Toxicities to many organs caused by humidifier disinfectants have been reported. Recently, humidifier disinfectants have been reported to cause cardiovascular, embryonic, and hepatic toxicities. This study was designed to investigate the toxic mechanism of humidifier disinfectants and compare toxicity in a cellular model and a zebrafish animal model. Because brain toxicity and skin toxicity have been less studied than other organs, we evaluated toxicity in a human dermal cell line and zebrafish under various concentrations of humidifier disinfectants that included polyhexamethyleneguanidine phosphate (PHMG), oligo-[2-(2-ethoxy)-ethoxyethylguanidinium- chloride] (PGH) and methylchloroisothiazolinone/methylisothiazolinone (CMIT/MIT). A human dermal fibroblast cell line was treated with disinfectants (0, 2, 4, 6, 8, and 16 mg L-1) to compare their cytotoxicity. The fewest PHMG-treated cells survived (up to 33%), while 49% and 40% of the PGH- and CMIT/MIT-treated cells, respectively, survived. The quantification of oxidized species in the media revealed that the PHMGtreated cells had the highest MDA content of around 28 nM, while the PGH- and CMIT/ MIT-treated cells had 13 and 21 nM MDA, respectively. As for brain toxicity, treatment of the zebrafish tank water with CMIT/MIT (final 40 mg L-1) for 30 min resulted in a 17- fold higher production of reactive oxygen species (ROS) than in the control. Treatment with PGH or PHMG (final 40 mg L-1) resulted in 15- and 11-fold higher production, respectively. The humidifier disinfectants (PHMG, PGH, and CMIT/MIT) showed severe dermal cell toxicity and brain toxicity. These toxicities may be relevant factors in understanding why some children have language disorders, motor delays, and developmental delays from exposure to humidifier disinfectants.

The purpose of this research was to appraise physicochemical properties by utilizing different Mit-sool, Juk, Seolgi-tteok, and Godubap, to produce traditional liquor. In all experimental plots, pH and amino acidity tended to increase with duration of fermentation. Titratable acidity displayed a very high number on the second day but then tended to decrease as fermentation progressed. Sugar contents were highest on the fourth day and tended to decrease with time. Alcohol content increased sharply at the initial stage of fermentation and increased gradually. On the 15th day, traditional liquor made with Godubap recorded the highest alcohol content. Common free sugar components were glucose and sorbitol. Common free organic acid components were lactic, succinic, citric, tartaric, malic, and acetic acids. Volatile flavor compounds were six alcohols, five esters, three aldehydes, and two ketones. Regarding overall acceptability in the sensory evaluation, traditional liquor using Seolgi-tteok as Mit-sool scored the highest. Overall, even though different types of Mit-sool had different physicochemical properties, there were no significant differences in volatile flavor compounds or sensory evaluation scores.

Focusing on the emergence of the basic course in American schools of architecture, in particular Gyorgy Kepes' courses at MIT, this paper studies the transformation of architectural pedagogy during the years after World War II. Kepes centered his architectural pedagogy on the picture plane, which was to function as the primary media for applying the principles of Gestalt psychology, that is the identification of the whole and its parts and the reciprocity between the internal human organism and the outside world. Kepes hence introduced a set of unconventional visual practices that were not readily assimilated to architectural conventions. Paralleling the establishment of the basic course, MIT also formulated a functionalist and spatial pedagogy with its two initial design studios, courses 4.721 and 4.722. These studios shared the notion that architectural design evolved from the inside toward the outside, an idea that took hold not just in the pragmatic environment of MIT's studios but also in conservative academic programs as well as in popular magazines, picture books, and exhibitions for the consumer public. The architectural surface became inseparable from the objects of art, furniture, and design, all of which were to be the generators of space. Hence, during the 1950s, the architectural surface provided a specific locus of intersection between the visual fundamentals of the basic course and the working principles of architectural design. Kepes, however, had by this time become disillusioned with architecture's potential as the medium of unity. Though he maintained the Gestalt logic of identity, he expanded it toward the goal of grander synthesis of society and consciousness freeing himself from the constraints of disciplinary instruction. In the case of Kepes, the mediating role of the picture plane was foregone in a regressive turn toward a primal, innocent, and direct experience.

The purpose of this paper is to suggest a model of teaching German poetry on the basis of the theory of literary communication. This paper uses the poems of Rainer Maria Rilke as the main text of the study. The paper shows that a model of teaching through a new media of “ intemet" needs students’ active participation, and that such a model is effective to develop the students' creativity in appreciating poetry.