• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.159-170
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• 2005

In this paper we examine the patterns of the subcultural fashion styles in the 20th century in terms of various subcultures in the period. First, we define the concept of the subcultural fashion styles and in turn, examine the subcultural fashion styles from 1950s to 1990s while focusing on the way each generation resisted against the mainstream through its styles. The subcultural fashion styles examined and analyzed in this study are mainly British and American styles. some of European and Western Indian styles are also included. In this paper, a subcultural fashion style is understood as a way of deviate or resistant expression within a society. It differentiates itself from the main style by deliberately and publicly asserting its own identity. And as a result, it is realized in a form of a fashion with its repressed subconsciousness, with resistance to the alienation from the society, and with deviation from the normative ethics and the morality of a society. In conclusion, we classify the subcultural fashion styles into two patterns based on their form of resistance which tries to distance itself from the ritual code of the day: the dressing of the escape from time and the dressing of the escape from space. The first pattern is characterized by nostalgia or futurism, and includes psychedelic, rastafarian, raver, techno style. The second Pattern includes surfer, folky, hippy, new age traveller, cyberpunk style. Especially, an emphasis is given on ethnicity, naturalism, or a closed space within a city in dressing of the escape from space.

• Microbiology and Biotechnology Letters
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• v.47 no.4
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• pp.565-573
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• 2019

Production of biofuels and value-added materials from cellulosic biomass requires the development of a microbial strain capable of efficiently fermenting mixed sugars. In this study, the natural xylose fermenting yeast, Pichia stipitis, was evolved to simultaneously ferment cellobiose and xylose. Serial subcultures of wild-type P. stipitis in 20 g/l cellobiose were performed to increase the rate of cellobiose consumption. A total of ten rounds of the serial subculture led to the isolation of an evolved strain fermenting cellobiose significantly faster than the parental strain. The evolved strain displayed enhanced ethanol yield from 0 to 0.4 g ethanol/g cellobiose. The evolved P. stipitis simultaneously fermented cellobiose and xylose in batch fermentation. The genetic information of our evolved P. stipitis would be valuable in the development of a microbial host for the production of biofuels and biomaterials from cellulosic biomass.

• Journal of Engineering Education Research
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• v.1 no.1
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• pp.57-79
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• 1998

In this paper, I advocate interactive model which treats science and technology as distinguishable subcultures each with their own bodies of lore and competence against the traditonal hierachical model which treats technology as applied science. For engineering science which is a component in technology as knowledge, I count design as the core part of engineering and discuss the characteristic of engineering design. I also critically assess the models of technological knowledge change, Khunian model and variation-selection model to understand the relation between science and technology. I propose a model that science and technology interaction is mediated interaction. I only outline the plausibility of this model. Industrial research is a modern form of the interaction between science and technology. I discuss Reich who focused on the broad background of industrial research and MeyerThurow who has microperspective in industrial research. The conclusion I draw from the discussion, is that through industiral research, the science-technology interaction become more structured and autonomous, and the scientists and engineers become simply patrs of the structure of industrial research rather than the personal subject.

• Journal of Microbiology and Biotechnology
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• v.13 no.3
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• pp.366-372
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• 2003

The production of microbiologically enriched cultures that degrade cis- 1,2-dichloroethylene(DCE) under anaerobic conditions was investigated. Among 80 environmental samples, 19 displayed significant degradation of $10{\mu}M$ cis-DCE during 1 month of anaerobic incubation, and one sediment sample collected at a landfill area (Nanji-do, Seoul, Korea) showed the greatest degradation ($94\%$). When this sediment culture was subcultured repeatedly, the ability to degrade cis-DCE gradually decreased. However, under Fe(III)-reducing conditions, cis-DCE degradation by the subculture was found to be maintained effectively. In the Fe(III)-reducing subculture, vinyl chloride (VC) was also degraded at the same extent as cis-DCE No accumulation of VC during the cis-DCE degradation was observed. Thus, Fe(III)-reducing microbes might be involved in the anaerobic degradation of the chlorinated ethenes. However, the subcultures established with Fe(III) could function even in the absence of Fe(III), showing that the degradation of cis-DCE and VC was not directly coupled with the Fe(III) reduction. Consequently, the two series of enrichment cultures could not be obtained that degrade both cis-DCE and VC in the presence or absence of Fe(III). Considering the lack of VC accumulation, both cultures reported herein may involve interesting mechanism(s) for the microbial remediation of environments contaminated with chlorinated ethenes. A number of fermentative reducers (microbes) which are known to reduce Fe(III) during their anaerobic growth are potential candidates involved in cir-DCE degradation in the presence and absence of Fe(III).

• Journal of Microbiology and Biotechnology
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• v.20 no.2
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• pp.254-264
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• 2010

To obtain an efficient natural lignocellulolytic complex enzyme, we screened an efficient lignocellulose-degrading composite microbial system (XDC-2) from composted agricultural and animal wastes amended soil following a long-term directed acclimation. Not only could the XDC-2 degrade natural lignocelluloses, but it could also secrete extracellular xylanase efficiently in liquid culture under static conditions at room temperature. The XDC-2 degraded rice straw by 60.3% after fermentation for 15 days. Hemicelluloses were decomposed effectively, whereas the extracellular xylanase activity was dominant with an activity of 8.357 U/ml on day 6 of the fermentation period. The extracellular crude enzyme noticeably hydrolyzed natural lignocelluloses. The optimum temperature and pH for the xylanase activity were $40^{\circ}C$ and 6.0. However, the xylanase was activated in a wide pH range of 3.0-10.0, and retained more than 80% of its activity at $25-35^{\circ}C$ and pH 5.0-8.0 after three days of incubation in liquid culture under static conditions. PCR-DGGE analysis of successive subcultures indicated that the XDC-2 was structurally stable over long-term restricted and directed cultivation. Analysis of the 168 rRNA gene clone library showed that the XDC-2 was mainly composed of mesophilic bacteria related to the genera Clostridium, Bacteroides, Alcaligenes, Pseudomonas, etc. Our results offer a new approach to exploring efficient lignocellulolytic enzymes by constructing a high-performance composite microbial system with synergistic complex enzymes.

• Mycobiology
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• v.38 no.4
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• pp.274-281
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• 2010

Cordyceps cardinalis was reported in Japan and the USA in 2004, and its fruiting bodies have recently been cultured in Korea. Herbarium specimens preserved at the Cordyceps Research Institute, Mushtech, Korea were revised and identified as C. cardinalis, based on morphological characters and conidial structures. Most of the C. cardinalis specimens were collected from Mt. Halla in Jeju-do. The effects of various nutritional sources and environmental conditions such as temperature and pH on mycelial growth of C. cardinalis were studied. Oatmeal agar, Martin's peptone dextrose agar, and Schizophyllum (mushroom) genetics complete medium plus yeast extract resulted in the best mycelial growth. Among carbon sources, cereals, and nitrogen sources, maltose, oatmeal, and peptone resulted in the best mycelial growth respectively. Mineral salts helped to increase growth rate but only resulted in thin mycelial density, similar to water agar. A temperature of $25^{\circ}C$ and a pH of 7 resulted in the highest mycelial growth. Based on these results, a Cordyceps cardinalis composite medium (CCM) was formulated with 1% maltose, 2% oatmeal, 1% peptone, and 2% agar. Use of the CCM resulted in slightly better mycelial growth than that of other commonly used agar media. Only organic nitrogen sources imparted a reddish pigmentation to the agar media, but this character diminished after several subcultures. A 7 day culture duration resulted in the best mycelial growth.

• Journal of the Korean Society of Costume
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• v.60 no.2
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• pp.1-19
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• 2010

The purpose of this research is to examine the rise of hip-hop culture and its characteristics which have been established as a part of popular culture amid other subcultures and to examine the overall concept of hip-hop fashion which has been developing since its rise in the 1970s and particularly to examine the hip-hop after the turn of the new century when it has gone through several iterations and changes while simultaneously accommodating different trends and reflecting a highly diverse larger culture. The research methodology is a literature-based research that uses classification and analysis based on the preceding research including related books and dissertations and, considering that this research focuses on the characteristics of hip-hop from the 2000s to the present, mainstream news media such as newspapers and magazines around New York images of famous hip-hop culture & stores websites were used in this research. The most characteristic hip-hop fashions since the 2000s examined by this research comprise prep-hop, slim formal suits, skurban, hip-hop Goth, and hip-hop Tatto. First, prep-hop is a mixed match of a preppy look with latest hip-hop sentiments and hip-hop styles. Second, there are slim formal suits that reflect a change of trends that strongly show changes of hip-hop fashion consumers who have been following sports stars' fashions. Third, skurban is a hip-hop fashion combined with the look of skaters. Fourth, hip-hop Goth is what emphasizes strong Goth images such as grunge, skull, and devil in hip-hop fashions based on vintage fashion. Fifth, hip-hop Tatto style designs have appeared in diverse items such as trendy clothes and accessories that were most popular since the 2000s. Hip-hop fashion since the 2000s up to the present is beginning to be integrated with diverse other cultures and its most prominent characteristics is a change into slimmer silhouette.

• Journal of the Korean Society of Costume
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• v.66 no.4
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• pp.94-110
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• 2016

The purpose of this study is to delve into the identity of the swag style which has diversified into various forms by exploring the phenomenon, formative characteristics and the internal values of the swag style in modern fashioin. This study discusses the concept and the socio-cultural meanings of swag from the perspective of Jean Baudrillard's hyper-reality, and a form of existence. The classifies the swag fashion styles into parody, hip hop and collage-type mix-and-match. Expressive characteristics of the swag look in modern fashion are as follows. First, the swag look utilizes the parody technique. In the mid-2000s, the look parodied brand logos as a form of self-mocking and active self-derision toward cheap imitations. Second, the swag look borrows from the expressive factors of the hip-hop style. Born as a sub-culture based on music, hip-hop has become a way of life, as its nature became multi-cultural and trans-cultural while its fashion style gained popularity globally after the 1980s. Third, the swag look barrows from the pop-type collage form as it mixes-and-matches costume items based on the expressive characteristics of hip hop, and this can be seen through items being used in new, non-formative and free styles. Comic aesthetics is revealed in parodied expression, hip-hop factors and collage-style mix-and-match. Swag as a hyper-reality manifests itself in various natures: humorous nature, negative nature and deconstructive nature through reflection and re-enactment of reality, transmutation and distortion of reality, and absence of reality respectively. However, it does not have a binding nature, which is the norm for subcultures. This characteristic, in combination with it having internal lightness, strong meaning of communication, and a sharing of self-contentment, distinguishes itself from the general meanings of existing parody fashion, hip-hop fashion and collage fashion.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.225-232
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• 2006

This study purposed to review the concept and characteristics of subculture theoretically and then to analyze subcultural hairstyles shown in the 20th century's fashion in terms of form, structure, texture, design line and design principle, which were formative factors of beauty art. The range of this study was from the 1950's to the 1990's, during which subcultural hairstyles, which were selected for this study, kept a unique formality as subcultural characteristics of each time were reflected in hairstyles. The hairstyles found in subcultural styles were reviewed as follows. From the formative analysis as the above, it was concluded that layer form was seen most frequently in the subcultural hairstyles. This may be because it has a lot of layers in hair, and enables to make more various forms with a simpler care than other hairstyles so that it is easy to show one's own characteristic or differentiate oneself from others. Thanks to the characteristics of layer form, horizontal and convex were often seen as design lines. As for a texture, straight often appeared. The texture of straight is naturally formed without any care applied on hair. The reason may be that most subcultures refused artificiality. Therefore, the characteristics of subcultural hairstyles may be that hairstyles are transformed into various forms and created into the styles appropriately for individual tastes so as to clearly express one's own idea and thought.

• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.629-647
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• 2017

As fashion has concentrated increasingly on inner values, it has become more directly connected with human life and society. This study analyzed anti-fashion, a movement that resists mainstream society and culture, which it views as causing inner conflicts such as competition, mammonism, consumerism, and egoism by fixating solely on the pursuit of growth and improvement. The study examined Kinfolk, an independent lifestyle magazine, to determine the essential values and principles that comprise this movement's refusal of mainstream modern society. The analysis of Kinfolk identified the following characteristics of, the Kinfolk lifestyle: essentialism, nature-friendliness, retro sensibilities, socio-ethical awareness, and diversity. Essentialism refers to the pursuit of essence, brevity, innovation based on tradition and slow life. Nature-friendliness involves communion with nature and humanity, animal-friendliness, de-industrialization, de-urbanization, and nomadic behavior. The components of the retro sensibility include nostalgia, and interests in vintage culture, and handcrafts. Diversity encompasses commonplaceness, various subcultures, agelessness, genderlessness, acceptance of other cultures, and new understanding. The analysis identified the tendencies of anti-fashion in Kinfolk magazine as simplicity, naturalism, resistance to novelty, ethics, and inclusiveness. Anti-fashion pursues the essential values of human life that have been lost or forgotten in modern society. It is important to pay constant attention to the values of minority, non-mainstream and indie cultures that represent anti-fashion. It exerts considerable influence and has great potential as an area for the development of various style-based paradigms rather than as a single fashion direction.