• Transactions of the Korean Society of Mechanical Engineers B
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• v.41 no.2
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• pp.97-107
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• 2017

This study is the second investigation on the steady flow characteristics of an SI engine with a semi-edge combustion chamber as a function of the port shape with varying evaluation positions. For this purpose, the planar velocity profiles were measured from 1.75B, 1.75 times of bore position apart from the bottom of head, to 6.00B positions using particle - image velocimetry. The flow patterns were examined with both a straight and a helical port. The velocity profiles, streamlines, and centers of swirl were almost the same at the same valve lift regardless of the measuring position, which is quite different from the case of the pent-roof combustion chamber. All the eccentricity values of the straight port were out of distortion criterion 0.15 through the lifts and the position. However, the values of the helical port exceeded the distortion criterion by up to 4 mm lift, but decreased rapidly above the 3.00B position and the 5 mm lift. There always existed a relative offset effect in the evaluation of the swirl coefficient using the PIV method due to the difference of the ideal impulse swirl meter velocity profile assumption, except for the cylinder-center-base estimation that was below 4 mm of the straight port. Finally, it was concluded that taking the center as an evaluation basis and the assumption about the axial velocity profile did not have any qualitative effect on swirl evaluation, but affected the value owing to the detailed profile.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.10
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• pp.7-17
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• 2019

With increasing demand for large offshore infrastructures, suction cofferdams have been large, and the lid stiffener arrangement for a suction cofferdam has become a key element in cofferdam design to constrain the flexural deformation effectively. This study analyzed the changes in the structural behavior of a lid for a suction cofferdam due to lid stiffeners to provide insights into effective stiffener arrangements. By investigating conventional suction anchors, several stiffener patterns of a lid for a polygonal suction cofferdam were determined and analyzed. The structural performance of the stiffened lids was estimated by comparing the stress and deformation, and the reaction distributions on the edge of lid were investigated to analyze the effects of the stiffener arrangement on the lid-wall interface. Finite element analysis showed that radial stiffeners contribute dominantly to decreasing the stress and vertical deflection of the lids, but the stiffeners cause an increase in shear forces between the lid and wall; the forces are concentrated on the lid near the areas reinforced with radial stiffeners, which is negative to lid-wall connection design. On the other hand, inner and outer circumferential stiffeners show little reinforcement effects in themselves, while they can help reduce the stress and deformation when arranged with partial radial stiffeners simultaneously.

• Cross-Cultural Studies
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• v.48
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• pp.325-359
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• 2017

The works of a literary and cultural historian Franco Moretti are conspicuous in many ways. Trained in Marxism and Russian formalism, he participated in the construction of the New Left in England. Also, he interestingly interpreted the socialization of the individual through the genre of bildungsroman. Then, he shifted his research interest to the notion of world literature, and to explore its global scale, he developed his own quantitative approach combined with advanced computer technology in digital humanities. His recent publication reveals that Moretti conducted a social critique of the European bourgeois culture with his new quantitative method. His macroscopic view of literature and use of cutting-edge technology in his research inspire historians of Korean literature located in the so-called periphery of world literature. Therefore, the purpose of this study is to examine the idea of world literature outlined by Franco Moretti by reviewing his method called "distant reading" and examples of such an approach. His distant reading is to construct a macroscopic archive through inclusion of forgotten works from literary history and to analyze morphological patterns that frequently appear in the archive. His book entitled Graphs, Maps, Trees is a collection of examples of which he applied distant reading. By delving into such cases, I will raise questions about Moretti's macroscopic perspective of world literature in conjunction with Korean literature. As located at the periphery of global circulation of literary knowledge, Korea appropriated Western genres, established its literary institutions, and developed book markets through modern newspapers and magazines. This experience of furthering modern literature through periodicals would provide another view to revisit Moretti's world literature.

• Korean Journal of Environment and Ecology
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• v.33 no.1
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• pp.86-106
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• 2019

We investigated the environmental conditions of natural habitats of T. nuda. The species was found on rocky northern hills ($60{\sim}90^{\circ}$) near the stream where the sea level ranges 95~145m. The average annual temperature of the habitats was lower than other places of South Korea. The differences of the lowest and the highest of the year was significantly huge than any other places. Plants were growing at the edge of stream that water reached but not submerged. Most of plants were found in North, Northeast or Northwest. It is suggested that these species require moist and low sunlight for growth. The common vegetation along with the T. nuda includes Mukdenia rossii, Selaginella rossii, Calamagrostis epigeios, and Rhododendron yedoense f. poukhanense. The dominance values and sociability of T. nuda were below 3 in all studied habitats and the variance of the number of individuals among the habitats was very high. As the optimum habitats for the T. nuda are decreasing due to the extreme precipitation patterns. It is also expected that the number of T. nuda will be decreased in the future. Therefore restoration activity in situ or ex situ must be conducted to conserve this valuable plant species.

• Korean Journal of Optics and Photonics
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• v.33 no.6
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• pp.267-274
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• 2022

In this paper, we report the design and fabrication of binary diffractive optical elements (DOEs) for random-dot-pattern projection for Schlieren imaging. We selected the binary phase level and a pitch of 10 ㎛ for the DOE, based on cost effectiveness and ease of manufacture. We designed the binary DOE using an iterative Fourier-transform algorithm with binary phase optimization. During initial optimization, we applied a computer-generated pseudorandom dot pattern of uniform intensity as a target pattern, and found significant intensity nonuniformity across the field. Based on the evaluation of the initial optimization, we weighted the target random dot pattern with Gaussian profiles to improve the intensity uniformity, resulting in the improvement of uniformity from 52.7% to 90.8%. We verified the design performance by fabricating the designed binary DOE and a beam projector, to which the same was applied. The verification confirmed that the projector produced over 10,000 random dot patterns over 430 mm × 430 mm at a distance of 5 meters, as designed, but had a slightly less uniformity of 84.5%. The fabrication errors of the DOE, mainly edge blurring and spacing errors, were strong possibilities for the difference.

• Journal of the Korean Society of Floral Art and Design
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• no.43
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• pp.101-122
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• 2020

In this paper, the social paradigm is rapidly changing with the expansion of human consciousness, which has emerged as the development of 20th century science and the influence of cutting-edge media as the search for new forms of flower art sculptures. Is becoming. Accordingly, the purpose of this study is to analyze the interaction relationship of the expression elements of environmentally friendly pressed sculptures in the space as interior materials in the space where customer service is provided. (Research method) After deriving the formative expression characteristics of environmentally friendly pressed flower sculptures, and deriving interactive analysis elements between the servicescape space and humans of the pressed flower sculptures through references, service the flower sculptures for 8 installation cases The expression patterns of the interrelationships in the space of the landscape of the landscape were analyzed. (Results) The characteristics of dynamic formation and continuity were emphasized in the environment-friendly pressed sculpture space, and the interaction that the sympathetic reaction to the natural motif element felt as a new experience in space appeared. In the future, commercial spaces can be actively experienced through natural elements, and users can experience active interactions to create differentiated spaces as spaces where humans and humans coexist.

• Journal of the Institute of Convergence Signal Processing
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• v.23 no.2
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• pp.107-114
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• 2022

In order to classify 3D film images as right or wrong, it is necessary to detect the pattern in a 3D film image. However, if the contrast of the pixels in the 3D film image is low, it is not easy to classify as the right and wrong 3D film images because the pattern in the image might not be clear. In this paper, we propose a method of classifying 3D film images as right or wrong by comparing the width at a specific frequency of each histogram after obtaining the histogram. Since, it is classified using the width of the histogram, the analysis process is not complicated. From the experiment, the histograms of right and wrong 3D film images were distinctly different, and the proposed algorithm reflects these features, and showed that all 3D film images were accurately classified at a specific frequency of the histogram. The performance of the proposed algorithm was verified to be the best through the comparison test with the other methods such as image subtraction, otsu thresholding, canny edge detection, morphological geodesic active contour, and support vector machines, and it was shown that excellent classification accuracy could be obtained without detecting the patterns in 3D film images.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• Journal of the Korean Society of Costume
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• v.4
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• pp.87-114
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• 1981

A costume reveals the social characteristics of the era in which it is worn, thus we can say that the history of change of the costume is the history of change of the living culture of the era. Since the Three States era, the costume structure of this country had been affected by the costume system of the China's historical dynasties in the form of the grant therefrom because of geographical conditions, which affection was conspicuous for the bureaucrat class, particularly including but not limited to the Kings' familities. Such a grant of the costume for the bureaucrat class (i.e., official uniform) was first given by the Dang-dynasty at the age of Queen Jinduck, the 28th of the Shilla-dynasty. Since then, the costume for the bureaucrats had consecutively been affected as the ages had gone from the unified Shilla, to the Koryo and to the Yi-dynasty. As the full costumes officially used by government officials (generally called "Baek Gwan") in the Yidynasty, there existed Jo-bok, Gong-bok and Sang-bok. Of such official costumes, Gong-bok was worn at the time of conducting official affairs of the dynasty, making a respectful visit for the expression of thanks or meeting diplomatic missions of foreign countries. It appears no study was made yet with regard to the Gong-bok while the studies on the Jo-bok and the Sangbok were made. Therefore, this article is, by rendering a study and research on the styles of costumes of civil servants' stone images erected at the Kings' tombs of the Yi-dynasty, to help the persons concerned understand the Gong-bok, one of the official costume for Baek Kwan of that age and further purports to specifically identify the styles and changes of the Gong-bok, worn by Baek Gwan during the Yi-dynasty, consisting of the Bok-doo (a hat, four angled and two storied with flat top), Po (gown), Dae (belt), and Hol (small and thin plate which was officially held by the government officials in hand, showing the courtesy to and writing brief memorandums before the King) and Hwa (shoes). For that purpose, I investigated by actually visiting the tombs of the Kings of the Yi-dynasty including the Geonwon-neung, the tomb of the first King Tae-jo and the You-neung, the tomb of the 27th King Soon-jong as well as the tombs of the lawful wives and concubines of various Kings, totalling 29 tombs and made reference to relevant books and records. Pursuant. to this study, of the 29 Kings' tombs the costume styles of civil servants' stone images erected at the 26 Kings' tombs are those of Gong-bok for Baek-gwan of the Yi-dynasty wearing Bok-doo as a hat and Ban-ryeong or Dan-ryenog Po as a gown with Dae, holding Hol in hand and wearing shoes. Other than those of the 26 tombs, the costume styles of the Ryu-neung, the tomb of the Moon-jo who was the first son of 23rd King Soon-jo and given the King's title after he died and of the You-neung, the tomb of the 27th King Soon-jong are those of Jobok with Yang-gwan (a sort of hat having stripes erected, which is different from the Bok-doo), and that of the Hong-neung, the tomb of the 26th King Go-jong shows an exceptional one wearing Yang-gwan and Ban-ryeong Po ; these costume styles other than Gongbok remain as the subject for further study. Gong-bok which is the costume style of civil servants' stone images of most of the Kings' tombs had not been changed in its basic structure for about 500 years of the Yi-dynasty and Koryo categorized by the class of officials pursuant to the color of Po and materials of Dae and Hol. Summary of this costume style follows: (1) Gwan-mo (hat). The Gwan-mo style of civil servants' stone images of the 26 Kings' tombs, other than Ryu-neung, Hong-neung and You-neung which have Yang-gwan, out of the 29 Kings' tombs of the Yi-dynasty reveals the Bok-doo with four angled top, having fore-part and back-part divided. Back part of the Bok-doo is double the fore-part in height. The expression of the Gak (wings of the Bokdoo) varies: the Gyo-gak Bok-doo in that the Gaks, roundly arisen to the direction of the top, are clossed each other (tombs of the Kings Tae-jong), the downward style Jeon-gak Bok-doo in that soft Gaks are hanged on the shoulders (tombs of the Kings Joong-jong and Seong-jong) and another types of Jeon-gak Bok-doo having Gaks which arearisen steeply or roundly to the direction of top and the end of which are treated in a rounded or straight line form. At the lower edge one protrusive line distinctly reveals. Exceptionally, there reveals 11 Yang-gwan (gwan having 11 stripes erected) at the Ryu-neung of the King Moon-jo, 9 Yang-gwan at the Hong-neung of the King Go-jong and 11 Yang-gwan at the You-neung of the King Soon-jong; noting that the Yang-gwan of Baek Kwan, granted by the Myeong-dynasty of the China during the Yi-dynasty, was in the shape of 5 Yang-gwan for the first Poom (class) based on the principle of "Yideung Chaegang" (gradual degrading for secondary level), the above-mentioned Yang-gwans are very contrary to the principle and I do not touch such issue in this study, leaving for further study. (2) Po (gown). (a) Git (collar). Collar style of Po was the Ban-ryeong (round collar) having small neck-line in the early stage and was changed to the Dan-ryeong (round collar having deep neck-line) in the middle of the: dynasty. In the Dan-ryeong style of the middle era (shown at the tomb of the King Young-jo); a, thin line such as bias is shown around the internal side edge and the width of collar became wide a little. It is particularly noted that the Ryu-neung established in the middle stage and the You-neung in the later stage show civil servants in Jo-bok with the the Jikryeong (straight collar) Po and in case of the Hong-neung, the Hong-neung, the tomb of the King Go-jong, civil servants, although they wear Yang-gwan, are in the Ban-ryeong Po with Hoo-soo (back embroidery) and Dae and wear shoes as used in the Jo-bok style. As I could not make clear the theoretical basis of why the civil servants' costume styles revealed, at these tombs of the Kings are different from those of other tombs, I left this issue for further study. It is also noted that all the civil servants' stone images show the shape of triangled collar which is revealed over the Godae-git of Po. This triangled collar, I believe, would be the collar of the Cheomri which was worn in the middle of the Po and the underwear, (b) Sleeve. The sleeve was in the Gwan-soo (wide sleeve) style. having the width of over 100 centimeter from the early stage to the later stage arid in the Doo-ri sleeve style having the edge slightly rounded and we can recognize that it was the long sleeve in view of block fold shaped protrusive line, expressed on the arms. At the age of the King Young-jo, the sleeve-end became slightly narrow and as a result, the lower line of the sleeve were shaped curved. We can see another shape of narrow sleeve inside the wide sleeve-end, which should be the sleeve of the Cheom-ri worn under the Gong-bok. (c) Moo. The Moo revealed on the Po of civil servants' stone images at the age of the King Sook-jong' coming to the middle era. Initially the top of the Moo was expressed flat but the Moo was gradually changed to the triangled shape with the acute top. In certain cases, top or lower part of the Moo are not reveald because of wear and tear. (d) Yeomim. Yeomim (folding) of the Po was first expressed on civil servants' stone images of the Won-neung, the tomb of the King Young-jo and we can seemore delicate expression of the Yeomim and Goreum (stripe folding and fixing the lapel of the Po) at the tomb of the Jeongseong-wanghoo, the wife of the King Young-jo, At the age of the King Soon-jo, we can see the shape of Goreum similar to a string rather than the Goreum and the upper part of the Goreum which fixes Yeomim was expressed on the right sleeve. (3) Dae. Dae fixed on the Po was placed half of the length of Po from the shoulders in the early stage. Thereafter, at the age of the King Hyeon-jong it was shown on the slightly upper part. placed around one third of the length of Po. With regard to the design of Dae, all the civil servants' stone images of the Kings' tombs other than those of the Geonwon-neung of the King Tae-jo show single or double protrusive line expressed at the edge of Dae and in the middle of such lines, cloud pattern, dangcho (a grass) pattern, chrysanthemum pattern or other various types of flowery patterns were designed. Remaining portion of the waist Dae was hanged up on the back, which was initially expressed as directed from the left to the right but thereafter expressed. without orderly fashion,. to the direction of the left from the right and vice versa, Dae was in the shape of Yaja Dae. In this regard, an issue of when or where such a disorderly fashion of the direction of the remaining portion of waist Dae was originated is also presented to be clarified. In case of the Ryuneung, Hong-neung and You-neung which have civil servants' stone images wearing exceptional costume (Jo-bok), waist Dae of the Ryu-neung and Hong-neung are designed in the mixture of dual cranes pattern, cosecutive beaded pattern and chrvsenthemum pattern and that of You-neung is designed in cloud pattern. (4) Hol. Although materials of the Hol held in hand of civil servants' stone images are not identifiable, those should be the ivory Hol as all the Baek Gwan's erected as stone images should be high class officials. In the styles, no significant changes were found, however the Hol's expressed on civil servants' stone images of the Yi-dynasty were shaped in round top and angled bottom or round top and bottom. Parcicularly, at the age of the King Young-jo the Hol was expressed in the peculiar type with four angles all cut off. (5) Hwa (shoes). As the shoes expressed on civil servants' stone images are covered with the lower edges of the Po, the styles thereof are not exactly identifiable. However, reading the statement "black leather shoes for the first class (1 Poom) to ninth class (9 Poom)," recorded in the Gyeongkook Daejon, we can believe that the shoes were worn. As the age went on, the front tips of the shoes were soared and particularly, at the Hong-neung of the King Go-jong the shoes were obviously expressed with modern sense as the country were civilized.

• Korean Journal of Environment and Ecology
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• v.34 no.1
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• pp.63-71
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• 2020

This study characterized the spatial and seasonal patterns of light pollution in the Deogyusan National Park and examined the potential effects of light pollution on ecosystems in the park using light intensities derived from VIIRS (Visible Infrared Imaging Radiometer Suite) DNB (Day and Night Band) nightlight images collected in January and August 2018. Results showed that the Muju Deogyusan resort had the greatest light intensity than other sources of light pollution in the park, and light intensity of the resort was much higher in January than in August, suggesting that artificial lights in ski slopes and facilities were the major source of light pollution in the park. An analysis of an urban-natural light pollution gradient along a neighboring urban area through the inside of the park indicated that light radiated from a light pollution source permeated for up to 1km into the adjacent area and contaminated the edge area of the park. Of the legally protected species whose distributions were reported in literature, four mammals (Martes flavigula, Mustela nivalis, Prionailurus bengalensis, Pteromys volans aluco), two birds (Falco subbuteo, Falco tinnunculus), and nine amphibians and reptiles (Onychodactylus koreanus, Hynobius leechii, Karsenia koreana, Rana dybowskii, Rana huanrenensis, Elaphe dione, Rhabdophis tigrinus, Gloydius ussuriensis, Gloydius saxatilis) inhabited light-polluted areas. Of those species inhabiting light-polluted areas, nocturnal species, such as Prionailurus bengalensis and Pteromys volans aluco, in particular, were vulnerable to light pollution. These results implied that protecting ecosystems from light pollution in national parks requires managing nighttime light in the parks and surrounding areas and making a plan to manage nighttime light pollution by taking into account ecological characteristics of wild animals in the parks.