• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.2
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• pp.1-11
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• 2023

This study intended to develop a technique for quantitatively and 3-dimensionally predicting the potential failure zone and impulse that may occur when trees are fall down. The main outcomes of this study are as follows. First, this study established the potential failure zone and impulse calculation formula in order to quantitatively calculate the risks generated when trees are fallen down. When estimating the potential failure zone, the calculation was performed by magnifying the height of trees by 1.5 times, reflecting the likelihood of trees falling down and slipping. With regard to the slope of a tree, the range of 360° centered on the root collar was set in the case of trees that grow upright and the range of 180° from the inclined direction was set in the case of trees that grow inclined. The angular momentum was calculated by reflecting the rotational motion from the root collar when the trees fell down, and the impulse was calculated by converting it into the linear momentum. Second, the program to calculate a potential failure zone and impulse was developed using Rhino3D and Grasshopper. This study created the 3-dimensional models of the shapes for topography, buildings, and trees using the Rhino3D, thereby connecting them to Grasshopper to construct the spatial information. The algorithm was programmed using the calculation formula in the stage of risk calculation. This calculation considered the information on the trees' growth such as the height, inclination, and weight of trees and the surrounding environment including adjacent trees, damage targets, and analysis ranges. In the stage of risk inquiry, the calculation results were visualized into a three-dimensional model by summarizing them. For instance, the risk degrees were classified into various colors to efficiently determine the dangerous trees and dangerous areas.

• Journal of agriculture & life science
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• v.50 no.4
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• pp.169-177
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• 2016

This study was carried out to compare microbiological and hygienic quality characteristics of the products reached expiration date among meat products distributing in markets. A total of 20 meat products(6 hams, 3 bacons and 11 sausages) were examined for analyses of pH, Aw, TBARS, VBN, total aerobic microbial counts, and meat colors. The pH values of samples were between 5.33 and 6.59. The water activity (Aw) of samples ranged 0.90-0.93. TBARS and VBN values of samples were 0.11-0.59 and 2.37~14.75, respectively. The contaminated levels of total aerobic bacteria were less than 2.80 CFU/g. In meat color, L*, a*, and b* values of samples were in the range of 56-72, 5.2-34 and 0.7-16, respectively. It is suggested that the quality difference of meat products is attributed to the different additives and manufacturing processes. Therefore, we suggest that the results of this study are not only applied for evaluation of the microbiological and hygienic safety but also served as fundamental information for re-establishing the shelf-life of meat products.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.138-164
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• 2022

The Neolithic shell midden in Daejuk-ri, Seosan, is distributed on the gentle slope of a low hill close to the west coast. The bedrock of the area consists mainly of schist with various mafic minerals, but shows a partial gneiss pattern. The site consists of loamy topsoil and clay loam subsoil, and the degree of siallization is relatively low. Although the pottery excavated from the shell midden shares mostly similar features, a variety of shapes and patterns coexist. The surface colors, thickness and physical properties are slightly different. The pottery can be subdivided into three types (IA, IB and II) according to the composition of the body clay, the temper and the existence of a black core. Types IA and IB are colorless mineral pottery with a non-black or black core respectively. TypeII is colored mineral pottery with a non-black core. Type I pottery also contains non-plastic colored minerals, but type II contains a large amount of biotite, chlorite, talc, amphibole, diopside and tremolite, which include a large amount of Mg and Fe. The studied pottery contains a small amount of organic matter. Considering the grain size and relatively poor sorting and roundness of the non-plastic particles, the pottery appears to be made by adding coarse non-plastic tempers for special purposes to the untreated weathered soil around the site. The three types of pottery seem to have been incompletely fired in general. While type IB has the lowest degree of oxidation, typeII shows the highest degree of redness and oxidation. It can be interpreted that these differences depend on the firing temperature and the ratio of non-plastic particles. Through a synthesis of the minerals, geochemical data and thermal history, it can be determined that the firing temperature ranged from 600 to 700℃. The pottery types of the Daejuk-ri Shell Midden have slightly different production conditions, mineral compositions, and physical properties, but have undergone similar production processes with basically the same clay materials. The clay is almost identical to the composition of the bedrock and weathered soil distributed in the Daejuk-ri area. Currently, there is an industrial complex in the area, so it is difficult to confirm the soil and geological distribution of the site. However, it is highly probable that the area around the site was self-sufficient for the clay and tempers required for the production of the Neolithic pottery. Therefore, it can be interpreted that the group that left the shell midden in Daejuk-ri lived near the site, visited the site for the purpose of collecting and processing shellfish, and discarded the broken pottery along with shells.

• Asia Marketing Journal
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• v.12 no.2
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• pp.53-81
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• 2010

Brand experience has received much attention from considerable marketing research. When consumers consume and use brands, they are exposed to various specific brand-related stimuli. These brand-related stimuli include brand identity and brand communications(e.g., colors, shapes, designs, slogans, mascots, brand characters) components. Brakus, Schmitt, and Zarantonello(2009) conceptualized brand experience as subjective and internal consumer responses evoked by brand-related stimuli. They demonstrated that brand experience can be broken down into four dimensions(sensory, affective, intellectual, and behavioral). Because experiences result from stimulations and lead to pleasurable outcomes, we expect consumers to want to repeat theses experiences. That is, brand experiences, stored in consumer memory, should affect brand loyalty. Consumers with positive experiences should be more likely to buy a brand again and less likely to buy an alternative brand(Fournier 1998; Oliver 1997). Brand attachment, one of dimensions of the consumer-brand relationship, is defined as an emotional bond to the specific brand(Thomson, MacInnis, and Park 2005). Brand attachment is target-specific bond between the consumer and the specific brand. Thus, strong attachment is attended by a rich set of schema that link the brand to the consumer. Previous researches propose that brand attachments should affect consumers' commitment to the brand. Brand experience differs from affective construct such as brand attachment. Brand attachment is based on interaction between a consumer and the brand. In contrast, brand experience occurs whenever there is a direct and indirect interaction with the brand. Furthermore, brand experience is not an emotional relationship concept. Brakus et al.(2009) suggest that brand experience may result in brand attachment. This study aims to distinguish brand experience dimensions and investigate the effects of brand experience on brand attachment and brand commitment. We test research problems with data from 265 customers having brand experiences in various product categories by using multiple regression and structural equation model. The empirical results can be summarized as follows. First, the paths from affective, behavior, and intellectual experience to the brand attachment were found to be positively significant whereas the effect of sensory experience to brand attachment was not supported. In the consumer literature, sensory experiences for consumers are often equated with aesthetic pleasure. Over time, these pleasure experiences can affect consumer satisfaction. However, sensory pleasures are not linked to attachment such as consumers' strong emotional bond(i.e., hot affect). These empirical results confirms the results of previous studies. Second, brand attachment including passion and connection influences brand commitment positively but affection does not influence brand commitment. In marketing context, consumers with brand attachment have intention to have a willingness to stay with the relationship. The results also imply that consumers' emotional attachment is characterized by a set of brand experience dimensions and consumers who are emotionally attached to the brand are committed. The findings of this research contribute to develop differences between brand experience and brand attachment and to provide practical implications on the brand experience management. Recently, many brand managers have focused on short-term view. According to this study, we suggest that effective brand experience management requires taking a long-term view of marketing decisions.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.76-98
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• 2023

The results of analyzing the outfits of male and female characters depicted in the "Hoehonryedocheop" (回婚禮圖帖, Deoksu 6375) held by the National Museum of Korea and estimating its production date of the "Hoehonryedocheop"are as follows. Firstly, an elderly groom is depicted wearing a patterned heukdanryeong (黑團領) with rank badges, a garment commonly donned by government officials in works such as "Jeonanryedo (奠鴈禮圖)" and "Gyobaeryedo (交拜禮圖)". And the old groom in "Heonsuryedo (獻壽禮圖)" "Jeobbindo (接賓圖)" and "Jungroeyeondo (重牢宴圖)" is shown wearing a jarip (purple hat) without a paeyoung (ornamental jewelry strap), accompanied by jade colored robe with a red strap belt. Gireokabeom (雁夫) is observed wearing a jarip (紫笠) adorned with a paeyoung (貝纓) and a patternless heukdanryeong with rank badges. Adult male descendants are depicted wearing dopo (道袍), while guests wear dopo, cheolrik (帖裏), and jikryeong (直領), accompanied by red and blue straps denoting their social status. Jingssi (徵氏), sidong (侍童), and young grandchildren are observed wearing jungchimak(中赤莫). The young servants are wearing jungchimak, and the boys carrying the food have braided their hair and worn sochangu (小氅衣), while adults servants wore jeonrip (氈笠) and sochangui. Performers are seen clad in a sochangui, jeonbok, and a blue sash around their waists. Secondly, the elderly bride is portrayed wearing a keunmeori (ceremonial headdress) and a green wonsam (圓衫) in "Gyobaeryedo," while in "Heonsuyeondo," she is depicted in a blue skirt and a jade colored jeogori (赤古里). Women descendants are shown adorning headdress decorations, such as binyeo(簪), banja(斑子) and pearl daenggi (眞珠唐紒) on their eoyeomeori (於于味, ceremonial headdress). They are further dressed in skirts of navy, red, and jade hues, paired with various-colored jeogori. Additionally, a woman wearing a navy skirt and a green jangot (長衣) is also depicted. The dongnyeo (童女, unmarried women) wear beolsaengmeri (娘子雙髻), headdress) with long binyeo and long dodaik-daenggi (都多益唐只). They wear chilbo-jokduri (七寶簇頭里) and a red skirt with a green hoejang-jeogori (回裝赤古里). Bija (婢子) wears garima (加里亇) on her eoyeomeori and is seen dressed in skirts and jeogori resembling those worn by noble women, albeit with lighter colors, shorter skirt length, and a subdued volume. Ginyeo's attire bears similarities to that of noble women, although with a dress with less vibrant tones and devoid of decorations on the eoyeomeori. Thirdly, based on the main character's jarip, along with the cheolrik and jikryeong worn by the guests, as well as the performances by musicians of the military camp, it is suggested that the main character of the 60th wedding anniversary is connected to the Ministry of Military Affairs or the military camp. Judging by the military band's short-sleeved vest, the silhouettes of the women dress, and the headdresses, it is likely that the "Hoehonryedocheop" was produced between the 1760s and 1780s.

• Journal of Intelligence and Information Systems
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• v.29 no.4
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• pp.271-286
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• 2023

The global COVID-19 pandemic has transformed face masks from situational accessories to indispensable items in daily life, prompting a shift in public perception and behavior. While the relaxation of mandatory mask-wearing regulations is underway, a significant number of individuals continue to embrace face masks, turning them into a form of personal expression and identity. This phenomenon has given rise to the Fashion Mask industry, characterized by unique designs and colors, experiencing rapid growth in the market. However, existing research on masks is predominantly focused on their efficacy in preventing infection or exploring attitudes during the pandemic, leaving a gap in understanding consumer preferences for mask design. We address this gap by investigating consumer perceptions and preferences for two prevalent mask designs-horizontal fold flat masks and vertical fold flat masks. Through a comprehensive approach involving surveys and eye-tracking experiments, we aim to unravel the subtle differences in how consumers perceive these designs. Our research questions focus on determining which design is more appealing and exploring the reasons behind any observed differences. The study's findings reveal a clear preference for vertical fold flat masks, which are not only preferred but also perceived as unique, sophisticated, three-dimensional, and lively. The eye-tracking analysis provides insights into the visual attention patterns associated with mask designs, highlighting the pivotal role of the fold line in influencing these patterns. This research contributes to the evolving understanding of masks as a fashion statement and provides valuable insights for manufacturers and marketers in the Fashion Mask industry. The results have implications beyond the pandemic, emphasizing the importance of design elements in sustaining consumer interest in face masks.

• Conservation Science in Museum
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• v.30
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• pp.71-88
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• 2023

This paper examined the visible characteristics and chemical composition of glass beads from the Joseon Dynasty as well as the associations thereof. It also explored the characteristics and uses of glass beads by region. This study covered a total of 1,819 pieces excavated from 25 locations in the Gyeonggi, Chungcheong, and Gyeongsang regions, of which 537 pieces were analyzed for their chemical composition. Glass beads of the Joseon Dynasty take a variety of shapes such as a Round, Coil, Floral, Segmented, Flat, Oval, and Calabash. Colors vary from shades of brown (brown, lemon yellow) and shades of blue (Bluish-Green, greenish-Blue, Purple-Blue) to shades of white (colorless, white) and shades of green (Green, Greenish-Blue, Greenish-Brown). Brown accounts for the largest percentage, followed by Bluish-Green, greenish-Blue. It was identified that Drawing technique was the most common glass bead production technique of the Joseon Dynasty. Potassium oxide (K₂O) was the most common flux agent for glass beads, while the potash glass and mixed alkali glass groups account for the largest quantity. The choice of stabilizers depended on the type of flux agents used, but the most common were calcium oxide (CaO) and aluminum oxide (Al₂O₃). The potash glass and potash lead glass groups are high in CaO and low in Al₂O₃, the mixed alkali glass group is high in CaO, and the lead glass group is low in CaO. In terms of the association between color and shape, most of the beads with shade of brown and blue have round shapes of brown and blue have spherical shapes, while the coil shape is prominent in blue beads. A high percentage of green and colorless beads also take the shape of a coil, while white beads in general have a floral shape. In terms of the association between shape and chemical composition, round, floral and segmented shapes account for a high percentage of the potash glass group, while coil and flat shapes are common in the mixed alkali glass group. This paper also analyzed the colorants for each color based on the association between color and chemical composition. Iron (Fe) was used as the colorant for brown and white, and titanium (Ti) and iron were used for light yellow. Purple-Blue was produced by by cobalt (Co), and greenish-Blue, Bluish-Green, green, Greenish-Blue were produced by iron and copper (Cu). Colorless beads had a generally low colorant content.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.21-29
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• 2023

The Northern Song Dynasty, the heyday of cultural and artistic achievements, brought significant changes to the history of gardens in China. The developments and contemplations that had evolved during the previous Tang Dynasty became intertwined with literature, painting, and art, leading to garden being perceived as works of art. In particular, the emergence of Su Shi(蘇軾) that permeated literature and art during the Northern Song Dynasty, had an impact beyond individual garden creation, influencing the development of public gardens and the diversification of garden. His long exile periods served as an opportunity to understand and reflect the local culture and characteristics, influencing the development of the garden. This study focuses on the ideology of Su Shi(蘇軾) that managed various gardens, examining the relationship between his exlie life and ideology. To do so, the study examines the form of the literati's gardens managed by Su Shi(蘇軾), with a particular emphasis on the Baiheju(白鶴居) garden in Huizhou, revealing the following characteristics and values. First, Su Shi(蘇軾), who was proficient in the Three Houses: Confucianism, Buddhism, and Taoism, combined his philosophy and unique perspective techniques with the location and composition elements of Baiheju(白鶴居) to enjoy the landscape. Although the ancient residence has a simple form, it possesses expansiveness through the combination of internal and external views. The interior is designed to be perceived as a single space, but it allows overlapping experiences of space and simultaneous appreciation of different sceneries. On the other hand, the spatial layout incorporates a hierarchical order to establish a sense of order. Second, the garden reflects the local characteristics, featuring numerous tropical plants and presenting vibrant and contrasting colors with structures. The planting forms embrace the concept of "huosei seikou" (活色生香) to enhance the color harmoniously. Additionally, the garden incorporates the poet's spiritual world, projecting it onto the garden as a contemplative place for spiritual nourishment and exploration of the ideal realm. For the pursuit of serenity and profound contemplation, the selected plantings are simple yet distinctive, providing rhythm and depth to the garden space. Third, Baiheju(白鶴居) has undergone changes over the years, but fundamentally, the form and elements of the garden shaped by Su Shi(蘇軾)'s descendants persist, confirming its heritage value.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.102-115
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• 2024

Painted Cultural heritage uses various materials such as paper, silk, wood, soil, and lime as a base layer to draw on using ink sticks and express lines or colors using various colorants. The importance of underdrawings is emphasized when it comes to replication and preservation, as they can reveal the original drawing. Investigations using infrared have been extensively conducted to detect underdrawings. However, there has been a paucity of research on the influence of underdrawing detection according to the base layer. In this study, the effect of the base layer materials on underdrawing detection in painted cultural heritage was confirmed using an infrared camera and hyperspectral camera (900 to 1700 nm). The study samples marked '檢' with ink below the color layer (cinnabar, orpiment, malachite, azurite, white lead, and red lead) by the base layer materials: Paper (Dakji, indigo/Dakji), silk (silk, silk/white lead), wood (celadonite/wood), soil (celadonite/soil), and lime. The difference in the effect on underdrawing detection was minimal for paper and silk, and no significant differences were found between Dakji and indigo/Dakji, or between silk and silk/white lead. However, we found that celadonite/wood, celadonite/soil, and lime have a significant impact on underdrawing detection. In particular, for wood and soil painted with celadonite, underdrawings were not detected for all six color layers. In the case of lime, it was found that all color layers except malachite had a more positive effect on underdrawing detection. The findings of this study will aid in selecting the appropriate method for underdrawing analysis in the restoration of painted cultural heritage.

• Journal of Nutrition and Health
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• v.24 no.3
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• pp.230-242
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• 1991

This research was conducted on the 10 take-out boxed-lunches commercially prepared in the department stores. chain stores. and the public railroad trains in Korea. Sampling was conducted from February 1990 to March 1990. Nutritive values and sodium contents of the 10 boxed-lunch samples are summarized as follows : 1) The average weight(percentage) of the cooked rice and the side dishes were 304.6g(49.4) and 312.4(506%), respectively. The weight of these samples were significantly heavier than that of Japanese style boxed-lunches. 2) The average number of the side dishes was 12. The average numbers of food items classified by the five food groups were 6.1 in protein food group, 0.3 in calcium food group. 6.0 in vitamin and mineral food group. 1.5 in carbohydrate food group, and 1.5 in oil and fat food group. 3) They contained on the average 840.7kcal of energy, 38.9g of protein, 22.7g of fat, 120.4g of carbohydrate. 300.8mg of calcium. 410.8mg of phosphours, 6.61 mg of iron. 219.8 R.E. of vitamin A, 0.46mg of thiamin, 0.67mg of riboflavin, 10.5mg of niacin, 27.5mg of ascorbic acid. Thus. except vitamin t the content of all the nutrients were higher than the value of 1/3 of the RDA for adults. 4) The high priced group(group 2) had more protein, calcuim. iron and niacin contents than the cheaper group(group 1). Probably, it's because the group 2 had more animal foods than the group 1. 5) The average energy content per unit price(100 won) was 37.3kcal and the average protein content per unit price(100 won) was 1.64g. Korena style boxed-lunches had higher energy and protein contents per unit price than Japanese style, and the group 1 higher than the group 2. 6) The average energy Proportions of Protein, carbohydrate. and fat were 18.3%, 57.4%, and 24.3%, respectively. These proportions are good enough. 7) Frequency of cooking methods for the side dishes were found in the decreasing order : pan-frying, frying, braising, seasoning, kimchi, grilling, pickling, stir-frying, steaming and fermenting. Generally simple cooking methods were used, thus the menus were lack or varieties. 8) Frequency of colors for the side dishes were found in the decreasing order : red, brown. yellow, green, black, white. Too much red pepper was used. 9) The average capacity of the containers for the staples and the side dishes were 468.1ml and 590.6ml, respectively. And the containers could not keep the food items well seperated. 10) The average contensts of sodium and salt were 2.287mg and 5.76g, in the range of 1, 398mg to 3, 489mg and 3.53g to 8.80g, respectively. These are much higher values than the recommended amount of salt.