Evaluation and Prediction of Metabolite Production, Antioxidant Activities, and Survival of Lactobacillus casei 431 in a Pomegranate Juice Supplemented Yogurt Drink Using Support Vector Regression

Parang Nikmaram,Seyed Mohammad Mousavi,Zahra Emam-Djomeh,Hossein Kiani,Seyed Hadi Razavi 한국식품과학회 2015 Food Science and Biotechnology Vol.24 No.6

Changes in physicochemical properties, metabolite production, antioxidant activities, and survival of Lactobacillus casei 431 in a yogurt drink as a function of inulin (0, 0.5, 1, and 2%), pomegranate juice concentrations (0, 3, 8, and 12%) and storage time were determined and predictive models were obtained using support vector regression. High levels of pomegranate juice were the most effective for promotion of antioxidant activity. Acidity and lactic acid amounts decreased with an increasing inulin content. Supplementation with inulin and pomegranate juice showed a positive effect on survival of L. casei. Support vector regression performance associated with polynomial and radial basis kernel functions was evaluated. The former was more efficient than the later.

PREPARATION AND INVESTIGATION OF OPTICAL, THERMAL, AND ELECTROCHEMICAL PROPERTIES OF Ag/Co NANOPARTICLES

Z. PARANG,A. KESHAVARZ,S. FARAHI,S. M. ELAHI,M. GHORANNEVISS,A. NASSERI 성균관대학교(자연과학캠퍼스) 성균나노과학기술원 2012 NANO Vol.7 No.2

Ag/Co nanoparticles (NPs) were prepared by a two-step method. First, Ag NPs were synthesized by "Controlled Current Coulometry" (CCC) electrochemical method using a Pt rotating electrode. Then, Ag/Co core-shell NPs were prepared through the reduction method using Ag NPs as a core. Both steps were accomplished at room temperature. Techniques such as patterned X-ray diffraction (XRD) and transmission electron microscopy (TEM) were employed for the characterization of Ag/Co NPs. Optical properties of synthesized NPs were also investigated by UV-Vis spectroscopy. The absorption peak of Ag NPs was observed at ~400 nm wavelength and the peaks that were detected at 425 nm and 415 nm wavelengths reveal the formation of Ag/Co NPs. The core-shell structure of Ag/Co NPs was confirmed by thermal and electrochemical techniques. We also applied "Mie" theory to calculate the absorption cross-section band of synthesized Ag/Co NPs. Comparison between the results of optical properties and also those obtained from "Mie" theory showed good agreements.

이응노의 '문자·서체추상'에 대한 하나의 서술(敍述)

박파랑(Park, Parang) 이응노미술관 2015 고암논총 Vol.3 No.-

동양화단의 추상 : 1960년대 묵림회를 중심으로

박파랑(Park Parang) 한국미술사교육학회 2010 美術史學 Vol.- No.24

20세기 동양화 영역에서 일어난 제일 큰 변화는 서구로부터의 추상적 조형기법의 도입, 즉 추상화(抽象化)라고 할 수 있다. 동양화단에서의 추상의 수용은 1950년대 초반에 이르러 김기창, 박래현을 시작으로 김영기, 이응노 등 개별적인 작가들에 의해 입체파, 미래파, 표현주의와 같은 서구 모더니즘에 대한 수용과 실험의 형태로 모색되었다. 동양화단의 추상화 단계에서 두드러지는 시기는 1950년대 말에서 1960년대 초로, 일련의 작가들에 의해 다양한 형태의 추상실험이 본격적으로 궤도에 오르면서부터 이다. 서세옥의 주도하에 서울대학교 동양화과 출신의 신진 작가들을 중심으로 1960년에 창립되어 1964년을 끝으로 해산한 묵림회(墨林會)는 동양화단의 수묵추상과 관련하여 빠지지 않고 언급되고 있음에도 불구하고, 현재까지 묵림회 자체에 대한 다층적인 연구가 전무한 실정이라 할 수 있다. 따라서 이 글은 동양화단의 추상 수용의 관점에서 묵림회에 대한 문헌적ㆍ조형적 접근을 통해 묵림회의 추상실험이 구체적으로 어떠한 것이었는지, 또한 이것이 1950년대 동양화단에서 선행되었던 추상 실험과 변별점이 있는지, 있다면 구체적으로 무엇인지를 분석하고 이를 통해 동양화단에서의 묵림회의 역할과 한계점을 짚어보게 된다. 묵림회 결성이 당시 큰 주목을 받았던 이유는 동양화단에서 탄생한 신진그룹, 그것도 대학의 동양화과 출신들로 이루어진 신진들의 단체였다는 점에 있다. 권영우, 안상철, 박노수, 서세옥과 같은 서울대 동양화과 출신의 선진들이 이미 1950년대 중반 이후 국전에서 새로운 화풍으로 돌풍을 일으키며 ‘신동양화단의 전위부대’로 일컬어졌던 전례 등을 감안한다면, 서세옥이 주도한 동양화단 최초의 신진 그룹에 대한 기대는 필연적인 것이라 하겠다. 그러나 ‘전위적 청년 작가들의 집결체’를 기치로 내세운 묵림회의 ‘전위’에 대한 의욕은 실질적인 작품의 성과로 이어지지는 못했다. 창립전에 출품된 작품 대부분이 종래 전통적 남화북화(南畵北畵)의 화풍에서 완전히 벗어나지 못했으며, 창립 초기 1-2년간의 치열한 모색기 동안 조형적 지향점을 구체화하고 공유하기 보다는 무분별한 작가 초대로 이들이 애초에 내걸었던 현대적ㆍ전위적 이념이 점차 퇴색하였기 때문이다. 결국 서세옥의 독주 문제와 이후 운영을 둘러싼 갈등, 초기의 실험 의욕을 구체화할만한 조형의식의 부재 등으로 인해 8회의 정기전과 2회의 소품전 등 총 10회의 전시를 끝으로 묵림회는 해체의 수순을 밟는다. 당시 묵림회의 출품작은 전시 기사와 함께 실린 한정적인 이미지 자료를 통해서만 확인할 수 있는데, 흔히 묵림회의 조형적 정체성으로 후에 일컬어지는 ‘수묵추상’의 경우 창립전 때는 민경갑과 서세옥, 전영화 정도에 불과하며, 이후에도 전체 회원들에 비하면 수적으로는 소수의 회원만이 추상ㆍ반추상 작업을 전개해나가는 정도에 그쳤다. 이러한 사실을 감안했을 때 적을 때는 8명, 많을 때는 29명에 이르기까지 전통적인 산수화ㆍ 인물화까지 포함하는 들쑥날쑥한 회원들의 다양한 작품들 속에서 묵림회의 조형적 정체성을 규정하는 것은 어려울 뿐만 아니라, 또한 이들 몇몇 작가의 작품을 통해 묵림회 전체의 성격이나 묵림회의 조형성을 규정하기에는 무리가 따른다. 결국 묵림회는 추상적 기법은 물론 전통적 양식을 포함하는 묵림회 내에 존재했던 다양한 조형의 갈래를 포괄하는 단체로 재정의 할 필요가 있으며, 다만 묵림회의 조형성을 총괄하는 것이 아니라 동양화단의 추상화라는 관점에 한정했을 때 ‘서세옥’, ‘민경갑’, ‘안동숙’, ‘전영화’ 등의 작가에 대한 접근이 그 의미를 지니는 것이다. 이들 일부 작가들에 의해 시도되었던 묵림회의 ‘전위’는 세계미술의 첨단의 상징이자, 1960년대 전후 한국 화단의 시대적 조형 정신이었던 앵포르멜(비정형미술)의 수용이라는 형태로 나타나고 있음을 확인 할 수 있다. 그러나 묵림회 내에서 시도된 추상의 양상 또한 하나의 통일된 형태로 도출되기는 어렵다. 다만 60년도를 전후한 ‘앵포르멜’ 양식의 강력한 영향력 아래에서, 앵포르멜의 조형적 기법을 모두 동일 The most remarkable transformation in Korean ink painting tradition of twentieth century was the introduction of abstract expression from the West, the abstractionism. This abstractionism of ink painting tradition was begun with Korean artists Kim Kichang and Park Raehyun in the early 1950s, and developed in the method of experiment and adoption by Kim Youngki and Lee Ungno who introduced Western modernism including such as Cubism, Futurism and Expressionism. This transformation into abstract technique prospered from the late 1950s to early 1960s when young group of artists who studied Korean ink paintings such as Kwon Youngwoo and Ahn Sangchul progressed and found the experimental techniques of various abstractions in ink painting tradition. 'Mukrimhoe' which was founded in 1960 by young Korean artists graduated from Seoul National University under the leadership of Seo Se-ok and dissolved in 1964. Although it is frequently quoted as important concerning traditional black-and-white abstract paintings, there has no multi-dimensional studies on 'Mukrimhoe' so far. Therefore, from the perspective that abstract techniques were brought into Korean ink painting tradition this paper will take a closer look at Mukrimhoe's experiments with abstract forms and differences, if any, from precedent abstract trials in the 1950s through the bibliographical and figurative approaches. In addition, it will focus on analysis of differences and subsequently reflect on the role and limitations of the organization. First of all, the initiation and organization of 'Mukrimhoe' is discussed and the contemporary criticism of its accomplishment and real activities in the artistic development is followed. Then it continues on the analysis of each artist's work dealing with the visual characteristics of its own. Thus, it is examined how the abstract experiments of the organization had changed and developed through the before and the after of association of 'Mukrimhoe' in the tradition of Korean ink painting. Finally, it will discuss the circumstances and aspects under the emerging activity of 'Mukrimhoe' in the context of abstractionism in Korean ink painting by understanding the limitation and challenge of its meaning of avant-garde progress in the last chapter.

1950년대 동양화단의 앵포르멜 미술과 書

박파랑(Park, Parang) 한국미술사교육학회 2018 美術史學 Vol.- No.35

한국 동양화단의 앵포르멜(Art Informel) 논의에 있어 중요한 기점이 되는 것은 1958년 3월 개최된 이응노의 도불전(渡佛展)이다. 이와 함께 김기창 또한 1955년경 이후부터 일련의 ‘문자화’와 잭슨 폴록을 연상시키는 흑과 백의 서체적 모노크롬 작업을 제작한 것이 확인되면서 동양화단의 전후 추상미술은 서양화단에 앞선 1955년으로까지 소급되게 된다. 본 논문은 1958년을 전후로 확인되는 서양화단의 앵포르멜 수용에 앞서 동양화단에서 출현하게 되는 배경으로써 일본 서단(書壇)을 주목하고 있다. 1950년 이사무 노구치의 일본 방문으로부터 비롯되었던 전위적 서가(書家)들의 전후 서구 추상미술에 대한 수용 방식이 전위서(前衛書)의 탄생을 견인했고, 이는 1951년 전위서 잡지 墨美(Bokubi)의 발행과 1952년 墨人會(Bokujinkai)의 결성으로 이어짐에 따라 전후 추상미술을 둘러싼 동양화단의 추상 논의에서 주요한 계기를 마련한다. ‘읽을 수 있어야 한다’는 문자적 제약성에서 벗어나 서(書)의 조형성을 시대에 맞게 재인식함으로써 모더니티를 창조하려는 전위서가들의 노력은 서화일치(書畵一致)라는 전통을 바탕으로 순수한 추상회화로서의 추상서(Abstract Calligraphy)를 출현시켰으며 다양한 조형적 실험으로 이어졌다. 1950년대 동양의 서(書)를 둘러싸고 일본으로부터 촉발된 이러한 미학적·조형적 재인식은 한국 동양화단의 추상 현상을 이해하는데 대단히 유효한 열쇠이다. 그들의 조형적·미학적 방향성이 한국 미술계로 공유되는 일련의 과정을 추적함으로써 한국 동양화단의 전후 추상미술의 수용 경로와 과정이 서양화단과는 별개로 전개되었으며, 그 결과 1950년대 후반 서양화단의 앵포르멜이 “탈 전통-전위”의 성격을 띠었다면 같은 시기 동양화단은 “전통의 재인식” 혹은 “전통의 계승”이라는 방식으로 구현된 것임을 확인할 수 있다. 초기 중견작가들에 의해 시도되었던 이러한 추상의 성격은 1960년 이후 묵림회(墨林會)를 중심으로 신진 작가들이 서양화단의 앵포르멜 열풍에 동참함으로써 점차 ‘脫전통’, 즉 ‘추상=전위’라는 시대정신을 표상하는 것으로 변해가게 된다. The principle of xieyi, drawn from traditional East Asian aesthetics by Japan as an aesthetic value corresponding to Western modernist art, was extended to apply to Western post-war abstract art with the visit of Isamu Noguchi to Japan in 1950. The awareness, triggered by Noguchi, that “the modern lies within its own traditions” led to the birth of avant-garde abstract calligraphy. This resulted in the publication of avant-garde calligraphy magazine Bokubi (“The Beauty of Ink”; 墨美) in 1951 and the formation of the Bokujinkai (“Ink People"s Association”; 墨人會) in 1952, key events in the discussion among ink painters of post-war abstract art. After his 1950 visit to Japan, while introducing the new American abstract art known as the “New York School” of painting, Noguchi described the work of Jackson Pollock as “automatic calligraphy” and explained the symbolic sense of rhythm found in Mark Tobey"s “white writing” from the perspective of calligraphic brush technique. The resulting new conception of calligraphy for Japan"s avant-garde calligraphers broke free of letter-based constraints (mandatory legibility), opening the way to progress to a new stage. By reinterpreting the forms of calligraphy in accordance with their own times, the efforts of abstract calligraphers to create modernity led to the emergence of abstract calligraphy as a pure, abstract form, based on the tradition of seohwa ilchi (“unity of calligraphy and painting”; 書畵一致). This new aesthetic and formal conception of East Asian calligraphy, which originated and was theoretically systematized in Japan, is a highly effective key to understanding the phenomenon of abstraction in Korean ink painting. Avant-garde calligraphy explains how Korean ink painters such as Kim Gi-chang and Lee Ung-ro were able to produce atypical abstract works in the mid-1950s, before Western-style painters were swept up in the informel movement from early 1958 onwards. Above all, it reveals important differences in the nature of abstraction: If the informel movement among Japanese Western-style painters that began with Michel Tapié"s visit to Japan, and the informel movement among Korean Western-style painters that was influenced by it, were avant-garde symbols disavowing pre-World War II Western traditional aesthetics and formal styles, the reason atypical abstraction among ink painters was endlessly discussed in relation to East Asian traditions was precisely because of the acceptance of Western atypical abstract art by way of avant-garde calligraphy. It can thus be confirmed that the forms of abstract art produced by Korean ink and Western-style painters, generally labeled informel, despite their superficial formal similarities, have conflicting aesthetic bases and followed different paths. Ultimately, the informel embraced by ink painters can be regarded as a vehicle embodying Western formal styles on one hand, and aesthetic principles based on East Asian tradition on the other.

A Geospatial Technique for Detecting Distance and Reflection Angle Between Real and Virtual Objects

김시중,Reza Parang,국태용 제어·로봇·시스템학회 2010 International Journal of Control, Automation, and Vol.8 No.5

This paper presents a geospatial collision detection technique consisting of two methods: Find Object Distance (FOD) and Find Reflection Angle (FRA). We show how the geospatial collision detection technique using a computer vision system detects a computer generated virtual object and a real object manipulated by a human user and how the virtual object can be reflected on a real floor after being detected by a real object. In the geospatial collision detection technique, the FOD method de-tects the real and virtual objects, and the FRA method predicts the next moving directions of virtual objects. We demonstrate the two methods by implementing a floor based Augmented Reality (AR) game, Ting Ting, which is played by bouncing fire-shaped virtual objects projected on a floor using bamboo-shaped real objects. The results reveal that the FOD and the FRA methods of the geospatial collision detection technique enable the smooth interaction between a real object manipulated by a human user and a virtual object controlled by a computer. The proposed technique is expected to be used in various AR applications as a low cost interactive collision detection engine such as in educational materials, interactive contents including games, and entertainment equipments.

Prevalence of obesity and overweight in Iranian children aged less than 5 years: a systematic review and meta-analysis

Kamyar Mansori,Sorour Khateri,Yousef Moradi,Zaher Khazaei,Hossein Mirzaei,Shiva Mansouri Hanis,Mehran Asadi Aliabadi,Mehdi Ranjbaran,Fatemeh Varse,Serveh Parang 대한소아청소년과학회 2019 Clinical and Experimental Pediatrics (CEP) Vol.62 No.6

Purpose: The present study aimed to determine the prevalence of childhood obesity and overweight in Iranian children under 5 years of age using a systematic review and meta-analysis. Methods: We searched MEDLINE (PubMed), Web of Science, Google Scholar, Scopus, CINHAL, and the Iranian databases, including Scientific Information Database (www.sid.ir), Iranian Research Institute for Information Science and Technology (Irandoc.ac.ir), Iranmedex (www.iranmedex.com), and Magiran (www.magiran.com), for all articles published between January 1989 and August 2017. Sources of heterogeneity were determined using subgroup analysis and meta-regression. Results: Six articles were ultimately included in the meta-analysis to estimate the pooled prevalence, based on which the prevalence of obesity and overweight were estimated to be 8% (95% confidence interval [CI], 6%–10%) and 9% (95% CI, 7%–11%), respectively. The results of the subgroup analysis showed that the prevalence of obesity in boys and girls was 9% (95% CI, 6%–13%) and 7% (95% CI, 4–10%), respectively, and the prevalence of overweight in boys and girls was 10% (95% CI, 5%–15%) and 9% (95% CI, 5%–13%), respectively. Conclusion: Despite high heterogeneity among the results of the articles included in the meta-analysis, the prevalence of obesity and overweight is higher in Iranian children under 5 years of age. Therefore, parents and the health system must pay more attention to the lifestyle, nutritional habits, and physical activity of these children.

Prevalence of obesity and overweight in Iranian children aged less than 5 years: a systematic review and meta-analysis

Mansori, Kamyar,Khateri, Sorour,Moradi, Yousef,Khazaei, Zaher,Mirzaei, Hossein,Hanis, Shiva Mansouri,Aliabadi, Mehran Asadi,Ranjbaran, Mehdi,Varse, Fatemeh,Parang, Serveh The Korean Pediatric Society 2019 Clinical and Experimental Pediatrics (CEP) Vol.62 No.6

Purpose: The present study aimed to determine the prevalence of childhood obesity and overweight in Iranian children under 5 years of age using a systematic review and meta-analysis. Methods: We searched MEDLINE (PubMed), Web of Science, Google Scholar, Scopus, CINHAL, and the Iranian databases, including Scientific Information Database (www.sid.ir), Iranian Research Institute for Information Science and Technology (Irandoc.ac.ir), Iranmedex (www.iranmedex.com), and Magiran (www.magiran.com), for all articles published between January 1989 and August 2017. Sources of heterogeneity were determined using subgroup analysis and meta-regression. Results: Six articles were ultimately included in the meta-analysis to estimate the pooled prevalence, based on which the prevalence of obesity and overweight were estimated to be 8% (95% confidence interval [CI], 6%-10%) and 9% (95% CI, 7%-11%), respectively. The results of the subgroup analysis showed that the prevalence of obesity in boys and girls was 9% (95% CI, 6%-13%) and 7% (95% CI, 4-10%), respectively, and the prevalence of overweight in boys and girls was 10% (95% CI, 5%-15%) and 9% (95% CI, 5%-13%), respectively. Conclusion: Despite high heterogeneity among the results of the articles included in the meta-analysis, the prevalence of obesity and overweight is higher in Iranian children under 5 years of age. Therefore, parents and the health system must pay more attention to the lifestyle, nutritional habits, and physical activity of these children.