• Science of Emotion and Sensibility
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• v.16 no.1
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• pp.125-132
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• 2013

Recently, the consciousness of energy crisis is rapidly growing and sustainable eco-friendly energy sources are becoming issue. Therefore the portable electronic device requires new energy sources for providing continuous power supply and the power energy harvesting system of the human body that enables the power-harvesting research requests anytime, anywhere. One of the sources for energy harvesting is heat energy, which is the difference in temperature of the body and the surrounding environment. We tried to analyze the temperature difference between the environmental temperature and the temperature inside clothing according to the structure of the closed portion. And we examined the temperature difference between the environmental temperature and the temperature inside clothing according to the material of the clothing. The analysis showed that we have been able to get different results at parts of the body in the temperature inside clothing according to the structure of clothing. In upper torso of the chest and back, the temperature inside clothing of 'closed structure' was higher than the temperature inside clothing of 'opened structure'. In the section of arm and leg, it was reduced the difference of temperature inside clothing between 'closed structure' and 'opened structure'. It was particularly noticeable in the section of leg. The results of analysis of the difference between the environmental temperature and the temperature inside clothing according to the material of the clothing, in both cases of the two materials, 'closed structure' was higher than the 'opened structure' in the difference value between the environmental temperature and the temperature inside clothing. There was a difference according to the material in the section of leg. In this study, we outlined the basic guidelines for developing heat energy harvesting clothing by exploring the structure and material of clothing suitable for the heat energy harvesting.

• Korean Journal of Poultry Science
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• v.41 no.2
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• pp.93-98
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• 2014

This study was conducted to analysis the reason for implementing HACCP system, advantage and disadvantage of HACCP system implemented laying hen farm. The study was carried out by randomly selected fifteen laying hen farms located in all around Korea. All data were collected from fifteen laying hen farms before and after the implementation of HACCP system. The results were as follows: The egg production rate, livability rate and monthly used animal medicine fee did not changed after HACCP system implementation. However, monthly used disinfectant fee tended to be higher in HACCP farm compared to non-HACCP farm. 26.92% of the laying hen farmer responded enhancement of their farm competitiveness as the major propose for implementing HACCP system. The advantages of HACCP implemented laying hen farms were methodical farm management (22.39%), improvement of awareness (21.18%), improvement of the farm sanitation management level (15.30%), safety egg production (15.05%), productivity enhancement (7.29%), reduction of mortality rate (6.82%), and improvement of labor's welfare (5.89%). The disadvantages of HACCP implemented laying hen farms were HACCP recording (43.30%), alteration of consciousness (22.60%), HACCP monitoring (11.11%), HACCP education (9.97%), HACCP verification (6.90%), and A high turnover of labor (6.13%). In conclusion, implementation of HACCP system to laying hen farm did not affect on the productivity or the use of animal medicine. However, the HACCP system may enhance safety and sanitation of egg production for consumer.

• Pediatric Infection and Vaccine
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• v.23 no.3
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• pp.165-171
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• 2016

Purpose: Human parechovirus (HPeV) is an increasingly recognized pathogenic cause of central nervous system (CNS) infection in neonates. However, HPeV infections have not been studied in older children. This study determined the prevalence and clinical features of HPeV CNS infection in children in Korea. Methods: Reverse transcription polymerase chain reaction assays were performed using HPeV-specific, 5' untranslated, region-targeted primers to detect HPeV in cerebrospinal fluid (CSF) samples from children presenting with fever or neurologic symptoms from January 1, 2013, to July 31, 2014. HPeV genotyping was performed by sequencing the viral protein 3/1 region. Clinical and laboratory data were retrospectively abstracted from medical records and compared with those of enterovirus (EV)-positive patients from the same period. Results: Of 102 CSF samples, six (5.9%) were positive for HPeV; two of 21 EV-positive samples were co-infected with HPeV. All samples were genotype HPeV3. Two HPeV-positive patients were <3 months of age and four others were over 1 year old. While HPeV-positive infants under 1 year of age presented with sepsis-like illness without definite neurologic abnormalities, HPeV-positive children over 1 year of age presented with fever and neurologic symptoms such as seizures, loss of consciousness, and gait disturbance. The CSF findings of HPeV-positive patients were mostly within the normal range, whereas most (73.7%) EV-positive patients had pleocytosis. Conclusions: Although HPeV is typically associated with disease in young infants, the results of this study suggest that HPeV is an emerging pathogen of CNS infection with neurologic symptoms in older childhood.

• Korean journal of food and cookery science
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• v.14 no.5
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• pp.566-576
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• 1998

Food habits and Korean food utilization patterns were surveyed from 188 Koreans residing in New Zealand and Malaysia by using a questionnaire. Forty seven percent of the respondents answered that Korean food should be succeeded as its traditional form. Most subjects had strong pride for Korean traditional food. Kimchi was the most frequently consumed side dish followed by Chigaes (stew), broiled meat, Tubu (bean curd), broiled fish, Tangs (soup), and Noodles. While Kimchies were prepared by the respondents themselves, Doenjang and Kochujang were sent from the relatives in Korea or purchased from the market. The changes in food consumption pattern after emigration depended on the availability of food items in residing country. Korean style meal (cooked rice and side dishes) was eaten by 51% respondents for breakfast and by 78.2% for supper. Ramyon was the most frequently consumed instant food. Eating out frequency was much higher in the residents in Malaysia than the ones in New Zealand. This study showed that Koreans residing in foreign countries have the consciousness trying to succeed Korean traditional food culture, and their food consumption pattern partly depends on food availability and socio-cultural properties of the residing country.

• 대한공업교육학회지
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• v.38 no.2
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• pp.89-113
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• 2013

The study started from the point that learners should be basically equipped to quickly respond to changes in demand for future human resources efficiently and effectively, and an attitude to take part in learning voluntarily should thus be cultivated. To this end, the author applied the TAI model based on a module as a class strategy to solve problems related to several classes occurred in specialized high schools. This application of the TAI model was also motivated by the necessity for designing an appropriate teaching-learning method that encourages improvement of self-learning capacity, consistent learning motivation, and willingness rather than external factors. Through this work, the author aims to heighten the interest of learners and improve endurance in learning. The study results are as follows. First, the learning unit was structuralized as a module and then learning stages were proceeded with so that capacity to adapt to learning would improve. The achievement standard (learning goal) was structuralized in a module type by analyzing and reorganizing the textbook considering the link between the actual practice field and a curriculum based on subject characteristics. Through the process of module type learning stages, the student's capacity to ascertain characteristics of units and to adapt to learning both improved. Second, through application of a TAI model based on a module, Self-Directed Learning capacity and capacity to adapt to a new field improved. By applying the module, Self-Directed Learning could be accomplished more effectively than in the existing passive learning environment. By grafting cooperative learning of the TAI model, students had greater interest and achievement in classes, self-confidence and community consciousness, and an opportunity to broaden their thinking. In particular, improvement of self-confidence is effective in cultivating the capacity required in industrial society to transcend the learning of simple functions and knowledge, as well as the capacity to adapt to new environments. Third, by solving tasks focused on fields related to industrial sites, not only actual survey capacity but also additional capacity to identify and solve tasks through various experiences improved. Furthermore, it was helpful for students to have interest and motivation about their own life and learning to cultivate the qualities and capacity to adapt to the working world where new knowledge and technology rapidly change. Fourth, by applying a standard-based assessment system for technical subjects introduced in 2012 to model design for learning plans, clearer and more objective assessment criteria were arranged, and individual learning through instruction at each achievement level could be accomplished. This improved achievement level of individual learners was helpful in reaching achievement goals at specific levels by overcoming the disadvantages of cooperative learning in each group.

• Journal of Korean Society of Forest Science
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• v.101 no.3
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• pp.387-394
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• 2012

The study was conducted to develop an effective forest resources use models for an alternate use of abandoned quarry by an attitude survey. According to the result of survey, a pessimistic view due to dust, noise pollution, and forest damage was 5% higher than an affirmative view by economic benefits from the development of quarry. The 42% of the respondents preferred the alternate use of abandoned quarry and the 25% of the respondents wanted an art and cultural space. The optimum size of alternate use was 5-10 ha (43%) with the requirement of nearby residents (32%). According to the SWOT analysis for abandoned quarry, the strength factors were an effective use of land, the content development of modern industrial inheritance + cultural and art fusion, attraction for nearby city and visitors, a harmony of beauty landscape and clean environment, and a sustainable increase of domestic and foreign visitors with the 5-day-work week. The opportunity factors were the improvement of traffic networks through KTX and local highway, the creation of the new growth engines with the establishment of artistic creation belts, the providing of unique cultural and art space through grafting of tour and education, the creation of local income through stone processed goods, and the vitalization of local development through eco-city. The weakness factors were a psychological remoteness and backwardness, and the weakness of staying tour infra. The threat factors were a poor financial support for sustainable development in nearby quarry and a modify of legal and institutional system for the alternated use of abandoned quarry. The developed restoration models for the alternate use in abandoned quarry are classified to a sculpture park, a waterfall and lake park, a rock-climbing, a sports park + forest park, a native botanical garden, a culture and art park, a complex park, a water storage site, a water storage site to extinguish forest fire, a geriatric hospital, an agricultural facility, and a school site types etc. The results suggest that the alternate use in the abandoned soil and stone quarry is needed to establish facility use models with consideration of user's preference.

• The Journal of Art Theory & Practice
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• no.13
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• pp.73-95
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• 2012

In terms of element and process, art today has already been fully systemized, yet tends to become even more systemized. All phases of creation and exhibition, appreciation and education, promotion and marketing are planned, adjusted, and decided within the order of a globalized, networked system. Each phase is executed, depending on the system of management and control and diverse means corresponding to the system. From the step of education, artists are guided to determine their styles and not be motivated by their desire to become star artists or running counter to mainstream tendency and fashion. In the process of planning an exhibition, the level of artist awareness is considered more significant than work quality. It is impossible to avoid such systems and institutions today. No one can escape or be freed from the influence of such system. This discussion addresses a serious distortion in the selection system as part of the system connotatively called "art museum system," especially to evaluate artistic achievement and aesthetic quality. Called "studio system" or "art star system," the system distinguishes successful minority from failed absolute majority and justifies the results, deciding discriminative compensations. The discussion begins from work by Hunter Jonakin and Dan Perjovschi. The key point of this discussion is not their art worlds but the shared truth referred by the two as the collusive "art market" and "art star system." Through works based on their experiences, the two artists refer to these systems which restrict and confine them. Jonakin's Jeff Koons Must Die! is avideo game conveying a critical comment on authoritative operation of the museum system and star system. In this work, participants, whether viewer or artist, are destined to lose: the game is unwinnable. Players take the role of a person locked in a museum where artist Jeff Koons' retrospective is held. The player can either look around and quietly observe the works, which causes a game-over, or he can blow the classical paintings to pieces and cause the artist Koons to come out and reprimand the player, also resulting in a game-over. Like Jonakin, Dan Perjovschi's some drawings also focuses on the status of the artist shrunken by the system. Most artists are ruined in a process of competition to survive within the museum system. As John Burger properly pointed out, out of the art systems today, public collections (art museums) and private collections have become "something unbearable." The system justifies the selection system of art stars and its frame of reference, disregarding the problem of producing numerable victims in its process. What should be underlined above all else is that the present selection system seriously shrinks art's creative function and its function of generating meaning. In this situation, art might fall to the level of entertainment, accessible to more people and compromising with popularity. This discussion is based on assumption and consciousness on the matter that this situation might cause catastrophic results for not only explicit victims of the system but also winners, or ones defined as winners. The system of art is probably possible only by desire or distortion stemmed from such desire. The system can be flourished only under the economic system of avarice: quantitatively expanding economy, abundant style, resort economy in Venice and Miami, and luxurious shopping malls with up-to-date facilities. The catastrophe here is ongoing, not a sudden emergence, and dynamic, leading the system itself to a devastating end.

• The Journal of Art Theory & Practice
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• no.7
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.66-80
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• 2009

This paper attempts to investigate how the cultural phenomena associated with 'Wuyi-Doga(武夷棹歌)' and 'Wuyi-Gugok (武夷九曲)' was introduced to Joseon. The icon and code of 'Gugok' cultural text which was observed in the process of transmitting the culture through repetition and imitation were examined. With regard to research methodology, an 'analysis and discussion framework' was designed based on the literature review, field survey and the seven textuality criteria proposed by Dressier. Then the textuality of 'Wuyi-Gugok' was analyzed in terms of the dependent relation of text, the relationship between the creator and user, repetition, imitation and the spread process. Since ZhouHee(朱熙)'s 'Wuyi-Doga' and 'Wuyi-Gugok' were introduced to Joseon through literature and paintings, they became a part of the cultural Phenomena with unprecedented popularity. As a result, a great number of imitations can be found. In addition, governors would even take care of political affairs in a scenic mountain valley as described in this literature. Regardless of the writer's intentiot 'Gugok' settled in Joseon as new culture in harmony with Taoism and Sung COnfucianism. In other words, Joseon's Gugok-Wonlim(九曲園林) accepted the nature-appreciation aesthetic consciousness in 'Wuyi-Doga' and 'Wuyi-Gugok' on the basis of Taoism and Sung Confucianism. In terms of the text-based dependent relation only, however, the geographical coherence was somewhat loosened while the Gugok Culture that was dependent on Taoism or elegance in life dominated the internal structure of the textuality. Meantime, the internal factors that dominated the textuality of 'Wdyi-Gugok' were interpreted as 1) 'Aesthetics of Bending, Water Whirls', 2) 'Territoriality Expression Carve letters,' 3) 'Cultural Landscape seeing through the Speculation of Meaning,' 4) 'The Pursuit of Oddness and Presentationism' and 5) 'Transcendental Landscape of Taoism and Topos.'

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.72-83
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• 2013

This study suggests the necessity of landscaping alternatives for the succession of Takjok(濯足) culture by considering the background and meaning of Takjok's cultural phenomenon shown in old literatures and paintings and its result is as follows. An old idiom, 'Takyoung Takjok(濯纓濯足)' implying a disinterested living attitude from the mundane world and an attitude complying with nature, has been sublimated to 'Takjokjiyu(濯足之遊)' which means living in comfortable retirement through life in seclusion(隱逸). Classical scholars immerse their feet in soft-flowing(柔軟) water for 'Mulailche(物我一體; synchronized with nature)' which is a unified condition with 'Do(道; truth)' and connected to the stage of 'Yu(遊)', a free mental state, and its nature. The cultural phenomenon of Takjok appeared in the inherited landscape paintings in the Joseon dynasty period after the late stage of Koryo. Takjok shown in 'Pal Kyung Shi'(八景詩; poetry singing for the eight scenary) was described as not a transcendent scene, but as a scenery of daily life. Dense forest and water, such as a stream with clean water, rocks, and pine trees shown in Takjok paintings have been symbolized as a seclusion space for classical scholars with higher thinking and their mental states have been more emerged. Mental pleasures called as seclusion and Takjokjiyu have been relatively emphasized in the Takjok paintings of the Joseon Dynasty period contrary to the Chinese Takjok paintings emphasizing Chung Gye(淸溪; clean stream) and Chang Rang(滄浪; high and clean wave) and strongly representing the image of 'Chung Ryu'(淸流; clean flowing water) and the veneration for antiquity. The view of nature described in the Takjok paintings represents the provision of nature as a situation and attitudes of classical scholars and implies a Taoism perspective which describes the 'do' of nature. This view of nature itself remained intact(無爲自然) with the love of mountains and water, showing a side of the zeitgeist and aesthetic consciousness of China and Joseon. The 'Takjokjiyu' of both countries has be interpreted as a symbol of personality development, behavior, life in seclusion, or transcending the mundane world and has also been accepted as a method of summer vacation in the real world. It should be considered that Takjok includes ordinary people's wisdom to resist the hot weather, as well as the classical scholar's ideal and the veneration of antiquity. From this perspective, water space, Takjok rocks, and the use of water based on the environmental supportability should be newly focused as a recreational space and it reminds us that the spirit of Takjok is a classical mental healing method.