• Restorative Dentistry and Endodontics
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• v.25 no.1
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• pp.109-115
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• 2000

This study was designed to evaluate the microhardness of restorative composite resin and dual-cured composite resin cement which were light cured through the 1.5mm thickness composite overlay. For restorative materials, Z100 and Tetric Ceram were used. For dual cured composite cements, Variolink II((VL II) of three consistency (low, high, ultra high) were used. To determine the optimal microhardness of Z100, Tetric Ceram and Variolink II, each material was packed into the 1mm thickness teflon mold without composite overlay and light cured for 60 seconds. Then the microhardnesses of each sample were measured, averaged and regarded as optimal hardness of each material. To evaluate the microhardness of restorative composite resin and dual-cured composite resin cement which were light cured through the 1.5mm thickness composite overlay, the composites were packed into 1mm thickness teflon mold, coverd with celluloid strip, and then precured composite overlay which was made of Targis(Ivoclar/Vivadent, Liechtenstein) was positioned. 2 types of visible light curing machine, the power density of one of which was 400$mW/cm^2$ and the other was 900$mW/cm^2$, and one type of argon laser were used to cure the restorative composite and dual cured cement. For each group, 10 sample were assigned. The light curing tip was positioned over the composite overlay and light cured for 1min., 2min. or 3min with visible light curing machine or 15sec, 30 sec, 45sec, and 60 sec with argon laser. The Vickers hardnesses of upper and lower surface of Z100, Tetric Ceram, and 3 types of VL II cement were measured. When the 900 $mW/cm^2$ curing light was used, 2min. was needed for optimal curing of Z100 and Tetric Ceram. Variolink II did not be cured optimally even though the curing time was extended to 3min. When 400$mW/cm^2$ curing light was used, 3min. was necessary for Z100, whereas 3min. was not enough for Tetric Ceram. Variolink II was not cured optimally even though the curing time was extended to 3min. When argon laser was used, Z100, Tetric Ceram and Variolink II were not cured optimally in 60 seconds.

• The Journal of Korean Academy of Prosthodontics
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• v.46 no.4
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• pp.351-358
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• 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
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• s.37
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• pp.509-537
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• 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'.

• Journal of the Korean Society of Costume
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• v.22
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• pp.263-276
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• 1994

The achievement of notable social reoforms attained during the period of 19th and 20th centuries needlessly speaking remodelded the social environmental into several different patterns such as :1) high industrialization 2) propensity to consume 3) up graded overall social stands. Accordingly the industrial world of the but-tons too established the mess production syhstem by breaking from convention of hand-craft work of 17th century. The raw materials used in the production line on buttons during the 20th century are almost all-kind of materials one can possibly named including cheap plastic which enabled production lines to produce cheaper but higher productivities of the buttons being produced, The design (incused design) used in the 19-20h centuries are : men landscape, sports features, birds, livestocks, bugs, or geomatric features, tec, 1, The classification o f the buttons by materials Techniques shapes colors marking (Incused design) used in the productionof buttons in the England United States of America Laska Italy france Denmark Japan and India are categolizzed as : natural raw materials and syntetical resines. 1) Of the natural raw materials used are : Matal Enamel Iodine Agate, Coral, Green jade(Jasper) Granite, Wood, Ivory, Horn and bone etc. 2) The sythetical resin used in the button in-dustries are : Artificial jewell glass Acrylic material Styroform Celluloid and Nylon etc. 2. The thecnique quoted in producing buttons are hand craft work inlay work precision casting press mosic dye etching, processing, engraving and embossed carving etc. 3. The major designs used in the buttons in -dustries are : Round shape however elliptical column angular and edge shape often used. 4. The colors used are : The multi-colors were highly used than mono-colored materials such as : Adjoining Color and Contrast Color. The highest consideration to be considered in choosing the colors for the buttons are harmonization and matching factor with the garment or dresses to be wore. 5. The major design(incused design) on the buttons are embodiment and the design were also used in order of abstractive-combination abstractive with has offers much surprising. The button industries during the 19th and 20th centuries were not only the determination factors those can judge the value of self-pride of Nation and which were far beyond the in-dustrial arts in those days but also highly refelected and influenced by cultural sense ideology and self-pride of the Nation of those period. The followings are details of the role of the buttons categolized in the order of functional ornamental and symbolical aspects : 1. The functional role : The functional role of the buttons were simply designed for dress how-ever the buttons beyond from this role of function now a days. 2. The ornamental role : The ornamental role of he button beyond from this role of the button were effectuated by : 1) shape materials colors 2) technique locations size and design (incused design) 3) The ramaterials used for buttons shall not be over looked because it is highly depends on the taste sense and combination of harmony with the garment to be wore. 4) The color of the buttons are made well contrasted with the color of garments just as in the case of other artistical area such as matchs with the color of garment of contrast with brigtness of colors contrasted as complementary color and so and so. 5) The technique being adoped are: precision casting press handcraft inlay work etching mosic etc,. Since the buttons are no longer a simple catching devise used to fasten together the different part of the dress but now it has formed own and occupied the independent role in the garment or dresses location can be de-termined and varying depending on the ideas of designers. The size of the buttons has no specific limits, However the variation has widely dependined on the entire circumperence rhythm contrast harmonization of the garments. 3. The symbolical role : Since the button is no longer a just a simple devise for catching and fastening device used fastening together the different part of the garments but now were built a independent area as major part of the Garment and well reflected all kinds of occupations political background cultural as-pect etc. on the buttons. The design of buttons in the western circles are more simplified but they are polished looks and their techniques of manufacturing are comination of both machanis and handcraft. The colors used in the buttons are pretty well harmonized with garment(dress). Almost all kind of materials can be used in the but-tons however materials used in the buttons are : Bone of livestocks ivory, turtle shell are no longer used because the prevention of cruely of animal. On the contraly the level of buttons indus-try of Korea is far to reach and catch up with the level of western circles. It is highly suggested therefore the but-tons industrial field of Republic of Korea shall place and encouragement in producing beter industrial environment of the buttons based on the traditional and cultural aspect of republic of Korea to produce both manufacturing of qulified and best designed and colored buttons.