• Korean Journal of Food Science and Technology
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• v.53 no.4
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• pp.486-494
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• 2021

A rice (Oryza sativa L.) cultivar of the SPP (stakeholder participatory program) and ordinary rice were characterized based on water-absorption properties and cooked rice texture. During rice soaking, the rice grain transformed from transparent to opaque (white), indicating that water molecules diffused into the rice grain during soaking. In addition, cracks in the internal structure of soaked rice gradually increased with an increase in soaking time. Water absorption increased rapidly up to 20 min, but no increment was observed after 30 min of soaking. At this point, the entire areas of the soaked rice grain turned white, indicating that water absorption had reached saturation. SPP rice showed lower hardness and higher stickiness in its cooked form than ordinary rice, suggesting that SPP rice could be a more preferable choice than ordinary rice. Furthermore, cooked SPP rice was more edible in terms of hardness and stickiness after being kept warm for 12 h than ordinary rice. These results indicated that cooked SPP rice exhibited slow retrogradation and improved taste.

• Journal of Korean Society of Disaster and Security
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• v.14 no.4
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• pp.47-60
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• 2021

Recently, as the occurrence frequency of sudden floods due to climate variability increased, the damage of aging chuteway slabs of spillway are on the rise. Accordingly, a wide array of field survey, hydraulic experiment and numerical simulation have been conducted to find the cause of damage on chuteway slabs. However, these studies generally reviewed the flow characteristics and distribution of pressure on chuteway slabs. Therefore the derivation of damage on chuteway slabs was relatively insufficient in the literature. In this study, the cavitation erosion and hydraulic jacking were assumed to be the causes of damage on chuteway slabs, and the phenomena were reproduced using 3D numerical models, FLOW-3D and COMSOL Multiphysics. In addition, the cavitation index was calculated and the von Mises stress by uplift pressure distribution was compared with tensile and bending strength of concrete to evaluate the possibility of cavitation erosion and hydraulic jacking. As a result of numerical simulation on cavitation erosion and hydraulic jacking under various flow conditions with complete opening gate, the cavitation index in the downstream of spillway was less than 0.3, and the von Mises stress on concrete was 4.6 to 5.0 MPa. When von Mises stress was compared with tensile and bending strength of concrete, the fatigue failure caused by continuous pressure fluctuation occurred on chuteway slabs. Therefore, the cavitation erosion and hydraulic jacking caused by high speed flow were one of the main causes of damage to the chuteway slabs in spillway. However, this study has limitations in that the various shape conditions of damage(cavity and crack) and flow conditions were not considered and Fluid-Structure Interaction (FSI) was not simulated. If these limitations are supplemented and reviewed, it is expected to derive more efficient utilization of the maintenance plan on spillway in the future.

• The Journal of Engineering Geology
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• v.33 no.3
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• pp.371-388
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• 2023

A stratum with a complex composition and a distributed low-permeability soil layer is difficult to remediate quickly because the soil remediation does not proceed easily. For efficient purification, the permeability should be improved and the soil remediation agent (H₂O₂) should be injected into the contaminated section to make sufficient contact with the TPH (Total petroleum hydrocarbons). This study analyzed a method for crack formation and effective delivery of the soil remediation agent based on pneumatic fracturing, plasma blasting, and vacuum suction (the PPV method) and compared its improvement effect relative to chemical oxidation. A demonstration test confirmed the effective delivery of the soil remediation agent to a site contaminated with TPH. The injection amount and injection time were monitored to calculate the delivery characteristics and the range of influence, and electrical resistivity surveying qualitatively confirmed changes in the underground environment. Permeability tests also evaluated and compared the permeability changes for each method. The amount of soil remediation agent injected was increased by about 4.74 to 7.48 times in the experimental group (PPV method) compared with the control group (chemical oxidation); the PPV method allowed injection rates per unit time (L/min) about 5.00 to 7.54 times quicker than the control method. Electrical resistivity measurements assessed that in the PPV method, the diffusion of H₂O₂2 and other fluids to the surface soil layer reduced the low resistivity change ratio: the horizontal change ratio between the injection well and the extraction well decreased the resistivity by about 1.12 to 2.38 times. Quantitative evaluation of hydraulic conductivity at the end of the test found that the control group had 21.1% of the original hydraulic conductivity and the experimental group retained 81.3% of the initial value, close to the initial permeability coefficient. Calculated radii of influence based on the survey results showed that the results of the PPV method were improved by 220% on average compared with those of the control group.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.30 no.3A
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• pp.201-209
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• 2010

Generally, PSC girder bridge uses total gross cross section to resist applied loads unlike reinforced concrete member. Also, it is used as short and middle span (less than 30 m) bridges due to advantages such as ease of design and construction, reduction of cost, and convenience of maintenance. But, due to recent increased public interests for environmental friendly and appearance appealing bridges all over the world, the demands for longer span bridges have been continuously increasing. This trend is shown not only in ordinary long span bridge types such as cable supported bridges but also in PSC girder bridges. In order to meet the increasing demands for new type of long span bridges, PSC hollow box girder with H-type steel as compression reinforcements is developed for bridge with a single span of more than 50 m. The developed PSC girder applies compressive prestressing at H-type compression reinforcements using unbonded PS tendon. The purpose of compressive prestressing is to recover plastic displacement of PSC girder after long term service by releasing the prestressing. The static test composed of 4 different stages in 3-point bending test is performed to verify safety of the bridge. First stage loading is applied until tensile cracks form. Then in second stage, the load is removed and the girder is unloaded. In third stage, after removal of loading, recovery of remaining plastic deformation is verified as the compressive prestressing is removed at H-type reinforcements. Then, in fourth stage, loading is continued until the girder fails. The experimental results showed that the first crack occurs at 1,615 kN with a corresponding displacement of 187.0 mm. The introduction of the additional compressive stress in the lower part of the girder from the removal of unbonded compressive prestressing of the H-type steel showed a capacity improvement of about 60% (7.7 mm) recovery of the residual deformation (18.7 mm) that occurred from load increase. By using prestressed H-type steel as compression reinforcements in the upper part of cross section, repair and rehabilitation of PSC girders are relatively easy, and the cost of maintenance is expected to decrease.

• Economic and Environmental Geology
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• v.56 no.6
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• pp.697-714
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• 2023

The Tracksite of Cretaceous Dinosaurs and Pterosaurs in Jeongchon, Jinju was discovered in late 2017 during the construction of the Ppuri industry complex. This site is a natural heritage site with a high paleontological value, as it preserves fossils of various types of dinosaurs, pterosaurs, and animal traces at a dense concentration. In this study, we surveyed that physical weathering such as joint, crack, scaling, exfoliation, and fragmentation occurred through field research in the fossil site, and conducted basic research on conservation science to reduce the damage. To this end, among the eight levels identified after excavation, the rocks of Level 3, which yielded a large number of theropod footprint fossils, and Level 4, which yielded pterosaur footprint fossils, were analyzed for material characteristics and evaluation of the effectiveness of consolidation and adhesion. This results showed that the rocks in the Level 3 stratum were dark gray siltstone and the rocks in the Level 4 stratum were dark gray shale, which contained a large amount of calcite and were composed of quartz, plagioclase, mica, alkali feldspar, and other clay minerals, which are likely to be damaged by rainfall under external conditions. As a result of conducting an artificial weathering experiment by dividing the probationary sample into four groups: untreated, consolidation treatment, anti-swelling treatment, and adhesive treatment, the consolidation and the swelling inhibitor showed an effect immediately after treatment, but did not show a blocking effect under a freezing-thawing environment. The adhesive showed that the adhesive effect was maintained even under freezing-thawing conditions. In order to preserve the fossil sites at Jeongchon in the future, in addition to temporary measures to block the inflow of moisture, practical measures such as the construction of protective facilities should be prepared.

• The Journal of Korean Philosophical History
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• no.32
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• pp.215-249
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• 2011

This essay reflects on the modernity of Korea by examining the transformation of the traditional knowledge system from a historico-semantic perspective with its focus on the opposition and collision of the old and the new conception occurred in the early period(1890~1910) of the acceptance of the Western modern civilization. With scientific success, trick of reason, Christianity and evolutionary view of history, the Western modernity regarded itself as a peak of civilization and forced the non-Western societies into the world system in which they came to be considered as 'barbarism(野蠻)' or 'half-enlightened(半開).' The East Asian civilization, which had its own history for several centuries, became degraded as kind of delusion and old-fashioned customs from which it ought to free itself. The Western civilization presented itself as exemplary future which East Asian people should achieve, while East Asian past traditions came to be conceived as just unnecessary vestiges which it was better to wipe out. It can be said that East Asian modernization was established through the propagation and acceptance of the modern products of the Western civilization rather than through the preservation of its past experience and pursuit of the new at the same time. Accordingly, it is difficult to apply directly to East Asian societies Koselleck's hypothesis; while mapping out his Basic Concept of History, he assumed that, in the so-called 'age of saddle,' semantic struggle over concepts becomes active between the past experience and the horizon of expectation on the future, and concepts undergoes 'temporalization', 'democratization', 'ideologization', 'politicization.'The struggle over the old and new conceptions in Korea was most noticeable in the opposition of the Neo-Confucian scholars of Hwangseongsinmun and the theorists of civilization of Doknipsinmun. The opposition and struggle demanded the change of understanding in every field, but there was difference of opinion over the conception of the past traditional knowledge system. For the theorists of civilization, 'the old(舊)' was not just 'past' and 'old-fashioned' things, but rather an obstacle to the building of new civilization. On the other hand, it contained the possibility of regeneration(新) for the Neo-Confucian scholars; that is, they suggested finding a guide into tomorrow by taking lessons from the past. The traditional knowledge system lost their holy status of learning(聖學) in the process of its change into a 'new learning(新學),' and religion and religious tradition also weakened. The traditional knowledge system could change itself into modern learning by accepting scientific methodology which pursues objectivity and rationality. This transformation of the traditional knowledge system and 'the formation of the new learning from the old learning' was accompanied by the intersection between the old and new conceptions. It is necessary to pay attention to the role played by the concept of Sil(hak)(實學) or Practical Learning in the intersection of the old and new conceptions. Various modern media published before and after the 20th century show clearly the multi-layered development of the old and new conceptions, and it is noticeable that 'Sil(hak)' as conceptual frame of reference contributed to the transformation of the traditional knowledge system into the new learning. Although Silhak often designated, or was even considered equivalent to, the Western learning, Neo-Confucian scholars reinterpreted the concept of 'Silhak' which the theorists of civilization had monopolized until then, and opened the way to change the traditional knowledge system into the new learning. They re-appropriated the concept of Silhak, and enabled it to be invested with values, which were losing their own status due to the overwhelming scientific technology. With Japanese occupation of Korea by force, the attempt to transform the traditional knowledge system independently was obliged to reach its own limit, but its theory of 'making new learning from old one' can be considered to get over both the contradiction of Dondoseogi(東道西器: principle of preserving Eastern philosophy while accepting Western technology) and the de-subjectivity of the theory of civilization. While developing its own logic, the theory of Dongdoseogi was compelled to bring in the contradiction of considering the indivisible(道and 器) as divisible, though it tried to cope with the reality where the principle of morality and that of competition were opposed each other and the ideologies of 'evolution' and 'progress' prevailed. On the other hand, the theory of civilization was not free from the criticism that it brought about a crack in subjectivity due to its internalization of the West, cutting itself off from the traditional knowledge system.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.