• The Journal of Korean Academy of Prosthodontics
• /
• v.61 no.3
• /
• pp.198-203
• /
• 2023

Purpose. The aim of this study was to evaluate the proximal contact with a dental floss compared to a celluloid strip and a metal strip in normal dental arch and investigate what the most effective method for measuring is. Materials and methods. The subjects of this study was consisted with 20 healthy adults (10 males and 10 females) who had normal dentition. A dentist with more than 5 years of clinical experience evaluated the proximal contacts using a dental floss method, a celluloid strip method, and a metal strip method. Statistical analysis were performed by the use of Mann-Whitney U test. A P-value < .05 was considered statistically significant in all analysis. In addition, in the evaluation of proximal contact using a dental floss, the measurement of proximal contact using a celluloid strip and a metal strip was compared. Results. 80 % of all proximal contact was proper. Proper proximal contact was observed at the posterior area compared to the anterior area (P < .05). And male had proper proximal contact at the anterior area, female had proper proximal contact at the posterior area (P < .05). The consistency analysis between the results of the celluloid strip and the metal strip experiment on the results obtained from the floss using the consistency scale Kappa index shows that using celluloid strip is more advantageous than using the metal strip. Conclusion. Only 80% of all proximal contact was proper. Using celluloid strips with various thickness for evaluating of proximal contact is considered to be helpful for accurate measuring of proximal contact.

• The monthly packaging world
• /
• s.216
• /
• pp.128-134
• /
• 2011

1869년 미국의 Hyatt 형제는 상아 당구공의 대체 재료로서 셀룰로이드(질산섬유계 플라스틱)를 발명하고, 1872년에는 이 재료들을 성형하기 위해 세계 최초로 사출성형기를 개발했다. 하지만 유감스럽게도 성형된 셀룰로이드는 단단하면서도 약해 당구공으로는 사용할 수 없었으나, 브러시나 빗의 손잡이, 양복의 칼라, 사진의 필름, 탁구공 등으로 실용화되었다. 그 후 여러 기능을 가진 다양한 종류의 플라스틱이 잇따라 발명되었다. 이와 같은 플라스틱의 기능을 활용한 제품을 성형하기 위해 사출성형기는 끊임없는 기술개발을 통해 진화를 거듭해 왔다. 일본의 사출성형기 업계는 구미의 기술을 도입하며 발전해 왔다. 그 후 세계에서 제일 먼저 전동식 사출성형기를 개발해 실용화함으로써 최첨단 수준의 성능 및 기능을 달성해, 현재 많은 신기술제품의 중요한 수지부품생산에 공헌하고 있다. 아래에 항상 높은 수준을 추구하는 플라스틱업계의 니드에 부응하기 위해 계속되어 온 일본의 사출성형기의 기술개발 동향에 대해 그 개요를 소개한다.

• Cartoon and Animation Studies
• /
• s.33
• /
• pp.317-341
• /
• 2013

Found Footage Film has been increasingly addressed between film and visual art world in the age of rapid media change. With regards to this self-conscious found footage filmmaking, narrative structures are unraveled to relate new stories, images are removed from their original context only to reappear in a different context, new layers that alter the meaning are added, stereotypes from Hollywood movies are exposed, and new montages are used to destroy the illusion of the medium itself. The physical properties of the original material are also emphasized or altered in order to add a new meaning. The starting point of this study is the recognition of the origin of found footage film. It traces back to the found object from primitive impulse and found art from Dada and surrealism. Many found footage films have been at least partly inspired by Duchamp's ready-mades. These films use footages that the filmmakers did not shot, and even footage that was never intended as art. This essay deals with the found footage practices and interrogates the aesthetic implications by the concept of self-reflexivity. Self-reflexivity means consciousness turning back on itself, and found footage film is about films which call attention to themselves as cinematic constructs. It breaks with art as illusionism and exposes their own factitiousness as textual constructs. Furthermore, the inevitable mortality of celluloid and temporal reconstruction of original film will be treated. Recentely, many attention has been given to role of Found Footage Film. I hope to add the understanding of the artistic found footage film with this study.

• Journal of the korean academy of Pediatric Dentistry
• /
• v.37 no.4
• /
• pp.526-531
• /
• 2010

Early childhood caries which mainly affect maxillary anterior area, defined as 'the presence of 1 or more decayed, missing, or filled tooth surfaces in any primary tooth in a child 71 months of age or younger'. Extraction of teeth when early childhood caries affected in maxillary primary incisors often develops progressively, result in severe destruction of crowns, acute or chronic pulpitis, and periapical abscess formation. Maxillary primary incisors are need to preserve as possible, because the early loss of maxillary primary incisors may lead to various functional, esthetical, and psychological problems. It is necessary to the availability of an easy to perform technique capable of providing efficient, durable, functional, and esthetic restorative methods. Polyethylene fiber-reinforced post can be used in strengthen of composite resins that is esthetic and good physical and mechanical properties. $Ribbond^{(R)}$ is made from an polyethylene fiber, has numerous usages, its surface is treated to enhance adhesion to resins, ease of manipulation, relatively cost effective. We report this case, had restored of maxillary primary incisors with severe coronal destruction due to affecting severe early childhood caries, using polyethylene fiber-reinforced posts, composite resin cores, and celluloid crowns. We could obtain good result of treatment.

• Journal of the Korean Society of Safety
• /
• v.19 no.1
• /
• pp.117-123
• /
• 2004

The prediction to the hydroscopic moisture warping behaviors is analyzed for cellulose-based laminates using a numerical method base on a modified classical laminate(MCL) theory for hygroscopic moisture deformations with cycling testing data. The experimental measurement of the interferometric hygroscopic warping effects, moisture generator, and curvature of cellulose reinforced epoxy laminates is studied under cyclic environmental conditions using a Moire interferometer coupled. Accurate determination of curvatures provides a description of dimensional stability evolution; the tools for validation of computational internal stress and for the warpage prediction in model safety.

• The Journal of the Korea Contents Association
• /
• v.19 no.1
• /
• pp.117-124
• /
• 2019

This paper investigates how digital technology innovates the aesthetic ontology of film images. The modern civilization of computer and internet bring about the new ontology of film images. Digital hybrid image expands the contradictory combination of physical reality and filmic fantasy. It is inevitable to recount Walter Benjamin' s concept of mechanical reproduction in the age of digital cinema. The modern condition of image arts changes the concept of mechanical reproduction to the logic of digital configuration. In addition, computer simulation innovates the film aesthetics of montage to the aesthetics of digital collage. The technological and aesthetical development of computer simulation and internet network leads to the new ontology of digital hybrid images. This study suggests a new theoretic point that the aesthetic ontology of digital hybrid images leads to the expansion of filmic fantasy and expression.

• Journal of the korean academy of Pediatric Dentistry
• /
• v.26 no.2
• /
• pp.240-247
• /
• 1999

Primary anterior teeth requiring extensive restorative therapy due to caries, trauma or developmental defects can present a particularly challenging problem for the pediatric dentist. The ideal restorative technique would combine strength, durability esthetics and efficiency in placement. Couple these concerns with the technical difficulties of operating on children with behavior management problems, and the dentist is left with the difficult task of choosing from a variety of restorative options. Restorative modalities currently in use to treat primary anterior teeth include bonding with composite resin as in celluloid strip crowns, conventional stainless steel crowns, open-faced stainless steel crowns, commercially and chairside veneered stainless steel crowns and epoxy-coated stainless steel crowns. Each of these techniques presents technical, functional or esthetic compromises that complicate their efficient and effective usage. This is a report of the results obtained at the Department of Pediatric Dentistry, College of Dentistry Seoul National University, through the use of these various methods of treating primary anterior teeth.

• The Journal of Korean Academy of Prosthodontics
• /
• v.46 no.4
• /
• pp.351-358
• /
• 2008

Purpose: This study examined the recovery of the dentin-resin bonding strength, and the difference in the bonding strength after applying pH hemostatic agents at various pH. Materials and methods: Bosmin, Hemodent, Astregedent, and Visine were used as the hemostatic agents in this study. The Bosmin, Hemodent, and Astrigedent hemostatic agents are acidic, and the Visine hemostatic agent is neutral and is used as a decongestant. Ninety human molar teeth were used as the specimen. The teeth were sectioned using a diamond wheel until the dentin was exposed and wet ground by silica paper. The specimens were divided into two groups according to the hemostatic agent used. The specimens were then subdivided into 9 groups according to the application of re etching (R group) or rinsing only (N group). A commonly used resin bonding procedure was used in the control group. The resin bonding procedure was managed dentin using celluloid capsule. In addition, the shear bond strength was measured using an Instron. Results: In general, samples with the applied hemostatic agent, with the exception of Visine, had a slightly weak bond that was similar to the control group. In addition, the rinsing only (N) group had slightly weak bond that was similar to the re etching (R) group. Conclusion: The application of a hemostatic agent on the dentin surface does not affect the shear bond strength after application for a short time. In addition, rinsing only can recover the shear bond strength making other management procedures redundant, particularly re etching.

• Cartoon and Animation Studies
• /
• s.37
• /
• pp.509-537
• /
• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.