• Progress in Medical Physics
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• v.24 no.3
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• pp.162-170
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• 2013

Dedicated single-photon emission computed tomography (SPECT) systems based on pixelated semiconductors are being developed for studying small animal models of human disease. To clarify the possibility of using a SPECT system with CdTe for a high resolution low-dose small animal imaging, we compared the quality of reconstructed images from pixelated CdTe detector to those from a small SPECT system with NaI(Tl). The CdTe detector was $44.8{\times}44.8$ mm and the pixels were $0.35{\times}0.35{\times}5$ mm. The intrinsic resolution of the detector was 0.35 mm, which is equal to the pixel size. GATE simulations were performed to assess the image quality of both SPECT systems. The spatial resolutions and sensitivities for both systems were evaluated using a 10 MBq $^{99m}Tc$ point source. The quantitative comparison with different injected dose was performed using a voxelized MOBY phantom, and the absorbed doses for each organ were evaluated. The spatial resolution of the SPECT with NaI(Tl) was about 1.54 mm FWHM, while that of the SPECT with a CdTe detector was about 1.32 mm FWHM at 30 mm. The sensitivity of NaI(Tl) based SPECT was 83 cps/MBq, while that of the CdTe detector based SPECT was 116 cps/MBq at 30 mm. The image statistics were evaluated by calculating the CNR of the image from both systems. When the injected activity for the striatum in the mouse brain was 160 Bq/voxel, the CNR of CdTe based SPECT was 2.30 while that of NaI(Tl) based SPECT was 1.85. The CNR of SPECT with CdTe was overall higher than that of the NaI(Tl) based SPECT. In addition, the absorbed dose was higher from SPECT with CdTe than those from NaI(Tl) based SPECT to acquire the same quantitative values. Our simulation results indicated that the SPECT with CdTe detector showed overall high performance compared to the SPECT with NaI(Tl). Even though the validation study is needed, the SPECT system with CdTe detector appeared to be feasible for high resolution low-dose small animal imaging.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.114-121
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• 2010

Traditional temples in Korea are the important cultural heritage because of artistic traditonal buildings and structures, paintings, sculptures, and big forest areas which are most ecological and beautiful in Korea. Since traditional temples still function as religious places for very long time, the sense of places intrinsic to the temples are very strong and vivid. The sense of place is very closely related to the conservation of the original landscape type. Recently however, there is a strong tendency to use solar energy in traditional temples because of the low energy efficiency of the old traditional architecture which may have negative impact on landscape which again in turn may lead to the destruction of the sense of place. The purpose of this study was to suggest some landscape design guidelines to protect the sense of place of traditional temple by investigating the impact of solar energy facility on the landscape experience of traditional temple. In order to do perform this purpose, Tongdosa was selected as a study site and four kinds of measurement tools(landscape image, temple identity, landscape satisfaction, degree of landscape improvement) were used as questionnaire items. 180 college students participated in the questionnaire survey. The analysis showed that the solar energy facility had very negative impact on landscape experience such as three landscape image factors(scenic beauty, openness, complexity), landscape satisfaction, temple identity, and landscape improvement. Based on the results, three landscape improvement plans were suggested. First, solar energy facility should be built in the forest in order not to be exposed to visitors, if possible. Second, the landscape management of traditional temple should emphasize on sustaining scenic beauty and temple identity along with the provision of openness. Lastly, detailed landscape guideline should be prepared to regulate the scale, ratio, and the form of the artificial buildings and structures to protect the sense of place of traditional temple.

• Cartoon and Animation Studies
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• s.36
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• pp.281-302
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• 2014

Human beings have advanced to release instinctive desire. Among the human desires, sexual desire is classed as a basic desire with appetite and has been expressed in many ways from prehistoric times to present. Despite the social and ethical restriction, expression of sexual image has been evolved with change of time and medium's development. Thanks to inventing the photograph technique, Change of pornographic image has showed a dramatic aspect since early 20th century. The video which delivers message more directly than the picture boosted this change, and the animation has experimented the expression methods and techniques numerously exceeding the limit of realistic image which reappeared by the device. In this thesis, I want to discuss how human beings express sexual desire in animation based on society's sex culture, and analyzed Japanese pornographic animation as its obvious cases. Japanese pornographic animation should be interpreted as the result of culture and society system's history. Through Heian, Edo and early Meiji period, Japanese sex culture has been kept very openly and preposterously. Transformation, metamorphosis, pedophilia, tentacle sex and exposure of specific body parts that are frequently appear in Japanese animation can be interpreted by ancient Japanese open sex culture like Wakashu, polygamy, sleeping in mixed sex group and pederasty. These Japanese odd sex culture is hard to find elsewhere and settled as intrinsic sexual expression in Japanese animation. This situation was institutionally severed by European Modernization's force at the end of World War II in 20th century. However, it seems they have been keeping their influence in a proper form until now. In this study, I discussed that pornographic animation should be interpreted in a frame of cultural phenomenon by researching the series of procedure that ancient Japanese open sex culture has been changed by the system. Sexuality which is found in general Japanese animation was started from their history, and the dichotomous expression about women can be understood that it is bent by institutionally regulated sexual opinion. Japanese history and culture can be understood that it is transformed to the dichotomy that are simultaneously according freedom of eroticism to the pornographic animation, and the fear and irresistible temptation about the woman's body as the other.

• Journal of the Korean association of regional geographers
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• v.13 no.5
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• pp.543-562
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• 2007

Busan Biennale, began from 2000, has been argued that it would improve 'intrinsic introspection related to localism' against 'a lifestyle forced by capitalism in a global dimension', by promoting urban esthetic imagination in the public sphere of the city and reflecting it upon exhibited artworks. But Busan Biennale seems to reflect partly an attempt for new place marketing or urban reimagineering as a part of postmodern culture, even thought it has been planned to be an authentic stage or public-place art for citizens. This paper is to examine Busan Biennale 2006, held from Sep.16 to Nov.25 in Busan main theme of which is 'everywhere', constituted with three major projects: the Contemporary Art Exhibition, Sea Art Festival, and the Busan Sculpture Project. Ths paper considers first some implications of the transformation of modem to postmodern city, focusing on spatial representation of the city and public place art, and then tries to evaluate whether Busan Biennale is really embedded in the local authenticity and esthetic imagination for citizen or not. As concluding remarks, this paper suggests that Busan Biennale would be continuously developed, when it is oriented more towards local public-place art for citizens with their active participations rather than towards urban reimagineering strategy to make and promote an image of Busan as a global city.

• The Journal of Art Theory & Practice
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• no.2
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• Cartoon and Animation Studies
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• s.17
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• pp.37-51
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• 2009

Immersion is the key factor in determining success or failure for fictional narrative animations. It does matter to not only for the socio-economic achievements like box-office success but to the asthetical achievement, immersion is very important prerequisite character that are raised in terms of research needs. Fictional narrative animation shares the audience's immersive method with the narrative content and Virtual Reality, since animation has the character which narrates itself with the visual image format (including sound) and added the fact that 3D format which emphasizes realism compared with the recent 2D animation has been ubiquitous phenomenon. In other words, the artistic for called 'animation' is located between the view point that text has the immersive point intrinsic and oppositely, specific function of the certain media which stays extrinsic of the text enforce the participants into the immersion. In any case, the subject who experience immersion is the audience, so the most useful theory to research the phenomenon 'immersion' is Constructivism cognitive narrotologic approach which lies the peader-spectator as the centric notion and is more useful than text analysis or research on the visual effects. In this study, research and review about the studies on the audience's immersive experience would be preceded particularly aroud the constructivism theories, and examine the uniqueness and naures of the animation which makes the audience immersive.

• Lingua Humanitatis
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• v.8
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• pp.151-173
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• 2006

Even in this current high-tech industrial age, mythological imagination is considered important. Although each mythology scattered all across the world may have an insignificant origin, to understand that particular society fully, one must not mistakenly assume that the mythology itself is a production of a primitive mind. Ultramodern physics and futurology professor Freeman Dyson has also acknowledged this opinion. He insists that in order for human kind to survive into the far future it most keep in touch with its far past. Levi-Strauss also observes that mythology and science aren't a entirely separate domains. The scientific mind is regarded as a source of understanding the intrinsic qualities of mythology. Taking mythology and science as a binomial opposition, and only weighing their prospects, should be put to the past as we should recognize the need for mythology and science's qualitative unification. In this new point of view, regarding mythology as a meaningless irrationality should cease, while finding out why the inevitably related world of mythology needs metaphoric, ideological consideration. By utilizing 'Whale Rider' by Witi Ihimaera(2004) we will discover why our lives require an 'image' that is borrowed from our experience. The author, Witi Ihimaera, is originally from the Maori tribe, who approaches the world with a mythological imagination, which is not easy to understand with scientific thinking nor in modern civilization. When looking into the mythology of the ocean which still lives in modern civilization, while noting that the world is one, the author indicates that reality and unreality, nature and the super-natural, present and the past, science and fantasy, were not divided from the beginning. However, overtime humans have divided the borders. To do this, the author interprets the ancient emotions of the Maori tribe which have been traditionally accumulated in the group identity in a new literary way by introducing the Maori tribe's ancestral god, Paikia, who can converse with the ocean and the whales. This piece, which has been made into a movie and won awards in 5 international film festivals, including the Toronto International Film Festival, regards primitive emotions as a rational concept instead of an instrumental concept. Also these primative emotions are continuing their attempts to communicate with nature. Furthermore, it advises contemporary human beings who seek for eternal life to not exploit the cultural differences that have been formed naturally, and it is vital for human beings to transcend the ethnic boundaries and to think rationally. In the story, we can find "the dissimilar us" that philosopher E. Levinas mentioned in his sayings, which refers to responsible human beings who devote their lives for the sake of other people instead of fulfilling their own needs.

• Journal of Gifted/Talented Education
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• v.25 no.4
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• pp.607-628
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• 2015

The purpose of this study was to compare gifted and non-gifted high school students on their perceptions of success, grit, aspirations, and achievement goal orientation. Of the 550 high school students surveyed from 4 high schools (i.e., two schools for gifted, two school for non-gifted) in three metropolitan cities, Korea, 496 (i.e., 153 gifted and 343 non-gifted) completed and returned the questionnaire yielding a total response rate of 90.18%. Measures of students' grit (i.e., consistency of interest, and perseverance of effort), aspirations (i.e., intrinsic aspirations - physical fitness, self-growth, affiliation, community contribution, and extrinsic aspirations - financial success, image, fame), achievement goal orientation (i.e., mastery, performance approach and performance avoidance), and perceptions of success (i.e., Success in life is pretty much determined by forces outside our control.) were administered. It was found that the majority of gifted students and non-gifted students perceived that "success is outside our control.", and chose 'hard-working' as the most influential factor on their success. 60.4% of non-gifted students chose 'wealthy family background' as the other most influential factor, whereas only 48.2% of gifted did. Gifted students had higher 'consistency of interest' and 'mastery goals' than non-gifted students. Hierarchical multiple regression analyses showed that grit (i.e., perseverance of effort) was the crucial contributors for enhancing both gifted and non-gifted students' mastery goals and performance approach goals. Results are discussed in relation to theoretical implications and school settings.

• Proceedings of the Korean Society of Crop Science Conference
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• 2017.06a
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• pp.183-183
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• 2017

In the early part of rice growth, root volume primarily limits the amount of plant-accessible nitrogen (N). Therefore, knowledge of the root development is important for modeling N uptake of rice. The timing when the volume of rhizosphere cover the whole soil is also important to carry out timely top dressing. However, information about initial root expansion and associated N uptake is limited due to intrinsic technical difficulties in assessing below-ground processes. Some studies, however, showed a close relationship between below-ground root and above-ground leaf development, suggesting a possibility that above-ground attributes could serve as surrogates for the root processes. In this study, we investigated the relationship between below-ground and above-ground development of rice. Field experiments were conducted where we cultivated Koshihikari (a leading cultivar in Japan) for four different cropping schedules in 2012. In 2016, Gimbozu (HEG4) and three flowering time mutant lines of Gimbozu (X61 (se13), HS276 (ef7), DMG9 (se13, ef7)) were examined for a single season. Experiments were performed with three replications in a completely randomized design. We monitored ammonium-N concentration ([NH4+-N]) in soil solution by repeatedly taking samples from a porous tubing (10-cm long) vertically inserted at the most distant point from surrounding rice hills. Samples were taken in triplicate (= triplicate tubes) and every three days from transplanting in each experimental unit. For above-ground attributes, leaf area index (LAI) was measured in 2012, whereas soil coverage ratio was estimated by image processing in 2016. Results showed that [NH4+-N] increased gradually after transplanting and then rapidly decreased from a certain day. This distinct drop in [NH4+-N] informed us the timing at which the rice root system reached the point of porous tubing and thus essentially covered the whole soil volume. The LAI at the dropping point was about 0.43 regardless of the cropping schedules in 2012 experiment. In 2016, the coverage ratio at the N dropping point was within the range of 0.12 to 0.19 for four genotypes having different growth durations. In addition, the coverage ratios at seven weeks after the transplanting showed a good correspondence to LAI across the four genotypes. We therefore conclude that both LAI and coverage ratio may serve as robust indicators for root development and might be useful to estimate the timing when the root system fully cover the soil volume. Results obtained here will also contribute to develop models that can predict not only above-ground canopy development but also associated below-ground processes.

• Journal of Korean Society for Geospatial Information Science
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• v.23 no.4
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• pp.25-33
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• 2015

The study of ecosystem assessment(ES) is based on land cover information, and primarily it is performed at the global scale. However, these results as data for decision making have a limitation at the aspects of range and scale to solve the regional issue. Although the Ministry of Environment provides available land cover data at the regional scale, it is also restricted in use due to the intrinsic limitation of on screen digitizing method and temporal and spatial difference. This study of objective is to generate UAV land cover map. In order to classify the imagery, we have performed resampling at 5m resolution using UAV imagery. The results of object-based image segmentation showed that scale 20 and merge 34 were the optimum weight values for UAV imagery. In the case of RapidEye imagery;we found that the weight values;scale 30 and merge 30 were the most appropriate at the level of land cover classes for sub-category. We generated land cover imagery using example-based classification method and analyzed the accuracy using stratified random sampling. The results show that the overall accuracies of RapidEye and UAV classification imagery are each 90% and 91%.