• 한국방사선학회논문지
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• 제13권2호
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• pp.283-290
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• 2019

본 연구의 목적은 레이노 현상 의심 환자의 정량적 판독 보조 지표의 가능성을 확인하고자 하는 것이다. 레이노 현상 의심 환자 99명에서 가능성 낮음 48명, 중간 16명, 높음 35명을 대상으로 하였다. 검사는 $15.2{\pm}0.8^{\circ}C$ 얼음물에 10분 간 양 손을 한랭 부하 후 $^{99m}Tc$ 370 MBq(10 mCi)를 정맥 주사하였다. 이 후 5분, 10분, 20분 양측 열 손가락의 온도 변화를 측정하였고, 핵의학 판독의의 판독 결과와 온도 변화를 비교하였다. 판독 결과 레이노 현상의 가능성이 낮은 군은 손가락 온도가 $32.6{\pm}4.9^{\circ}C$로 높게 측정되었고, 가능성이 높은 군은 $22.7{\pm}6.0^{\circ}C$로 낮게 측정되었다(p<0.05). 결론적으로 레이노 현상 의심 증상에 따라 손가락 온도의 차이가 났음을 확인하였고 이를 통해 손가락 온도의 측정이 레이노 진단의 정량적 보조 지표로서의 가능성이 있음을 확인하였다.

• 미술이론과 현장
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• 제3호
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• pp.85-106
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• 2005

As biennale exhibitions has been expanded into all of the world since 1990s, these trends of blockbuster exhibitions have caused several problems. For instance, some major curators monopolized most global size exhibitions despite of a variety of cultural and historical backgrounds. Besides, due to a strong connection between these curators and their own artists, the young emerging artists' opportunities tend to be reduced as a result of the power game. In addition, major curators' power have influence on the exhibition style as well as on the theme itself. Some artists who did not involved that kind of huge scale exhibitions dispute that the direction of the exhibition is concentrating on the curator's interest instead of artists or viewers. Although these dissatisfactions could not portray correctly the process of organizing and managing system of a biennale exhibition, those biennale exhibitions held in recent have shown tautologic discourses without any passion and positive attitude direct to the exploitation of our society as a vanguard. In the process of comparing several kinds of biennale exhibitions, I could find that some artists who participated several biennale exhibitions at the same time did not present their creative vision, although the triumph of an exhibition was typically measured by the amount of visitors. Thus, the aim of this article is to prove that the biennale can show us new cultural discourse as well as progressive method of understanding our times. Is biennale producing the real 'global standard'? If biennale has done it, could this global standard present upto-date paradigm for the unique exhibition system? Is biennale providing an useful opportunity for the understanding and communicating of contemporary art through the recontextualization which is pronounced by the publicity of curator and organizing committee? How can we find the distinctive strategy from each biennale exhibition including Venice Biennale? Biennale, as a blockbuster exhibition, always requires a degree of hype, otherwise it would not be a special event and would not attract a big enough audience. It is the actual reason why major biennale exhibitions seem to be similar artistic events. Unfortunately, it seems that the excess of biennale exhibitions might bring about the lack of contents. In this case, the biennale syndrome would being a kind of the center of poverty, in spite of the visual splendor. After all, following the global standard may not be a matter of great importance now. What really matters is how each biennale exhibition which started under the different conditions can search their own identity.