• Nuclear Medicine and Molecular Imaging
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• v.41 no.4
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• pp.299-308
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• 2007

Purpose: The aim of this study was to develop a bioinformatics software and to test it in serum samples of papillary thyroid cancer using mass spectrometry (SELDI-TOF-MS). Materials and Methods: Development of 'Protein analysis' software performing decision tree analysis was done by customizing C4.5. Sixty-one serum samples from 27 papillary thyroid cancer, 17 autoimmune thyroiditis, 17 controls were applied to 2 types of protein chips, CM10 (weak cation exchange) and IMAC3 (metal binding - Cu). Mass spectrometry was performed to reveal the protein expression profiles. Decision trees were generated using 'Protein analysis' software, and automatically detected biomarker candidates. Validation analysis was performed for CM10 chip by random sampling. Results: Decision tree software, which can perform training and validation from profiling data, was developed. For CM10 and IMAC3 chips, 23 of 113 and 8 of 41 protein peaks were significantly different among 3 groups (p<0.05), respectively. Decision tree correctly classified 3 groups with an error rate of 3.3% for CM10 and 2.0% for IMAC3, and 4 and 7 biomarker candidates were detected respectively. In 2 group comparisons, all cancer samples were correctly discriminated from non-cancer samples (error rate = 0%) for CM10 by single node and for IMAC3 by multiple nodes. Validation results from 5 test sets revealed SELDI-TOF-MS and decision tree correctly differentiated cancers from non-cancers (54/55, 98%), while predictability was moderate in 3 group classification (36/55, 65%). Conclusion: Our in-house software was able to successfully build decision trees and detect biomarker candidates, therefore it could be useful for biomarker discovery and clinical follow up of papillary thyroid cancer.

• Journal of the Korea Convergence Society
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• v.13 no.2
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• pp.177-183
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• 2022

This study investigated through eye tracking what gaze path the audience searches through portal sites (Naver, Daum, Zoom, and Nate). As a result of the layout analysis according to the gaze path of the search engine, the four main pages, which can be called to be the gateway to information search, appeared in the form of a Z-shaped layout. The news and search pages of each site use an F-shape, which means that when people's eyes move from top to right in an F-shape, they read while moving their eyes from left to right(LTR), which sequentially moves to the bottom. As a result of analyzing through the heat map, gaze plot, and cluster, which are the visual analysis indicators of eye tracking, the concentration of eyes on the photo and head copy was found the most in the heat map, and it can be said to be of high interest in the information. The flow of gaze flows downward from the top left to the right, and it can be seen that the cluster is most concentrated at the top of the portal site. The website designer should focus on improving the accessibility and readability of the information desired by the user in the layout design, and periodic interface changes are required by investigating and analyzing the tendencies and behavioral patterns of the main users.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.40 no.4
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• pp.666-677
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• 2015

The importance of application traffic analysis for efficient network management has been emphasized continuously. Snort is a popular traffic analysis system which detects traffic matched to pre-defined signatures and perform various actions based on the rules. However, it is very difficult to get highly accurate signatures to meet various analysis purpose because it is very tedious and time-consuming work to search the entire traffic data manually or semi-automatically. In this paper, we propose a novel method to generate signatures in a fully automatic manner in the form of sort rule from raw packet data captured from network link or end-host. We use a sequence pattern algorithm to generate common substring satisfying the minimum support from traffic flow data. Also, we extract the location and header information of the signature which are the components of snort content rule. When we analyzed the proposed method to several application traffic data, the generated rule could detect more than 97 percentage of the traffic data.

• Korean Journal of Ecology and Environment
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• v.50 no.4
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• pp.381-402
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• 2017

In order to investigate distribution of vascular plants along elevational gradient in the Nodong valley of Gyebangsan, vascular plants of eight sections with 100-meter-high were surveyed from the Auto-camping site (800 m) to the top of a mountain (1,577 m). There were a total of 382 taxa: 89 families, 234 genera, 339 species, 7 subspecies, 34 varieties, and 2 forms. As a result of analyzing the pattern of species richness, it showed a reversed hump-shaped with minimum richness at mid-high elevation. As a result of analyzing habitat affinity types, the proportion of forest species increased with increasing elevation. But, the ruderal species decreased with increasing elevation, and then increased at the top of a mountain. As for the proportion of life forms, the annual herbs gradually decreased with increasing elevation, but it did not appear between 1,300 m and 1,500 m and then increased at the top of a mountain. The trees gradually increased with elevation and decreased from 1,300~1,400 m. The vascular plants divided into four groups by using DCA. The arrangement of each stands was arranged in order from right to left on the I axis according to the elevation. The distribution of vascular plants is determined by their own optimal ranges of vegetation. Also, rise in temperature due to climate change affects the distribution of vascular plants, composition, and diversity. Therefore, continuous monitoring is necessary to confirm ecological and environmental characteristics of vegetation, distribution ranges, changes of habitat. Furthermore, plans for conservation and management based on these data should be prepared according to climate change.

• Journal of the Korean earth science society
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• v.32 no.6
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• pp.525-536
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• 2011

In any applications using various types of spatial data, it is very important to account for the scale differences among available data sets and to change the scale to the target one as well. In this paper, we propose to use a geostatistical downscaling approach based on vaiorgram deconvloution and block simulation to generate fine-scale categorical thematic maps from coarse-scale fraction data. First, an iterative variogram deconvolution method is applied to estimate a point-support variogram model from a block-support variogram model. Then, both a direct sequential simulation based on area-to-point kriging and the estimated point-support variogram are applied to produce alternative fine-scale fraction realizations. Finally, a maximum a posteriori decision rule is applied to generate the fine-scale categorical thematic maps. These analytical steps are illustrated through a case study of land-cover mapping only using the block fraction data of thematic classes without point data. Alternative fine-scale fraction maps by the downscaling method presented in this study reproduce the coarse-scale block fraction values. The final fine-scale land-cover realizations can reflect overall spatial patterns of the reference land-cover map, thus providing reasonable inputs for the impact assessment in change of support problems.

• Korean Journal of Environmental Agriculture
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• v.37 no.4
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• pp.251-259
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• 2018

BACKGROUND: Various culture media have been used for hydroponic cultures of horticultural plants under the smart greenhouses with natural and artificial light types. Management of the culture medium for the control of medium amounts and/or necessary components absorbed by plants during the cultivation period is performed with ICT (Information and Communication Technology) and/or IoT (Internet of Things) in a smart farm system. This study was conducted to develop the cloud-based data analysis system for effective management of culture medium applying to hydroponic culture and plant growth in smart greenhouses. METHODS AND RESULTS: Conventional inorganic Yamazaki and organic media derived from agricultural byproducts such as a immature fruit, leaf, or stem were used for hydroponic culture media. Component changes of the solutions according to the growth stage were monitored and plant growth was observed. Red and green lettuce seedlings (Lactuca sativa L.) which developed 2~3 true leaves were considered as plant materials. The seedlings were hydroponically grown in the smart greenhouse with fluorescent and light-emitting diodes (LEDs) lights of $150{\mu}mol/m^2/s$ light intensity for 35 days. Growth data of the seedlings were classified and stored to develop the relational database in the virtual machine which was generated from an open stack cloud system on the base of growth parameter. Relation of the plant growth and nutrient absorption pattern of 9 inorganic components inside the media during the cultivation period was investigated. The stored data associated with component changes and growth parameters were visualized on the web through the web framework and Node JS. CONCLUSION: Time-series changes of inorganic components in the culture media were observed. The increases of the unfolded leaves or fresh weight of the seedlings were mainly dependent on the macroelements such as a $NO_3-N$, and affected by the different inorganic and organic media. Though the data analysis system was developed, actual measurement data were offered by using the user smart device, and analysis and comparison of the data were visualized graphically in time series based on the cloud database. Agricultural management in data visualization and/or plant growth can be implemented by the data analysis system under whole agricultural sites regardless of various culture environmental changes.

• KIPS Transactions on Software and Data Engineering
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• v.7 no.9
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• pp.351-360
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• 2018

The LWR (Locally Weighted Regression) model, which is traditionally a lazy learning model, is designed to obtain the solution of the prediction according to the input variable, the query point, and it is a kind of the regression equation in the short interval obtained as a result of the learning that gives a higher weight value closer to the query point. We study on an incremental ensemble learning approach for LWR, a form of lazy learning and memory-based learning. The proposed incremental ensemble learning method of LWR is to sequentially generate and integrate LWR models over time using a genetic algorithm to obtain a solution of a specific query point. The weaknesses of existing LWR models are that multiple LWR models can be generated based on the indicator function and data sample selection, and the quality of the predictions can also vary depending on this model. However, no research has been conducted to solve the problem of selection or combination of multiple LWR models. In this study, after generating the initial LWR model according to the indicator function and the sample data set, we iterate evolution learning process to obtain the proper indicator function and assess the LWR models applied to the other sample data sets to overcome the data set bias. We adopt Eager learning method to generate and store LWR model gradually when data is generated for all sections. In order to obtain a prediction solution at a specific point in time, an LWR model is generated based on newly generated data within a predetermined interval and then combined with existing LWR models in a section using a genetic algorithm. The proposed method shows better results than the method of selecting multiple LWR models using the simple average method. The results of this study are compared with the predicted results using multiple regression analysis by applying the real data such as the amount of traffic per hour in a specific area and hourly sales of a resting place of the highway, etc.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.