• Cartoon and Animation Studies
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• s.33
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• pp.1-29
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• 2013

Surrealism with the excavation of unconsciousness, seeking for the infinity etc. has established views on aesthetics that conflict traditional western rationalism. The main concern of surrealism is problem of identity and difference. They attempted their own mysterious concept such as 'the marvelous', 'convulsive beauty', 'object chance' etc. These unique views on aesthetics was expressed as various style of art. It is the d$\acute{e}$paysemant that exists one of the typical style in surrealism. D$\acute{e}$paysemant means that objects are taken from be originally place. Therefore, The real world's objects is to leave and change environment from real space as use, ability, meaning of origin. or it is the technique to create surreal illusion that combined to a strange place where relates to extraneous attribute of objects. Namely, objects are newly arranged in expression space. Reconstitutive objects by positioning object over the time and space have given us the marvelous and psychological shock and get unfamiliar meaning and feeling over. This paper is tried to look at the way to use the d$\acute{e}$paysemant which applicated in the media, Especially, focusing on animation. Unlike the other media, animation has its unique artistic characters. First, One of the media characteristics of the animation is creativity images of the hand drawn animation by shooting of frame by frame. The animation image which is created through arrangement obtain life force by unique motility. Works of Norman McLaren and Harry Smith are very interesting that the structural characteristics of the d$\acute{e}$paysemant. It consists with abstract forms and various moving images to let audience the feel characteristics of film. We can experience from these cases, numerous illusion fantasy like change over from creature to inanimate object, space and time, creation and extinction, repetition and metamorphosis etc. One of the main apparat is the emphasis of d$\acute{e}$paysemant in space of frame. In conclusion, d$\acute{e}$paysemant is one of the most characteristic expression technique of surrealism while having inevitable linkage with animation.

• Journal of radiological science and technology
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• v.36 no.4
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• pp.291-297
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• 2013

This study is aimed to evaluate the effect of $T_{1/2}$ upon count rates in the analysis of dynamic scan using NaI (Tl) scintillation camera, and suggest a new quality control method with this effects. We producted a point source with $^{99m}TcO_4^-$ of 18.5 to 185 MBq in the 2 mL syringes, and acquired 30 frames of dynamic images with 10 to 60 seconds each using Infinia gamma camera (GE, USA). In the second experiment, 90 frames of dynamic images were acquired from 74 MBq point source by 5 gamma cameras (Infinia 2, Forte 2, Argus 1). There were not significant differences in average count rates of the sources with 18.5 to 92.5 MBq in the analysis of 10 to 60 seconds/frame with 10 seconds interval in the first experiment (p>0.05). But there were significantly low average count rates with the sources over 111 MBq activity at 60 seconds/frame (p<0.01). According to the second analysis results of linear regression by count rates of 5 gamma cameras those were acquired during 90 minutes, counting efficiency of fourth gamma camera was most low as 0.0064%, and gradient and coefficient of variation was high as 0.0042 and 0.229 each. We could not find abnormal fluctuation in $x^2$ test with count rates (p>0.02), and we could find the homogeneity of variance in Levene's F-test among the gamma cameras (p>0.05). At the correlation analysis, there was only correlation between counting efficiency and gradient as significant negative correlation (r=-0.90, p<0.05). Lastly, according to the results of calculation of $T_{1/2}$ error from change of gradient with -0.25% to +0.25%, if $T_{1/2}$ is relatively long, or gradient is high, the error increase relationally. When estimate the value of 4th camera which has highest gradient from the above mentioned result, we could not see $T_{1/2}$ error within 60 minutes at that value. In conclusion, it is necessary for the scintillation gamma camera in medical field to manage hard for the quality of radiation measurement. Especially, we found a tendency that count rate changes over time at this study, and we proved that it can effect $T_{1/2}$. And also, there is need of appropriate phantoms and the method of quality management like this study, because there are not any advice or limitation degrees for domestic medical purpose scintillation camera.

• Investigative Magnetic Resonance Imaging
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• v.10 no.2
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• pp.81-88
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• 2006

Purpose : To evaluate the MR imaging findings of bowel wall thickening in patients with minimal to moderate cirrhosis, and analyze their clinical significances comparing with laboratory findings. Materials and Methods : We assessed retrospectively the MRI findings of 123 patients with minimal to moderate cirrhosis, and compared these with the clinical laboratory findings. We evaluated the involved sites and MR image findings of thickened bowel wall, as well as the presence of collateral vessels, ascites, and splenic size. These were compared with serum albumin and bilirubin levels, and prothrombin time. Results : Gastrointestinal wall thickening was detected at 37 sites in 25 patients (20%), and more frequently detected in moderate cirrhosis (29%) than in minimal cirrhosis (17%). Jejunum and ascending colon were the most common sites of bowel wall thickening; each was involved at 22 and 9 sites, respectively. Ascending colonic wall thickening was more commonly detected in moderate cirrhosis than in minimal cirrhosis. The thickened bowel wall showed symmetric contour, high signal intensity on T2-weighted images, mixed iso- and low signal intensity on T1-weighted images, and homogeneous or target-like enhancement. Serum albumin level was significantly lower in patients with bowel wall thickening ($3.3{\pm}0.9$ g/dl vs. $3.9{\pm}0.7$ g/dl; p=0.0024). Serum bilirubin level was significantly higher in patients with bowel wall thickening ($1.7{\pm}1.0$ mg/dl vs. $1.4{\pm}1.2$ mg/dl; p=0.0160). Bowel wall thickening did not significantly correlate with the presence of collateral vessels, ascites, splenic size, and prolongation of prothrombin time. Conclusion : In minimal to moderate cirrhosis, the MR imaging evaluation of bowel wall thickening was useful for estimating the severity of cirrhosis and laboratory findings.

• Cartoon and Animation Studies
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• s.27
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• pp.1-30
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• 2012

Oshii Mamoru attempts to project the perception of reality about his own modern world as it is through animation. The precedent studies on Oshii Mamoru put their focus on the point that his works have a tendency to represent the devastation of reality as the image of 'a ruin.' In addition, they gave an impression that Oshii Mamoru's animation has gradually developed to expose the 'realistic taste[beauty]' from the design perspective. However, this study is going to put its focus on the point that Mamoru's works were created as an attempt at finding the subversive possibility of the suppressed modern world under the modern capitalism in the aspect of 'everyday life' of the modern world. First, for its analytical purpose, this study intends to do that by dividing the work into the three layers such as space, body and everyday life. In Chapter II, this study, in relation with the issue of 'space' representation, analyzed the space in into the modern, mechanical, compactly capitalized space and also the space just like a closed circuit having the nature of 'repetition.' In Chapter III, this analyzed that suggests the body moving freely between a human named 'Kildren' and the inhuman from the aspect of character's body, through which Mamoru represents the capitalized, reified body of the modern world. In addition, this analyzed the extreme anxiety facing the body into the reflection of the phenomena of 'anxiety' and 'placelessness' consequent on the labor flexibility of the modern world. In Chapter IV, this study, on the basis of the analysis of layers of space & body, analyzed that the 'everyday life' of the modern world was represented in the respects of 'memory' and 'habit', and in the aspects of Mise-en-Sc$\grave{e}$ne, design and direction. In Chapter V, this rooted out the fact that Mamoru suggested the attempt at 'appropriation' based on his perception of reality about such a modern world. Such a finding includes unearthing the fact that Oshii Mamoru's work is raising a question about how to desert and appropriate the modern space. In conclusion of Chapter VI, this drew the conclusion that Oshii Mamoru's work represented the layer of 'everyday life' while dealing with the post-modern themes shown by the existing modern SF genre, provided the 'window' through which people can perceive the 'modern world radically by recommending an attempt at 'appropriation', and blazed a trail in a new realm of creation for animations.

• Cartoon and Animation Studies
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• s.51
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• pp.293-319
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• 2018

Thanks to the advancement of the related technologies and equipment, today's video contents like movies, animations and soap operas are rapidly expanding their expressible cinematic imagination area. In order to fulfill the elevated visual expectations of audiences and realize exciting storytelling and fantastic world, the fusion of different techniques is actively used, and the reality for visual effects and image synthesis is increasing more and more. Accordingly, recent VFX-oriented movies using CG have a much more complicated production process than before. Therefore, the importance of Pre-visualization, aka Pre-vis is becoming bigger in the planning process for sophisticated design. Pre-vis means that the advance visualization for stories or directing ideas in the planning process before starting production of movies or animations. 3D animated Pre-visualization realizing directors' abstract and ambiguous ideas in 3 dimensional environment in advance is, as a powerful means for visual storytelling, briskly used focusing on the VFX film industry on which the present CG is broadly used, and the role of Pre-vis throughout productions has increased compared to the past. The studies, however, on the role and utility of Pre-vis are not enough. Therefore, this study was conducted on the role of Pre-vis used for present VFX movie productions using the examples of 3D animated Pre-visualization production in which the researcher of this study participated. In this study, the role of the Pre-vis that is subdivided presently, is divided into and 3D animatics and their each role is analyzed with the example images. Through this, the characteristics that Pre-vis should have are clarified and the concept of the advantages and utility led by the use of Pre-vis in productions is strengthened. The goal of this study is to induce active uses of Pre-vis throughout productions after forming consensus about the various roles of Pre-vis and their utility.

• Cartoon and Animation Studies
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• s.31
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• pp.153-176
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• 2013

In the early 20th century, the some of futurist painter was attempted to represents the 'fast-paced' and 'dynamism' on a two-dimensional picture. The expression of fast-paced and dynamic for look like move image in the painting have evolved as a variety of visual symbol. Visual symbols that represent these movements were settled as the line of the most movement expression in the comic. The of Toriyama Akira gained worldwide popularity is emphasized speed and dynamism as the action genre in cartoon, is nice a data to research the line of the movement expression of cartoon. There is three terms as the action line, The speed line, the effect line on the movement expression in The glossary of in the dictionary of , but it not easy to Separate them by means similar. This study is willing to says the semantically problem of previous lines on the movement expression and to present a new alternative in order to study the line on the movement expression of . This study Separate the line on movement expression from symbolic the perspective and try to newly define by using, was classified lines of four kinds by add the afterimage line on existing the speed line, the motion line, the effect line. First, the speed line was defined as 'The line expressing the movement expression of a moving target as the concept of speed'. It on the way of expression was subdivided the direct as speed line when it alter the shape of the target and the indirect speed line when it alter the background of the target. Second, the motion line was defined as 'The line simplified the moving form or the moving path of moving target'. Third, the effect line was defined as 'the line emphasizing the movement expression of a moving target by Sensory expression or emotional expression. Fourth, the afterimage lines was defined as 'The line expressing slowly moving or swaying the movement expression of target to the afterimage effect. The terminology presented in this study will be able to help the understanding of the line on the movement expression .

• Trans-
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• v.7
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• pp.19-48
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• 2019

This study was described to examine the meaning of the media exhibition work <70mK>, which aims to capture the topography of the collective consciousness of the Korean people through large-scale interviews. <70mK> edits and organizes interview images of individual beings in mosaic-like layouts and forms, creating video exhibitions and holding exhibitions. The objects in the split frame show the continuity of differences that reveal their own thoughts and personalities. This is a synchronic and conscious collective typology in which the intrinsic nature of the individuals is embodied in a simultaneous and holistic image. Interview images reveal their own form as a actual being and convey the intrinsic nature of one's own as oral information. <70mK> constructs a new individualization by aesthetically structuring the forms and information of life individuals in the extension of a specific group. The beings in the frame are not communicating with each other and are looking straight ahead. it conveys to visitors their relationship and personality as the preindividual reality. It is the repetitive arrangement and composition of heterogeneity and difference that each individual shows, and is a chain operation that includes collective identity behind it. <70mK> constructs the direct images and sounds of individual interviewee, creating a new form of information transfer called Video Art Exhibition. This makes metaphors and perceptions of the meaning and process of transindividual relationships and the meaning of psychic individuation and collective individuation. This is an appropriate case to explain with modern technology and individualization of Gilbert Simondon thought together with the meaning of becoming and relation of individualization. The exhibition space constructed by <70mK> is an aesthetic methodology of the psychic and collective meaning and its relationship to a particular group of individuals through which they are connected. Simondon studied the meaning of the process of individualization and the meaning of becoming, and is a philosopher who positively considered the potential of modern technology. <70mK> is a new individual as structured and generated ethical reality mediated by modern technology mechanisms and network behaviors. It is an case of an aesthetic and practical methodology of how interviews function as 'transduction' in the process of individualization in which technology is cooperated. The direct images and sounds of <70mK> are systems in which the information of life individuals is carried, amplified, accumulated and transmitted. It is also a new individual as a psychic and collective landscape. It is a newly became exhibition art work through the multiple individualization, and is a representation of transindividual meanings and process. The media exhibition art of individualized metastable states leads to new relationships in which viewers perceive the same preindividual reality and feel affectivity. The exhibition space of <70mK> becomes a stage for preparing the actual possibility of the transindividual group beyond the representation of the semantic function.

• Proceedings of the Korean Association of Geographic Inforamtion Studies Conference
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• 2003.04a
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• pp.363-368
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• 2003

We have successfully developed a more effective algorithm to extract the lineament in the area covered by wide alluvial deposits characterized by a relatively narrow range of brightness in the Landsat TM image, while the currently used algorithm is limited to the mountainous areas. In the new algorithm, flat areas mainly consisting of alluvial deposits were selected using the Local Enhancement from the Digital Elevation Model (DEM). The aspect values were obtained by 3${\times}$3 moving windowing of Zevenbergen & Thorno's Method, and then the slopes of the study area were determined using the aspect values. After the lineament factors in the alluvial deposits were revealed by comparing the threshold values, the first rank lineament under the alluvial deposits were extracted using the Hough transform In order to extract the final lineament, the lowest points under the alluvial deposits in a given topographic section perpendicular to the first rank lineament were determined through the spline interpolation, and then the final lineament were chosen through Hough transform using the lowest points. The algorithm developed in this study enables us to observe a clearer lineament in the areas covered by much larger alluvial deposits compared with the results extracted using the conventional existing algorithm. There exists, however, some differences between the first rank lineament, obtained using the aspect and the slope, and the final lineament. This study shows that the new algorithm more effectively extracts the lineament in the area covered with wide alluvlal deposits than in the areas of converging slope, areas with narrow alluvial deposits or valleys.

• 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.

• Investigative Magnetic Resonance Imaging
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• v.2 no.1
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• pp.14-30
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• 1998

Manganese is an essential element in the body. It is mainly deposited in the liver and to a lesser degree in the basal ganglia of the brain and eliminated through the bile duct. Rapid turnover of managanese in the body makes it difficult to evaluate the manganese exposure in workers, esecially in those with irregular or intermittent exposure, like welders. Therefore, conventional biomarkers, including blood and urine manganese can provide only a limited information about the long-tern or cumulative exposure to manganese. Introduction of magnetic resonance imaging (MRI) made a progress in the assessment of manganese exposure in the medical conditions related to manganese accumulation, e. g. hepatic failure and long-term total parenteral nutrition. Manganese shortens spin-lattice(T1) relaxation time on MRI due to its paramagnetic property, resulting in high signal intensity (HSI) on T1-weighted image(T1W1) of MRI. Manganese deposition in the brain, therefore, can be visualizedas an HSI in the globus pallidus, the substantia nigra, the putamen and the pituitary. clinical and epidemiologic studies regarding the MRI findings in the cases of occupational and non-occupational manganese exposure were reviewed. relationships between HSI on T1W1 of MRI and age, gender, occupational manganese exposure, and neurological dysfunction were analysed. Relationships betwen biological exposure indices and HSI on MRE werealso reviewed. Literatures were reviewed to establish the relationships between HSI, Manganese deposition in the brain, pathologic findings, and neurological dysfunction. HSI on T1W1 of MRI reflects regional manganese deposition in the brain. This relationship enables an estimation of regional manganese deposition in the brain by analysing MR signal intensity. Manganese deposition in the brain can induce a neuronal loss in the basal ganglia but functional abnormality is supposed to be related to the cumulative exposure of manganese in the brain, use of brain MRI for the assessment of exposure in a group of workers seems to be hardly rationalized, while ti can be a useful adjunct for the evaluation of manganese exposure int he cases with suspected manganese-related health problems.