• Microbiology and Biotechnology Letters
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• v.41 no.4
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• pp.425-432
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• 2013

Typha orientalis, also known as bulrush or cattail, is a perennial herbaceous plant found in freshwater wetlands and has been widely used in constructed wetlands for wastewater treatment. Recent data has revealed that SH21B, a mixture composed of seven herbs including T. orientalis, exhibited an anti-adipogenic activity by the inhibition of the expression of adipogenic regulators. However, the anti-cancer effect of T. orientalis and its molecular mechanisms remain unclear. In this study, we evaluated the anti-cancer effect and its mechanism in the methanol extract of T. orientalis (METO) on human colon carcinoma HT29 cells. It was found that METO treatment showed cytotoxic activity in a dose-dependent manner, and induced G2/M cell cycle arrest and apoptosis in HT29 cells. The induction of G2/M arrest by METO was associated with the up-regulation of phospho-Cdc2 (Tyr15), an inactive form of Cdc2 and the down-regulation of Cdc25c phosphatase. METO also induced tumor suppressor p53 and cyclin-dependent kinase inhibitor p21 (WAF1/CIP1) expression. In addition, METO-induced apoptosis was characterized by the proteolytic activation of caspase-3, degradation of poly ADP ribose polymerase (PARP), and up-regulation of death receptor FAS and pro-apoptotic Bax expression. Collectively, these results indicate that the cell cycle inhibition and apoptosis induction of METO in HT29 cells allows for the possibility of its use in anti-cancer therapies.

• Cartoon and Animation Studies
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• s.48
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• pp.359-383
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• 2017

3,000 years ago, since the first poster of humanity appeared in Egypt, the invention of printing technique and the development of civilization have accelerated the poster production technology. In keeping with this, the expression of poster has also been developed as an attempt to express artistic sensibility in a simple arrangement of characters, and now it has become an art form that has become a domain of professional designers. However, the technological development in the expression of poster is keep staying in two-dimensional, and is dependent on printing only that it is irrelevant to the change of ICT environment based on modern multimedia. Especially, among the many kinds of posters, the style of movie posters, which are the only objects for video, are still printed on paper, and many attempts have been made so far, but the movie industry still does not consider ICT integration at all. This study started with the feature that the object of the movie poster dealt with the video and attempted to introduce the augmented reality to apply the dynamic image of the movie to the static poster. In the graduation work of the media design major of a university in Korea, the poster of each works for promoting the visual work of the students was designed and printed in the form of a commercial film poster. Among them, 6 artworks that are considered to be suitable for augmented reality were selected and augmented reality was introduced and exhibited. Content that appears matched to the poster through the mobile device is reproduced on a poster of a scene of the video, but the text informations of the original poster are kept as they are, so that is able to build a moving poster looked like a wanted from the movie "Harry Potter". In order to produce this augmented reality poster, we applied augmented reality to posters of existing commercial films produced in two different formats, and found a way to increase the characteristics of AR contents. Through this, we were able to understand poster design suitable for AR representation, and technical expression for stable operation of augmented reality can be summarized in the matching process of augmented reality contents production.

• KSBB Journal
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• v.21 no.3
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• pp.204-211
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• 2006

For the production of the recombinant human interferon-gamma(rhIFN-${\gamma}$) in Escherichia coli, human glucagon and ferritin heavy chain were used as fusion partners. Even though rhIFN-${\gamma}$ is expressed as an inclusion body form in E. coli because of strong hydrophobicity of itself, over 50% of fused rhIFN-${\gamma}$ was expressed as soluble form in E. coli $Origami^{TM}$(DE3) harboring pT7FH(HE)-IFN-${\gamma}$ which encodes ferritin heavy chain-fused rhIFN-${\gamma}$. In the case of using glucagon-ferritin heavy chain hybrid mutant as a fusion partner, 6X His-tag was additionally introduced to N-terminus of GFHM(HE)-IFN-${\gamma}$ for enhancing purification yields of rhIFN-${\gamma}$. Fusion protein HGFHM(HE)-IFN-${\gamma}$ with two 6X His-tag was more effectively bound to Ni-NTA agarose bead than GFHM(HE)-IFN-${\gamma}$ with a 6X His-tag. rhIFN-${\gamma}$ was completely purified from enterokinase-treated HGFHM(HE)-IFN-${\gamma}$ by Ni-NTA affinity column. For high-level production of rhIFN-${\gamma}$, glucose was used as the sole carbon source with simple exponential feeding rate($2.4{\sim}7.2g/h$) in fed-batch process. The effective lactose concentration for the expression of the rhIFN-${\gamma}$ was $10{\sim}20mM$. Under the fed-batch culture conditions, rhIFN-${\gamma}$ production yield reached 11 g DCW/L for 6 hours after lactose induction.

• Korean Journal of Veterinary Research
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• v.44 no.4
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• pp.507-513
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• 2004

Aflatoxins are produced mainly by Aspergillus flavus and Aspergillus parasiticus that grow in improperly stored cereals. Aflatoxin B1 ($AFB_1$) is a potent hepatocarcinogen in a variety of experimental animals including human beings. In spite of a high attention to the hepatocarcinogenecity of $AFB_1$, the relative toxicity of aflatoxins ($AFB_2$ and $AFG_1$) is not fully clarified. Sprague-Dawley male rats were orally administered with $AFB_1$, $AFB_2$, and $AFG_1$ at the dose of 250 ${\mu}g/kg$ (additionally including a dose of $1250{\mu}g/kg $ for $AFB_1$) body weight. Animals were then killed at 12, 24 or 48 hrs following aflatoxin exposure. Subsequently the immunohistochemical examination of p53, cytochrome p450 1A1 (CYP450 1A1), and glutathione-S-transferase placental form (GST-P) were performed. The level of the 8-OxodG in the liver was determined. Expressions of CYP450 1A1 and p53 were high in the liver of rats through 48 hrs after treatment of $AFB_1$ at the single dose of $250{\mu}g/kg $. This pattern was more clear as increasing doses. The treatment of $AFB_2$ and $AFG_1$ did not affect the expression of CYP450 1A1 but it caused weak expression of p53. The activity of GST were not found in the liver of rats treated with aflatoxins. The formation of 8-OxodG by $AFB_1$ increased in a dose-dependent manner up to 24 hrs after a single treatment of $AFB_1$ thereafter decreased to the level of control. The treatment of $AFB_2$ and $AFG_1$ did not affect the levels of 8-OxodG in the liver of rats with increasing time. These results in the present study indicate that $AFB_1$ among aflatoxins with low comparable levels is the most toxic as determined by early biomarkers such as CYP450 1A1, p53, GST-P, and 8-OxodG.

• Archives of design research
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• v.19 no.5 s.67
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• pp.119-128
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• 2006

The scale of visual expression has expanded from freeze frame to motion picture as media have developed. Moving pictures such as animation, movies, TV CM and GUI become formative elements whose movement is necessary compared to freeze frame as apparent movement phenomenon and unit structure such as short and scene appear. Therefore, of formative elements such as a shape, color, space, size and movement, movement is importantly distinguished in the moving image. The expression and form of image as a relationship between the signified and signifier explained by Saussure are accepted as a sign by mutual complement even though they limit the content. This makes it possible to infer that the formal feature of movement participates in the message content. To verify this, the result of moving picture visual perception experiment based on the gestalt grouping principle result shows that 70-80 percent of subjects think that 'movement' is the important grouping clue in perception. Movement affects the maintenance of the context of message content in the communication process when the meaning structure of moving picture is analyzed based on the structural feature. The identity can be maintained with if there is a movement with similar directive point even if the color and shape of people, things and background are changed. Second, the clarity of the content is elevated by a distinguished object as a figure by movement. Third, it acts as a knowledge representation which can predict similar movement process of next information processing. Forth, movement gives the content consistency even though more than two scenes have fast switch and complicated editing structure like cross-cutting. Movement becomes a clue which can make grouping information input by visual perception reaction. Also, it gives the order to the visual expression which can be used improperly by formation of structural frame of image message and has the effectiveness which elevates the clarity of signification. Moving picture has discourse with several mixed unit structures because it fundamentally contains time and the common and distinguished expression is needed by media-mix circumstances. Therefore, by the application of gestalt grouping principle to moving picture field, movement becomes the more distinguished than other formative elements and affects the formation of meaning structure. This study propose a viewpoint that develops structural formative beauty and new image expression in the media image field.

• Journal of Life Science
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• v.16 no.4
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• pp.632-639
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• 2006

Here we examined the expression patterns and regulation of seven photosynthesis (PS) genes (puf, puc, puhA, bchC, bchE, bchF, and bchI) in the anoxygenic photosynthetic bacterium, Rhodobacter sphaeroides, based on lacZ reporter gene assay. Expression of the tested PS genes, except puhA and bchI, were strongly induced in R. sphaeroides grown under anaerobic conditions relative to that under aerobic conditions. The puhA and bchI genes appear to form the operons together with bchFNBHLM-RSP0290 and crtA, respectively. Expression of the puf, puc, and bchCXYZ operons in R. sphaeroides grown photosynthetically was proportional to the incident light intensity, whereas that of bchFNBHLM(RSP0290-puhA) was inversely related to light intensity. Expression of bchEJG was lowest under medium-light photosynthetic conditions $(10\;W/m^2)$ and highest under high light conditions $(100\;W/m^2)$. The regulation of PS genes by the three major regulatory systems involved in oxygen- and light-sensing in R. sphaeroides is as following: puf and bchC are regulated by both the PpsR repressor and the PrrBA two-component system. The puc operon is under control of PpsR, FnrL, and PrrBA system. Expression of bchE is controlled by FnrL and PrrBA two-component system, whereas bchF is regulated exclusively by PpsR. It was demonstrated that the PpsR repressor is responsible for high-light repression of bchF and that FnrL might be involved in perceiving the cellular redox state in addition to sensing $O_2$ itself.

• Journal of Life Science
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• v.29 no.4
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• pp.492-498
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• 2019

Previously, three kinds of lipases, lipAD1, lipAD2, and lipAD3, and lipase chaperone, lipBD, of Acinetobacter schindleri DYL129 isolated from soil sample were reported. In this report, three lipase and lipase chaperone were cloned into the pET32a(+) or pGEX-6P-1 vectors for protein expression in Escherichia coli, and named as pETLAD1, pETLAD2, pETLAD3 and pETLBD or pGEXLAD1, pGEXLAD 2, pGEXLAD3 and pGEXLBD, respectively. Protein expression rate was higher in pET system than in pGEX system. Although LipAD1 and LipAD2 were produced as inclusion bodies, their expression levels were high. So LipAD1 and LipAD2 could be solubilized in 8 M urea buffer and purified. LipAD3 and LipBD were overexpressed in soluble form and purified. Those proteins were purified by His-tag affinity chromatography connected in AKTA prime system. The activities of the purified lipases were demonstrated with 1% tributyrin agar plate. After purification, molecular mass was determined with sodium dodecyl sulfate-polyacrylamide gel electrophoresis. LipAD1 showed high activity toward ${\rho}$-nitrophenyl acetate and ${\rho}$-nitrophenyl butyrate, LipAD2 showed high activity toward ${\rho}$-nitrophenyl acetate and ${\rho}$-nitrophenyl myristate, and LipAD3 showed high activity toward ${\rho}$-nitrophenyl acetate, ${\rho}$-nitrophenyl butyrate, and ${\rho}$-nitrophenyl miristate, respectively. Three lipases, LipAD1, LipAD2, and LipAD3, showed optimal reaction at $50^{\circ}C$ using ${\rho}$-nitrophenyl butyrate, as substrate.

• Cross-Cultural Studies
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• v.53
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• pp.131-161
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• 2018

Emotional expressions are expressions that show the internal condition of mind or consciousness. Types of emotional expressions include vocabulary that describes emotion, the composition of sentences that expresses emotion such as an exclamatory sentence and rhetorical question, expressions of interjection, appellation, causative, passive, adverbs of attitude for an idea, and a style of writing. This study focuses on vocabulary that describes emotion and analyzes the aspect of translation when emotional expressions of 'Hu(怖)' is shown on "Kokoro". The aspect of translation was analyzed by three categories as follows; a part of speech, handling of subjects, and classification of meanings. As a result, the aspect of translation for expressions of Hu(怖)' showed that they were translated to vocabulary as they were suggested in the dictionary in some cases. However, they were not always translated as they were suggested in the dictionary. Vocabulary that described the emotion of 'Hu(怖)' in Japanese sentences were mostly translated to their corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Also, different vocabulary was added or used to maximize emotion. However, the correspondence of a part of speech in English was different from Korean. Examples of Japanese sentences that expressed 'Hu(怖)' by verbs were translated to expression of participles for passive verbs such as 'fear', 'dread', 'worry', and 'terrify' in many cases. Also, idioms were translated with focus on the function of sentences rather than the form of sentences. Examples, what was expressed in adverbs did not accompany verbs of 'Hu (怖)'. Instead, it was translated to the expression of participles for passive verbs and adjectives such as 'dread', 'worry', and 'terrify' in many cases. The main agents of emotion were shown in the first person and the third person in simple sentences. The translation on emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as it was in Korean. However, adverbs of time and adverbs of degree tended to be added. Also, the first person as the main agent of emotion was positioned at the place of subject when it was translated in English. However, things or the cause of events were positioned at the place of subject in some cases to show the degree of 'Hu(怖)' which the main agent experienced. The expression of conjecture and supposition or a certain visual and auditory basis was added to translate the expression of emotion when the main agent of emotion was the third person. Simple sentences without a main agent of emotion showed that their subjects could be omitted even if they were essential components because they could be known through context in Korean. These omitted subjects were found and translated in English. Those subjects were not necessarily humans who were the main agents of emotion. They could be things or causes of events that specified the expression of emotion.

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.46-58
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• 2022

This study analyzed the documentation trend of garden components such as plants, infrastructure, unit facilities, and structures, based on 188 measurement drawings of 94 old houses in a report on the documentation of the national folklore cultural heritage. The findings are as follows. First, it was found that plants and structures continuously appeared as the subject of measurement drawings, while infrastructure was often omitted. It was confirmed that unit facilities, which are smaller than other components, were frequently excluded from the documentation subject as well due to frequent changes such as movement, loss, and expansion. Second, the level of expression in measurement drawings showed different aspects for each component. The unit facilities showed a large change over time with respect to the level of documentation, and the level of documentation was somewhat polarized, particularly toward the latter stage. This suggests that the level of documenting the drawings limited to specific facilities improved, but the overall level of drawings did not improve, such as a lack of diversification of expression techniques suitable for various unit facilities. On the other hand, it was confirmed that the level of documenting the drawings for plants, infrastructure and structures did not change to a significant degree, implying that no improvements were made to the expression of components. Third, as for the technique of detailed expression, in the case of plants, vegetation status was prepared without distinction of old or protected trees that have historical value. Above all, there was no record of the vegetation structure that could help grasp the vegetation landscape of the outer area. As for the infrastructure, there was no consistent expression technique to systematically convey topographic changes such as the height and slope of the land. In addition, since there was no subtype classification defined for unit facilities and structures, there was no subject or method of documentation. This study is meaningful in that it expanded the category of documentation, which has been concentrated on buildings in old houses, to gardens, and called attention to the need for documenting the gardens for the preservation and management of old houses as an integration of the building and outer area.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.