• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.24 no.3
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• pp.375-388
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• 2019

Accurate evaluation of sea-to-air $CO_2$ flux and its variability is crucial information to the understanding of global carbon cycle and the prediction of atmospheric $CO_2$ concentration. $fCO_2$ observations are sparse in space and time in the East Sea. In this study, we derived high resolution time series of surface $fCO_2$ values in the southwest East Sea, by feeding sea surface temperature (SST), salinity (SSS), chlorophyll-a (CHL), and mixed layer depth (MLD) values, from either satellite-observations or numerical model outputs, to three machine learning models. The root mean square error of the best performing model, a Random Forest (RF) model, was $7.1{\mu}atm$. Important parameters in predicting $fCO_2$ in the RF model were SST and SSS along with time information; CHL and MLD were much less important than the other parameters. The net $CO_2$ flux in the southwest East Sea, calculated from the $fCO_2$ predicted by the RF model, was $-0.76{\pm}1.15mol\;m^{-2}yr^{-1}$, close to the lower bound of the previous estimates in the range of $-0.66{\sim}-2.47mol\;m^{-2}yr^{-1}$. The time series of $fCO_2$ predicted by the RF model showed a significant variation even in a short time interval of a week. For accurate evaluation of the $CO_2$ flux in the Ulleung Basin, it is necessary to conduct high resolution in situ observations in spring when $fCO_2$ changes rapidly.

• Clean Technology
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• v.28 no.3
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• pp.218-226
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• 2022

As a result of the recent social transformation towards a hydrogen economy and carbon-neutrality, the demands for hydrogen energy have been increasing rapidly worldwide. As such, eco-friendly hydrogen production technologies that do not produce carbon dioxide (CO₂) emissions are being focused on. Among them, ammonia (NH₃) is an economical hydrogen carrier that can easily produce hydrogen (H₂). In this study, Ru/Al₂O₃ catalyst coated onmetallic monolith for hydrogen production from ammonia was prepared by a dip-coating method using a catalyst slurry mixture composed of Ru/Al₂O₃ catalyst, inorganic binder (alumina sol) and organic binder (methyl cellulose). At the optimized 1:1:0.1 weight ratio of catalyst/inorganic binder/organic binder, the amount of catalyst coated on the metallic monolith after one cycle coating was about 61.6 g L^-1. The uniform thickness (about 42 ㎛) and crystal structure of the catalyst coated on the metallic monolith surface were confirmed through scanning electron microscopy (SEM) and X-ray diffraction (XRD) analysis. Also, a numerical optimization regression equation for NH3 conversion according to the independent variables of reaction temperature (400-600 ℃) and gas hourly space velocity (1,000-5,000 h^-1) was calculated by response surface methodology (RSM). This model indicated a determination coefficient (R²) of 0.991 and had statistically significant predictors. This regression model could contribute to the commercial process design of hydrogen production by ammonia decomposition.

• Cartoon and Animation Studies
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• s.29
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• pp.173-207
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• 2012

The four-phased plot which consists of introduction, development, turn and conclusion in the long-story structure tends to be patterned and schematized. The behavior of characters is in line with the beginning of human beings and the plot of comic strips basically has four phases. It is, however, not a simple arrangement but a complex one which was developed by organizing patterns of human power, behavior and emotions. With the results from a survey with college students studying comic strips, this study aims to categorize four characters from the archetypal system by Carol Pearson, four phases of the hero's journey by Joseph Campbell, and the four phases of the plot based on Aristotle's theory, which is the frame of the comic strip structure through supporting evidence extracted from comic strips in an integrated way. In this study, the categorization is performed by simplifying and systemizing a character's life cycle, which is a factor of a story structure in complex comic strips. This study is to identify what comic strip writers express by using the metaphor in the complicated long-story structure of comic strips This study reveals that the structure of introduction, development, turn and conclusion based on the plot theory by Aristotle is the metaphor of human life and fate and that the phases of development in the archetypal system by Carol Pearson, a Jung researcher influenced by Jung's theory are the metaphor of human life and fate. Also, the theories of Joseph Campbell, who also was influenced by Jung, are the metaphor of human life and fate as they projected complex emotions of joy, anger, sorrow, and pleasure onto the archetype of heroes and used the metaphor of the hero's journey. Lastly, the theories are introduced with the approach of 'guide to screenwriters' by Christopher Vogler. Meanwhile, this metaphor is the objective and goal of this study. The comic strips selected for this study seem to have long complex stories which have characters leaving their homes, going through adventures and difficulties, meeting the world in another way, experiencing tension, competition, wars, and hardship and returning home with compensation. They grow mentally and psychologically through their journeys and finally become heroes. They express the meaning of our introspection in a narrative through plots and images of comic strips. This appears complex but the basic structure of long comic strips has four phases of plot. The life style of an extraordinary character traveling for adventures and growing in long comic strips can be divided into four phases symbolizing childhood, adolescence, adulthood, and senescence and it is a psychological growth process. The archetypes of the character can be divided into four phases and the growth process can be explained. The hero's journey symbolized by the character can be also divided into four phases. Through theories, the complex arrangement of four-phased plots in comic strips corresponds with the growth process of introduction, development, turn and conclusion through the stages of life. At the same time, this study found that the characters becoming heroes are the metaphor of introspection and that the characters' growth and life correspond with the four phases in life through long comic strips. Long stories in long comic strips written by comic strip writers show that characters go on their journeys and change their lives through hardship and difficulty by logical construction of plot and their growth processes are presented in archetypal images and they reach introspection as heroes. The readers share time and space through images in comic strips and realize that they had the same experience as the characters emotionally by being moved by the stories.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.43-57
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• 2013

The purpose of this study is to identify potential semantic landscape makeup of "the Forty Eight Poems of Soswaewon" according to Yin-Yang and Five Elements Principle(陰陽五行論). that speculation system between human's nature and cosmical universal order. Existing academic discussions made so far concerning this topic can be summed up as follows: 1. Among Yin-Yang-based landscape makeups of the Forty Eight Poems of Soswaewon, poetic writings for embodiment of interactions between nature and human behaviors focused on depicting dynamic aspects of a poetic narrator when he appreciates or explores hills and streams as of to live free from worldly cares. Primarily, many of those writings were created on the east and south primarily through assignment of yang. On the other hand, poetic writings for embodiment of nature and seasonal scenery - as static landscape makeup of yin - were often created on or near the north and west for many times. Those writings focusing on embodiment of nature and artificial scenery as a work are divided into two categories: One category refers to author Kim In-hu's expression of semantic landscape from seasonal scenery in nature. The other refers to his depiction of realistic garden images as they are. In the Forty Eight Poems of Soswaewon, the poetic writings show that author Kim focused on embodying seasonal scenery rather than expressing human behaviors. In addition, both Poem No. 1 and Poem No. 48(last poem; titled 'Jangwon Jeyeong') were created in a same place, which author Kim sought to understand the place as a space of beginning and end where yin and yang - i.e. the principle of natural cycle - are inherent. 2. According to construction about landscape in the Forty Eight Poems of Soswaewon on the basis of Ohaeng-ron (five natural element principle), it was found that tree(木) and fire(火) are typical examples of a world combined by emanation. First, many of poetic writings depicting the sentiments of tree focused on embodying seasonal scenery and were located in the place of Ogogmun(五曲門) area in the east, from overall perspective of Soswaewon. The content of these poems shows generation and curve / straightness in flexibility and simplicity. Many of poems depicting the sentiments of fire(火) focused on embodying human behaviors, and they were created in Aeyangdan area on the south of Soswaewon over which sun rises at noon. These poems are all on a status of side movement that is characterized by emanation and ascension which belong to attributes of yang. 3. With regard to Ohaeng-ron's interpretation about landscape in the Forty Eight Poems of Soswaewon, it was found that metal(金) and water(水) are typical examples of world combined by convergence. First, it was found that all of poems depicting sentiments of metal focused on embodying seasonal scenery, and were created in a bamboo grove area on the west from overall perspective of Soswaewon. They represent scenery of autumn among 4 seasons to symbolize faithfulness vested in a man of virtue(seonbi) with integrity and righteousness. Poems depicting sentiments of water were created in vicinity of Jewoldang on the north, possibly topmost of Soswaewon. They were divided into two categories: One category refers to poems embodying actions of welcoming the first full moon deep in the night after sunset, and the other refers to poems embodying natural scenery of snowscape. All of those poems focused on expressing any atmosphere of turning into yin via convergence. 4. With regard to Ohaeng-ron's interpretation of landscape in the Forty Eight Poems of Soswaewon, it was found that poems depicting sentiments of earth(土), a complex body of convergence and emanation, were created in vicinity of mountain stream around Gwangpunggak which is located in the center of Soswaewon. These poems focused on carrying actions of author Kim by way of natural phenomena and artificial scenery.