• Tuberculosis and Respiratory Diseases
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• v.42 no.5
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• pp.654-659
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• 1995

Background: Tuberculosis has commonly been associated with various hematologic changes. A difference between the changes found in pulmonary tuberculosis and those found in miliary tuberculosis has been discussed. Up to now some worker were investigated hematological changes associated with pulmonary tuberculosis but was not investigated those associated with miliary tuberculosis in korea. Therefore we examimed the peripheral blood and bone marrow findings in miliary tuberculosis patients to determine hematologic changes. Methods: We performed blood sample at admission and bone marrow biopsy within 7days after admission. For evaluation of the hematologic findings, full blood counts and marrow differential counts were defined by the criteria outlined by Dacie and Lewis. Results: 1) Peripheral blood findings: Pancytopenia in 10% of patients, anemia in all patients, leukocytosis in 10% of patients, leukopenia in 20% of patients, thrombocytopenia in 30% of patients, lymphocytopenia in 90% of patients, monocytosis in 40% of patients and neutrophilia in 10% of patients were found at peripheral blood. 2) Bone marrow findings: Lymphocytopenia in 30% of patients, lymphocytosis in 20% of patients, plasmacytosis in 40% of patients, monocytosis in 100% of patients, and hypocellularity in 30% of patients were found at bone marrow. Erythropoiesis was decreased in 30% of patients. Granulopoiesis was decreased in 20% of patients and increased in 20% of patients. Bone morrow granuloma occured in 25% of patients. Conclusion: Hematologic changes of miliary tuberculosis were seen tendency of cytopenic pattern but monocyte was increased at peripheral blood and bone morrow. This findings would provide additional information for the differential diagnosis of miliary tuberculosis.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.25 no.4
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• pp.327-336
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• 2007

The 3D building modeling is one of crucial components in building 3D geospatial information. The existing methods for 3D building modeling depend mainly on manual photogrammetric processes by stereoplotter compiler, which indeed take great amount of time and efforts. In addition, some automatic methods that were proposed in research papers and experimental trials have limitations of describing the details of buildings with lack of geometric accuracy. It is essential in automatic fashion that the boundary and shape of buildings should be drawn effortlessly by a sophisticated algorithm. In recent years, airborne LiDAR data representing earth surface in 3D has been utilized in many different fields. However, it is still in technical difficulties for clean and correct boundary extraction without human intervention. The usage of airborne LiDAR data will be much feasible to reconstruct the roof tops of buildings whose boundary lines could be taken out from existing digital maps. The paper proposed a method to reconstruct the roof tops of buildings using airborne LiDAR data with building boundary lines from digital map. The primary process is to perform octree-based segmentation to airborne LiDAR data recursively in 3D space till there are no more airborne LiDAR points to be segmented. Once the octree-based segmentation has been completed, each segmented patch is thereafter merged based on geometric spatial characteristics. The experimental results showed that the proposed method were capable of extracting various building roof components such as plane, gable, polyhedric and curved surface.

• Korean Journal of Social Welfare Studies
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• v.48 no.2
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• pp.5-33
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• 2017

This study explored challenges and desires related to social relationships among adolescents with intellectual disabilities, using the photovoice method. Six adolescents with intellectual disabilities (M = 18.33 years) who are attending a general high school participated in 7 sessions of a photovoice program. They selected themes related to social relationships through group discussions and shared their photos related to the themes with other participants. Our study yielded 15 subthemes within 5 social relationships (peers, teachers, boyfriends/girlfriends, parents, persons whom I need) from adolescents with intellectual disabilities as follows: relationships with peers (feeling lonely and left out, being teased and bullied by peers, making efforts to fix damaged relationships with friends), relationships with teachers (feeling appreciated by teachers who understand me, lacking interactions with teachers, wanting teachers to show they care about my school life), relationships with boyfriends/girlfriends (wanting to have a boyfriend/girlfriend, feeling worried and fearful about having a boyfriend/girlfriend, trying to attract a boyfriend/girlfriend), relationships with parents (being thankful to parents for their unconditioned love, enjoying time with parents, feeling bad because of not being close to father), persons whom I need (persons who enjoy spending time with me, persons who help me, persons who never give up on me). This study provides implications for social work practice, such as training for improving peer relationships and coping with peer conflict, education for fostering healthy romantic relationships, training for promoting social skills of adolescents with intellectual disabilities, and education for increasing awareness of the social needs of students with intellectual disabilities among peers without disabilities, teachers, and social workers.

• Cross-Cultural Studies
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• v.49
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• pp.59-93
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• 2017

This paper provides an in-depth examination of the relationship between cinema and Giorgio Agamben's aesthetics and philosophy. Intersecting Agamben's key concepts including gesture, mediality, biopolitics, historicity, and profanation with historical and aesthetic dimensions of cinema, I argue for his ambivalent view on cinema and visual media. On the one hand, Agamben linked cinema and visual media to his discussion on biopolitics and spectacle as he considered them as apparatus for capturing and controlling gestures. On the other hand, he also argued that cinema could restore the image with capacity to preserve and recuperate gestures based on his consideration of montage as cinema's key aesthetic and technical component (an operation of profanation) and his Benjaminian thought on the ways in which montage suspended linear flow of images and activated an alternative memory of them. Drawing on history of cinema and optical devices in the 19th and early 20th centuries as well as examples of found footages of filmmaking predicated upon stoppage and repetition of images, I argue that Agamben's concept of potentialities can be extended into his thought on cinema and visual media apparatuses in general.

• Journal of Dental Rehabilitation and Applied Science
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• v.38 no.4
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• pp.196-203
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• 2022

Purpose: This study aimed to evaluate the accuracy and clinical usability of an identification model using deep learning for 79 dental implant types. Materials and Methods: A total of 45396 implant fixture images were collected through panoramic radiographs of patients who received implant treatment from 2001 to 2020 at 30 dental clinics. The collected implant images were 79 types from 18 manufacturers. EfficientNet and Meta Pseudo Labels algorithms were used. For EfficientNet, EfficientNet-B0 and EfficientNet-B4 were used as submodels. For Meta Pseudo Labels, two models were applied according to the widen factor. Top 1 accuracy was measured for EfficientNet and top 1 and top 5 accuracy for Meta Pseudo Labels were measured. Results: EfficientNet-B0 and EfficientNet-B4 showed top 1 accuracy of 89.4. Meta Pseudo Labels 1 showed top 1 accuracy of 87.96, and Meta pseudo labels 2 with increased widen factor showed 88.35. In Top5 Accuracy, the score of Meta Pseudo Labels 1 was 97.90, which was 0.11% higher than 97.79 of Meta Pseudo Labels 2. Conclusion: All four deep learning algorithms used for implant identification in this study showed close to 90% accuracy. In order to increase the clinical applicability of deep learning for implant identification, it will be necessary to collect a wider amount of data and develop a fine-tuned algorithm for implant identification.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.6
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• pp.110-123
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• 2022

Namsan Park in Seoul was designated as a "grand park" in 1954 and is currently operated as an 'Urban Nature Park Area' and four 'neighborhood parks.' However, despite the park's historical and cultural value as an urban park, it has been discussed mainly from a perspective revolving around notions of a mountain or a city wall. To ensure a comprehensive exploration of Namsan Park's history, this study examined public records at the Seoul Metropolitan Archives (SMA), which houses the city's permanent records for preservation and organization. To this end, documents in the SMA Database (DB) were analyzed, yielding 1,359 records concerning Namsan Park. Based on the contents, general characteristics of the urban park were identified through production periods, record types, and disclosure types. Then, essential keywords concerning organizations, people, geographical areas, subjects, and business functions were examined. Finally, the contents and characteristics of Namsan Park in public records were scrutinized, focusing on specific spaces. This research also uncovered important information, such as park drawings, photos, planting lists, plant parcel lists, and significant discussions and decisions regarding the operation and management of the park. Although the public records do not contain a comprehensive history of Namsan Park, it was possible to check the primary historical changes and deliberation processes pertaining to the park's history. Therefore, continuous research intended to interpret and describe public records is expected to identify many implications. In addition, because the public records showed heterogeneous characteristics that center on specific periods and events, an essential task is to advance collaboration and networking with various related institutions, designers, researchers, and citizens.

• Journal of the korean academy of Pediatric Dentistry
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• v.31 no.1
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• pp.66-78
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• 2004

The objective of this study was to apply the vibration technique to reduce the viscosity of bonding adhesives and thereby compare the bond strength and resin penetration in enamel and dentin achieved with those gained using the conventional technique and vibration technique. For enamel specimens, thirty teeth were sectioned mesio-distally. Sectioned two parts were assigned to same adhesive system but different treatment(vibration vs. non-vibration). Each specimen was embedded in 1-inch inner diameter PVC pipe with a acrylic resin. The buccal and lingual surfaces were placed so that the tooth and the embedding medium were at the same level. The samples were subsequently polished silicon carbide abrasive papers. Each adhesive system was applied according to its manufacture's instruction. Vibration groups were additionally vibrated for 15 seconds before curing. For dentin specimen, except removing the coronal part and placing occlusal surface at the mold level, the remaining procedures were same as enamel specimen. Resin composite(Z250. 3M. U.S.A.) was condensed on to the prepared surface in two increments using a mold kit(Ultradent Inc., U.S.A.). Each increments was light cured for 40 seconds. After 24 hours in tap water at room temperature, the specimens were thermocycled for 1000cycles. Shear bond strengths were measured with a universal testing machine(Instron 4465, England). To investigate infiltration patterns of adhesive materials, the surface of specimens was examined with scanning electron microscope. The results were as follows: 1. In enamel the mean values of shear bond strengths in vibration groups(group 2, 4, 6) were greater than those of non-vibration group(group 1, 3, 5). The differences were statistically significant except AQ bond group. 2. In dentin, the mean values of shear bond strengths in vibration groups(group 2, 4, 6) were greater than those of non-vibration groups(group 1, 3, 5). But the differences were not statistically significant except One-Up Bond F group. 3. The vibration group showed more mineral loss in enamel and longer resin tag and greater number of lateral branches in dentin under SEM examination.

• Journal of the Korea Computer Graphics Society
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• v.6 no.4
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• pp.1-7
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• 2000

Traditionally, three dimension model s have been used for building virtual worlds, and a data structure called the "scene graph" is often employed to organize these 3D objects in the virtual space. On the other hand, image-based rendering has recently been suggested as a probable alternative VR platform for its photo-realism, however, due to limited interactivity. it has only been used for simple navigation systems. To combine the merits of these two approaches to object/scene representations, this paper proposes for a scene graph structure in which both 3D models and various image-based scenes/objects can be defined. traversed, and rendered together. In fact, as suggested by Shade et al. [1]. these different representations can be used as different LOD's for a given object. For in stance, an object might be rendered using a 3D model at close range, a billboard at an intermediate range. and as part of an environment map at far range. The ultimate objective of this mixed platform is to breath more interactivity into the image based rendered VE's by employing 3D models as well. There are several technical challenges in devising such a platform : designing scene graph nodes for various types of image based techniques, establishing criteria for LOD/representation selection. handling their transition s. implementing appropriate interaction schemes. and correctly rendering the overall scene. Currently, we have extended the scene graph structure of the Sense8's WorldToolKit. to accommodate new node types for environment maps. billboards, moving textures and sprites, "Tour-into-the-Picture" structure, and view interpolated objects. As for choosing the right LOD level, the usual viewing distance and image space criteria are used, however, the switching between the image and 3D model occurs at a distance from the user where the user starts to perceive the object's internal depth. Also. during interaction, regardless of the viewing distance. a 3D representation would be used, if it exists. Finally. we carried out experiments to verify the theoretical derivation of the switching rule and obtained positive results.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.4-19
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• 2017

Kim Jeong-gi (pen-name: Changsan, Mar. 31, 1930 - Aug. 26, 2015) made a major breakthrough in the history of cultural property excavation in Korea: In 1959, he began to develop an interest in cultural heritage after starting work as an employee of the National Museum of Korea. For about thirty years until he retired from the National Research Institute of Cultural Heritage in 1987, he devoted his life to the excavation of our country's historical relics and artifacts and compiled countless data about them. He continued striving to identify the unique value and meaning of our cultural heritage in universities and excavation organizations until he passed away in 2015. Changsan spearheaded all of Korea's monumental archeological excavations and research. He is widely known at home and abroad as a scholar of Korean archeology, particularly in the early years of its existence as an academic discipline. As such, he has had a considerable influence on the development of Korean archeology. Although his multiple activities and roles are meaningful in terms of the country's archaeological history, there are limits to his contributions nevertheless. The Deoksugung Palace period (1955-1972), when the National Museum of Korea was situated in Deoksugung Palace, is considered to be a time of great significance for Korean archeology, as relics with diverse characteristics were researched during this period. Changsan actively participated in archeological surveys of prehistoric shell mounds and dwellings, conducted surveys of historical relics, measured many historical sites, and took charge of photographing and drawing such relics. He put to good use all the excavation techniques that he had learned in Japan, while his countrywide archaeological surveys are highly regarded in terms of academic history as well. What particularly sets his perspectives apart in archaeological terms is the fact that he raised the possibility of underwater tombs in ancient times, and also coined the term "Haemi Culture" as part of a theory of local culture aimed at furthering understanding of Bronze Age cultures in Korea. His input was simply breathtaking. In 1969, the National Research Institute of Cultural Heritage (NRICH) was founded and Changsan was appointed as its head. Despite the many difficulties he faced in running the institute with limited financial and human resources, he gave everything he had to research and field studies of the brilliant cultural heritages that Korea has preserved for so long. Changsan succeeded in restoring Bulguksa Temple, and followed this up with the successful excavation of the Cheonmachong Tomb and the Hwangnamdaechong Tomb in Gyeongju. He then explored the Hwangnyongsa Temple site, Bunhwangsa Temple, and the Mireuksa Temple site in order to systematically evaluate the Buddhist culture and structures of the Three Kingdoms Period. We can safely say that the large excavation projects that he organized and carried out at that time not only laid the foundations for Korean archeology but also made significant contributions to studies in related fields. Above all, in terms of the developmental process of Korean archeology, the achievements he generated with his exceptional passion during the period are almost too numerous to mention, but they include his systematization of various excavation methods, cultivation of archaeologists, popularization of archeological excavations, formalization of survey records, and promotion of data disclosure. On the other hand, although this "Excavation King" devoted himself to excavations, kept precise records, and paid keen attention to every detail, he failed to overcome the limitations of his era in the process of defining the nature of cultural remains and interpreting historical sites and structures. Despite his many roles in Korean archeology, the fact that he left behind a controversy over the identity of the occupant of the Hwangnamdaechong Tomb remains a sore spot in his otherwise perfect reputation.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.