• 제목/요약/키워드: mook

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옥수수 전분과 Hydrocolloids 첨가가 녹두 전분 및 묵의 특성에 미치는 영향 (Effects of Added Corn Starches and Hydrocolloids on the Characteristics of Mungbean Starch and the Mook(Starch Gel))

  • 박옥진;김광옥
    • 한국식품과학회지
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    • 제20권4호
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    • pp.618-624
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    • 1988

  • 대체 전분과 hydrocolloids(xanthan gum과 locust bean gum의 혼합물)첨가에 따른 조전분 및 녹두묵의 특징을 평가하기 위해 DSC와 amylograph를 이용하여 전분의 호화양상을 측정하였고, 관능검사 및 IUTM 측정을 통해 묵의 텍스쳐 특성을 조사하였다. 상 전이 엔탈피는 녹두-가교 혼합 전분이 녹두-비 변성혼합 전분보다 녹두 조전분에 더 유사하제 나타났다. Hydrocolloids 첨가는 초기점도 증가에는 크게 영향을 미치지 않았으나 온도가 높아지면서 점도를 현저하게 증가시켰다. $50^{\circ}C$까지 냉각한 후의 점도는 가교혼합 전분과 녹두 조전분이 유사하게 나타났다. 관능검사의 삼점검사 결과에서는 표준묵과의 차이를 감지하지 못하는 농도가 가교전분에서 더 높았다. 또한 혼합전분 사용시 녹두묵의 단단한 정도와 응집력이 hydrocolloids첨가시 그 차이를 감소시키는 것으로 나타났다. IUTM 측정결과, 변형도에 따라 받는 힘의 크기가 다른 것을 알 수 있으며 90% 변형에서 나타난 단단한 정도는 관능검사의 결과와 유사한 경향을 나타냈다. 따라서 본 실험과 같은 조건하에서는 녹두묵 제조시 hydrocolloids를 첨가함으로써 대체 전분의 이용가능성을 더 증가시킬 수 있다고 생각된다.

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전시와 권력: 1960~1970년대 한국 현대미술에 작용한 권력 (Power in Exhibitions: The Artworks and Exhibitions in the 1960s through the 1970s)

  • 김형숙
    • 미술이론과 현장
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    • 제3호
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    • pp.9-34
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    • 2005

  • Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

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