• Journal of the Korean Applied Science and Technology
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• v.36 no.3
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• pp.995-1007
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• 2019

The purpose of this study was to investigate the effects of 12-week elastic band exercise on body composition, blood lipids and AMPK in 24 elderly female volunteers aged 65-75 years, and they were divided into the combined exercise group(n=12) and the control group(n=12). The elastic band exercise method was to do exercise 3 times a week for 60 minutes per session, 1-4 weeks for low intensity of OMNI-RES 3-4, 5-8 weeks for medium intensity of OMNI-RES 5-6, 9-12 weeks for OMNI-RES 7-8 of high intensity. In order to compare the differences in the groups before and after the elastic band exercise, two-way repeated measures ANOVA was used to verify the interaction between group and time. The difference in the groups of the measured data was paired t-test, the difference between the groups was paired independent t-test, and analysis of covariance ANCOVA was performed to minimize the inter-group error. The statistical significance level of each item was set to .05. As a result, body fat percentage of exercise group significantly decreased (p<.05), and skeletal muscle volume was significantly increased (p<.01). TC, TG and LDL-C were not significantly different between the exercise and control groups, and HDL-C was significantly decreased in the control group (p<.05). AMPK was significantly decreased in the exercise group (p<.001), but there was no significant difference in the control group. According to the covariance analysis to minimize the error of difference between the pre-exercise groups (p<.05), there was significant difference in AMPK of groups after exercise. These results suggest that the 12-week elastic band exercise has a positive effect on the body composition and AMPK of the elderly women.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.43-107
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• 2005

A ritual ceremony accompanied by a song and dance is called as Kagura in Japan. The word Kagura is originally derived from Kamukura, which means the place where spirits reside. However, later it came to refer to the whole process of the ritual ceremony itself. Through the field studies, this paper examines Takachiho-kagura, helded in Takachiho, known as the village of myths, located in northern Miyazaki-ken in Japan. Kagura takes place all night through in each and every village in Takachiho and it normally runs from the end of November when the harvest season ends until early February the next year. One ordinary house is especially chosen for this ceremony, in which Kagura performs 33 repertoires. Takachiho-kagura is sometimes called as Yokagura, since the performance takes place over-night. A song and dance is performed by ordinary village people called hoshyadong, who inherited Takachiho-kagura. Currently, the ceremony is held in more than 20 villages and designated by the government as "Important Intangible Folk Cultural Property" in Japan. Takachiho-kagura follows the example of rituals held in Sada shrine in Izumo, which is now eastern Hiroshima-ken. It is the dance using a bell, a sword, a fan, which signify Norimono and is usually combined with mask-play called as Shinno. From the shrine of village, itwelcomes the gods who defense their village, called Ujikami and other 8 million gods, called Yaoyorozunokami, in Kagurayado, where Kagura of 33 repertoires is played in order. Kagura starts from dances for attendance of the gods, Hikomai, Daidono, Kamioroshi, performs dances of Amanoiwato, the gate of heaven's cave in Japanese myths, Dazikara, Uzume, Dotori, and continues dances for the old ghosts Shibahiki, Yatsubachi mixed with acrobatics. Finally, this performance ends with dances to send off the gods, Hinomae, Gurioroshi, Gumooroshi, until the dawn the next morning. This paper explores Takachiho-kagura from the perspective of folk performance with ethnography. These days, ecstasy and oracle do not happen in Takachiho-kagura. However, it kept the old form of folk performance as Kagura held in ordinary house. Especially, in Takachiho, remarkable venue of the Japanese myths, Takachiho-kagura is developed artistically. The first field study was held in Gokamura, Iwato-zone and Ashakabe, Mitai-zone between December 6th and December 12th 1997. Afterwards, the second field study was conducted in the area of Shiba and Ashakabe from December 17th until December 19th 1997 and from December 1st until December 10th 2000.

• Journal of Bio-Environment Control
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• v.28 no.2
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• pp.134-142
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• 2019

This study was conducted to evaluate the growth characteristics of lettuce (Lactuca sativa L.) as affected by artificial light sources and different growing media in a closed-type plant production system (CPPS). The lettuce seeds were sown in the 128-cell plug tray filled with 5 different growing media such as urethane sponge (US), rock-wool (RW), Q-plug (QP), TP-S2 (TP) and PU-7B (PU). The germination rate of lettuce seeds was examined during 12 days after sowing. On the 13 days after sowing, the lettuce seedlings were transplanted in a CPPS with temperature $25{\pm}1^{\circ}C$ and nutrient solution (EC $2.0dS{\cdot}m^{-1}$, pH 6.5) using recirculating deep floating technique system. The light sources were set with FL (fluorescent lamps) and combined RB LEDs (red : blue = 7 : 3) with $150{\pm}10{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ PPFD and a photoperiod of 14/10 hours (light/dark). The initial germination rate of lettuce was the highest in TP. The final germination and mean daily germination were the significantly highest in RW, QP and TP. The plant height, leaf length, leaf width, leaf area, and fresh and dry weights of shoot were the greatest in QP irradiated with RB LED. The number of leaves, fresh and dry weights of root and SPAD were the greatest in QP and TP irradiated with RB LED. The root length was the longest in TP irradiated with RB LED. Therefore, these results indicate that RB LED was effective for the growth of lettuce and it was also found that the QP and TP were effective for the germination and growth of lettuce in a CPPS. In addition, we confirmed the applicability of the newly developed growing medium TP for the lettuce production in a CPPS.

• Journal of Intelligence and Information Systems
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• v.27 no.3
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• pp.157-173
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• 2021

With the development of information technology, the amount of available information increases daily. However, having access to so much information makes it difficult for users to easily find the information they seek. Users want a visualized system that reduces information retrieval and learning time, saving them from personally reading and judging all available information. As a result, recommendation systems are an increasingly important technologies that are essential to the business. Collaborative filtering is used in various fields with excellent performance because recommendations are made based on similar user interests and preferences. However, limitations do exist. Sparsity occurs when user-item preference information is insufficient, and is the main limitation of collaborative filtering. The evaluation value of the user item matrix may be distorted by the data depending on the popularity of the product, or there may be new users who have not yet evaluated the value. The lack of historical data to identify consumer preferences is referred to as data sparsity, and various methods have been studied to address these problems. However, most attempts to solve the sparsity problem are not optimal because they can only be applied when additional data such as users' personal information, social networks, or characteristics of items are included. Another problem is that real-world score data are mostly biased to high scores, resulting in severe imbalances. One cause of this imbalance distribution is the purchasing bias, in which only users with high product ratings purchase products, so those with low ratings are less likely to purchase products and thus do not leave negative product reviews. Due to these characteristics, unlike most users' actual preferences, reviews by users who purchase products are more likely to be positive. Therefore, the actual rating data is over-learned in many classes with high incidence due to its biased characteristics, distorting the market. Applying collaborative filtering to these imbalanced data leads to poor recommendation performance due to excessive learning of biased classes. Traditional oversampling techniques to address this problem are likely to cause overfitting because they repeat the same data, which acts as noise in learning, reducing recommendation performance. In addition, pre-processing methods for most existing data imbalance problems are designed and used for binary classes. Binary class imbalance techniques are difficult to apply to multi-class problems because they cannot model multi-class problems, such as objects at cross-class boundaries or objects overlapping multiple classes. To solve this problem, research has been conducted to convert and apply multi-class problems to binary class problems. However, simplification of multi-class problems can cause potential classification errors when combined with the results of classifiers learned from other sub-problems, resulting in loss of important information about relationships beyond the selected items. Therefore, it is necessary to develop more effective methods to address multi-class imbalance problems. We propose a collaborative filtering model using CGAN to generate realistic virtual data to populate the empty user-item matrix. Conditional vector y identify distributions for minority classes and generate data reflecting their characteristics. Collaborative filtering then maximizes the performance of the recommendation system via hyperparameter tuning. This process should improve the accuracy of the model by addressing the sparsity problem of collaborative filtering implementations while mitigating data imbalances arising from real data. Our model has superior recommendation performance over existing oversampling techniques and existing real-world data with data sparsity. SMOTE, Borderline SMOTE, SVM-SMOTE, ADASYN, and GAN were used as comparative models and we demonstrate the highest prediction accuracy on the RMSE and MAE evaluation scales. Through this study, oversampling based on deep learning will be able to further refine the performance of recommendation systems using actual data and be used to build business recommendation systems.

• Journal of Bio-Environment Control
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• v.28 no.4
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• pp.404-410
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• 2019

This study was performed to investigate the seed morphological characteristics and dormancy type of Adenophora triphylla var. japonica Hara that high valued medicinal crop and to select the disinfectants and light quality for germination rate improvement. The seed disinfection was carried out using distilled water (control), NaClO 4%, $H_2O_2$ 4%, and benomyl $500mg{\cdot}L^{-1}$. The light quality treatments were set to dark condition (control I), fluorescent lamp (control II), LEDs [red, blue, green, and combined RB LEDs (red:blue = 8:2, 6:4, 4:6, 2:8)] with a photoperiod of 12/12 (light/dark) and light intensity $150{\pm}10{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ photosynthetic photon flux density. Although the Adenophora triphylla var. japonica Hara seed was an underdeveloped embryo (E) and seed (S) with an embryo (E):seed (S) ratio of 0.4, it is germinated within 30 days, and seed moisture saturation was reached within 6 hours after immersion. After seed disinfection, the mold incidence rate was significantly inhibited, and the final germination rate was the highest at 87% in the benomyl seed disinfection. The final germination rate was the highest at 92% in the red light, and the mean daily germination was the lowest in the R2B8. Therefore, there is almost no dormancy in the Adenophora triphylla var. japonica Hara seed, and benomyl seed disinfectant and red light were effective in the improvement of germination rate. So it is considered to the high value of use for medicinal crop Adenophora triphylla var. japonica Hara cultivation.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.250-273
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• 2020

The three-story stone pagodas in Hyeon-ri and Hwacheon-ri,Yeongyang Gyeongsangbuk-do are stone pagodas that exhibit the typical style of Unified Silla. The two pagodas are believed to have been built in the mid- and late 9th centuries at the latest, considering the style of the three-story roof stone on top of the double-tier base. This is also confirmed by the reliefs carved at the base and the first-story of the pagoda. The Four Heavenly Kings and the Twelve Zodiacal Animal Deities were first combined in the late 8th century in the stone pagoda at the Wonwonsa Temple Site, and the Eight Classes of Divine Beings was also the most popular carved pagoda reliefs in the 9th century. However, the two Yeongyang stone pagodas are characterized by a combination of the Four Heavenly Kings (1st story), the Eight Classes (top base), and the Twelve Zodiacal Animals (lower base), and the stone used for the pagoda consists of sedimentary rocks of the sandstone family, which comprise most of the geological strata in the Yeongyang area, rather than ordinary granite. The new combinations of the three types of guardian deities and the Eight Classes changed from seated to standing poses is interpreted as an attempt to enhance the Buddhist faith and cultural status of the Yeongyang area, along with the fact that the stone pagoda was built using local natural materials. The Eight Classes of the Yeongyang stone pagoda does not follow the two types of arrangement of the pagodas with the Eight Classes, but some of the deities have been relocated to a new location. Composed of AsuraGandharva on the east side, Naga-Mahoraga on the south, Deva-Garuda on the west, and Kimnara-Yaksa on the north, this form can be classified as a unique 'third layout of the Eight Classes' in the Yeongyang area. Such changes in the shape and posture of the reliefs reflect a new perception of the pagodas. The reason why the Gandharva and Yaksa statues were carved on the east and north sides, respectively, was because they were deemed subordinate to the Four Heavenly Kings, and the fact that the Naga and the Mahoraga were carved on the south side was presumed to have influenced the geographical location of the two pagodas on the northern side of Banbyeoncheon Stream. The Hyeon-ri and Hwacheon-ri three-story stone pagodas inherited the tradition of typical Unified Silla-period pagodas, while also bearing their own new regional characteristics.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.117-133
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• 2021

The art of the Confucian literati' was mainly centered on literati' painting. Literary paintings combined with poem-writing-painting are based on the literary characters and studies. This is usually based on the technique of Shensi(神似) caused by a hobby accomplishment, enjoying the chinese painting and cherishing with chinese painting. The Confucian literati' cultivated their own character and sublimated humanism to art based on studying. They sought the life of supremacy and supreme gentleness, and enjoyed life on the boundary of pleasure through art. The aim of the Confucian literati' arts lies in the pursuit of expressing the artist's inner world, spirit, and the combination of the Confucian and the Taoism, Because of literati's spirit based on learning, the Confucian literati' arts still exist. The aesthetic of Sunbi Spirit is mainly in the customs of Sunbi, the loyalty of Sunbi, the Silhak(實學) of Sunbi, and loving of the people of Sunbi. We can find honor and loyalty in the Sunbi spirit of the Confucian literati' of the Joseon Dynasty. In addition, it is also possible to observe the loyal troops, the hard work for the country, and the Pung-ryu with nature. In other words, the Sunbi honor, loyalty, loyal troops, pursuit of study and the Pung-ryu show the spirit of the Confucian literati' of Joseon Dynasty. The aesthetic of the Sunbi spirit is in Pung-ryu, loyalty, Silhak, loving of the people etc. The aesthetic of experience of art is mainly based on the aesthetic experience by emotional intelligence and the aesthetic experience according to the individual's inclination. The aesthetic sense actually shows Pung-ryu, loyalty, Silhak and love etc. We can see it in many of our literary paintings. Therefore, the Confucian literati' painting in Chosun Dynasty were the intentionality of the mind and the intentionality of the spare. Furthermore, it has directivity of expressing the artist's inner world, directivity of substance, so it is possible to see that the characteristics of the Sunbi spirit are diverse.

• Journal of agricultural medicine and community health
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• v.45 no.4
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• pp.235-244
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• 2020

Objectives: Gyeongsangbuk-do has entered a super-aged society with 20.7% of the population aged 65 and older. As of April 30, 2020, the death rate of COVID-19(3.8 people) in Gyeongsangbuk-do is higher than the national mortality rate (2.3 people), and the fatality rate of COVID-19 by age accounts for more than half of the total of 58.6%, so it is time to propose to prevent infectious diseases in the event of additional infectious disease disasters COVID-19. Methods: We collected daily data on the number of confirmed cases and deaths due to COVID-19 from 19 February to 30 April 2020. The data collected was evaluated using the SPSS 21.0 statistical package. Results: As a result of comparing the incidence and death-related factors of confirmed patients in Gyeongsangbuk-do, there were significant differences in age group (p<0.001), underlying disease (p<0.001), and residence type (p<0.033). Conclusion: Factors affecting the mortality rate of confirmed patients in Gyeongsangbuk-do have been combined with individual level factors(age, gender, underlying disease), which means individual characteristics that have existed since before the disease, and regional level factors(Type of Residence), which are external factors that enable the use of medical resources. Therefore, each local government is required to establish preventive measures considering individual and regional level factors.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.61-77
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• 2011

This study focused on relevant rock names related to Sinsun(神仙) which had been settled as Taoist traces were combined with places. While interpreting major features of Sundoism relevant rocks, it also discussed types and places of rocks reflected in their names by considering distinct characteristics of landscape characters that ancestors viewed through the rocks or on the rocks. Conclusion of this study is summarized as follows. 1. Among the rock names related to Sinsun, the most frequently discovered one was Sinsunbawi(52) and followed by Sinsunbong(神仙峰: 38), Sinsundae(神仙臺: 31). Other than these, there were Gangsundae(降仙臺: 12), Sunyoodae (仙遊臺: 10) and Sasundae(四仙臺: 5). 2. In the name of Sinsundae, 'Dae(臺)' ascertains that it was located in greatly superb place in the aspects of viewpoint and appreciation where landscape superiority and overlook scenery were fair and outstanding. 3. Sinsunbong was named for a peak of mountain. At the same time, it implied a notion of worship with images of 'merging with sky' or 'looking up.' Most of time, Sinsunbong indicated the tallest rock in the mountain chain. 4. A significant number of Sinsunbong had names where legends of Sinsun's Go game or descent were originated from. It shows that 'Sinsun(仙) and Go game' used to be very important motives for folk etymology of Sinsun related rocks. Along with the Sinsundae, a number of Sinsunbawi were also turned out to exist in land and ocean with excellent marine view. 5. According to analysis of their altitudes and heights of the peaks where the rocks belong to, Sinsunbong, Sinsundae and Sinsunbawi were in order. It might indicate that the rocks were located on top of mountain or that Sinsunbong represented the mountain itself. Compared to this, Sinsundae was located in where distant panoramic views were overlooked. It was not necessarily to be in peak but in where with a great view like Taoist world. On the other hand, Sinsunbawi was located in where has fine scenery and great valley not so far from villages, which proved its name had been influenced by place feature not altitude. 6. Feature of rock with Sinsun related name is to comprise visual stability of worship object with close linkage to attitude of worshiper. Considering its deep connection with communicative method of worship object and worshiper, seemingly it was main factor to lead folk etymology of rocks with Sinsun related names. 7. Rock is an object with the greatest implication of Sinsun imagination and Sinsun rocks show most clearly the fact that Taoism, which used to be considered as inaccessible, had been actualized in a visual and realistic manner with the change of time.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.