Also, the long axis shape of the uterus was created a beaded appearance of the horns until $29.9{\pm}3.2$ days postpartum. After 30 days, it was appeared as tubular shape without distinguished between placental and interplacental sites. The ultrasonographic image of the postpartum uterus consisted of four echogenicity distinct layers. Uterine wall was represented the very hyperechoic serosa, hypoechoic myometrium, hyper echoic endometrium and anechoic structures of fluid in the uterine cavity until 7 days postpartum. The individual uterine layers were most prominent during the first week postpartum, and they became progressively less distinct throughout the course of uterine involution. Anechoic structures of fluid in the uterine cavity was detected until $25.0{\pm}6.4$ days postpartum, after which time it was not reliably detected. The uterine diameter was decreased not only in the placental sites frorm $24.1{\pm}2.5mm$ at 1 day to $15.4{\pm}1.4mm$ at 7 days postpartum, but also in the interplacental sites $14.9{\pm}1.5mm$ at 1 day, $10.6{\pm}0.8mm$ at 7 days postpartum. There was a general trend of decreasing uterine diameter, which occurred more rapidly at the placental sites. At 31 days pastpartum, these diameter reached almost same size, after that time, they could be not distinguished between placental and interplacental sites. At 87 days postpartum, the uterine diameter was $5.6{\pm}0.6mm$ both placental and interplacental sites, and the uterine horns were uniform hypoechoic, tubular structures without enlargement. Therefore, complete involution of the uterus occurred at that time. It was concluded that normal postpartum uterine involution in Korea Jin-do bitches appeared to be completed around 87 days postpartum by gross findings such as vaginal discharges, and by ultrasonographic findings, uterine shape and echogenicity. Also ultrasonographic characteristics of the postpartum uterine involution were described. Therefore, these result suggest that ultrasonographic assessment is a reliable method for diagnosing the SIPS and uterine dysfunction, such as pyometra in bitch.

• Journal of Intelligence and Information Systems
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• v.19 no.4
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• pp.147-157
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• 2013

With the advent of the digital environment that can be accessed anytime, anywhere with the introduction of high-speed network, the free distribution and use of digital content were made possible. Ironically this environment is raising a variety of copyright infringement, and product images used in the online shopping mall are pirated frequently. There are many controversial issues whether shopping mall images are creative works or not. According to Supreme Court's decision in 2001, to ad pictures taken with ham products is simply a clone of the appearance of objects to deliver nothing but the decision was not only creative expression. But for the photographer's losses recognized in the advertising photo shoot takes the typical cost was estimated damages. According to Seoul District Court precedents in 2003, if there are the photographer's personality and creativity in the selection of the subject, the composition of the set, the direction and amount of light control, set the angle of the camera, shutter speed, shutter chance, other shooting methods for capturing, developing and printing process, the works should be protected by copyright law by the Court's sentence. In order to receive copyright protection of the shopping mall images by the law, it is simply not to convey the status of the product, the photographer's personality and creativity can be recognized that it requires effort. Accordingly, the cost of making the mall image increases, and the necessity for copyright protection becomes higher. The product images of the online shopping mall have a very unique configuration unlike the general pictures such as portraits and landscape photos and, therefore, the general image watermarking technique can not satisfy the requirements of the image watermarking. Because background of product images commonly used in shopping malls is white or black, or gray scale (gradient) color, it is difficult to utilize the space to embed a watermark and the area is very sensitive even a slight change. In this paper, the characteristics of images used in shopping malls are analyzed and a watermarking technology which is suitable to the shopping mall images is proposed. The proposed image watermarking technology divide a product image into smaller blocks, and the corresponding blocks are transformed by DCT (Discrete Cosine Transform), and then the watermark information was inserted into images using quantization of DCT coefficients. Because uniform treatment of the DCT coefficients for quantization cause visual blocking artifacts, the proposed algorithm used weighted mask which quantizes finely the coefficients located block boundaries and coarsely the coefficients located center area of the block. This mask improves subjective visual quality as well as the objective quality of the images. In addition, in order to improve the safety of the algorithm, the blocks which is embedded the watermark are randomly selected and the turbo code is used to reduce the BER when extracting the watermark. The PSNR(Peak Signal to Noise Ratio) of the shopping mall image watermarked by the proposed algorithm is 40.7~48.5[dB] and BER(Bit Error Rate) after JPEG with QF = 70 is 0. This means the watermarked image is high quality and the algorithm is robust to JPEG compression that is used generally at the online shopping malls. Also, for 40% change in size and 40 degrees of rotation, the BER is 0. In general, the shopping malls are used compressed images with QF which is higher than 90. Because the pirated image is used to replicate from original image, the proposed algorithm can identify the copyright infringement in the most cases. As shown the experimental results, the proposed algorithm is suitable to the shopping mall images with simple background. However, the future study should be carried out to enhance the robustness of the proposed algorithm because the robustness loss is occurred after mask process.

• Korean Journal of Agricultural Science
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• v.16 no.1
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• pp.84-101
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• 1989

An accurate measurement of size, surface area and volume of agricultural products is essential in many engineering operations such as handling and sorting, and in heat transfer studies on heating and cooling processes. Little information is available on these properties due to their irregular shape, and moreover very little information on the rough rice, soybean, barley, and wheat has been published. Physical dimensions of grain, such as length, width, thickness, surface area, and volume vary according to the variety, environmental conditions, temperature, and moisture content. Especially, recent research has emphasized on the variation of these properties with the important factors such as moisture content. The objectives of this study were to determine physical dimensions such as length, width and thickness, surface area and volume of the rough rice, soybean, barley, and wheat as a function of moisture content, to investigate the effect of moisture content on the properties, and to develop exponential equations to predict the surface area and the volume of the grains as a function of physical dimensions. The varieties of the rough rice used in this study were Akibare, Milyang 15, Seomjin, Samkang, Chilseong, and Yongmun, as a soybean sample Jangyeobkong and Hwangkeumkong, as a barley sample Olbori and Salbori, and as a wheat sample Eunpa and Guru were selected, respectively. The physical properties of the grain samples were determined at four levels of moisture content and ten or fifteen replications were run at each moisture content level and each variety. The results of this study are summarized as follows; 1. In comparison of the surface area and the volume of the 0.0375m diameter-sphere measured in this study with the calculated values by the formula the percent error between them showed least values of 0.65% and 0.77% at the rotational degree interval of 15 degree respectively. 2. The statistical test(t-test) results of the physical properties between the types of rough rice, and between the varieties of soybean and wheat indicated that there were significant difference at the 5% level between them. 3. The physical dimensions varied linearly with the moisture content, and the ratios of length to thickness (L/T) and of width to thickness (W/T) in rough rice decreased with increase of moisture content, while increased in soybean, but uniform tendency of the ratios in barley and wheat was not shown. In all of the sample grains except Olbori, sphericity decreased with increase of moisture content. 4. Over the experimental moisture levels, the surface area and the volume were in the ranges of about $45{\sim}51{\times}10^{-6}m^2$, $25{\sim}30{\times}10^{-9}m^3$ for Japonica-type rough rice, about $42{\sim}47{\times}10^{-6}m^2$, $21{\sim}26{\times}10^{-9}m^3$ for Indica${\times}$Japonica type rough rice, about $188{\sim}200{\times}10^{-6}m^2$, $277{\sim}300{\times}10^{-9}m^3$ for Jangyeobkong, about $180{\sim}201{\times}10^{-6}m^2$, $190{\sim}253{\times}10^{-9}m^3$ for Hwangkeumkong, about $60{\sim}69{\times}10^{-6}m^2$, $36{\sim}45{\times}10^{-9}m^3$ for Covered barley, about $47{\sim}60{\times}10^{-6}m^2$, $22{\sim}28{\times}10^{-9}m^3$ for Naked barley, about $51{\sim}20{\times}10^{-6}m^2$, $23{\sim}31{\times}10^{-9}m^3$ for Eunpamill, and about $57{\sim}69{\times}10^{-6}m^2$, $27{\sim}34{\times}10^{-9}m^3$ for Gurumill, respectively. 5. The increasing rate of surface area and volume with increase of moisture content was higher in soybean than other sample grains, and that of Japonica-type was slightly higher than Indica${\times}$Japonica type in rough rice. 6. The regression equations of physical dimensions, surface area and volume were developed as a function of moisture content, the exponential equations of surface area and volume were also developed as a function of physical dimensions, and the regression equations of surface area were also developed as a function of volume in all grain samples.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.