• Proceedings of the KOR-BRONCHOESO Conference
• /
• 1978.06a
• /
• pp.9.2-9
• /
• 1978

Monaural and binaural hearing aid performance under quiet and noisy conditions were compared in regard to (1) the degree of hearing impairment, (2) the symmetry of pure tone audiogram, (3) the automatic gain control of the hearing aid. (4) hearing impairement with recruitment and, word discrimination ability. Performance using binaural hearing aids was consistently superior to that using monaural hearing aids. The results were as follows. 1. Speech detection thresholds were enhanced by a mean of 4.25dB when tested with danavox 747 PP stereo type hearing aid and by a mean of 4.12 dB when tested hearing aids connected seperately to the right and left ears. 2. Binaurally tested speech reception thresholds were superior to monaurally tested thresholds by a mean of 3.56dB when tested in quiet and by a mean of 5.56dB when tested in noise. 3. Binaurally tested word discrimination scores were also superior by a mean of 17.09% in quiet and by a mean 19.63% in noise. 4. Both SRT and word discrimination scores were performed best by subjects with moderately-severe impairement. The performance by one mildly impaired subject was the poorest of all performances. The levels of performance order were; moderately-severe loss, severe loss. moderate loss and mild loss. 5. The data obtained using AGC aids when compaired with that of linear amplification show that when AGC aids were worn in both ears. the results were very poor but when one AGC aid was worn in one ear and linear amplification in the other. the results were good. 6. The advantages of binaural hearing aids were obvious even in cases 1) with great diferences in hearing thresholds between right and left ears, 2) when the subject was unable to discriminate words without vision and. 3) when the subject had extreme recruitme t phenomenon.

• Radiation Oncology Journal
• /
• v.19 no.1
• /
• pp.21-26
• /
• 2001

Purpose : This study was peformed to evaluate the cosmetic outcome of conservative treatment for early breast cancer and to analyze the factors influencing cosmetic outcome. Materials and Methods : From February 1992 through January 1997, 120 patients with early breast cancer were treated with conservative surgery and postoperative radiotherapy. The types of conservative surgery were quadrantectomy and axillary node dissection for 108 patients $(90\%)$ and lumpectomy or excisional biopsy for 10 patients $(8.3\%)$. Forty six patients $(38\%)$ received adjuvant chemotherapy (CMF or CAF). Cosmetic result evaluation was carried out between 16 and 74 months (median, 33 months) after surgery. The cosmetic results were classified into four categories, i.e., excellent, good, fair, and poor. The appearances of the patients' breasts were also analyzed for symmetry using the differences in distances from the sternal notch to right and left nipples. A logistic regression analysis was performed to identify independent variables influencing the cosmetic outcome. Results : Cosmetic score was excellent or good in $76\%$ (91/120), fair in $19\%$ (23/120) and poor in $5\%$ (6/120) of the patients. Univariate analysis showed that tumor size (T1 versus T2) (p=0.04), axillary node status (N0 versus N1) (p=0.0002), extent of surgery (quadrantectomy versus lumpectomy or excisional biopsy) (p=0.02), axillary node irradiation (p=0.0005) and chemotherapy (p=0.0001) affected cosmetic score. Multivariate analysis revealed that extent of surgery (p=0.04) and chemotherapy (p=0.0002) were significant factors. For breast symmetry, univariate analysis confirmed exactly the same factors as above. Multivariate analysis revealed that tumor size (p=0.003) and lymph node status (p=0.007) affected breast symmetry. Conclusion : Conservative surgery and postoperative radiotherapy resulted in excellent or good cosmetic outcome in a large portion of the patients. Better cosmetic results were achieved generally in the group of patients with smaller tumor size, without axillary node metastasis and treated with less extensive surgery without chemotherapy.

• (The) Research of the performance art and culture
• /
• no.37
• /
• pp.5-31
• /
• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.

• Journal of architectural history
• /
• v.12 no.1 s.33
• /
• pp.25-41
• /
• 2003

This paper is a study of Le Corbusier's trace regulateur of the 1920s, particularly its role in the design of the Villas La Roche-Jeanneret and Stein-de Monzie. It proceeds on the basis of the following three themes: first, the relation between the regulating line and the dom-ino frame; second, its status as a proportional device based not on a module system but one that defines relations; third, its function as an essential practical device in the design process. In the Villa La Roche-Jeanneret, the embedded horizontal planes of the dom-ino frame were constant, but the vortical lines of the columns were altered according to the changes in plan. Initially, a left-hand bay window formed a symmetry with the right-hand bay window, the only constant in the design process. With subsequent changes, mullion sections of the horizontal window and roof elements came to provide the reference points for the regulating line. Eventually, a regulating line different from the one that controlled the bay window and the elongated volume came to control the entrance hall of Villa La Roche, resulting in three different kinds of regulating lines in the final version. In contrast to the Villa La Roche-Jeanneret, a singular and consistent regulation line was anticipated in the earliest design stages of the Villa Stein-de Monzie. The repetition of its A:B grid and the standard $2.5m{\times}1.0m$ sliding window determined the proportions of both its plan and elevation, and thus the regulating line became 'automatic,' losing its viability as a practical tool. Though the regulating titles of the La Roche-Jeanneret look as if they were an afterthought, drawn after the design was complete, they were most active, requiring tenacity and discipline in their application. On the other hand, the seemingly 'redundant' regulating line of the Villa Stein-de Monzie gains its raison d'etre from the dom-ino frame. Its cantilevers and uninterrupted horizontal window could be used in decisive fashion because of the guarantee that the correct proportion would always be maintained. Thus we discover that Le Corbusier's discipline of the 1920s had a certain spectrum of flexibility. His 'parti' ranged from the extremely loose and malleable grid of the Villa La Roche-Jeanneret to the fixed grid of the Villa Stein-de Monzie. In different ways, these projects retain the tension between the dom-ino frame and the regulating line. For Le Corbusier, as much as the grid was an object with fixed attributes, it was also an active medium manipulated by the will of the architect.

• Convergence Security Journal
• /
• v.13 no.2
• /
• pp.67-73
• /
• 2013

This research is to define the Aesthetics of Karatedo as Security Guard Martial Art by explore the aesthetics of Karatedo being invigorated as security guard martial art. The first one is beauty of space. The offense and defense of Karatedo as Security Guard Martial art are to fill in, to come out and to move from side to side. It help to have higher judgment. Secondly, it is beauty of time. It is subjective time felt by people training Karatedo. The third on is beauty of unity. We can see formal beauty of unity such as white dogi or black suit of security guard and dynamic beauty of unity such as quick and slow, strong and soft or movement of hand and foot. The forth one is beauty of symmetry. It can be shown strongly by triangle or moving of team kata and triangle between athletes and referee at Kumite competition. The fifth one is beauty of balance. It can by shown well by continual Karatedo kick motion, jumping kick motion at Kumite, jumping motion, quick turning, or moving such as standing on one foot at kata. The sixth one is beauty of harmony. The whith Dogi and blue or red guard at Kumite competition shows harmony of yin and yang and we can see also various harmony such as strong and soft, quick and slow, or high and low at Kata competition. The seventh one is beauty of curve. We can see beauty of straight line and curve by watching line of hand and foot from starting point to ending point. Specially, moving line of white dogi shows strongly beauty. The eighth one is beauty of rhythm. The rhythm is specified in Kumite kata competition rules. It is also shown by basic step, left and right step, various moving of foot, continual offense of hand or continual rhythm of offense and defense. The last one is bezuty of ethics. It is manner, duty as human, and moderation being important in Karatedo.

• Journal of rehabilitation welfare engineering & assistive technology
• /
• v.11 no.2
• /
• pp.179-186
• /
• 2017

Because facial asymmetry is caused by various causes, the cause analysis is important and quantitative index is needed to the evaluation. In this study, we applied the Nottingham Grading System that was used as a quantitative index to evaluate the facial paralysis by tracking the markers through the image processing and calculating the distance between the markers with images obtained by using the webcam, to evaluate facial asymmetry. The existing Nottingham Grading System has a problem of causing a measurement error in the specific case because the left and right are compared by summing the distance change between the feature points of the face part according to the change of the facial expression. We compared the case of the facial asymmetry and case of normal subject by using the existing Nottingham Grading System and the improved Nottingham grading system. In the existing Nottingham Grading System, case of facial asymmetry and case of facial symmetry were 99.0% and 95.0% respectively in the normal range, but the improved Nottingham Grading System showed facial asymmetry case was 74.0% and facial symmetrical case was 93.2%. The results of experiment show that the improved Nottingham Grading System allows detailed evaluation of each site and improved the problem of the Nottingham Grading System for specific cases.

• The Journal of Engineering Research
• /
• v.2 no.1
• /
• pp.113-123
• /
• 1997

The purpose of this paper is an optimum design of the shaped Cassegrainian antenna system for the base station. The process of the shaped Cassegrainian antenna design is as follows : 1) the aperture field distribution is determined so as to meet design specifications, 2) a proper design parameter is selected, 3) extracting of the dimension data for the main and sub-reflector antenna To do these, Hansen's distribution is chosen as the aperture field, and the far-field pattern from the aperture is predicted by the angular spectrum. Firstly, the aperture field distribution is designed to satisfy the specification for design frequency, it is confirmed if this distribution meet the specification for another frequency band. The main- and the sub-reflectors are synthesized so as for the given beamwaveguide feed pattern to be transformed into the prescribed aperture distribution. The designed system has circular aperture, left-right symmetry and no tilted structure. The continuous surface functions of reflectors are obtained by adopting the global interpolation technique to the discrete reflector profiles. Jacobi polynomial-sinusoidal is used as the basis function. A Ka-band Cassegrainian antenna operates over 17.7 – 20.2 GHz for down-link band and 27.5 – 30 GHz for up-link band is designed.

• Journal of the Institute of Electronics Engineers of Korea SP
• /
• v.48 no.1
• /
• pp.103-110
• /
• 2011

A widely used 3D face reconstruction method, structure from motion(SfM), shows robust performance when frontal, left, and right face images are used. However, this method cannot reconstruct a self-occluded facial part correctly when only one side view face images are used because only partial facial feature points can be used in this case. In order to solve the problem, the proposed method exploit a constrain that is bilateral symmetry of human faces in order to generate bilateral facial feature points and use both input facial feature points and generated facial feature points to reconstruct a 3D face. For quantitative evaluation of the proposed method, 3D faces were obtained from a 3D face scanner and compared with the reconstructed 3D faces. The experimental results show that the proposed 3D face reconstruction method based on both facial feature points outperforms the previous 3D face reconstruction method based on only partial facial feature points.

• Journal of the korean academy of Pediatric Dentistry
• /
• v.46 no.4
• /
• pp.400-408
• /
• 2019

The purpose of this study is to identify the most common canal type in primary molars and the correlation between their roots and canals. A comprehensive understanding of root canal morphology will lead to more successful root canal treatment. Computed Tomography (CT) images from 114 children (81 boys, 33 girls) aged 3 - 7 years were obtained. The locations and numbers of roots and canals were evaluated, and the relationship between root and canal parameters was determined. The most commonly observed canal morphology in primary maxillary molars were mesio-buccal, disto-buccal and palatal canal. Primary mandibular molars most frequently contain mesio-buccal, mesio-lingual, disto-buccal and distolingual canal. All the roots of the primary maxillary molars except for the mesio-buccal root, each had 1 canal while there were 2 canals observed in each root of primary mandibular molars. Without exception, all mesial roots in primary mandibular 2nd molars had 2 canals. In case when either the palatal root in a primary maxillary molar or the distal root in a primary mandibular molar was separated into 2 roots, each root seemed to have its own canal. Even though the disto-buccal and palatal roots were fused into 1 root in primary maxillary molars, this fused root had tendency to have 2 separate canals. Primary mandibular molars showed similar canal morphologies between left and right molars in the same patient, while the primary maxillary molars did not.

• The Journal of Korean Academy of Sensory Integration
• /
• v.17 no.1
• /
• pp.9-18
• /
• 2019

Objective : This study investigated the effect of intensive weight shift training (IWST) on the ability to balance in a sitting posture of children with spastic cerebral palsy (SCP). Methods : One child with spastic diplegia participated in this study for a total of 8 weeks using the ABA experimental design. For the pre-intervention period (A1), general physical therapy (GPT) for children with SCP was performed. The intervention period (B1 and B2), GPT and IWST were conducted for children with SCP, and GPT was conducted again for the post-intervention period (A'1 and A'2). Trunk control capacity was measured using the Korean Trunk Control Measurement Scale (TCMS-K) and Biorescue (RM Ingenierie, France). Results : All TCMS-K variables increased from A1 to B2, and decreased from B2 to A'2. The total area with limit of stability (LOS) increased from A1 to B2, and decreased from B2 to A'2. The ratio of the left/right (Lt/Rt) and anterior/posterior (Ant/Post) LOS area was closer to 1, meaning symmetry, in B2 than in A1. The ratio of the Lt/Rt LOS area decreased further from 1 in A'2 than in B2. The ratio of the Ant/Post LOS area was closer to 1 in A'2 than in B2. Conclusion : IWST had a positive effect on the improvement of balance in the sitting posture of a child with SCP. The results suggest that IWST might help to improve the balance abilities of children with SCP for independent sitting, postural control, and activities of daily living.