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- 저자 : 문자영 ( Moon Jayoung ) (검색결과 6 건)
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생분해성 플라스틱 PLA(Polylactic acid) 퇴비화를 통한 생분해능 검토
문자영(Moon, Jayoung),김명현(Kim, Myung-Hyun),이영태(Lee, Young-Tae),이현희(Lee, Hyun Hee),노유한(Rho, You-Han) 한국산학기술학회 2016 한국산학기술학회논문지 Vol.17 No.4
기존에 군에서 사용하는 훈련용 수류탄은 분해가 어려운 플라스틱 성분으로 구성되어 환경오염의 원인이 되었다. 그래서 짧은 시간 내에 생분해될 수 있는 PLA(Polylactic acid) 계열 소재를 적용하게 되었다. 특히 PLA 수지는 생분해성 고분자 물질로 최종적으로 이산화탄소와 물로 분해되어 타 분야에서도 플라스틱의 대체 물질로 관심이 높다. 그래서 이번 연구에서는 연습용 수류탄에 적용된 PLA계열 소재가 실제적으로 분해 능력을 가지는지 확인하고, 타 품목에 적용가능 여부 를 판단하기 위해 파일럿-규모의 퇴비화 과정을 진행하였다. 퇴비화 시험은 ISO 16929(2013)에 따라 진행하였으며, 실험 후 모든 파라미터를 통해 실험 과정이 유효하다는 것을 확인할 수 있었다. 퇴비화 시험 마지막에(12주 후) 시험 장치 내 시료를 포함한 전체 내용물을 체에 거르고, 구분, 분리하여 분석하였다. 그 결과 12주 후 99.2%의 붕괴도를 보였으며, 이는 ISO 17088(2013), EN 13432(2000), ASTM D 6400-12의 기준인 90%를 통과할 수 있는 수준이라고 볼 수 있다. 그러므로 지속적 인 연구를 통해 소모성이 큰 타 품목에 PLA 재질의 추가 적용이 필요하다고 판단된다. In previous years, practice hand grenades were composed of non-degradable plastics and caused environmental pollution. Therefore, this study applied PLA(Polylactic acid) to practice hand grenades that would biodegradable within a short time. High expectations are being placed on PLA as a substitute for plastics because it can decompose to water and carbon dioxide. The aim of this study was to confirm that the PLA material of a practice hand grenade has biodegradability in a pilot-scale composting unit and estimate the applicability for other items. A composting test was progressed according to ISO 16929(2013). The test process was found to be valid. At the end of the composting test (after 12 weeks), the entire content of the test bin with the test sheet was sieved, sorted and analyzed. A disintegration percentage of 99.2% was obtained after 12 weeks of composting. Therefore, the 90% pass level required by ISO 17088(2013), EN 13432(2000), and ASTM D 6400-12 was easily reached. On the other hand, more research will be needed to determine additional applications of PLA material for consumables.
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무기체계의 환경시험을 위한 한반도의 온도기준 설정에 관한 연구
문자영,김동길,성인철,홍연웅,Moon, Jayoung,Kim, DongGil,Sung, InChul,Hong, YeonWoong 한국데이터정보과학회 2016 한국데이터정보과학회지 Vol.27 No.6
환경시험의 목적은 시험대상 제품이 수명주기 중 겪을 수 있는 환경에 노출되었을 때 정상적인 기능을 수행할 수 있는지 설계 제조되었는지를 시험 평가하는 것이다. 본 논문은 한반도 내륙에서 운용할 군수장비의 운용환경조건에 대한 온도시험의 설계 기준을 제안한다. 온도기준은 과도하거나 과소하지 않게 합리적으로 설계되어야하는데 본 연구에서는 한국에서 가장 더웠던 지역과 가장 추웠던 지역을 기준으로 고온 및 저온에 대한 다양한 백분위별 발생빈도를 제시한다. 1904년부터 2014년까지 132개 관측지점의 기온 자료를 분석한 결과 1개월 기준으로 가장 더운 지역은 대구, 가장 추운 지역은 양평으로 확인되었다. 한반도 내륙의 운용 환경에서 고온과 저온의 1% 발생빈도값은 각각 $38.7^{\circ}C$와 -$29.0^{\circ}C$로 추정되었다. 아울러 상대습도, 풍속, 태양복사를 포함하는 고온과 저온의 일주기표도 제시한다. This paper suggests a temperature guidance for requirements which must be addressed in the preparation of specifications for military equipment used in land applications in the Korean peninsula. In general, the equipment should be designed to operate during all but a certain small percentage of the time. Daegu and Yangpyeong are the hottest and coldest regions by month, respectively, based on surface weather observations over 132 regions from 1904 to 2014. The 1-percent high and low temperatures for land environment in the South Korea are $38.7^{\circ}C$, and -$29.0^{\circ}C$, respectively. This paper also presents the temperature values occurring for specified frequencies of occurrence during the most severe month. Diurnal cycles associated with the hottest and coldest top one-percent temperatures, including associated solar radiation, relative humidity, and wind-speed are provided.
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현상학적 연출이 반영된 설치작품에서 나타나는 공간지각 특성에 관한 연구 : - 올라퍼 엘리아슨, 제임스 터렐, 도쿠진 요시오카 작품을 중심으로 -
이승현 ( Seunghyeun Lee ),문자영 ( Jayoung Moon ),황연숙 ( Yeonsook Hwang ) 한국공간디자인학회 2019 한국공간디자인학회논문집 Vol.14 No.3
(Background and Purpose) In recent years, exhibit spaces have focused on spectators who can extend the boundaries of space beyond the physical concept space through interaction between the works and spectators. This type of display especially encourages viewers to directly intervene in the works through the human body, that is, the perception element, centered on the installation and influenced by Merleau-Ponty's theory of phenomenological space. This provides various experiential possibilities. This concept is not limited to the physical space of the existing white cube, but it includes a combination of natural non-material elements and scientific technologies to create an exhibition in which the boundaries of space are blurred. The purpose of this study is to analyze the characteristics of spatial perception in interaction with visitors by selecting exhibition works of representative artists based on Merleau-Ponty's phenomenology. In addition, through this research, we attempt to grasp the spatial perception factor of a phenomenological presentation of the exhibition space. (Method) First, theoretical review enables an understanding of Merleau-Ponty's phenomenological space concept and spatial perception factors. Then, we analyze the elements of exhibition presentations and spatial perception that have appeared in the works of installation artists using previous research and constructing the framework of analysis according to the commonly recognized spatial perception elements of space, time, and the physical senses. Using this framework of analysis, the spatial expression method, spatial component, and viewing method according to spatial perception elements were analyzed. Finally, the common points and differences between spatial perception elements in three artists' works were analyzed and conclusions were drawn. (Results) As a result of this analysis, we concluded that all the works of the three artists were directly involved in the work of the space, which enhanced the viewers’ experience of the space through interaction. In particular, using mainly non-material elements, an environment is created in which the work itself plays a role as space, and the boundaries of space are obscured to maximize the experience of phenomenological space through perception. Such an exhibition space induces new experiences through sensations and the experience of transcendental and amusing spaces that transcend the physical element. However, there were differences among the artists in the criteria and the methods used to achieve this effect. This indicates that the artists’ intentions were different from phenomenological perception and the experience of the space. (Conclusions) In the future, it will be possible to produce a variety of experiential exhibition forms through interaction between spectators and objects from a phenomenological point of view that transcends the physical limitations of the existing exhibition spaces and artist-oriented works. This suggests that in the future, exhibition spaces can present the space paradigm in a way that adds new value through perception.
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