• Journal of the Economic Geographical Society of Korea
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• v.26 no.3
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• pp.202-222
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• 2023

This study traces the growth and changes in the spatial distribution and characteristics of media cluster in Seoul by focusing on the co-evolution of film and TV production. To identify the spatial distribution and aggregation of film and broadcast TV production, we measure their spatial auto-correlation based on Moran's I and LISA, using the data from the Census on Establishments of the National Statistical Office. In addition, the eleven semi-structured interviews conducted with workers in the media industries, such as film crews and TV drama producers, help to clarify the complexity and dynamics of diverse factors that affect spatial distribution of media cluster. This multi-method study shows the increasing polycentricity of media cluster in the last decade. Gangnam, Mapo, Yeouido, Gangseo-Yeongdeungpo, and Seongsu have emerged as key hubs for media industries, particularly in light of changes in the transportation system and the real estate market. The finding indicates the co-evolution of film and broadcast TV production, demonstrating how the characteristics of the creative industry and metropolitan changes are intertwined with each other in shaping the geographical pattern of the media cluster.

• Journal of the Korean Geotechnical Society
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• v.39 no.12
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• pp.75-91
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• 2023

In this study, we explore the use of ground penetrating radar (GPR) for the nondestructive survey of subsurface conduits, focusing on the challenges posed by multichannel environments. A key concern is the shadow regions created by conduits, which significantly impact survey results. The shadow regions, which are influenced by conduit position and diameter, hinder signal propagation, thereby making detection within these regions challenging. Using finite-difference time-domain numerical analysis, we examined the characteristics of conduit signals, which typically manifest in hyperbolic patterns. Particularly, we investigated three conduit arrangements: horizontal, vertical, and diagonal. Automatic gain control was applied to amplify the signals, enabling the analysis of variations in shadow regions and signal characteristics for each arrangement. In the horizontal arrangement, the proximity of the two conduits resulted in the emergence of a new hyperbolic pattern between the existing conduits. In the vertical arrangement, the lower conduit could be detected using hyperbolic signals on either side, but the detection was challenging when the upper conduit diameter exceeded that of the lower conduit. In the diagonal arrangement, signal characteristics varied based on the position of shadow regions relative to the detection range of the equipment. Asymmetrical signal patterns were observed when the shadow regions fell within the detection range, whereas the signals of the two conduits were minimally impacted when the shadow regions were outside the detection range. This study provides vital insights into accurately detecting and characterizing subsurface multichannel conduits using GPR-a significant contribution to the field of subsurface exploration and management.

• Journal of Chest Surgery
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• v.42 no.3
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• pp.305-310
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• 2009

Background: The Ross procedure is known as a good surgical option for a young age group with aortic valve problems, but few reports on the Ross procedure are available in the Korean literature. This study is a review of our midterm results of 10 year experience with the pediatric Ross operation in Asan Medical Center. Material and Method: From March 1997 to October 2008, eighteen patients who were aged less than 16 years underwent the Ross procedure. There were 11 males and 7 females. The patients median age was 8.5 years (range: $0.5\sim14.0$). The aortic valve pathophysiology was 6 patients with aortic insufficiency, 4 patients with aortic stenosis, 7 patients with mixed aortic stenoinsufficiencey and 1 patient with infective endocarditis. The valve morphology was bicuspid in 11 and tricuspid in 7. All the patients were operated on with the root replacement technique. All the pumonic valves were replaced with an allograft except for one pericardial monocusp valve. The mean follow up duration was 52.8 months (range: 5.8$\sim$138.2 months). We reviewed the echocardiographic data with focusing on the, auto-graft dysfunction and reoperation. Result: There was no hospital mortality and late mortality. According to the last echocardiographic data, 2 autografts showed aortic regurgitation grade 2, 4 autografts showed aortic regurgitation grade 1 and the others were less than trivial. Reoperation of the pulmonic position conduit was performed 4 times in three patients. The rate of freedom from reoperation at 5 years was 72.2%. On the serial follow up, the Z-values of the aortic annulus/aortic sinus were changed from $1.6{\pm}1.7/0.9{\pm}1.7$ at preoperation to $1.8{\pm}1.6$(p=0.64)/$2.2{\pm}0.9$ (p=0.01) at the last follow-up. There was no significant relation between the growth of the neoaortic root and neoaortic insufficiency. Conclusion: Our midterm results of the Ross procedure in pediatric patients showed good autograft function and growth potential. Vet reoperation due to allograft dysfunction was a major concern.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.