• Microbiology and Biotechnology Letters
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• v.43 no.4
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• pp.307-313
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• 2015

Unpolished rice (UR) is considered to be a healthy alternative to white rice when coping with chronic diseases. In the present study, the fermented slurry of unpolished rice (FSUR) was evaluated with respect to its antimicrobial activities and biochemical characteristics, including the quantities of sugar, total soluble sugar, organic acids, free amino acids, pH, and physiological activity. The antimicrobial efficiency of FSUR was assessed using the paper disc-agar diffusion method. FSUR exhibited strong antimicrobial activity against six pathogenic bacterial strains (Staphylococcus aureus, Escherichia coli, Listeria monocytogenes, Pseudomonas aeruginosa, Salmonella typhimurium, and Yersinia enterocolitica) and two fermentation strains (Gluconacetobacter intermedius and Lodderomyces elongisporus). The antimicrobial activity of FSUR was higher than the commercial antibiotics, carbenicillin ($50{\mu}g/ml$) and tetracycline ($50{\mu}g/ml$) against S. aureus, E. coli, L. monocytogenes, P. aeruginosa, S. typhimurium, Y. enterocolitica, and L. elongisporus. Also FSUR had a high antioxidant activity. The microorganisms were isolated from FSUR using tryptic soy broth and yeast extract-peptone-dextrose agar media. The isolated microorganisms were characterized using physiological and biochemical analyses as well as by 16S rRNA gene sequencing and phylogenic analysis. 16S rRNA gene sequence analysis showed that the isolated microorganisms had a high similarity to G. intermedius, Lactobacillus casei, Lactobacillus plantarum, and Acetobacter peroxydans.

• Journal of the Korean Society of Food Culture
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• v.11 no.5
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• pp.699-710
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• 1996

The sacrificial foods using at 88 villages in Andong area where the village sacrificial rituals are performed, were investigated in 1994. The finding are as follows; 1. Since the village sacrificial rituals keep ancientry, white Baeksulki without any ingredients is used as Ddock (a steamed rice cake) in 74 villages, and in 5 villages the Baeksulki was served just in Siru (a tool used to prepare Ddock). The type of meat serving in rituals has been changing from large animal to small animal and the type of light from bowl-light to candle. 2. Though the ritual observes Confucianism style, memorial address was offered in 34 villages and only in 8 villages, liquor was served 3 times and the address was offered. In 60 villages, liquor was served only once, and calling village god, bowing twice, and burning memorial address paper were performed in order. Burning paper has been meaningful in rituals. 3. Tang (a stew) was served in 21 villages, and in 18 villages even Gook (a soup) was not used. The numbers of village which do not use cooked rice and Ddock are 14, respectively. 4. Fruits are essential in rituals foods. In 63 villages, 3 kinds of fruits are served and this is contrasted with even number of fruits in Bul-Chun-Wi Rituals. 5. In 25 villages, fish and meat are not served. As meat, chicken in 19 village are served. Meat Sikhae (a fermented rice beverage) prepared with meats or fish are served in 5 villages. Slice of dried meat is served in 73 villages commonly. 6. In gender of god for village shrine, woman in 43 villages, couple in 17 villages, man in 9 villages, mountain god in 2 villages, villages tree, etc were enshrined. In 52 villages liquor is served in rituals (liquor is used in 58 villages including serving god), in 28 villages sweet liquor (Gamju) is served for god (sweet liquor is used in 46 villages), and liquor, water, or sweet liquor is just displayed on table but not served in 8 villages. Incensing is found to be not common in village ritual, only in two villages it is performed. The most appropriate rituals food is thought to be pig for mountain god. Home dishes can not be used in village ritual and spoon is not used and chopstick is prepared from wild plant. Meat and fish are used in the raw.

• Journal of Conservation Science
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• v.36 no.6
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• pp.578-590
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• 2020

During the 1960-1970s, a group of ceramic conservation scientists and ceramic historians in South Korea came together and established their own disciplines. While the two disciplines share the same ceramics as the subjects of their research, there has been little interaction between the two as their research outputs are articulated in remarkably different languages. This paper aims to address the following questions by using a case study that focuses on the research on white porcelains centered on the project of Gyeonggi Museum and a series of studies conducted by one of the museum's project research teams. First, what are the characteristics of and differences between the explanation styles of the two disciplines that share the same research subjects of ceramics? Second, why has the communication between the two disciplines become difficult? Third, if there can be a trading zone wherein the two disciplines would be able to communicate again, what would be its epistemic conditions? The focus of this paper is the relationship between scientific data and ordinary language, which the two disciplines have shared from their inception. By analyzing the relationship, I first argue that, as the analytical techniques of conservation science have become more developed, conservation science's data have gradually lost its relevance in ceramic history, in spite of a shared common language between them; Second, I argue that by recovering the import of shared language again, the scientific data can be placed in a different practical context, providing novel interpretations that are relevant and often consequential to ceramic history.

• Conservation Science in Museum
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• v.4
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• pp.1-16
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• 2003

For the conservation treatment of the Central Asia mural painting which is to be exhibited in the new museum in Yongsan, we analyzed the pigments used in this mural painting and examined to identify the species of the straw in the wall. We also analyzed the species of the wood of the wooden protective frame and the material of the paper in it, in order to review the material and technique of the conservation treatment performed before the mural painting had been brought to the National Museum of Korea in 1916. The results were as follows: the black pigments of Bon4075 and Bon4078 is carbon(C); the white pigment on the background is gypsum[Ca(SO)₄(H₂O)₂]; the red pigment is lead oxide(Pb₃O₄) and hematite(Fe₂O₃) etc. The straw, which had been mixed into the wall to prevent the wall from cracking, was proved to be either wheat straw or oats straw. The wooden protective frame, which protects the mural painting now, was proved to be made of Salix, Populus, Cryptomeria japonica and pine. The paper discovered in the frame was proved to be made of the bark of a mulberry.

• Journal of Broadcast Engineering
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• v.20 no.2
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• pp.310-339
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• 2015

In this paper, the possibility of a terrestrial fixed 4K UHD (Ultra High Definition) and mobile HD (High Definition) convergence broadcasting service through a single channel employing the FEF (Future Extension Frame) multiplexing technique in DVB (Digital Video Broadcasting)-T2 (Second Generation Terrestrial) systems is examined. The performance of such a service is also investigated. FEF multiplexing technology can be used to adjust the FFT (fast Fourier transform) and CP (cyclic prefix) size for each layer, whereas M-PLP (Multiple-Physical Layer Pipe) multiplexing technology in DVB-T2 systems cannot. The convergence broadcasting service scenario, which can provide fixed 4K UHD and mobile HD broadcasting through a single terrestrial channel, is described, and transmission requirements of the SHVC (Scalable High Efficiency Video Coding) technique are predicted. A convergence broadcasting transmission system structure is described by employing FEF and transmission technologies in DVB-T2 systems. Optimized transmission parameters are drawn to transmit 4K UHD and HD convergence broadcasting by employing a convergence broadcasting transmission structure, and the reception performance of the optimized transmission parameters under AWGN (additive white Gaussian noise), static Brazil-D, and time-varying TU (Typical Urban)-6 channels is examined using computer simulations to find the TOV (threshold of visibility). From the results, for the 6 and 8 MHz bandwidths, reliable reception of both fixed 4K UHD and mobile HD layer data can be achieved under a static fixed and very fast fading multipath channel.

• Proceedings of the Korea Contents Association Conference
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• 2003.05a
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• pp.344-350
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• 2003

In this paper, we propose a novel sharing method ordering the events occurring between users collaborated with the common telecomputing environment. We realize the sharing method with multimedia data to improve the coworking effect using teleprocessing network. This sharing method advances the efficiency of communicating projects such as remote education, tele-conference, and co-authoring of multimedia contents by offering conveniences of presentation, group authoring, common management, and transient event productions of the users. As for the conventional sharing white board system, all the multimedia contents segments should be authored by the exclusive program, and we cannot use any existing contents or program. Moreover we suffer from the problem that ordering error occurs in the teleprocessing operation because we do not have any line-up technology for the input ordering of commands. Therefore we develop a method of retrieving input and output events from the windows system and the message hooking technology which transmits between programs in the operating system In addition, we realize the allocation technology of the processing results for all sharing users of the distributed computing environment without any error. Our sharing technology should contribute to improve the face-to-face coworking efficiency for multimedia contents authoring, common blackboard system in the area of remote educations, and presentation display in visual conference.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.84-94
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• 2013

This study scrutinizes the titles of serial poems on Japanese Apricot, which have lucid characters on season and time changes, having been appreciated and recited by the scholars in the Choseon Dynasty era and analyses the records of Zhang zi(1153~1235), a writer in Song(宋) Dynasty in China, having presented the objects harmonizing perfectly with Japanese Apricot. The results of this study categorizes the objects of Japanese Apricot appreciation and establishes the landscape characteristics on Japanese Apricot appreciation affiliated with as follows. First, the objects of Japanese Apricot appreciation are categorized into 'form of blossoms', 'natural feature(景物)', 'place of tree planting', 'the picturesque scene(景色)' and 'behavior'. Second, the scholars regarded the single trees whose branches are grotesque as the objects of appreciation and enjoyed them. They preferred white and single petal Japanese Apricot and admired red Japanese Apricot which has Taoism images. Third, they admired pines and camelias which represent fidelity and strength and valued Japanese Apricot with cranes which remind themselves of solitary scholars. Fourth, they appreciated the images of Japanese Apricot reflected on the water, and the poetically inspiring atmosphere where the trees are planted by the window. Fifth, the moon and snow were crucial weather conditions for appreciating. cold weather and time from night to dawn were ideally suited for enjoying. Sixth, they enjoyed blossoms in various fashions like bottling(甁梅), potting(盆梅), green-housing(龕梅), searching(龕梅) and black-and-white painting(墨梅) with a view to seeing blossoms earlier than the usual flowering time. Moreover, they used paper drapes, bead curtains, mirrors and ice lamps for active appreciation. They also listened to the sound of Piri(wind) and Geomungo(string), played go and drew tea with noble and elegant beauties when they enjoyed Japanese Apricot. The scholars influenced by the neo-Confucianism, which contemplates the objects, attached the specific sentiments like memories, grieves, dreams and farewells to Japanese Apricot and appreciated them. As stated above the scholars enjoyed the landscape including the picturesque scene like climate-weather, time-season and human behaviors not to mention the physical beauty of Japanese Apricot themselves and objects in company with Japanese Apricot including animals and plants.

• Journal of the Daesoon Academy of Sciences
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• v.32
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• pp.31-76
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• 2019

Lee Sang-ho published Jeungsan Cheonsa Gongsagi (Records of the Holy Works of Celestial Master Jeungsan) in 1926. Then, after complementing the book with additional materials, he published Daesoon Jeon-gyeong in the form of a religious scripture. Since then, Daesoon Jeon-gyeong has been expanded to a sixth edition which was published in 1965. The Haengnok of Daesoon Jinrihoe's The Jeon-gyeong, which was published decades later than Daesoon Jeon-gyeong describes Sangje's whole life year by year in five chapters starting from his descent to the human world all the way to his passing into heaven. It comprehensively contains the essential contents of other chapters from The Jeon-gyeong. This paper was written for the following three goals: first, to study the contents of Haengnok that summarize Sangje's life. Second, to see how its contents are related to descriptions from the other six chapters. Lastly, to discuss how certain verses have been changed from the way they appeared Daesoon Jeon-gyeong. When we compare these two scriptures, there are some verses that are found only in the Haengnok section of The Jeon-gyeong. For example, the verse that explains how Sangje's family name 'Kang' originated and how his ancestors came to live in Gobu area is described only in The Jeon-gyeong. The origin of the family name Kang is considered important because he descended into the world as a human bearing the family name Kang, and it is included in his official name that represents his divine position. Also, unique to The Jeon-gyeong are verses such as those describing "Samsin San (the three holy mountains) in the area where Sangje descended to and verses about the historical change of place names in the areas where Sangje lived. These verses have great significance in terms of their mystical aspects within Daesoon Thought. Secondly, the record about Sangje's Holy Works at Siru Mountain in The Jeon-gyeong is not found in Daesoon Jeon-gyeong. The Holy Works at Siru Mountain are important because they provide proof of Sangje's major activities during the period between his 3-year travel around the country and his Cheonji-gongsa (Reordering Works of the Universe). Next to be observed are some changes in verses that can be seen when comparing The Jeon-gyeong to Daesoon Jeon-gyeong. Of particular impostance here are the story of Sangje's Holy Work called 'King in White Cloth and General in White Cloth' and the description of Sangje's passing into heaven. Both records contain key changes that distinguish The Jeon-gyeong from Daesoon Jeon-gyeong.

• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.

• Applied Biological Chemistry
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• v.44 no.4
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• pp.224-229
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• 2001

This study was carried out to examine the quality stability of powdered soup using powder from oyster wash water (PSW). To compare the quality stability, powdered soup from oyster hot-water extracts (PSE) was also prepared by mixing hot-water extract powder (15 g), table salt (5 g), cream powder (19 g), milk replacer (12 g), wheat flour (20 g), corn flour (15 g), starch (5 g), glucose (7.5 g), and onion powder (1.5 g). In preparing PSW, powder from oyster wash water, instead of powder from oyster hot-water extracts, was added and other additives were the same proportion as PSE. The PSW and PSE were packed with laminated film bag (OPP,$20\;{\mu}m$; PE, $20{\mu}m$; paper, $45\;g/m^3$; PE, $20\;{\mu}m$; Al, $7\;{\mu}m$; PE, $20\;{\mu}m$), and then stored at ambient temperature for 12 months. The moisture content, water activity, peroxide value, and fatty acid composition showed little changes during storage of the PSW, The pH, volatile basic nitrogen content, and brown pigment formation increased slightly, while white index decreased slightly during storage of PSW. No significant difference was observed in the changes of food components between PSW and PSE during storage. According to a sensory evaluation, the change in quality of PSW was negligible during 12 months of storage. From the results of the chemical experiment and sensory evaluation, PSW packed with laminated film bag (OPP, $20\;{\mu}m$; PE, $20\;{\mu}m$; paper, $45\;g/{\mu}m$; PE, $20\;{\mu}m$) was revealed to be preserved in good quality during 12 months of storage.