• Korean Journal of Food Science and Technology
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• v.21 no.5
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• pp.662-668
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• 1989

The effect of four different humidities during smokehouse processing on cured color development color intensity, pH, residual nitrite, phenol deposition, TBA value and product yield of Canadian bacon was determined. High humidity resulted in high pigment conversion and lower pH. As the humidity was lowered, more residual nitrite remained, The highest humidity had the highest phenol deposition and TBA value. The lowest humidity had the highest yield.

• Journal of Fashion Business
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• v.17 no.4
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• pp.40-57
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• 2013

In examining the relationship between fashion and art which are intimately interrelated, the body is a suitable subject in that it is the common object of representation. This study investigates and compares the images of the body in Francis Bacon's paintings from 1940s to 1970s and the formative aspect and aesthetic value of the abstract body images in Rei Kawakubo's designs since 1980s. The figures in Bacon's paintings are confusingly and atypically deformed as well as distorted, which are the combinations of the anatomies without references, not so much represented objects as experienced sense. Kawakubo's designs attempt to deform the body, moreover, she transforms the body; represent abstract forms without association with any other figures that exist, emphasizing sculptural or architectural shapes of garment. She suggests extensive visual language of dress by challenging the norms of beauty. The body in Bacon and Kawakubo's works is dispersive as well as complex in that the body images are deconstructed, fragmented, and exaggerated. Respectively, they articulate the perception of the body in postmodernism era by destroying the myth of subject; furthermore establish the aesthetics that transcend conventional ideals by reevaluating as well as refusing the standards of beauty.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.114-121
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• 2012

Gilles Deleuze is a philosopher who replaces the world of representation defined as supremacy of identity with the contemporary reason of non-representation in the history of western philosophy that wants to transcend Plato. Deleuze developed his own philosophical concept through philosophical reason and encounter with arts, for which reason he exerted a great influence on artists and architects in diverse fields. Particularly, 'Logic of Sensation' published in 1981 considers the non-representation painting approach through Francis Bacon's painting theory defined as 'invisible force's visibility'. And it is considered that SANAA's architecture among many contemporary architects accepted the essence of Deleuze's philosophy and continuously reflects it on projects. Hence, objective of the present study is to consider how the non-representation constituting a root for Deleuze's reason has been indicated in paintings and architecture through examining the works by Bacon and SANAA. First, a theoretical consideration will be directed to non-representation, followed by an analysis of Bacon's painting works and SANAA's architecture projects from the viewpoints of the force of isolation, the force of transformation, the force of dissipation and the force of time dealt with by Deleuze in 'Logic of Sensation'. Finally, through such analysis, the characteristics of Deleuze's non-representation indicated in architecture and paintings will be derived.

• Culinary science and hospitality research
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• v.3
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• pp.259-270
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• 1997

The experiment was carried out to investigate the change of pH, total lipid, neutral lipid and phospholipid of pork portions which are picnic shoulder, loin, ham, boston butt and bacon belly during storage at 4$^{\circ}C$ weeks. The results obtained were as follows, 1. pH of butt, ham, bacon, picnic and loin stored at 4$^{\circ}C$ for 2 days were 6.3, 5.9, 5.8, 5.6 and 5.2 respectively. And then pH of pork portions increased gradually during storage period. 2. Total lipid content of the pork portions were 2.13% in ham, 2.78% in loin 4.55% in picnic, 5.74% in butt and 7.11% in bacon. During storage period, total lipid content decreased slightly. 3. In case of neutral lipid, the content in bacon, butt, picnic, loin and ham were 6.68%, 5.32%, 4.22%, 2.53%, and 1.88% respectively. During storage period, neutral lipid content decreased slightly. 4. Phospholipid content showed little differences among the portions. And then phospholipid content decreased significantly during storage period.

• Asian-Australasian Journal of Animal Sciences
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• v.15 no.11
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• pp.1622-1633
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• 2002

The effects of tuna oil supplementation (0, 1, 2 and 3%) to pig diets on growth and carcass yield as well as meat quality were determined in 40 crossbred pigs. Animals were fattened from 30 to 90 kg of live-weight. Twenty-four hours after slaughter, following various early- and late-post mortem measurements, loin, backfat and belly were prepared from the carcasses. Bacon was produced from the belly part by curing and smoking. Neither performance (feed intake, daily gains, feed conversion efficiency) nor carcass quality (slaughter weight, dressing percentage, lean percentage, nutrient composition of the loin) were significantly affected by tuna oil supplementation. Tuna oil also had no clear effects on early- and late-post mortem meat quality traits, water-holding capacity and tenderness of the M. longissiumus dorsi (LD). Colour traits of LD and backfat, and backfat firmness were not significantly affected by tuna oil, either. However, there was a certain trend to elevated fat contents of LD (and bacon), but not of backfat, with increasing levels of tuna oil in feed. Pigs receiving elevated proportions of tuna oil expressed lower VLDL cholesterol and triglyceride concentrations in blood plasma, whereas the cholesterol content of LD, backfat and bacon did not reflect this trend. Effects of tuna oil on fatty acids in LD, backfat and bacon were often small in extent, except those concerning the long-chain polyunsaturated fatty acids. With 3% tuna oil in the diet, the contents of the particularly desired omega-3 fatty acids, C20:5 and C22:6, were 0.1 and 0.2 g/kg in LD. The corresponding values for backfat and bacon were 2.6 and 12.6 g/kg, and 1.3 and 9.2 g/kg, respectively. Tuna oil supplementation was associated with significant adverse effects on flavour and overall acceptance of bacon (not significant in LD although numerically the same trend was noted), but these effects on sensory ratings were limited in extent. Also shelf life of the products, determined as TBA value after different storage periods at $4^{\circ}C$ in LD, backfat and bacon, was significantly reduced. Overall, the present study suggests that omega-3 fatty acids may be enriched in pork by feeding tuna oil with few undesired side-effects, particularly those on sensory perception and shelf life, suggesting immediate consumption of the products is advisable. Most economically important traits (performance, slaughter and physical meat quality) remained unaffected.

• Journal of Korean Philosophical Society
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• v.145
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• pp.381-407
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• 2018

Gilles Deleuze presents his distinctive logic of sensation in "Francis Bacon: The Logic of Sensation" with his own approach to Bacon's paintings. What matters here is the sensation of 'haptic' that is 'one possibility of the eyes' but different from optical perception. The concept of 'haptic' has been translated into Korean variously, and Gilles Deleuze adopted this concept from Austrian art historian, Alois Riegl. Alois Riegl had used the concept of 'haptic' to mean proximate view (Nahsicht in German) as in seeing Egyptian bas-relief. Gilles Deleuze was in succession to Alois Riegl's way of thinking and used the concept of 'haptic' to discuss Bacon's paintings. By the way, Alois Riegl had adopted this concept anyway to read Egyptian bas-reliefs, but Gilles Deleuze applies this concept to paintings. Actually, this concept in Gilles Deleuze's theory of painting has more meanings than Alois Riegl'. That is to say, when we intend to understand "The Logic of Sensation" as a new logic of sensation to be represented more than just a discussion about Bacon's paintings, we would say that key word is the concept of 'haptic' being symbolic of Bacon's paintings. Yet, what kind of sensation is the 'haptic'? And, what is Deleuze's theory of sensation? I want to interpret "Francis Bacon: The Logic of Sensation" as a work being developed through his own theory of sensation, and further more I should like to draw special attention to the sensation of 'haptic' in order to make his theory of sensation with admirable clarity.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.11a
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• pp.115-120
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• 2006

This study concentrates on a new idea that is formulated as a creative space recognition in contemporary architecture and painting. It is stimulated from Deleuze's philosophy, which is expressed with the philosophical instrument, "Non-Representation". After discussing the concept of non-representation used in Deleuze's philosophy, case example in contemporary architecture are analysed to comparatively Investigate the relationship between the architectures by Rem Koolhaas and painting by Francis Bacon. Therefore, he founds expressions of "diagram" and "movement" in painting of F. Bacon. Diagram meansit is a power that is comprised of various points of wiew with the kind experiences that one has in life. Movement that were extracted form the Instrument in space recognition of Deleuze's panting theory were of topology, insertion of geometry, reiteration of layers, transparency and translucency, reflection effect.

• Food Science and Preservation
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• v.9 no.1
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• pp.61-66
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• 2002

Chemical composition of fresh and dried leaves and stems and fresh and cured tubers of bacon (Polymnia sonchifolia) was investigated. The moisture content of fresh leaves, stems, and tubers was 83.38, 92.30 and 89.52%, and there of dried leaves and stems were 18.08 and 27.97% and that of cured tubers was 27.97%. The content of lipid, protein, soluble solid, ascorbic acids chlorophyll and tannin was higher in leaves of yacon than in stems of that. In fresh and cured yacon, the content of protein were 0.04% both of them, of lipid was 0.31 and 0.54%; of ash, 0.40 and 0.42%; of ascorbic acids 2.77 and 2.87 mg/100 g. The major minerals of leaves, stem, and tubers of bacon were P, K, and Mg. The major free sugars of leaves, stems and tubers of bacon were glucose and fructose and after curing all free sugars of tubers of bacon were increased. The most abundant free amino acid was isoleucine in the leaves, stem, and tubers of bacon. The content of beta-carotene was 9.01 $\mu\textrm{g}$/100g in fresh leaves and 107.87 $\mu\textrm{g}$/100 g in dried leaves, and 0.40 $\mu\textrm{g}$/100 g in fresh tubers of bacon and 055 $\mu\textrm{g}$/100 g in cured tubers.

• Fashion & Textile Research Journal
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• v.15 no.6
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• pp.874-885
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• 2013

This study analyzes the visage in fashion illustration based on the deconstructed visage of Francis Bacon's paintings as well as analyzes fashion illustration works since 2000. The deconstructed visages in Francis Bacon's paintings are classified as blurring, elimination, distortion and division. The expressive methods and meanings in fashion illustration (according to categorization) are as follow. Blurring shows an ambiguous visage organ by the sweeping of the brush, removal of a boundary among the visage, body and clothes, gradation of organic line like visage shapes, stretching of the a plat combined to visage and fragmentation of visage. It represents an uncertainty of the fashion theme and image interpretation, impossibility of figure by ambiguity, fantastic effect and the induction of the uncanny. Elimination shows the background color's painting of a photo-montage, overlap of a cutting of visage's part and background of a plat, elimination of the visage and the elimination of eyes, nose or lips. It represents a weakened identity, the reinforcement of anonymity, creation of a violent image, and uncanny unfamiliarity. Distortion shows a distorted visage by free drawing, and unconscious drawing line, fluid digital body, combination of an unconscious curve, and an eccentric combination of the accidental. It represents the relief of specialty about realistic existence, hypothetical immateriality and fantasy. Division shows overlapped visages with different angles, the weird combination of a plural visage and different species and a plural breakaway of direction, and the position of several organs. It represents motion by power's trace, non-territory of species, ambiguity and uncertainty and the uncanny.

• Journal of the East Asian Society of Dietary Life
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• v.15 no.6
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• pp.746-751
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• 2005

The purpose of this study was to evaluate the selective marinates, red win, ginger, ginseng, and green tea, for improving the sensory characteristics of pork hind legs. The marinated samples of pork hind legs were analyzed for their physicochemical propenies and sensory characteristics. Especially, overall acceptabilities of them were compared with bacon the most palatable pork meat to Koreans. After marinating, all the meats except the red wine marinated meat showed pH increase. After cooking, all the marinated meat including red wine marinated meat recorded further pH increase. The water holding capacities(WHC's) of the marinated meats except the ginger one showed a tendency of decrease. however, who's or all the cooked meats were increased greatly. Only the L-value or the green tea marinated meat increased After cooking, the L-values of the red wine and ginseng marinated meats were lower than that of the unheated cooked meat The a-value of the green tea marinated meat recorded the lowest In the hardness and gumminess test all the marinate treatments showed lower values than the control did. the brittleness of all the marinated meats except the ginger one decreased The flavor of the cooked ginger marinated meat was improved to the similar level of bacon. The textures of all the treatments except the green tea marinated meat were improved the overall acceptability of the ginger or ginseng marinated meat improved greatly to $87.6\%$ of bacon$(100\%)$.