Geometric abstract art has been a persistent form since ancient times and is defined in modernity as a genre of abstract painting. According to previous studies, the geometric structure of traditional Korean costume possesses uniqueness based on Korean thought and philosophy. Therefore, the purpose of this study is to first derive the characteristics of Wilhelm Worringer’s theory, a theorist of geometric abstraction, and then compare the spiritual similarities between the traditional Korean costume and geometric abstract art, with the aim of examining the artistic competitiveness of Hanbok. Photographic materials from domestic and international museums, as well as books published by museums and government agencies, were analyzed. Further, the characteristics of Worringer's theory of the abstract impulse were derived. The results are as follows. First, the external factors are characterized by a single geometric shape on a flat surface with restrained spatial expression. The internal factors include anxiety, comfort from religion or ideology, and the need for a visual refuge for rest. Second, traditional Korean costume and geometric abstraction share common spiritual contexts of artistry, transcendence, and stability according to Worringer's theory. Third, the study of the spiritual similarities between the traditional Korean costume and geometric abstract art through Worringer’s theory reveals that the artistry of traditional Korean costume is expressed in universal forms, transcendence as intrinsic origins, and stability as a unique aesthetic consciousness. These findings provide a framework for reinterpreting the originality and universality of traditional Korean costume as Korean cultural content, infused with the characteristics of modern art.

This study aims to analyze the traditional embroidery in Korea, China and Japan based on Pierre Bourdieu’s cultural theory, habitus and field. We conducted literature and case studies examining the late Joseon Dynasty, Qing Dynasty, and Edo Period, respectively. Based on previous studies, we reviewed three fields: social systems, goods and economy, and environmental and regional. We also explored art, culture, and national tastes as habitus. We then examined each country’s embroidery practices through these lenses, and the practice of habitus is as follows. We determined that traditional Korean court embroidery in the late Joseon Dynasty was characterized as controlled elegance, while private embroidery reflected earnest simplicity. During the Qing Dynasty, traditional Chinese court embroidery depicted sumptuous power, while private embroidery portrayed harmonious splendor. Finally, traditional Japanese embroidery in the Edo period reflected symbolic natural beauty and exaggerated comic beauty. As a result, Korea, China, and Japan have had a relatively close geographical location and a similar climate environment zone, and since ancient times, many cultures have been exchanged with each other. However, it seems that the characteristics of traditional embroidery have developed slightly differently due to the practice of habitus, which was caused by of the conspiracy of field and habitus of the three countries. The significance of this study is expected to explain the relationship between the birth and extinction of costumes and embroidery by establishing a systematic and objective framework for aesthetics research.

Modernism is an internationally accepted design style. In addition, traditional Korean costume is not the clothing of the past, but its form is also used in modern fashion. Therefore, the purpose of this study is to examine the social and cultural contents of the morphological structure of traditional Korean costume, in order to derive the design characteristics of modernism and examine the global applicability of traditional Korean costume structure. For this study, photographic materials from museums, schematic drawings of relics, and Hanbok production books published by government agencies were analyzed. Further, this study examined traditional Korean costume, especially the modernism characteristics derived from Paul Greenhalgh and previous studies. The results are as follows. First, The traditional Korean costume is a cut based on basic shapes, along with a silhouette appears according to the background of the times. Second, the characteristics of modernism can be divided into universality, functionality, and simplicity. Third, as a result of analyzing the form structure of traditional Korean costume based on the characteristics of modernism, universality is expressed as standardized form, functionality as practical aesthetics, and simplicity as sustainable diversity. Furthermore, Korean costume has a difference in that was greatly influenced by various Eastern ideas and aesthetics of the late Joseon Dynasty. These findings provide a perspective of modern reinterpretation of the uniqueness and universality of traditional Korean costume in line with globalization by utilizing the design characteristics of modernism, an international style.

Investigations and monitoring of environmental radiation are important for preventing expected accidents or for early detection of unexpected accidents, in nuclear facilities and the surrounding. In the event of an environmental radiation accident, it should be possible to identify and analyze the radiation-contaminated area. Therefore, a rapid radiation monitoring system is required for immediate response and necessary measures. In this study, the distribution of radiation mapping is performed on a contaminated area using 2-dimensional or 3-dimensional contour mapping techniques. The entire surrounding area can be understood at a glance by displaying the radiation contour line on the map of the measured area.

When decommissioning a nuclear power plant, the structure must be made to a disposable size. In general, the cutting process is essential when dismantling a nuclear power plant. Mainly, thermal cutting method is used to cutting metal structures. The aerosols generated during thermal cutting have a size distribution of less than 1 μm. The contaminated structures are able to generate radioactive aerosols in the decommissioning. Radioactive aerosols of 1 μm or less are deposited in the respiratory tract by workers’ breathing, causing the possibility of internal exposure. Therefore, workers must be protected from the risk of exposure to radioactive aerosols. Prior knowledge of aerosols generated during metal cutting is important to ensure worker safety. In this study, the physical and chemical properties of the aerosol were evaluated by measuring the number and mass concentrations of aerosols generated when cutting SUS304 and SA508 using the laser cutting method. High-resolution aerosol measuring equipment (HR-ELPI+, DEKATI) was used to measure the concentration of aerosols. The HR-ELPI+ is an impactor-type aerosol measuring equipment that measures the aerosol number concentration distribution in the aerodynamic diameter range of 6 nm to 10 um in real-time. And analyze the mass concentration of the aerosol according to the diameter range through the impactor. ICP-MS was used for elemental mass concentration analysis in the aerosol. Analytical elements were Fe, Cr, Ni and Mn. For the evaluation of physical and chemical properties, the MMAD of each element and CMAD were calculated in the aerosol distribution. Under the same cutting conditions, it was confirmed that the number concentration of aerosols generated from both materials had a uni-modal distribution with a peak around 0.1 um. CMAD was calculated to be 0.072 um for both SUS304 and SA508. The trend of the CMAD calculation results is the same even when the cutting conditions are changed. In the case of MMAD, it was confirmed that SUS304 had an MMAD of around 0.1 μm in size for only Fe, Cr and Mn. And SA508, Fe, Cr, Ni and Mn were all confirmed to have MMAD around 0.1 μm in size. The results of this study show that a lot of aerosols in the range of less than 1 μm, especially around 0.1 μm in size, are generated when metal is cut using laser cutting. Therefore, in order to protect the internal exposure of workers to laser metal cutting when decommissioning NPPs, it is necessary to protect from nano-sized aerosols beyond micron size.

This study interprets Siberian shaman costumes from the perspective of Siberian shamanism’s spiritual culture by combining theoretical and empirical studies. According to the natural environment and language families, the Siberian people are classified into the Altai, Tungus, Ural, and Paleo-Siberian groups. Se Yin’s research classifies the spiritual culture of Siberian shamanism as cosmic, spiritual, and nature view. Eliade’s research has divided Siberian shaman costumes into form, headdress, and ornament. According to the present study, shaman costume form and decoration reflect the Siberian three-tiered cosmic view, such that the shaman’s head, body and feet correspond to the upperworld, middleworld and underworld. In addition, animism, totemism and ancestral worship appear in the shamanism’s spiritual view. For example, the costume’s form shows the totem of each tribe, while the costume accessories reflect animal worship, plant worship and ancestral worship. Finally, shamanism’s nature view mainly manifests through three processes: personification, deification, and ethics. As an intermediary between man and the spirits, shaman use their clothing to reproduce the image of half man and half spirit. The shaman’s costumes are deified and considered to have divine power. For example, the animals represented on the costume help the shaman travel through space. Generally, good animals help a shaman enter the upperworld, while animals that help a shaman enter the underworld are considered evil. Also, the number of hanging accessories represents the shaman’s ability.

This study attempts to analyze the social and cultural meanings of the ethnic groups to which different types of shamans belong in Siberia from the appearance characteristics in terms of clothing through Roland Barthes’s semiotic theory. The research method here is to analyze three types of shaman costume classified by Holmberg, which are bird-type, deer-type, and bear-type, through theoretical research and to investigate the analysis process of Roland Barthes’s semiotics theory. Roland Barthes’s approach to semiotics presents an analysis model that can explore the sociocultural meaning of the Siberian shaman costume. The research results are as follows. In the first type, to be closer to the god of the upperworld, shamans transform themselves into birds by decorating their costumes with the characteristic elements of birds such as feathers and wings. In the second type, the shamans’ costumes are made of deerskin, and the headdress is shown in the shape of antlers to make it easier to receive messages from the upperworld and run fast in the underworld. In the third type, the shaman’s costume is made of bearskin, the head is covered with bearskin, and the body is decorated with bear pendants. Through the power of the bear, the shaman is sent to the underworld to defeat evil gods and remove diseases. Shamans can show their particularity of being a demigod and non-binary gender through clothing. They use this to reflect their authority as a medium of communication between man and god.

본 논문에서는 유연/인쇄 전자 기술을 활용해 고성능의 유기물 반도체 기반 트랜지스터를 개발하고, 이를 통해 인공지능용 반도체 및 폴리모픽 전자회로에 응용하기 위해 공액구조 고분자 반도체 소재의 광파 어닐링 방법에 따른 특성 향상 효과를 연구하였다. 일반적으로 열처리를 위해 가장 많이 활용되는 핫플레이트의 경우 반도체 소자 특성의 균일도 문제와 높은 온도 및 열-용량으로 인한 플라스틱 기판 사용의 제한, 긴 어닐링 시간 등의 문제로 인해 실제 산업에서 활용하는데 어려움이 있다. 이를 해결하기 위해 광파를 활용한 효과적인 유기물 반도체 필름의 열처리 공정을 개발함으로써 Roll-to-Roll 방식의 고속/대면적 인쇄 공정에 적합한 열처리 방법과 반도체 층 전체의 높은 결정화도 유도를 통한 성능 향상과 소자 균일도 개선을 위한 방법을 개발하였다.

Goldwork embroidery is the art of embroidery using metal threads. As well as being used as a decorative element of religious clothing, flags, performing costumes, uniforms, and badges, goldwork embroidery is also used in many current designer collections. Therefore, this study aimed to examine the techniques and materials of goldwork embroidery and the formative characteristics and socio-cultural values of goldwork embroidery from its beginning to the early 20th century. For this study, various embroidery works, costumes, museum portraits, and literature were analyzed. The results are as follows. First, the transition of goldwork embroidery was divided into 4 categories: The beginning of goldwork embroidery; the golden age of goldwork embroidery; the maturity of goldwork embroidery; and various goldwork embroidery (depending on the materials used, usage, and design features). The earliest extant example is the “Maaseik fragments” in Belgium dating from the late 8th to early 9th centuries. Until the 15th century, the Church was the most important patron of goldwork embroidery; however, after the 15th century, goldwork embroidery was produced on costumes. Second, the social-cultural values of goldwork embroidery (based on transition and formative features) were classified as expression of divinity, instrument of governance, desire to be approved, and tools of self-expression. Through this study, it is evident that there have been many advances in both technique and technology over time. Furthermore, patterns of usage and social-cultural values of goldwork embroidery have changed significantly.

Multiple starters consisting of two Bacillus amyloliquefaciens strains (MJ1-4 and EMD17), Pichiafarinosa SY80, and Rhizopus oryzae were used for Doenjang making. Bacillus strains were selected based on their abilities to inhibit toxinogenic fungi and Bacillus cereus, fibrinolytic activity, and their ability to confer good flavor to Cheonggukjang. P. farinosa SY80 and R. oryzae, previously isolated from soy sauce, were selected because they were not inhibited by two bacilli. Doenjang was prepared by inoculation of multiple starters (A1 Doenjang). Control Doenjang was prepared by inoculation of B. subtilis KACC 16750 (Natto strain) and Aspergillus oryzae KCCM 60166 (A2 Doenjang). Another control (A3 Doenjang) was prepared by inoculation of microorganisms present in rice straw. Doenjang samples were fermented for 70 days at 20℃. pH of 3 samples decreased from the initial value of 6.4 to 5.8~6.0 and titratable acidity (TA) increased from 0.6 to 1.1~1.3. The amount of amino-type nitrogen increased during fermentation. There were slight differences in moisture, crude-protein, and crude-fat contents after 70 days. Contamination of fungi was observed only in A3 Doenjang and B. cereus was not detected from all 3 samples. A1 Doenjang showed the highest fibrinolytic activity and A2 Doenjang the second. These results indicate that Doenjang made with carefully selected starters was functionally improved and microbially more safe.