• Korean Journal of Soil Science and Fertilizer
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• v.39 no.1
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• pp.29-37
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• 2006

In remediation of the contaminated soil, it requires to select at least more than two remediation technologies depending on the fate and transport phenomena through complicated reactions in soil matrix. Therefore, methodologies related to develop the integrated remediation technology were reviewed for agricultural soils contaminated with heavy metals. Pneumatic fracturing is necessary to implement deficiency because soil washing is not effective to remove heavy metals in the subsurface soil. But it needs to evaluate the characteristics such as essential data and factors of designated technology in order to effectively apply them in the site. In the remediation site, the important soil physical and chemical factors to be considered are hydrology, porosity, soil texture and structure, types and concentrations of the contaminants, and fate and its transport properties. However, the integrated technology can be restrictive by advective flux in the area which remediation is highly effective although both soil washing and pneumatic fracturing were applied simultaneously in the site. Therefore, we need to understand flow pathways of the target contaminants in the subsurface soils, that includes kinetic desorption and flux, predictive simulation modeling, and complicated reaction in heterogenous soil.

• Korean journal of food and cookery science
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• v.22 no.5 s.95
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• pp.666-680
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• 2006

To obtain basic data for the utilization of saltwort (Salicornia herbacea L.) as a functional ingredient in steamed foam cake, the optimum component ratios for major raw ingredients (saltwort, salt, and wheat flour) as independent variables that affect the product quality were scientifically determined using RSM (response surface methodology) technique. A three-factor and five-level rotational central composite design was used for treatment arrangement. The complete design consisted of 16 experimental points. The three independent variables selected for the RSM experiment were amounts of saltwort (X$_1$, 5${\sim}$25 g), salt (X$_2$, 0${\sim}$10 g), and wheat flour (X$_3$, 470${\sim}$530 g). The optimum responses in specific gravity of the batter and volume, color, texture, and sensory evaluation result of the cake were obtained. The specific gravity and viscosity of the batter at p<0.01 was verified from the regression curve. The characteristic of the batter was influenced by all independent variables, but was extremely dependent on the amount of saltwort ordinary points of the surface responses from the batter formed the minimum points for specific gravities of the batter while viscosities of the batter appeared with the saddle points. Analysis of the response indicated that the amount of saltwort was the most influential factor over the physical properties of the cake, among the dependent variables. Ordinary points of the surface responses from the cake formed the maximum points for loaf volume, hardness gumminess, and chewiness, while Hunter colorimetric parameters appeared with the saddle points. The result indicated that level of the saltwort deviating more or less from the optimal amount decreased the volume and increased the specific gravity with less tender product. Ordinary points of the surface responses of the sensory evaluation scores from the cake formed the maximum points for appearance, flavor, softness, and overall acceptability, while color values appeared with the saddle points. The result also indicated that the level of the saltwort deviating more or less from the optimal amount reduced the preference for the product. Integration of the optimum responses common to all dependent variables that overlapped all the contour maps finally indicated that the combination of 8.3${\sim}$13.8 g saltwort, 2.5${\sim}$6.6 g salt, and 486.5${\sim}$511.5 g wheat flour under the selected preparation recipe optimized the physical and sensory properties in the teamed foam cakes. Practical preparation of the product with median amounts of the ingredients, i.e., 11.0 g saltwort, 4.6 g salt, and 499.0 g wheat flour resulted in similar qualities to the predicted responses. In conclusion, these study results indicated that preparation of steamed foam cake with added saltwort ingredient could potentially produce a more nutritious product with less salt. Further research is required to acquire the optimum levels for sub-ingredients to improve the product quality.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.