This paper aims to examine the effect of AI framing (i.e., Scientific AI vs Magic AI) on consumers' product evaluation. This study shows that magically framed AI technology may be more beneficial to appeal to product innovativeness when subjective product properties (e.g., personal taste) becomes important. On the contrary, when objective product properties (e.g., functionality) becomes important, scientifically framed AI technology is more likely to generate higher perceived product attractiveness and purchase intention.

본 논문은 산문 “Magic,” “Swedenborg, Mediums, and the Desolate Places,” Per Amica Silentia Lunae와 A Vision에 나타난 예이츠의 영성에 대한 생각을 살펴보는데 그 목적이 있다. 우선 본격적인 논의에 앞서, 이 논문은 예이츠가 유년 시절에 접했던 민담과 아버지의 기성 종교에 대한 비판과 같은 예이츠 특유의 영성을 형성한 여러 가지 요소들에 대하여 살펴본다. 이러한 유년 시절의 영향은 예이츠로 하여금 기성 종교와 대비되는 대안적인 형태의 영성을 추구하게 만들었으며 이는 신지 학회와 황금여명회 가입으로 이어진다. 이는 또한 예이츠가 아일랜드의 민담과 전설 등 아일랜드의 고유한 전통에 바탕을 둔 특유의 영성 이론을 발전시키는데 도움을 준다. 다음으로, 논문은 예이츠의 1901년 에세이 “Magic”부터 영성에 대한 추구가 집대성 되어 있다고 볼 수 있는 A Vision에 이르기까지의 예이츠의 산문을 살펴봄으로써 예이츠가 어떠한 방식으로 영성에 대한 생각을 글로써 표현하고자 하였는지에 대하여 논의하고자 한다.

본고는 化生寺→弘福寺→法門寺→鞏州城→河州衛→福原寺→雙叉嶺→鎭山太保劉伯 欽→兩界山[五行山]에 이르는 『西遊記』 출발단계의 에피소드 배치가 유식 5위의 최 초 2단계에 해당한다는 점을 고찰한 논문이다. 삼장의 중국 내 여행은 유식 수행의 資糧位, 그중에서도 十住에 해당한다. 그것은 삼장의 여행이 주로 숙박하여 묵는 일 [住]로 묘사되어 있다는 점 등 몇 가지 소설적 장치의 고찰을 통해 확인된다. 삼장의 雙叉嶺에서의 체험은 유식의 자량위, 그중에서도 十行에 해당한다. 그것은 쌍차령에 서 만난 진산태보가 십행의 善伏 삼매를 성취한 功德林 보살의 형상으로 해석된다는 점을 포함한 몇 가지 비유와 상징에 대한 고찰을 통해 확인된다. 삼장의 쌍차령 천 도재 이야기와 兩界山 직전까지의 여정은 자량위, 그중에서도 十廻向에 해당한다. 또 한 양계산과 양계산 직후의 체험은 加行位의 각 단계에 상응한다는 점을 살펴보았 다. 그것은 손오공이 양계산을 뚫고 나오기 전에 삼장 일행을 동쪽으로 7∼8리 훨씬 넘게 거꾸로 돌아가도록[十廻向] 하는 점 등의 소설적 장치에 대한 고찰을 통해 확인된다.

『서유기』는 삼장, 孫悟空 일행이 서천여행을 하면서 겪는 81가지 고난을 주된 내용으로 하고 있다. 이 81難은 완전한 진리의 성취에 이르기까지 거치게 되는 점차적 단계를 상징하는 것으로서 각각의 에피소드는 자기완결성과 전후맥락성을 동시에 갖추고 있다. 그래서 출발에서 도착에 이르기까지의 맥락적 관점에서 보면 전체 81난은 하나의 큰 원형고리를 형성하며, 자기완결적 관점에서 보면 각 에피소드는 전체의 큰 고리에 꿰어지는 작은 원형고리들이 된다. 그것은 중국선에서 완성된 돈오선과 점수선의 도리를 하나로 통합하여 수용한 결과로 보인다. 본고에서는 각각의 에피소드가 자기완결성을 갖고 어떻게 전체적인 전후맥락성을 구성 하는지를 살펴보고자 한다. 그것은 車遲國의 도술시합이 中道, 對法 등과 같은 불교적 진리와 실천을 어떻게 비유적으로 형상화하고 있는지를 해석하는 방식을 취하게 될 것이다.

목 적 : 한 번의 영상 획득으로 다양한 contrast를 구현할 수 있는 MAGIC을 이용하여 brain 영상을 획득 한 뒤, 고식적인 방법으로 얻은 영상과 비교하여 유용성을 평가하고자 한다. 대상 및 방법 : 2015년 5월부터 2015년 6월까지 두부 신경계통의 환자 10명을 대상으로 brain routine order에 한해 시행하였다. 환자의 평균연령은 60세이며, 남자 3명 여자 7명으로 구성되었다. 검사 장비는 GE의 Discovery 750w 3.0T를 이용하였으며, 사용한 coil은 32 channel head coil을 이용하였다. 기존 brain routine 시퀀스와 비교하기 위해 추가적으로 MAGIC을 이용하여 영상을 획득하였으며, 기존 시퀀스인 T2 weighted image, FLAIR image, T1 weighted image의 axial plan과 동일한 plan으로 영상을 획득하였다. 획득한 영상은 영상 재구성을 통해 비교대상인 기존영상들의 근접한 TR값과 TE값, TI값으로 재구성하였으며, 평가는 정량적 평가와 정성적 평가로 이루어졌다. 정량적 평가는 영상의 한 단면을 anterior, middle, poterior로 나누고, 각 구역에서 오른쪽, 왼쪽의 백질과 회백질의 pixel contrast의 비율을 측정하여 비교하였다. 정성적 평가는 신경계 판독의 2명과 MRI실 근무 5년 이상의 방사선사 5명을 대상으로 리커트 5점 척도를 이용하여 분석하였다. 각 평가는 SPSS 21.0(SPSS Inc, Chicago,IL, USA)을 사용하여 p<0.05 일 때 통계적으로 유의한 것으로 해석하였다. 결 과 : 정량적평가의 T1영상에서는 anterior, middle segment에서 각각 p>0.05(p=0.721,P=0.386) 로 유의한 차이가 없었고 posterior portion에서 p<0.05(p=0.022)로 유의한 차이가 있었다. T2 영상에서는 anterior, middle, posterior portion 각각 p>0.05(p=0.169,P=0.575,p=0.959)로 유의한 차이가 없었다. FLAIR 영상에서는 anterior portion은 p>0.05(p=0.285)로 유의한 차이가 없었으나 middle, posterior portion에서 각각 p<0.05(p=0.047,p=0.007)로 유의한 차이가 있었다. 정성적 평가에서는 고식적 image와 MAGIC image 모두 p>0.05로 통계적으로 유의한 차이는 없었다. 결 론 : MAGIC을 이용하여 얻은 영상은 고식적인 영상과 비교했을 때 진단적 가치가 유효하다고 판단할 수 있다. 한 번의 스캔으로 T1WI, T2WI, FLAIR, PD, T1 MAP, T2 MAP, STIR 등의 영상으로 재구성 하는 MAGIC은 검사 시간 단축에 있어서도 많은 기여를 하며, 검사 후에도 다양한 contrast를 후처리 기법을 통해 나타낼 수 있기 때문에 임상에서 충분히 가치가 있다고 사료된다.

Magic words are words used to encourage consumers to buy a product in that consumers who previously did not want to buy were finally made to buy the product. This study is limited to the case of Gedong Gincu mangos in West Java, Indonesia . This type of mango is unique and has a high selling price; however, its promotion has not been conducted extensively. The promotion has been limited to exhibitions facilitated by West Java provincial government, Department of Agriculture and Department of Trade and Industry. The promotions conducted by supermarkets have not shown any optimum results because the costs spent on the promotion are not balanced with the profit they earn. So far, the supermarket promotion only includes the word discount (buy one get one free) or sold cheaply. Such words are perceived to be less encouraging for consumers. Promotion for agricultural products, especially mangos is very unique because such products are perishable, voluminous, and bulky. Being seasonal in nature, prices of agricultural products are fluctuating, which are different from industrial products which are uniform, durable, and can be stored and have fixed prices

Introduction Luxury is an intriguing and alluring concept. The word ‘luxury‘ is used very often in advertisement, indicating something positive, some-thing worth striving after, something worth desiring. This thesis will focus on how luxury, and particularly luxury brands, are created, represented and consumed in an online environment. The Internet has proven to be of great importance for many types of brand when it comes to communicating and providing information to consumers and potential consumers. Luxury brands, however, work on different premises than other brand categories. Thus, luxury brands on the Internet would seemingly be an oxymoron. Given the growing importance of the luxury goods industry in economic terms and the increasing scholarly interest for not only the phenomenon of luxury brands but also luxury brands online (c.f. Dall‘Olmo Riley and Lacroix, 2003), it would seem that more systematic research is warranted on how brands, and luxury brands in particular, are handled on the Internet. The consumption of luxury brands, as opposed to the consumption of physical goods, lies in the difference in ownership. A luxury brand can be ‘consumed’ without the actual owning of a physical good produced by the brand. This type of consumption is instead a sort of merging of the consumers‘ view of themselves with their image of the luxury brand. This relatively new way of viewing consumption is of central importance when viewing brands online. The virtual ownership or ‘consumption‘ of luxury brands also brings with it new forms of expressing ownership or kinship with the luxury brand, as well as with other types of consumer sharing in the affection of a brand. The problems facing luxury brands, is best summed up in the ‘luxury brand paradox‘, in which the core is a balancing act. In this balancing act, the perception of exclusivity surpasses that of actual scarcity. The perception of exclusivity has to be invoked in consumers for the luxury brand paradox to maintain equilibrium. If (or perhaps when) there was an actual scarcity to luxury goods and luxury was truly limited, the consumption of luxuries was quite different from the consumption of luxury brands today. The clicks environment The clicks environment has brought with it not only new ways for brands to communicate with consumers but also for consumers to ‘consume‘ the brands. The following aspects will be emphasized the rise of the Internet and its characteristics, the business logic that is emerging from this, consumers on the Internet and new communication patterns. New to not only luxury consumption, but also retailing and consumption is the entrance of the Internet as a means of distributing, marketing and gaining information on goods and services. The advent of the Internet brought with it a frenzy for no-name and generic brands, as well as some high-priced, status brands to not be left behind in incorporating a clicks environment, with many luxury brands jumping on the bandwagon. Many luxury brands can thus now be viewed and, to some extent, purchased online by anyone having access to a computer. Luxury brands are presenting themselves online and communicating everything from designer influences to products and prices and store listings. On the Internet, old trusted methods cannot be used to the same extent and the migration to an online environment will inevitably bring with it new problems as well as intensify some old ones: the perception of scarcity is harder to create. Maintaining the balance between maximizing profits and evoking feelings of exclusivity is one of the most important tasks for luxury brands. The creation of perception of exclusivity or social desirability in a luxury context is the basis for non-functional demand. This is a balancing act that comes into greater focus with the entrance of the Internet. This research examines the new business logic in the clicks environment from the problems that arise for luxury brands in particular. For mass-producing brands, the clicks environment does not pose the same kind of threat as it does for luxury brands. The cost of marketing could be lowered by using the means provided by the Internet and giving access to products to many new consumers, something that in the case of luxury brands can be a danger. The specific nature of luxury brands and the new business logic on the Internet generate new challenges as well as opportunities. The Internet environment brings with it the fact that luxury brands can be not only consumed but also represented and created in a widely diverse environment. This requires a specific way of viewing consumption, which will be explored in this chapter Representing, creating and consuming luxury brands online The luxury context has been changed with the entrance of the Internet, challenging luxury brand management and forcing luxury brands to act in new ways. Where the borders were previously stricter and the consumption of luxury brands was solely an act between company and consumer and luxury brand identity was communicated from company to consumer, with rather few distractions, the Internet gives rise to many other constellations. The creation of brand image is thus now intertwined and overlapping. For luxury brands to be consumed online by consumers, they have to be represented online. Although the representation can be officially either by the brand or by others, it is when ‘others‘ get involved in luxury brand representation that the preconditions change. The online representation of luxury brands is a basis for luxury brand consumption, but as will be explained later, the consumption taking place online does not have to involve purchase of actual physical goods. Brands can, to a certain degree, be ‘created‘ online as a luxury brand or status brand, all depending on the processes surrounding the brand in question. This research starts with the presumption that the luxury context is changing with the entrance of the Internet and that luxury brands are now exposed to new challenges in which the luxury brand image is more elusive than ever. The Internet has become a valuable communication tool for brands in their endeavor for a favorable and prosperous brand image. However, the belief is that as a communications and distribution channel the Internet has led to changes in the market structure as well as changes in producer and consumer roles (Peterson, et. al., 1997; Prahalad et. al., 2000). To be able to be viewed and purchased online would seem an ideal situation if not for the inherent paradoxical nature of the luxury brand. Luxury brands face several challenging problems within the online context. Online rarity The term luxury rests on certain assumed connotations, such as the ‘rarity principle‘, meaning that the rarer the good, the more desired the commodity is (Phau and Prendergast, 2000). With the Internet as a distribution channel, the ‘rarity principle‘ may be lost when the brand can be not only viewed and desired but also consumed by all. According to Dubois and Paternault (1995), the prestige of the brand may be eroded if too many people own it. The possibility of online purchase may give opportunity for the ‘masses‘ to consume these products and the company can maximise its profits and sell even larger amounts, something that would, however, be in sharp contrast with the need of luxury brands to maintain a fragile equilibrium between high exposure and awareness but a controlled level of sales (Roux and Floch, 1996 in Dall‘Olmo Riley and Lacroix, 2003). It is also feared that the possibility of purchasing luxury brand goods online could give greater opportunities for counterfeiters to sell copied merchandise as ‘original‘ merchandise. Studies have shown that price and price discounts are very important factors in online purchasing and when revisiting a website. Luxury brands online thus face problems, largely because they do not compete with low price or price discounts. Consequently, online distribution pro-vides a challenge. How do you make consumers buy the much more expensive genuine product instead of a cheap counterfeit when many of the core elements of the luxury brand are lost online? Another problem is the ever-increasing product range of luxury brands. Because many luxury brands today include all sorts of products, this makes it harder to distinguish counterfeit copies from the original. This is a problem that could devalue the brand and increase the temptation for consumers to buy cheaper ‘knock-offs‘ or counterfeits‘ online. de Chernatony (2002:186) suggests that brand strategists need a new mental model to "develop integrated brands in a digital age which goes beyond the classical and which recognizes the new roles consumers are taking". New roles for consumers are an important fact for luxury brands in that consumers are more involved in creating a buzz for certain brands, engaging in reviewing, discussing and sharing opinions online. The online environment and the challenges to luxury brands that follow show a significant change in the business logic. The new business logic on the Internet, with the consumption of brands instead of actual goods, is problematic for brands in general and for luxury brands in particular. The specific problems regarding luxury brands are seen in relation to the previously described inherently difficult luxury brand paradox. The problems arising from the very scattered Internet context for luxury brands are many, as well as interrelated. Empirical contributions There are four main groupings of websites that have been examined: (1) brand websites, (2) consumer-to-consumer sites, (3) communities and (4) Replica sites and such. (1) The first type of sites is the sites that are officially connected with one brand, multiple brands or a conglomerate. In this category ‘umbrella‘ sites are also included, which can be directly owned by a luxury conglomerate (such as eluxury.com, or sites such as prêt-a-porter.com or yoox.com that sell a wide range of upper-range and luxury brands). (2) The second type of site is the online auction site where consumers sell to consumers, or in some cases, an organized firm conducts the selling. This type of site is not associated with the luxury brand. Although somewhat separate from the community website, this type shares many of the characteristics of the community websites, including being mostly consumer driven and not directly affiliated with a luxury brand. Thus, the auction websites are grouped together with the community websites. (3) The third type of site examined is the community websites. These come in different forms, ranging from sites associated with fashion magazines in which involvement only can occur on an observer or viewer basis to communities discussing all aspects of fashion and luxury to community sites dedicated to identifying the brands celebrities are wearing. The sites that are the online version of fashion magazines can be viewed only with possibilities to receive weekly (sometimes daily) fashion updates and newsletters, include chat possibilities and bulletin boards, and in some cases have limited product sales. (4) The fourth type is the website that sells replicas or counterfeits. In this category sites that rank and review sellers of counterfeit merchandise are included. Conclusions Four themes on the sense of a luxury brand have emerged throughout this research. The themes show how the sense of a luxury brand is created in an online environment. The four themes are luxury history, authenticity, community and paradox. Luxury history refers to the stories (either real or thought up as marketing campaigns) told by luxury brands, as well as the history that is thought up of and shared by consumers of the brand. Authenticity pertains to the need for luxury brands to have authenticity and genuine products in the sense of having reputable and innovative designers to repel counterfeits. Community concerns the different types of community formed online, i.e. communities formed for a particular brand or other common interest. Paradox relates to the inherent problem for luxury brands to create desire and appeal (and hence the power to sell a particular product) while simultaneously giving the perception of uniqueness. Paradox also refers to the contradictory workings online in the creation of a sense of luxury brand. As has been revealed through the empirical data, the online environment for luxury brands is an environment for communication and interaction, an environment that is both lively and active. The online context is comprised of many different elements that are interwoven, making up the platform for luxury brands online. This is seen in not only the different people involved in the online context but in some instances also the changing roles they play and the often multiple activities that they perform. This is because the luxury environment is made up of these sometimes very different yet interlocking elements. Examining the data from different perspectives and by comparing them to previous research on brands, luxury and the Internet the conclusion is that a new and exciting arena for luxury brands and their consumers emerge, an arena that will be referred to as an online fair. The online context is a highly scattered and chaotic environment that exhibits a scope of different characteristics. These characteristics resemble those pertaining to a fair. Definitions of a fair can range from describing the display of farm animals to entertainment and amusement. The common denominator is the key-concepts of display and the people there to see the display or to be amused and entertained. The online fair embodies different actors and activities that will be described together with the special environment of the online fair. The actors that are identified in the online fair are the audiences, the exhibitors and the copycats. The activities performed by these three groups are exhibition and display, sales and trade and entertainment. Finally, the online fair environment is characterized by its globality, openness, accessibility and fuzzy boundaries. As opposed to many bricks-and-mortar fairs, the online fair requires no entrance fees. Neither does it have strict admission controls based on special invitations, as is often the case with luxury fashion shows. The online fair is instead open and accessible to all. The audience in the online fair encompasses various consumer types and how ‘active‘ a consumer or potential consumer is, is not dependent on his or her status as an ‘actual consumer‘. The online audience also serves as reinforcement for consumers with regard to postpurchase feelings. Given that the online fair is open to anyone, there will inevitably be those wishing to profit from someone else. In this context these ‘tricksters‘ would be counterfeit sellers trying to profit from the luxury brand image.

In service experiences, customers often look to create their own magic in the service environment, through interaction with other customers, not the producer of the experience (the provider) at all. The current study examines the bar environment, where hedonically-driven service encounter experiences are constructed, not by the provider, but by the social interactions of the consumers of the environment. The study surveys 130 consumers, measuring experiential, situational and social involvement levels in relation to consumption motivation and overall experience evaluation. The research finds that, while bar consumers are likely to be highly socially involved, they still need the company of close friends to become fully involved in the bar service experience. In addition, where atmospheric theory discusses the value of extraordinary or surprising service environments, consumers in the already hedonic bar environment may indeed prefer environments which are simply comfortable and consistent with their expectations (in regard to motivations to consume and overall positive evaluations).

예이츠는 “마술”에서 마술과 문학 사이의 상호관계를 설정하여, 그의 신 비주의 사상에 대한 구체적인 구상을 제시한다. 그에 따르면, 대기억은 인간과 역사에 영향을 미친다. 고대 아일랜드 시골사람들은 그 대기억에 더욱 쉽게 접근할 수 있었 다. 그는 시인들과 예술가들이 대기억으로부터 이미지를 얻어서 그것을 작품에 형상화 한다고 주장한다. 그는 .죽 냄비.에서 신비주의 사상의 변형을 다룬다. 냄비는 음식을 만드는 도구이다. 또한 그것은 대기억의 일부분으로써 연금술적 변형을 불러일으키는 원형을 상징한다. 사유, 느낌, 감정을 융합한 냄비는 개인의 지혜와 국가의 정체성을 상징하는 새로운 ‘물질’로 변형된다.

‘Magic Yellow’ 품종은 경남농업기술원 화훼연구소 에서 복색 홑꽃인 ‘Artist Pink’를 모본, 복색 홑꽃의 ‘SP03-47’을 부본으로 인공교배를 실시하여 2004에서 2008년에 걸쳐서 파종과 계통선발을 통해 육성하였다. 품종의 특성검정은 2006년부터 2008년까지 촉성재배 와 억제재배, 자연재배 조건 아래서 3회에 걸쳐 조사 하였다. ‘Magic Yellow’ 품종의 자연개화기는 10월18 일경으로 빠른 편이며, 일장조절에 의해 주년재배가 가 능하다. 초장이 120.2 cm로 크고 꽃 크기가 6.0 cm 인 스프레이국화로 착화수는 11.4개이다. 화색은 황색 과 적색을 가진 복색이며, 개화형태는 실린더형이다. 봄의 단일상태에서 ‘Magic Yellow’ 품종의 개화소요 일수는 45일 정도로 개화가 빠르며, 가을 절화수명 검 정에서 22.9일로 긴 편이다.

The Realization of Ubiquitous is achieved by magic mirror and it is required more concrete study to realize it's functionality. Especially its function of professional fashion co-ordinator for managing the appearance could be of further use. The Objective of this Study is to establish RFID chip data base to put into a computer for making use of the functionality of the magic mirror aiming at suggesting the available information on the total fashion co-ordination. I sought firstly the code with binary system determining the criteria of accessories to be input in a RFID chip. Secondly, as the image with cloth is an important element for the total fashion co-ordination, desired co-ordination among the emphasis, harmony, character, season and accent can be made selectable classifying into a limit element and a common element to extract the codes. Thirdly, necessary conditions were given to the generated codes using Visual C++ program of Microsoft and the extracted codes as per groups were compared and analyzed.

‘Maigic’ 품종은 경남농업기술원 화훼연구소에서 복색 홑꽃인 ‘Artist Pink’를 모본, 복색 홑꽃인 ‘SP0347’을 부본으로 인공교배를 실시하여 2003년에서 2007년에 걸쳐서 파종과 계통선발을 통해 육성하였다. 품종의 특 성검정은 2005년부터 2007년까지 봄 촉성재배와 가을 억제재배 조건아래서 3회에 걸쳐 조사하였다. ‘Maigic’ 품종의 자연개화기는 10월26일경이며, 일장조절에 의해 주년재배가 가능하다. 꽃 크기가 6.1 cm인 중륜화로 꽃 하나의 꽃잎수가 31.6개정도이고 착화수는 14개 정도이다. 화색은 복색(백색/자주색)이며, 녹색화심을 가졌다. 봄의 단일상태에서 ‘Maigic’ 품종의 개화소요일수는 43일 정도 로 개화가 빠르며, 가을의 절화수명은 20.6일로 나타났다.

본 연구는 절화 아이리스의 노화와 절화수명에 미치는 에틸렌의 영향과 이러한 에틸렌의 작용을 억제할 수 있는 STS 전처리의 효과에 대하여 알아보고자 수행하였다. 아이리스는 1mM STS 용액에 30분간 전처리한 후 0, 3mL·L−1 의 에틸렌에 24시간 노출시켰다. 봉오리 상태 에서 절화 아이리스의 절화수명은 STS 전처리후 에틸렌 에 노출된 것은 4.2일, 에틸렌에 노출되지 않았던 꽃은 4.6일 이었다. 반개화 상태에 수확한 아이리스의 절화수명 은 STS 전처리에서 길었다. 그러나 에틸렌 노출에 의해 서는 수명이 영향을 받지 않았다. 그러므로 절화 아이 리스는 외생 에틸렌에 민감하지 않음을 알 수 있었다. 봉 오리 상태에서 수확한 절화는 완전한 개화가 유도되지 않 고 노화가 일어나는 경우가 많으므로 어느 정도 개화가 진전된 꽃을 수확하는 것이 필요한 것으로 판단되었다.

유색칼라 ‘Black Magic’의 노지와 비가림재배(50％ 차광) 및 구근 크기가 생육 및 구근 비대에 미치는 영향을 연구하였다. 맹아소요일수는 노지에 비해 비가림 하우스에서 4.2일 단축되었으며 맹아율과 생육은 노지보다 비가림하우스에서 좋았고 구경이 클수록 양호하였다. 노지와 비가림 하우스의 개화수 차이는 없었으나 화경장은 비가림 하우스가 노지에 비해 12.2cm길었으며 구근 크기가 클수록 개화품질이 양호하였다. 연부병 발생률은 노지와 비가림재배에서 각각 19∼83％, 3∼22％로서 노지재배에서 높게 나타났고 구근 비대는 연부병 발생이 적은 비가림재배에서 양호하게 나타났다. 정식시 구근 크기가 증가할수록 구근 비대는 양호하였으며 비가림재배에서의 구경 0.5∼1 cm구는 약 7개월 후에 구중 50.2g,구경 5.7cm로 비대하였다.

In order to polish complicated-shaped inner surfaces of models, a new polishing method with magnetic congelation liquid was invented, we called this name MAGIC polishing tool. This tool is magnetic fluid at high temperature, can be solidified by cooling. The distribution of abrasives in the liquid can be controlled by magnetic field. Therefore we can make a special polishing tool which has well arranged abrasives inside after cooling. In order to know the fundamental polishing properties of this new polishing tool, brass plate was polished. The polishing tool was pressed and rotated against the brass plate in specified polishing time. After many experiments, it was found that this type of polishing tool provided enough removal rate and surface roughness.

이 연구는 앤서니 브라운 첫 작품 『거울 속으로』에 등장하는 포스트모더니즘적 철학의 의미를 분석하고 있다. 『거울 속으로』는 아이들과 학부모에게 다소 낯선 회화적 요소뿐만 아니라 스토리의 구성이 기존의 그림책과는 다르게 표현되어 있다. 앤서니 브라운 『거울 속으로』에서는 기존의 그림책이 시도하지 않았던 회화적 표현 기법을 사용하였으며 그림책의 내용으로 아이들과 공감할 수 있는 세계로 이끈다. 이 그림책은 상상력의 오브제(obget)와 시뮬라크르 제시를 통하여 아이들에게 창조의 기쁨을 일으킨다. 그림책 속에는 푸코가 제시하는 팝옵티콘(panopticon)의 시선이 미치지 않는 자유와 즐거움 그리고 행복의 ‘헤테로토피아’적 공간에 대한 철학도 담겨있다. 이 그림 책의 색채는 전반적으로 초록과 빨강, 노랑이 반복적으로 표현되고 이러한 반복적 색깔의 변화는 작가의 의도성이 담겨져 있다. 『거울 속으로』에서 초록, 빨강, 노랑은 작가의 메시지를 담고 있다. 앤서니 브라운 『거울 속으로』는 공동체 생활에서 다소 소외 받을 수 있는 아이들에게 자유와 꿈과 희망을 주며, 보편화되고 획일화된 미래 세상을 뛰어 넘어 개별자의 특수성이 인정되고 모두가 배려되고 존중받는 진정한 아동중심 사상을 제시해 주는 포스터모더니즘의 어린이 철학 교재이다.