• Proceedings of the Korean Society of Crop Science Conference
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• 2017.06a
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• pp.241-241
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• 2017

Sweet potatoes (Ipomoea batatas (L.) LAMK.,) have been cultivated in Central and South America for about 2000 years and are now grown mainly in Asia and South America. Sweet potatoes are annual in the temperate region, but are classified as perennial in the tropical region. In 2000, the cultivation area of sweet potatoes decreased to about 16,000 ha in 2000, but the cultivation area increased slightly in recent 20,000 ha in Korea. Sweet potatoes do not show higher maximum dry matter production of 120 ~ 150g per plant, and the leaf area index (LAI), which maximizes dry matter production, is known as 3.0 ~ 4.0. As the leaf area increase, the penetration of light into the canopy becomes poor, and sufficient photosynthesis cannot be achieved in the lower leaves, on the other hand the respiration increase, which results in poor dry matter production. This study was conducted to know the responses of sweet potatoes to intensive shading treatment of 80% shading. This experiment was conducted for about 42 days from September 6, 2016 to October 18, 2016 at Gyeongsang National University Experimental Farm, Jinju, Korea. The plant canopy was shaded with black nylon 80% shade cloth suspended 1.2 m above the ground. The photosynthetic rate, stomatal conductance, chlorophyll fluorescence, SPAD and NDVI were measured in 3 replicates every 7 days after shading initiation. After the fresh weight was measured, the samples were dried at $80^{\circ}C$ in a dry oven and measured. By the 80% shading treatment, chlorophyll fluorescence of the treated plants was slightly higher than that of the control, the SPAD value was higher by 3.4 and NDVI value was higher by 0.01. However, photosynthetic rate and stomatal conductance were lower than those of the control. The stomatal conductance of the control were two times higher than those of the control and the photosynthetic rate of the control was four times higher than that of the control. In control, plant showed a tendency to steadily increase in fresh weight and dry weight. However, in the case of shading treatment, the tendency to increase in the fresh and dry weight of tuberous roots was not clear. The fresh weight of shoot showed a tendency to increase steadily while the difference between treatment and control was not large, but tended to decrease after frost.

• Journal of Korea Game Society
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• v.7 no.1
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• pp.31-42
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• 2007

In the natural world, most materials such as skin, marble and cloth are translucent. Their appearance is smooth and soft compared with metals or mirrors. In this paper, we propose a new GPU based hierarchical rendering technique for translucent materials, based on the dipole diffusion approximation, at interactive rates. Information of incident light, position, normal, and irradiance, on the surfaces are stored into 2D textures by rendering from a primary light view. Huge numbers of pixel photons are clustered into quad-tree image pyramids. Each pixel, we select clusters (sets of photons), and then we approximate multiple subsurface scattering term with the clusters. We also introduce a novel hierarchical screen-space interpolation technique by exploiting spatial coherence with early-z culling on the GPU. We also build image pyramids of the screen using mipmap and pixel shader. Each pixel of the pyramids is stores position, normal and spatial similarity of children pixels. If a pixel's the similarity is high, we render the pixel and interpolate the pixel to multiple pixels. Result images show that our method can interactively render deformable translucent objects by approximating hundreds of thousand photons with only hundreds clusters without any preprocessing. We use an image-space approach for entire process on the GPU, thus our method is less dependent to scene complexity.

• Journal of the Korean Society of Costume
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• v.1
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• pp.101-117
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• 1977

This thesis is a study of the Simui(深衣) system which was a dress regulation peculiar to old China with skirt and coat. The origin of Simui is a very long time, that is, before Ju dynasty in China. Its wearing range had a large circle irrespective of rank and good or bad luck. This was a ordinary dress to the Emperor or the lords, a below court attire or a below sacrificial rites attire to the illustrious officials, and good luck dress to the common people. But this was a funeral rites attire or coming-of-age ceremony attire in domestic behaviour. In the times of Song dynasty, lots of confucian scholars had put on this simui because of Juhi's recommendation for domestic behaviour. This Simui had been put on through all the times of China and was the original text of all the dress. Especially the court attire and silkworm working dress of Empress, and the court attire and underwear court attire of Emperor is also made out of this Simui, therefore this is a origin of the ceremonial dress which formed into long coat. In Korea it is said that this Simui was brought in prior to the middle of Goryeo dynasty. But we can't tell the correct transmitted age. According to the following records in Goryeo History, "King had put on the Simui as a sacrificial rite attire in the times of Yejong". It is sure that this Simui was brought in prior to the times of Yejong. In fact, lots of confucian scholars had put on the Simui since the introduction of confucianism in the end of Goryeo dynasty and after that time this was taken by many confucian scholars through Yi dynasty. Korean Simui system was complied with Chinese system through confucian domestic behaviour, This was respected for court dress of confucian scholars, as it were, Chumri, (an ordinary dress of scholars), Nansam (a uniform of upper student), and Hakchangui (a uniform of confucian student). There are many deta about Simui system in the book of Yeki, chapter Okcho and Simui, and other many canfucian books. But we didn't demonstrate the theory about it till now. Especially there are diversifies of opinions about the phrase of "Sok Im Ku Byun" in Yeki. Simui was cut in separate and then was stitched together in one piece. Generally its shape had round sleeve and angled lapel, its length reaches to the anklebone. And it has a line around the lapel, the sleeve band, and the edge of skirt. It is called Simui because the body can be wrapped deeply in broad width and large sleeve. The Simui was made of white fine linen and was cut by the natural size of body. Every part of Simui had a profound meaning; the round sleeve in compliance with regulation can keep a courtesy when a walker moves his hands and the angled lapel like a carpenter's square in compliance with square keeps them front loosing their Justice and a string of the back also keeps them loosing from their righteousness and the flat lower part of Simui makes their heart and mind calm. This Simui was usually attendant on a head cover and belt made cloth, and black shoes. This thesis was made a study of documents and portrait from Yi dynasty, for the actual object was not obtained.

• Journal of the Korean Society of Costume
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• v.20
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• pp.125-135
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• 1993

The purposes of this research are firstly to define the characteristics of movement on the costume, secondly to demonstrate that fine art, expecially in relation to kinetic art, has become a good motif in modern costume de-sign, and thirdly to examin the characteristics of movement as shown in modern costume de-sign. For this study, we selected and analyzed some costume designs among those introduced in fashion magazines, which are Collections, Fashion-Preview, Fashion Show, Collezioni, and L'Officiel that have been issued since 1988. As this research is carried out only through the analysis of pictures, it is not ac-companied by a study on material itself. The result of this study is that the ex-pression of movement on modern fashion can be shown in two ways, one is the inclusive and subordinate movement expressed on the cloth-ing according to the motion of body when they are worn, and the other is the movement caused by the very designs of clothing. And the latter can be also divided in two ways, the illusionistic movement and the actual move-ment. The expression of actual movement is made through the emphasis of direction, rhythm, and dimension of the costume. And the illusionistic movement is expressed by the de-sign to which the textile pattern or reflection of light is applied so that the movement is larger than the actual movement. A sense of direction expressed on the cos-tume by the actual movement creates a light rhythm and adds interest to the costume. This reflects a part of psychology of modern men who are not accustomed to the statics. In the rapidly changing society of information our modern men seek after movement even in the statics. It is also true in the clothing and they seem to get a psychological rest through the immediated visual change as shown in fashion design. The simple and cheerful rhythm expressed by the illusionistic movement on the costume is attempted in order to overcome the static tediousness caused by simple design. These elements of movement cause the en-largement of visible range and create another enlarged shape other than the real one, so that they come to remove the dullness and monot-ony in costume design and provoke interest in costume, as if kinetic art reveals the various aspects that transcend the closed area of fine art upon the motif of 'movement'. finally, as this paper deals with the ex-pression of movement as shown in the costume design which prevailed after 1988, it is desir-able hereafter to study more about the fashion since 1950 when kinetic art began in earnest, along with the comparative study on the ex-pression of movement in our Korean designer's and foreign designer's works.

• Journal of the Korean Society of Costume
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• v.22
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• pp.205-224
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• 1994

It was aimed to study the costume of Koryo dynasty based upon the thirty pictures of Bud-dha to hang on the wall among the existing Buddist paintings. The costume to study were made about 64 years during the King Chung-yol(1286) to the King Chung-jong(1350) which style was mostly related in Won Dynasty. 가) Men's wear ; 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan Kun and Mo. The young boys binds his hair up one, two, and three knot-s, and tied up with a hair ribbon, A kinds of Kuan-mo were Mine-lu-kuan Yuan-yu-kuan, Nong-kuan, Hae-chi-kuan Pok-du Yun-wha-kuan Yip-mo- and Tu-ku(Helmeto) 2. clothes ; 1) Colour of Koryo King's Mien-ku Kuan costume was not agree with blue and reddish black colour which was used in Yo, Song, Kum and Won Dynasty, however black and greenhish blue colour was agreed with. 2) The king wore T'ung-t'ien-kuan(Yuan-yu-kuan) and the government officials wore Chin-hien-kuan Hae-chi-kuan and Nong-kuan as a court dress. In general the king and the Crown Prince wore a hats which was used in T'ung-t'ien system however sometimes they wore small hats which was cited in literature. 3) Gate guard and upper garment wore colourful costume figured gold colour pattern which was distin-gtive costume system of Koryo. 4) A monk wore big sleeve long skirt big sleeve long jacket long skirt and shoulder scar-f full shoulder scarf or right hand shoulder opened scarf. 5) The Soldiers wore helmet shoulder or scarf pee-back hung-kap, pok-kap, yang-dan-g-kap we-yu-kap kun-kap, and boots and they carried arms. 6) The young boys wore scarf, loin cloth, long skirt, belt neckless, wan-silk, boots and foots wear and wristless. 나) Women's wear ; 1. Hair style and hairs and tied up with a hair ribbon and wore precious ston decorated hair dress wheel shape hair dress pan shaped head dress handkerchif covered hair dress decorated precious stone hair pin silk chippon made of head dress muf-fler shaped hairdress. Boots mocasin hae lee, suk and sandle wored as a shoes depends on the classes. They wore neckless, earing wres-tless and wan-pu-sik. 2. Closthe 1) High rank lade's wore un-kyun attached jacket and jacket sleeves decorated pleats and pleats decorated long skirt apron back apron knot belt, scarf this type is the same with Dang Dynasty five dynasty of china Song, Kum Won, Myung Dynasty and our cos-tume of Poe-hae, and Shilla Dynasty.

• Journal of the Korean Society of Costume
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• v.32
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• pp.225-242
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• 1997

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

• Journal of Conservation Science
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• v.25 no.2
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• pp.219-231
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• 2009

The purpose of this study is to provide basic information necessary for the cleaning of excavated costumes. For the purpose, these researchers reviewed previous records of the actual cleaning of excavated costumes and then implemented and documented the processes of cleaning the Yeosan Song's costumes excavated at Mokdal-dong, Daejeon, which could date back to the early and mid periods of Choseon Dynasty. The excavated clothes of the family provide good examples for comparing men's costume of the 15th century with men's and women's of the mid and late 16th century. The total quantity of excavated remains were 184 and textiles were cotton, silk, hemp, ramie, and union cloth. The clothing remains were processed through wet or dry cleaning in accordance with their fabric condition and the extent to which they were worn or polluted. In detail, the excavated costumes of the Yeosan Song family were cleaned in two stages. For wet cleaning, both anionic(LAS) and nonionic(Triton X-100) surfactants were respectively used as cleaning agents and for dry cleaning, a mixture of n-hexane and n-decane(the ratio of 4 to 6) and petrolic dry cleaning solvent were used. After first cleaning, some cotton, ramie and hemp which had still the stains were processed bleaching and silk which were good condition was processed dry cleaning with the organic solvent again.

• Journal of the Korean Society of Clothing and Textiles
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• v.14 no.3 s.35
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• pp.183-195
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• 1990

The author has studied the effect of clothes design to mask the dorsal curvature that is one of the commonest changes in elderly women. Body measurements including the body type and the status of dorsal curvature were perfor-med on 153 women of over 60 years of age, and then a body form to fit to the mean measure-ments was made to evaluate the effects of various designs to it. With 31 pattern designs modified by changing in their slash lines and gathers using darts, the diminishing effect of the rounded back were evaluated by means of sensory test. The results of this study can be summarized as follows: I . Results from the body measurements 1) The mean body type in elderly women was that of obesity. 2) With the advancement of age, the angle to indicate the degree of dorsal curvature as well as the angle to indicate the posture are increased. II . Concerning to the clothes design to diminish the shape of dorsal curvature 1) Among the designs by the position of darts, the basic pattern (Fig. 5-1-(1)) showed the best effect to mask the shape of dorsal curvature. 2) Out of the applied designs of princess lines, that in which the slash line is pointing toward the shoulder point (Fig. 5-2-(1)) seemed to be most effective. 3) What has angled princess line (Fig. 5-3-(1)) had the most diminishing effect among the waist darts and armhole princess lines. 4) Among the V-shaped designs, the slashed at the shoulder point (Fig. 5-4-(1)) had the best effect to lessen the shape of the dorsal cuuature. 5) Wider angle yoke had better effect to the narrow angle one among the designs with straight yoke, and that with downward direction (Fig. 5-5-(1)) showed the best effect. 6) Between straight wide angle yoke and curved yoke, that of curved one with downward direction (Fig. 5-6-(1)) had better effect as far as the masking effect of dorsal curvature is concerned. 7) Gathers around the neck showed better effect to those around the shoulder, and the more amount of gathers (Fig. 5-7-(1)), there was better effect. 8) The design with midline gathers at the level of horizontal slash line of armhole (Fig. 5-8-(1)) showed better effect to that with seperated gathers. 9) In case of design with gathers at the horizontal line of armhole, it showed the better effect with less amount of gathers in midline ones, but with more amount in the side ones. 10) Considering all 7 different designs with better effect in covering the shape of dorsal curvature, it was evident that the design with gathers was far better than the design with application of slash lines.

• Journal of the Korea Organic Resources Recycling Association
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• v.20 no.4
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• pp.97-105
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• 2012

This study examined for possibility of the food wastewater incineration treatment method as one of overland treatment method by incineration through liquefied spray of food wastewater when incinerating domestic wastes under operation and for the relationship, etc of air discharge material discharged in incineration, and the results of study are as follow: The food wastewater as one of overland treatment method was analysed 94-96% of moisture contents. Temperature of incinerator outduct during mixed incineration of food wastewater with MSW was average $897^{\circ}C$ and incineration of only MSW was $925^{\circ}C$. Temperature of the mixed incineration of food wastewater was dropped about $28^{\circ}C$ by incineration of only MSW. Concentration of nitrogen oxides(NOx) among air discharge gases was studied by 50ppm, 46ppm when inputting $200{\ell}/hr$, $300{\ell}/hr$ into the incinerator as the quantity of food wastewater. In the mixed incineration of food wastewater, generation speed of scales in the inside of a tubular exhaust gas boiler became rapid and the scale generation quantity became large but the exhaust gas boiler normally operated since scales were removed in cleaning of the tube with a compressive air cleaning facility and there was no opening clogging phenomena in a filter cloth of the filtering dust collector. The overland treatment method, not ocean dumping of food wastewater can be proposed as a technology since mixed incineration of food wastewater with MSW in the existing domestic waste incineration plant is possible, and operation costs of the incineration facility were reduced since use of chemicals such as ammonia and urinary hydrogen ion excretion, etc used in incineration facilities for removing nitrogen oxides(NOx).

• Journal of Fashion Business
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• v.11 no.6
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• pp.87-100
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• 2007

This study aims at analyzing the characteristics of deconestructionism expressed in Issey Myake's fashion who is one of the most creative designers in the world. Method and contents of this study are as follows. Through the review of literatures, three major categories such as interminacy of meaning, decentring, and intertextuality and eight subcategories have been identified as major features of deconestructionism. These subcategories for content analysis were selected to examine the characteristics of deconstructionism expressed in Issey Myake's design in depth. Interminacy of meaning was divided into unstructured and unconstructed factors while decentring into qualities of cross-gender, subculture, anti-fashion, and post-humanism. Lastly, intertextuality was classified into factors of disordered mixing mode and mixed styles. Materials for analysis were chosen from total 349 designs on the website,www.firstview.com, which carries Issey Miyake's collection from 2002 S/S through 2006 F/W. 2 fashion major analysts including the researcher participated in 1st analysis and two another fashion major analysts participated in 2nd analysis. The final level of consistency between analysts was over 97% for all categories. The data analysis quantitatively evaluates the frequency of each category and qualitatively evaluates the characteristics of design. The result is as follows. First, the avant-garde facets of inter-textuality are most prominent. In particular, Miyake has introduced the various novelly textiles to fashion and employed the mixtured styles, not to copy them but to create hybrid designs by using pastiches and mixing fashion styles. Moreover, he has used various fabrics in order to inflict shock and contrast but still create subtle harmony, thus enriching his fashion. Second, the indeterminacy of meaning is the second most frequently shown facet of Miyake's fashion design. Miyake has employed unconstructed expression techniques, which has projected unusual images free from basic forms of designs and also has used the unstructured styles which dismantle harmony and balance-the common rule of design. He has made a new attempt to acknowledge clothing as an expressive artwork by allowing clothes to take a complete form when a person actually wears them. He has demonstrated a unique perspective on cloth construction and presented a love for artistic collaboration in the development of his collections A distinct manufactured aesthetic is exaggerated, even hyperbolic. Thirdly, the aspects of decentralization were also shown in Miyake's design, however, it has been visibly decreased after 2002 S/S.