Time Frequency Domain Reflectometry 기법을 이용한 Coaxial Cable에서의 결함 감지 및 추정

송은석,신용준,최덕선,육종관,박진배,Powers, Edward J. 한국항행학회 2003 韓國航行學會論文誌 Vol.7 No.1

본 논문에서는 도선사에서 발생하는 결함 위치와 이상 유무를 감지하는 새로운 고분해능 반사측정법인 시간-주파수 영역반사측정법 (TFDR, Time-Frequency Domain Reflectometry)을 제안하였다. 고전적인 반사측정법들은 단지 시간 또는 주파수의 한 영역에서 분석되어져 왔으나, 본 논문에서 제시한 TFDR은 도선의 결함 위치와 이상 유무를 발견하기 위해 과도신호의 시간과 주파수 영역의 정보를 동시에 이용할 수 있는 시간-주파수 분석기법으로 특성화하였다. TFDR의 기준신호 설계는 측정 케이블의 물리적 성질들을 고려하여 주파수 밴드를 결정하며, 도선의 결함감지와 추정은 시간-주파수 상호상관관계 함수에 의해 이루어진다. TFDR 시스템을 이용하여 여러 결함 상태를 가진 실제 coaxial cable (RG-142, RG-400)에 대해 실험하였고 정확성을 입증하기 위해 TDR (Time Domain Reflectometry) 장비와 성능은 비교하였다. 본 논문에서는 TFDR이 TDR보다 작은 오차로 결함을 찾아냄을 나타내고 있으며, 측정된 정확도는 TFDR의 오차율이 0.5%이하로 TDR (54750A/54754A) 장비보다 성능이 월등히 우수하다는 것을 알 수 있다. In this paper, a new high resolution reflectometry scheme, time-frequency domain reflectometry (TFDR), is proposed to detect and locate fault in wiring. Traditional reflectometry methods have been achieved in either the time domain or frequency domain only. However, time-frequency domain reflectometry utilizes time and frequency information of a transient signal to detect and locate the fault. The time-frequency domain reflectometry approach described in this paper is characterized by time-frequency reference signal design and post-processing of the reference and reflected signals to detect and locate the fault. Design of the reference signal in time-frequency domain reflectometry is based on the determination of the frequency bandwidth of the physical properties of cable under test. The detection and estimation of the fault on the time-frequency domain reflectometry relies on the time-frequency domain reflectometry is compared with commercial time domain reflectometry (TDR) instrument. In these experiments provided in this paper, TFDR locates the fault with smaller error than TDR. Knowledge of time and frequency localized information for the reference and reflected signal gained via time-frequency analysis, allows one to detect the fault and estimate the location accurately.

17세기 중후반 운혜파의 조상 활동: 운혜와 경림

송은석 미술사와 시각문화학회 2010 미술사와 시각문화 Vol.9 No.-

17세기 조선의 불교계는 임진왜란으로 인해 파괴된 사찰의 재건이 가장 중요한 과제였으며, 불상 조성은 사찰 재건의 가장 핵심적인 요소였다. 불상 조성이 늘어남에 따라 조각가들의 수도 늘어났는데, 이들 조각가들은 수장(首長)을 중심으로 체계적인 집단을 이루어 활동하였다. 이 글에서는 17세기 중후반 가장 활발한 조상 활동을 펼친 조각가 집단인 운혜파의 형성과 변천을 알아보며, 17세기가 갖는 조각사적인 의의를 조명한다. A monk sculptor Unhye, the master sculptor of the Unhye School, played an active part in the area of Jeolla province in the mid-late 17th century. He was a worthy successor of the Suyeon School which was founded in the early 17th century. All of the Buddhist sculptures created by the Unhye School were made of woods. They had voluminous faces and bodies. The folds of the draperies were natural, rhythmic, and three-dimensional. Especially there was a unique expression of the drapery such as a leaf of lotus flower on the left knee. These stylistic features were expressed in all Buddhist sculptures which made by Unhye School for forty years, however they were not in sculptures made by the other Schools. I divided the sculptures made by Unhye School off four stages of period by style. The 1st stage of the Unhye style was the early 1650s. The sculptures made in this period were directly influenced by the statue of Ksitigarbha, created by monk sculptor Yeongcheol in 1649, enshrined in Hwagye-sa temple of Seoul now. The statues look like young monk and they had most rhythmic and three-dimensional draperies in this period. The 2nd stage of the Unhye style was from late 1650s to late 1660s. The sculptures of this period had a strong, stable physique but their folds of draperies became insufficient sense of volume. The 3rd stage was from late 1660s to 1670s. Gyeongrim, a most brilliant disciple of the Unhye School, started to create his artworks as a master sculptor in this period. The faces of the statues were longer and thinner than those of the 2nd stage, so they were similar to the faces of the statues of the 1st stage. The folds of the draperies beame much simpler and flatter. The 4th stage of the Unhye style was from 1680s to the latest 17th century. The statues of this period were influenced by Gyeongrim's style basically, and the faces were longer and thinner than those of the former stage. The folds became much simpler so that the expression of the drapery such as a leaf of lotus flower on the left knee was disappeared.

복식 전자궁적출술후 절단부에 발생한 난관탈출증 1예

송은석,이해혁,김태희,김정식,남계현,이권해,고은석 순천향의학연구소 2004 Journal of Soonchunhyang Medical Science Vol.10 No.2

Prolapse of the fallopian tube into the vaginal vault after hysterectomy is a rare complication. Since most of cases may resolve before detection or remain undiagnosed, the exact incidence is still unknown. Though most common sign of tubal prolapse is tender friable tissue in vaginal cuff, with the simptoms of lower abdominal pain, dysparenunia, vaginal discharge, or postcoital spotting. The definitive diagnosis should be confirmed histologically Recently, we experienced a case of fallopian tube prolapse after abdominal hysterectomy in a 41-year-old woman and report with a brief review of the literature.

Endorphin의 心脈關系 調節에 關한 硏究

송은석,조백현,김동수,곽용근,은홍배,조규박 의과학연구소 1987 全北醫大論文集 Vol.11 No.4

Experiments were designed to evaluate the role of β-endorphin in the central cardiovascular control of the two-kidney on clipped hypertensive rats. 1. In the two-kidney one-clipped rat, blood pressure was significantly increased after 7 days of operation, whereas heart rate did not change. 2. In these preparations, β-endorphin contents in brain were significantly increased es-pecially in hypothalamus, medulla and pons, while decreases of maximum specific(^3H)-mor-phino binding were observed in thalamus, hypothalamus, medulla and pone. 3. Decreasing effects of intraventricular morphine on blood pressre and heart rate was potentiated in the two-kidney one-clipped hypertensive rats. These effects of intraventricular morphine were not blocked by intraventricular phenotolamine, phenoxybenzamine, yohimbine, piperoxan or prazosin, but by intraventricular naloxone. 4. In the two-kidney one-clipped hypertensive rats, decreasing effects of intraventricular clonidine on blood pressure and heart rate were potentiate. These effects of clonidine were inhibited by intraventricular naloxone. From the above results, it is suggested that changes of β-endorphin contents and opiate receptors in brain will take a role of centrol cardiovascular control of two-kidney one-clipped hypertensive rats by modulating the central cardiovascular control of two-kidney one-clipped hypertensive rats by modulating the central stmpathetic activity through a_2-adrenergic receptors. (Key words: endorphin, cardiovascular system)

Infilling of Gel Polymer Electrolytes into Thick Porous Electrodes for Supercapacitors

송은석,김성곤 한국공업화학회 2019 한국공업화학회 연구논문 초록집 Vol.2019 No.1

Gel polymer electrolytes (GPEs) provide promising opportunities for energy storage because they can offer safer operation over liquid electrolyte and remarkable electrochemical performances. Here we prepare GPEs consisting of trimethylolpropane ethoxylate triacrylate (ETPTA) and poly(ethylene glycol) methyl ether methacrylate (PEGMA), lithium salt solution (1 M LiPF6 EC/DMC) by UV curing. Both ionic conductivity and mechanical property are adjusted by varying the composition of ETPTA, PEGMA, and lithium salt solution in the GPEs. Largely ion-conductive GPEs (~10^-3 S/cm) with moderate mechanical robustnessis infilled into the thick electrodes with large mass loading (>5 mg/㎠)that can enhance the interface properties of the electrode-electrolyte. While GPEs with good mechanical stability and relatively small ionic conductivity (~10^-4 S/cm) is placed over onto the electrodes and it serves as both separator and electrolyte.

조선 후기 불석제佛石製 불상과 조각승 승호勝湖‧경옥敬玉

송은석 한국국학진흥원 2017 국학연구 Vol.0 No.34

It was the most important event in the history of Buddhist statues of the late Joseon Dynasty at Gyeongsang area that Buddhist statues were made of the soft stone called zeolite. This unusual stone, known as ‘Bulseok, Stone for Buddhist Statue’, was quarried in Bulseok-san Mountain (or Bullyeong-san Mountain) on the east beach of Gyeongju and was created to Buddhist statues by monk- sculptors such as Seungho in the nearby area centered on Girim-sa Temple. Buddhist statues made of Bulseok were distributed to some temples near the shoreline in Jeolla area that was easy to navigate by ships. And it was transported by land route to the temple in Gyeongsang area near Gyeongju. Sculptors Seungho(승호) and Gyeongok(경옥) were directly connected to Hyeonjin and Cheongheon school such as sculptors Seungil(승일), Huijang(희장), and Dou(도우) that made many Buddhist statues in the Gyeongsang area since the first half of the 17th century. They inherited the styles of Hyeonjin and Cheongheon school but formed their own unique styles too. The body, which has a shoulder broader than the upper body, gives a feeling of sturdiness, and the face with a wide jaw and a strong lower mouth is a new formative characteristic developed by Seungho and Gyeongok. They also had a different way of expression on the width between knees, upper eyelashes, earlobes, lower body garments etc. Subsequent generations linking monk-sculptors Seungho and Gyeongok are mainly active in the early 18th century. It was confirmed that many monk-sculptors were active in the Seungho school, such as Sangnyun(상륜), Sujong(수종), Suyeon(수연), Beopjong(법종), Sungsik(숭식), and Yeocheol(여철). However, it is estimated that only very few monk-sculptors are active in the Gyeongok school. Monk-sculptor Jeongdo(정도) is only believed to be Gyeongok’s successor. 조선 후기 경상도 지역 불상의 역사에서 가장 중요한 사건은 제오라이트라는 무른 재질의 돌로 만들어진 불상이 등장한 일이다. ‘불석’으로 알려진 이 특이한 돌은 경주 동해변의 불석산(또는 불령산)에서 채석되었으며, 기림사를 중심으로 한 인근 지역에서 승호 등의 조각승들에 의해 불상으로 가공되었다. 불석제 불상들은 배로 이동하기 쉬운 해안선 부근의 사찰이라면 멀리 전라도까지도 유통되었으며, 경상도 내륙 지역 정도로 가까운 곳의 사찰에는 육로가 이용되었다. 불석제 불상의 조각승 승호와 경옥은 모두 조선 후기 17세기 전반부터 경상도 일대에서 활발한 조상 활동을 전개하였던 승일‧희장‧도우 등 현진‧청헌파 조각승들에 이어져 있었다. 이들은 현진‧청헌파 조각승들의 작풍을 계승하면서도 자신들만의 독자적인 작풍을 형성하였는데, 상체에 비해 어깨가 넓어 다부진 느낌을 주는 몸이나 턱이 넓고 하관이 튼실한 방형의 얼굴은 승호와 경옥에 의해 개발된 새로운 조형감이었다. 승호와 경옥은 또한 하반신 무릎의 폭, 윗눈썹, 귀의 이수, 하반신 옷자락 등 여러 면에서 서로 이질적인 작풍도 갖고 있었다. 승호와 경옥을 잇는 후속 세대 조각승들은 18세기 전반에 주로 활동하였으나, 다수의 조각승들이 활동한 것으로 조사된 승호파와 달리 경옥파에서는 현재 단 1명의 조각승만이 활동한 것으로 조사되어 대조적이다. 승호파에서는 조각승 상륜‧수종‧수연‧법종‧숭식‧여철 등 많은 조각승들이 경상북도 지역을 중심으로 활동한 것이 밝혀지고 있지만, 경옥파에서는 조각승 정도 한 사람만이 활동한 것으로 조사된 것이다. 그러나 경상남도 서부지역을 중심으로 여러 구의 경옥풍 불상들이 봉안되어 있는 것으로 보아 향후 경옥파 조각승들은 좀더 추가될 수 있을 것으로 판단된다.

불활성 가스계 청정 소화약제의 방출 및 소화

송은석,김재덕,박양원 한국화재소방학회 2005 한국화재소방학회논문지 Vol.19 No.2

We carried out discharge and fire extinguishing tests of new inert gas clean agent, which consists of 92% nitrogen and 8% carbon dioxide, as an alternative of Halon that is banned by Montreal Protocol to protect the ozone layer of the earth. Discharge and fire extinguishing tests were performed in 27m3 and 190m3 rooms with piping which allows gaseous agent to transport from storage to test rooms. We confirmed that it took less than regulation time, 60 seconds for the discharge of over 95% initial charged amounts. Discharge test variables were piping length and orifice size. Fire extinguishing tests verified that this new inert gas clean agent is suitable for both n-Heptane fire and deep seated fire of wood crib. 지구의 오존층 보호를 위한 몬트리얼의정서에 의해 생산과 사용이 규제되는 할론을 대체할 소화약제로 질소 92%와 이산화탄소 8%의 조성을 갖는 소화약제를 개발하여 방출 및 소화시험을 수행하였다. 방출 및 소화시험은 부피가 27m3와 190m3인 모형을 제작하고 저장용기로부터 모형 내에 약제를 이송시키는 배관을 설치하여 수행하였다. 방출시험은 오리피스 직경, 배관길이 등을 변수로 법에서 규정된 시간인 60 초 이내에 약제량의 95% 이상 방출되는지 여부를 확인하였다. 소화시험은 n-헵탄을 연료로 하는 유류 화 재와 목재를 사용한 심부 화재에 대하여 수행되었으며 방호구역의 크기나 배관의 길이에 상관없이 모두 우수한 소화 성능을 나타내었다.

Infilling of Gel Polymer Electrolyte into Electrode for Enhancing Electrode-Electrolyte Interface

송은석,김성곤,구민국 한국고분자학회 2019 한국고분자학회 학술대회 연구논문 초록집 Vol.44 No.2

Gel polymer electrolytes using UV curing for flexible, high performance energy storages with enhanced interfacial properties of electrodes-electrolyte

송은석,김지수,김성곤 한국고분자학회 2019 한국고분자학회 학술대회 연구논문 초록집 Vol.44 No.1

朝鮮後期 17世紀 彫刻僧 熙藏과 熙藏派의 造像

송은석 한림대학교 태동고전연구소 2006 泰東古典硏究 Vol.22 No.-

임진왜란(1592~1598)으로 인하여 폐허로 변한 사찰은 17세기에 대부분 재건되었으며, 불상(佛像)도 이시기에 대대적으로 조성되었다. 고려시대 후반 이후에 조성된 불상들에는 대부분 불상 내부에 공간을 마련하여 주술적인 의미의 신성한 물건들을 안치하였는데, 이와 함께 불상 제작과 관련된 여러 사람들의 이름을 기록한 발원문(發願文)도 봉안되는 것이 일반적이다. 본 논고의 대상인 희장(熙藏)은 17세기 불상의 복장발원문를 통하여 새로이 알려진 조각승(彫刻僧)으로, 17세기 후반 가장 활발하게 활동한 인물이다. 그의 휘하에서 함께 공동으로 불상조성 작업에 참여한 조각승들은 대략 20여 명이 발견되었으며, 이들은 동일한 조각 양식을 갖고 있기 때문에 이를 희장파(熙藏派)라 부를 수 있다. 희장은 현재 알려진 기록에 의하면, 1639년부터 1661년까지 약 20년간 불상을 조성하였다. 희장은 17세기 초반에 활동한 청헌(淸憲)과 승일(勝一)로부터 수련을 받은 듯하며, 수련기 동안 습득한 청헌파의 작풍은 희장의 말년에 이르기까지 그가 만든 불상 속에 매우 중요한 요소로 작용하고 있다. 그러나 희장이 조성한 불상들에는 청헌, 승일의 요소 외에도 자신의 독창적인 작풍이 더해져 전혀 새로운 모습을 갖고 있다. 지금까지 발견된 희장의 작품가운데 불상과 보살상만을 셈하여도 모두 19건 43점에 이른다. 이중에 복장발원문을 통하여 제작 년대와 조각승의 이름이 명확하게 드러나 있는 불상은 4건 11점이며 나머지 14건 30점은 양식분석을 통해 희장이 조성한 불상으로 추정한 것이다. 현존하는 희장의 불상은 모두 목조각품으로 확인되었는데, 중량감 있고 단정하며 양감이 풍부한 얼굴과 몸집을 갖고 있으며, 옷주름은 깊이가 얕고 평면적이며 간략하게 표현된 특징이 있다. 몸체를 재현하는데 있어 측면의 두께를 매우 두텁게 처리하여 불상의 안정감과 실재감을 극대화 한 점도 중요한 특징이다. It already began in India, Mathura and Gandhara, at the early time of the origination of the Buddhist statue to record the name of a statue, the time of its creation, and the name of the contributor or of the sculptor, Since Song dynasty in Chinese history there had arose a custom that hidden stuffs imitating human organs were put into the inner side of a Buddhist statue. This custom was introduced to Korea during Goryeo dynasty but it was transformed into very abstract and symbolic style instead of imitating human organs and continued to Joseon dynasty. This was based on Josanggyeong, which was complied by collecting rituals related to making buddhist statues. Thus, since Buddhist statues in late Joseon have very typical hidden stuffs and praying statements, we can get information about their creation such as the names of sculptors and contributors as well as the times of production. We have come to be able to correctly understand the changes in the mode of the Buddhist statue through those sculptures that enable us to recognize the sculptors and times of production, and to explain the changes of trends in individual sculptors' works and the formations and transformations of sculptor factions. Also, since praying statements contain the name of almost every Buddhist personnel, we can get much further access to complete understanding of the contributors, sculptors, and pieces of work. This paper is to analyze the works by a monk sculptor Huijang(熙藏) and his school, which have been known from the praying statements in hidden stuffs of some Buddhist statues in the 17th century. Huijang, active in the middle and late 17th century, was an artist who ever left the most numerous works together with such important monk sculptors as Hyeonjin(玄眞), Muyeom(無染), and Unhye(雲惠) etc. All of whom took part in the activities of reconstructing Buddhist temples after the end of the Korean-Japanese War in 1592. Most of the existing works by Huijang are proved to be made of wood, which are weighty and decent, have faces and bodies with richer volume, and are expressed plainly and concisely with shallow dress folds. In reconstructing bodies, he trimmed the lateral sides very thickly to try to express the statues' stability and existential feelings. The dress folds appearing on ① the right chest, ② the left knee, ③ the groin are important properties that manifest themselves as works by Huijang's school.