• Proceedings of the KSMRM Conference
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• 2001.11a
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• pp.107-107
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• 2001

목적： 초상자성 nano-particle 조영제의 자기이완효과에 관한 out sphere 기전에 기초하여 각각의 자기장의 세기에서 T1/T2 자기이완율을 나타내는 NMRD profile을 수치적으로 simulation 하는 프로그램을 개발하고자 하였다. 대상 및 방법： 초상자성 nano-particle 조영제의 경우 초상자성 물질을 생체적합성 고분자로 표면 coating하기 때문에 상자성 조영제와는 달리 전적으로 "out sphere"기여도만을 고려하였고 또한 초상자성 물질의 경우 자기적 에너지의 크기가 매우 크기 때문에 상자성 조영제의 기전에서 사용되는 "low field"근사를 사용할 수 없으므로 Brillouin 함수로 표현되는 총자화에 대한 표현을 적용하였다. nano-particle내에 포함된 Fe 원자수에 따른 T1 및 T2 NMRD Profile과 온도에 따른 T1 및 T2 NMRD Profile 그리고 초상자성 nano-particle size에 따른 T1 및 T2 NMR Profile을 PC (CPU=800 Mhz, memory=128 MB) 환경하에서 symbolic computation tool 인 MathCad (MathCad, USA)를 사용하여 구현하였다.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.142-163
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• 2020

In the early Joseon dynasty, the meritorious vassals' portrait of Jeokgae (1467, 1476), Jeongguk (1506)·Jeongnan (1507), and Wisa (1545) were defined as the 2^nd period of the official uniform, in which the acheongsaek HeukDanryung appeared and settled. A total of seven portraits were analyzed, including three portraits of Jeokgae (1467, portrait production 1476) Son-so, Oh Jachi, and Jang Malson, and four portraits of Jeongguk (1506)·Jeongnan (1507) Yoo Sunjung, Hong Gyeongju, Lee Woo, and Yoo Hong. In the portrait of the Jeokgae wearing a Yebok HeukDanryung, in the case of the Samo, the height of the Samo, which had been raised at the beginning of King Seongjong, was lowered again, and the parietal part was rounded. The pattern was not expressed on the wide oval side wings of the Samo. In addition, the pattern was not expressed on the acheongsaek Danryung, Dapho, and Cheolrik. The colors of Dapho and Cheolrik were unified in green and red, respectively. The Mu of Danryung and Dapho was expressed as 'in and out wrinkled Mu', and the shoes were expressed in Baekhwa. Another feature is that the Jeokgae's portrait is expressed not as the Pumgye at the time of appointment, but as the Pumgye of the portrait production time. In the portrait of the Jeongguk·Jeongnan wearing a Sibok HeukDanryung, the height of the Samo lowered from the Jeokgae was maintained, while the parietal part was slightly narrowed and bent forward. The side wings of the Samo were expressed as an oval with a uniform width, and still the pattern was not expressed on the side wings. The pattern was not expressed in the costume of the Danghagwan's portrait, but the cloud pattern began to be expressed in the costume of the Dangsanggwan's portrait. And the Danryung was expressed as single Danryung without lining. In the portrait of Dangsang, the red Dapho and green Cheolrik were expressed, and in the portrait of Dangha, the green Dapho and blue Cheolrik were expressed. Therefore, it was found that the color of the undergarment was distinguished according to the Dangsang and Dangha. In Danryung and Dapho, the 'in and out wrinkled Mu' were maintained. The shoes were expressed in Heukhwa, and the rank badge and rank belt reflect the Pumgye at the time of the appointment. On the other hand, the portrait of Wisa could not be confirmed, but through the recording painting of the reign of King Meongjong, it was found that it was similar to the Danryung system of the reign of King Jungjong. Through the 2^nd period of the meritorious vassal's portrait of Jeokgae, it was confirmed that the HeukDanryung outfit began to be used as the official uniform of the meritorious vassal's portrait, and that the Pumgye of the portrait production time was reflected in the portrait. After the meritorious vassal's portrait of Jeongguk, the pattern began to be expressed in the costumes, and in particular, it was possible to distinguish Dasang and Dangha by the presence or absence of the HeukDanryung's pattern. In addition, it was confirmed that the expressed aspect of the official uniform was consistent with the practices and regulations at the time.

• Journal of Korean Library and Information Science Society
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• v.44 no.1
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• pp.333-355
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• 2013

This paper is to examine the issues of the right of portrait and to suppose practical guideline for performing arts archives. The right of portrait protects external looks of the human beings based on the constitutional human dignity, privacy of a secret and freedom. But sometimes these rights are limited in case of the right to know of the public shall have precedence to the interests of the privacy of individuals. It is hard to regard Performing Arts as a private life in two respects: first, Performing Arts is just one of societal expressions, two, performers are conducting a given role as a performing character. Producing database with the photos and videos under the reasonable agreement from the performers and making it available as a service can be disclaimers of the right of portrait. It is hard to be acknowledged, however, as disclaimers in case of being undermined sameness in the course of using the portraits of the performers.

• 발명특허
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• v.32 no.11 s.376
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• pp.44-46
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• 2007

21세기는 여성의 세기가 되어 원시적 모계 사회에서 진화된 현대화된 모계 사회로 변화될 것이다. 수많은 여성 발명가들이 우리사회의 난제를 풀어내고 화폐의 초상 인물로 부상되는 날을 그려본다.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.108-117
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• 2018

Xiao Quan is a leading documentary portrait photographer in China. He tried to shoot portrait photographs of celebrities in the literary and artistic world. By doing this, he represented their time period. We explored the way Xiao Quan implemented the times they lived in by analyzing their portrait photographs included in . Our research showed that Xiao Quan used images of their living environments, clothes and facial expressions and composition of portraits. Such various methods of creation are a means for the symbolic expressions of their times. This research not only finds the way Chinese documentary portraits are created but also provides an opportunity to increase the value of documentary portraits as historic documents.

• Investigative Magnetic Resonance Imaging
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• v.7 no.1
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• pp.39-46
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• 2003

Purpose : To develop a theoretical model for magnetic relaxation behavior of the superparamagnetic nano-particle agent, which demonstrates multi-functionality such as liver- and lymp node-specificity. Based on the developed model, the computer simulation was performed to clarify the relationship between relaxation time and the applied magnetic field strength. Materials and Methods : The ultrasmall superparamagnetic iron oxide (USPIO) was encapsulated with biocompatiable polymer, to develop a relaxation model based on outsphere mechanism, which was resulting from diffusion and/or electron spin fluctuation. In addition, Brillouin function was introduced to describe the full magnetization by considering the fact that the low-field approximation, which was adapted in paramagnetic case, is no longer valid. The developed model describes therefore the T1 and T2 relaxation behavior of superparamagnetic iron oxide both in low-field and in high-field. Based on our model, the computer simulation was performed to test the relaxation behavior of superparamagnetic contrast agent over various magnetic fields using MathCad (MathCad, U.S.A.), a symbolic computation software. Results : For T1 and T2 magnetic relaxation characteristics of ultrasmall superparamagnetic iron oxide, the theoretical model showed that at low field (<1.0 Mhz), $\tau_{S1}(\tau_{S2}$, in case of T2), which is a correlation time in spectral density function, plays a major role. This suggests that realignment of nano-magnetic particles is most important at low magnetic field. On the other hand, at high field, $\tau$, which is another correlation time in spectral density function, plays a major role. Since $\tau$ is closely related to particle size, this suggests that the difference in R1 and R2 over particle sizes, at high field, is resulting not from the realignment of particles but from the particle size itself. Within normal body temperature region, the temperature dependence of T1 and T2 relaxation time showed that there is no change in T1 and T2 relaxation times at high field. Especially, T1 showed less temperature dependence compared to T2. Conclusion : We developed a theoretical model of r magnetic relaxation behavior of ultrasmall superparamagnetic iron oxide (USPIO), which was reported to show clinical multi-functionality by utilizing physical properties of nano-magnetic particle. In addition, based on the developed model, the computer simulation was performed to investigate the relationship between relaxation time of USPIO and the applied magnetic field strength.

• Proceedings of the KSMRM Conference
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• 2002.11a
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• pp.129-129
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• 2002

목적： 초상자성 nano 산화철 입자의 특성을 연구하기 위하여, 여러 다른 자기장 세기에서의 NMR 자기공이완시간(T1/T2)을 측정하고, 초상자성 nano-particle 조영제의 기전에 관한 모델로부터 얻어 진 계산식과 비교해보며, 다양한 온도에서의 EPR spectrum을 이용하여 이들의 전자적 성질을 비교해 보고자 하였다.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.180-203
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• 2020

In this study, the period before the Gwanbok of meritorious vassals' portraits was expressed in the acheongsaek-Heuk-Danryung was defined as the first period, and the costumes worn in portraits of meritorious vassals from Gaeguk (1392) in the early Joseon Dynasty to Jwali (1471) during the era of King Seongjong were reviewed. The portraits(1476) of Jeokgae meritorious vassals (1467) depicted as the Gwanbok of acheongsaek Heuk-Danryung were excluded. Among the copies that are currently considered to be portraits of meritorious vassals belonging to the first period, the portraits of Lee-je, Lee Cheon-woo, Ma Cheon-mok, Shin Suk-ju, Seol Gye-jo, and Lee Sung-won were selected, and the formative characteristics of Gwanbok components were examined. The Samo of Sam-Gongsin in the early Joseon Dynasty had a low height, a rounded end, and the side wings were narrow and short. However, since King Danjong, Jeongnan·Jwali meritorious vassals retained a higher form, and the side wings were twice as long. It was also confirmed that the pattern was not expressed in the side wings. The Danryung was expressed in light-colored Danryung without specific colors at the beginning of the country. After King Sejong, the Heuk-Danryung system for Yebok began, but it was not reflected in the Gwanbok of meritorious vassals' portraits, and was expressed as damhongsaek-Danryung after King Danjong. The pattern was not expressed on the exterior of the Danryung, and inner-wrinkled Mu was expressed on the side line. The Dapho and Cheolrik, the undergarments of the Danryung, were also confirmed as being blue (the Dapho) and green (the Cheolrik) after the Jeongnan meritorious vassals. The early Sam-Gongsin's Pumgye was expressed by rank belt, but as the system of rank badge was established after King Danjong, it began to express the Pumgye by rank badge and rank belt. Among the portraits of meritorious vassals, the rank badge was expressed only in the portrait of Sin Suk-ju, a Jeongnan meritorious vassal. As Hwaja worn on the Danryung, Heuk-hwa were confirmed in the Sam-Gongsin portraits of the early Joseon Dynasty. However, in the portraits of Jeongnan and Jwali meritorious vassals after King Danjong, the Baek-hwa was confirmed. In addition, in the seam parts of the Heuk-hwa and Baek-hwa identified in some portraits of meritorious vassals, Hwi decorated with yeongeumsa were identified, and it was found that the Hwaja decorated with Hwi were the Hyeopgeum-hwa worn by the 3rd rank and above.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.103-112
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• 2014

Oh, hein-kuhn is a representative portrait photographer in Korea. His works, , , , which treated portraits of women are a bit different from those of the past that described the appearance of characters. The artist expressed the figure of inner side that conflicts and feels uneasy between 'family and society' and 'child and woman' along with the look of character. That is, he included specific aura which the whole of aunts and girls' group radiates by showing similar photos repeatedly, that we can be aware of 'aunt' and 'girl' by seeing them. The important technique of Oh, hein-kuhn's Portrait Photograph is 'repetition' of image. The artist delivers the meaning of the photo by looking at the character upright in the front and showing photos with similar frame repeatedly. Such form and content of the work as this might feel a bit boring, since it's very simple just like identification picture. However, the photos in the frames which do not move in the fixed position can deliver the meaning of work more clearly rather than the image which expresses flowing time and moving space, we can grasp the message that the artist intends to deliver rather quickly. In the environment of photograph production mainly with image transformation, Oh, hein-kuhn's works of authentic original work method definitely stand forth. Through the portraits of aunts and girls, the artist tells an aspect of our society and we reconfirm the reality through the portraits made by him.

• Journal of the Korean Magnetics Society
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• v.18 no.2
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• pp.63-66
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• 2008

In order to the magnetization and magnetic entropy change for superparamagnetic ferrite nanoparticles, ultrafine cobalt ferrite particles were synthesized using a mircoemulsion method. The peak of X-ray diffraction pattern corresponds to a cubic spinel structure with the lattice constant 8.40 $\AA$. The average particle size, determined from X-ray diffraction line-broadening using Scherrer's, is 7.9 nm. The maximal magnetizations measured at 5 and 300 K are 24.3 emu/g and 17.2 emu/g, respectively. Superparamagnetic behavior of the sample is confirmed by the coincidence of the M vs. H/T plots at various temperatures. According to the thermodynamic theory, magnetic entropy change decreases with increasing temperature.