• The korean journal of orthodontics
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• v.28 no.2 s.67
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• pp.237-253
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• 1998

Surgical-orthodontic treatment is performed for the skeletal Class III patients with no remaining growth and too big a skeletal discrepancy (or camouflage treatment, and two jaw surgery is needed in order to have maximum effect in such patients. In two jaw surgery cases, surgical alteration of the occlusal plane is necessary to establish optimal function, esthetics and postoperative sability, therefore the establishment of the occlusal plane is essential in diagnosis and treatment. The object of this study is to evaluate the stability of the indiviual ideal occlusal plane bsaed on the architectural and structural craniofacial analysis of Delaires. Thus, the subjects of this study were 48 patients who underwent two jaw surgery, and divided in two groups. Each group were composed of 24patients, A group were operated with ideal occlusal plane and B group were not. Two groups were compared at the preoperative, immediate postoperative (average 4.3days), and long-term postoperative (average 1.3years) lateral cephalometric radiographs. The following results were obtained: 1. There was no significance in occlusal plane angulation between $T_2\;and\;T_3$. Average long term follow-up changes of occlusal Plane angle were $0.24^{\circ}{\pm}2.43$, with FH plane and $0.15{\circ}{\pm}2.16{\circ}$ with SN plane in all 48 patients. These results demonstrated that the occlusal plane after two jaw surgery in skeletal Class III malocclusion was stable. 2. There was no significance in postoperative stability of occlusal plane between A and B group. 3. There was no significance in postoperative stability of occlusal plane depending on surgeon and operative method within each group. 4. The postoperative changes of occlusal plane were correlated to the postoperative changes of jaw rather than tooth position. 5. There was no correlation between the postoperative changes of occlusal plane and maxillary impaction and mandibular setback with surgery.

• Journal of the Korea Computer Graphics Society
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• v.3 no.1
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• pp.57-67
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• 1997

The navigation of virtual space comes down to the manipulation of the virtual camera. The movement of the virtual cameras has 6 degrees of freedom. However, input devices such as mouses and joysticks are 2D. So, the movement of the camera that corresponds to the input device is 2D movement at the given moment. Therefore, the 3D movement of the camera can be implemented by means of the combination of 2D and 1D movements of the camera. Many of the virtual space navigation browser use several navigation modes to solve this problem. But, the criteria for distinguishing different modes are not clear, somed of the manipulations in each mode are repeated in other modes, and the kinesthetic correspondence of the input devices is often confusing. Hence the user has difficulty in making correct decisions when navigating the virtual space. To solve this problem, we use a single navigation metaphore in which different modes are organically integrated. In this paper we propose a helicopter pilot metaphor. Using the helicopter pilot metaphore means that the user navigates the virtual space like a pilot of a helicopter flying in space. In this paper, we distinguished six 2D movement spaces of the helicopter: (1) the movement on the horizontal plane, (2) the movement on the vertical plane,k (3) the pitch and yaw rotations about the current position, (4) the roll and pitch rotations about the current position, (5) the horizontal and vertical turning, and (6) the rotation about the target object. The six 3D movement spaces are visualized and displayed as a sequence of auxiliary windows. The user can select the desired movement space simply by jumping from one window to another. The user can select the desired movement by looking at the displaced 2D movement spaces. The movement of the camera in each movement space is controlled by the usual movements of the joystick.

• The Journal of Korean Society for Radiation Therapy
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• v.22 no.2
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• pp.135-144
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• 2010

Purpose: The purpose of this study is that through production of phantom for respiration gated radiotherapy, assessing appropriacy of exposure dose for the therapy using RPM (Real-time Position Management). Materials and Methods: We located measurement object on the phantom for respiration gated radiotherapy made of 2 linear actuator, acrylic panel, stanchion, iron plate ets. to drive (up, down, front, back). Using 4D CT scan, we analyzed patient's respiration and reproduced the movement by computer. On the phantom, we located a 2D-Array (PTW) and an White water phantom (4.5 cm) and used DMLC (interval 2 cm) in the field size $10{\times}10\;cm$, then exposed 21EX X-ray 100 MU, in the case of phantom was (1) static (2) moving (3) gated using RPM respectively gantry $0^{\circ}$ and $90^{\circ}$ We measured with a 0.125 CC ionization chamber (PTW) on the phantom (7.5 cm) in the same condition. Results: Ionization chamber: There were within 0.3% of error with gating respiration and approximately 2% of error without gating in the same condition. 2D-Array: Gantry $90^{\circ}$, field size $10{\times}10\;cm$, using DMLC. There were within 3% of error with gating respiration and approximately 16% of error without gating. Conclusion: The phantom for respiration gated radiotherapy makes plans considering patient's movement, quantitative analysis of exposure dose and proper assessment therapy for IMRT patients using RPM possible.

• The Korean Journal of Air & Space Law and Policy
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• v.21 no.2
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• pp.157-179
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• 2006

According to the Annex 17 to the Convention on International Civil Aviation, an appropriate authority of each contracting state has to define and allocate tasks and coordinate activities between the departments, agencies and other organizations of the State, airport and aircraft operators and other entities concerned with or responsible for the implementation of various aspects of the national civil aviation security programme. The airport has to take leading role in implementing security tasks at airport area because the airport operator is the provider of airport facilities and services to its customer and the security activities belong to its services. So Republic of Korea Government enact the Law, Aviation Safety and Security. The Purpose of this Act is to prevent any unlawful act in airport facilities with international conventions, including the ICAO to provide for standards, procedures and mandatory matters needed to ensure the safety and security of civil aviation. But the Act has some error. So is this paper to review the revision of aviation security regulation and the changes of aviation security responsibilities and task assignment. There is the term "aviation security personnel", who are charged with the task of preventing any act of disrupting the order and safety in airport. But there is no term "security screening personnel" who performs to detect or search for dangerous object, such as weapons or explosives, which may be used for the unlawful obstruction.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.67-99
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• 2019

This paper analyzed romance novels imported into Korea in the 1980s and examined the traits of Korean girls' culture at that time. To this end, This paper chose as subjects the series of 'high-teen romance' published by Samjungdang, 'princess bestseller' by Seoul Publishing and the 'silhouette romance' by Joongang Ilbo in the 1980s. Through the aspects of the paperback romances, the traits of the artist, the content of the work, and the response of the reader, this paper analyzed the position and affection of romance as a genre in Korean culture in the 1980s. In the 1980s, most of the paperback romances available in Korea were translations of the modern and progressive present lines of Harlequin Enterprise's category romance. There were also many writers who were mostly introduced with progressive characters like Charlotte Lamb. The Harlequin romance depicts a story of sensual love. These translated 1980s paperback romance novels allowed girls in Korea to freely imagine the problems of sex and love. In particular, it showed a new perspective on women's sexuality. In Korean love novels, the sexuality of women was treated as an object for the gaze of men. The novels of female writers as college student who criticized this dealt with women's sexuality, but focused on criticism and resistance to the ideology of chastity. The paperback romance made it possible for women to freely enjoy their sexuality by escaping the ethical standards of reality. In addition, the paperback romance was an escape from the frustration of love. Romantic love in Korean love novels did not lead to the unification of mind and body, and always ended in tragedy. On the contrary, the paperback romance started with the fear of the girl who felt love for the first time, showed the process of winning over anxiety, confirming love and reaching a happy marriage. Through this, girls understood general love that was not subordinated to the ideology of chastity, and accepted love positively. The process of establishing romance as a genre in Korean culture and the traits of its readers have not yet been sufficiently clarified yet. This paper compared the romance genre with the other love novels of the day, explaining the position and meaning of the romance genre in Korean culture in the 1980s. Through this, we were able to chart the historical development of the Korean romance genre.

• Journal of Intelligence and Information Systems
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• v.26 no.2
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• pp.1-25
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• 2020

In this paper, we suggest an application system architecture which provides accurate, fast and efficient automatic gasometer reading function. The system captures gasometer image using mobile device camera, transmits the image to a cloud server on top of private LTE network, and analyzes the image to extract character information of device ID and gas usage amount by selective optical character recognition based on deep learning technology. In general, there are many types of character in an image and optical character recognition technology extracts all character information in an image. But some applications need to ignore non-of-interest types of character and only have to focus on some specific types of characters. For an example of the application, automatic gasometer reading system only need to extract device ID and gas usage amount character information from gasometer images to send bill to users. Non-of-interest character strings, such as device type, manufacturer, manufacturing date, specification and etc., are not valuable information to the application. Thus, the application have to analyze point of interest region and specific types of characters to extract valuable information only. We adopted CNN (Convolutional Neural Network) based object detection and CRNN (Convolutional Recurrent Neural Network) technology for selective optical character recognition which only analyze point of interest region for selective character information extraction. We build up 3 neural networks for the application system. The first is a convolutional neural network which detects point of interest region of gas usage amount and device ID information character strings, the second is another convolutional neural network which transforms spatial information of point of interest region to spatial sequential feature vectors, and the third is bi-directional long short term memory network which converts spatial sequential information to character strings using time-series analysis mapping from feature vectors to character strings. In this research, point of interest character strings are device ID and gas usage amount. Device ID consists of 12 arabic character strings and gas usage amount consists of 4 ~ 5 arabic character strings. All system components are implemented in Amazon Web Service Cloud with Intel Zeon E5-2686 v4 CPU and NVidia TESLA V100 GPU. The system architecture adopts master-lave processing structure for efficient and fast parallel processing coping with about 700,000 requests per day. Mobile device captures gasometer image and transmits to master process in AWS cloud. Master process runs on Intel Zeon CPU and pushes reading request from mobile device to an input queue with FIFO (First In First Out) structure. Slave process consists of 3 types of deep neural networks which conduct character recognition process and runs on NVidia GPU module. Slave process is always polling the input queue to get recognition request. If there are some requests from master process in the input queue, slave process converts the image in the input queue to device ID character string, gas usage amount character string and position information of the strings, returns the information to output queue, and switch to idle mode to poll the input queue. Master process gets final information form the output queue and delivers the information to the mobile device. We used total 27,120 gasometer images for training, validation and testing of 3 types of deep neural network. 22,985 images were used for training and validation, 4,135 images were used for testing. We randomly splitted 22,985 images with 8:2 ratio for training and validation respectively for each training epoch. 4,135 test image were categorized into 5 types (Normal, noise, reflex, scale and slant). Normal data is clean image data, noise means image with noise signal, relfex means image with light reflection in gasometer region, scale means images with small object size due to long-distance capturing and slant means images which is not horizontally flat. Final character string recognition accuracies for device ID and gas usage amount of normal data are 0.960 and 0.864 respectively.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.21-35
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• 2015

This study conducted a research on the position, construction of space and plants of Ten Evergreen's Garden(十靑園) and Oddly Shaped Stone Garden(怪石園) that are central gardens of Eunguhdang(恩居堂) in the poem 'Statement of Responsibility'(Heo Mok, 1595~1682) and Sochi(小痴) Heo Ryeon(許鍊)'s 'Taeyeongsipcheongwondo(漣川台嶺十靑園圖)' in order to bring light on the construction of space and characteristics of them as a garden of the deep pond, Eunguhdang that is a historic site of Misu Heo Mok(許穆, 1595~1682). The characteristics of Eunguhdang, and the meaning of it from the research are expected to be utilized as a basic data for future restoration of it. The results are as follow: In Eunghudang, there are the main building, a detached house, a separated building, and servants' quarters, and the garden consists of Ten Evergreen's Garden between the main building and a Byeolmyo(別廟), a backyard which leads to a green mountaintop, and Oddly Shaped Stone Garden including a pavilion in the front of the detached house. These gardens are thought to have utilized various oddly stones. From the analysis of existing documents such as 'Gwuimonwon(龜文園)' and several interviews, it is concluded that Gwuimunwon might have had Youngdoseo(龍圖墅) that imitated a stream, and Oddly Shaped Stone Garden might have had a garden which imitates Guimonwon standing for graffiti. The evergreen plants in Gwuimonwon correspond to the plants of Sipjangcheong(十長靑) in Youngdoseo, and through these facts, it is thought to have sought "The clean and cool". Furthermore, the diverse colors of flowering trees and flowers in Oddly Shaped Stone Garden and the surrounding of it is symbolizing dragon which is found in Gwuimonwon and that is contrasting with the evergreen plants in Gwuimonwon. The oddly shaped stones in the garden of Eunguhdang have a strange atmosphere which is felt across the whole buildings in Misu, and s a same aesthetic object that are thought to have created beauty of old greenery and antique appearance by utilizing oddly shaped stones. Misu is based on ever green plants seeking change with flowers along with stones that means spirit, body and bones, which is strengthening his intention.

• Research in Community and Public Health Nursing
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• v.7 no.2
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• pp.294-312
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• 1996

Relatively young widows, who are left with young children by a sudden death of their husbands, will be faced with not only psychological troubles such as individual anxiety and frustration but also the dual burden of playing both father and mother roles in a family, Also, family members have difficulty in adapting themselves to new circumstances of the family system, the training and raising of family members, and management of the family economy. In this study, the realistic resources on the experience of middle-aged women who are bereaved of their husbands by accidents were explored. The purpose of this study is to help widows adapt to life in society and live a more positive life by setting a new goals and recovering from a lost and twisted life. 11 women, who have experienced the loss their husbands and live in the Seoul metropolitan area were studied. The research took 116 days from December 15, 1995 to April 8, 1996. The method of research was direct interviews. While having interviews with them, the contents were recorded with their consent. The ground theory was that used by Strauss & Corbin(1990) in the analysis of the data. 81 concepts were analyzed and they were subdirided into 22 subordinate categories through the course of the analysis. These were then classified into 9 general categories. In the course of being categorized, 'absurdity' was showed as a core category. The subordinate categories 'surprise', 'gloom', 'grudge', 'helplessness', 'emptiness', and 'loss' were united in the core category 'absurdity'. Ominous presentiment, belated notice, death, surprise, gloom, grudge, helplessness, emptiness, loss, the situation of the children, lack of support from neighbors, support from neighbors, mulling over ways to live, choosing a job, strengthening, reinforcement, burden, sadness, smoldering, yearning, overcoming these 22 subordinate categories were re-composed into 9 general ones the husband's death, absurdity, presence of children, existence of support, self-support ability, preparation of countermeasures, self-reinforcement, toilsomeness, and overcoming. 'Absurdity' widows experience was shown in the results of 'toilsomeness' and 'overcoming' through reaction, confrontation, and adaptation. According to the analysis the central phenomenon was absurdity, the causal condition of the death of a husband, the presence of children and the existence of support, and the meditated situation of self-support. To solve absurdity, the preparation of countermeasures and self-reinforcements were shown resulting in toilsomeness and overcoming. Through the contrast in the data, the following statements were deduced: (1) If the death of the husband is expected, the more a widow will feel absurdity. (2) The more children she has and the younger she is, the more a widow will feel absurdity. (3) The lower support she is given, the more a widow will feel absurdity. (4) The larger self-ability she has, the more actively she will prepare countermeasures. (5) The smaller self-ability she has, the more passively she will prepare countermeasures. (6) The larger self-ability she has, the weaker self-reinforcement she will preform. (7) The smaller self-ability she has, the stronger self-reinforcement she will perform. (8) The more actively she prepares countermeasures for absurdity, the better she will overcome. (9) The more passively she prepares counter measure for absurdity, the worse she will overcome. (10) The stronger self-reinforcement for absurdity she performs, the better she will overcome. (11) The weaker self-reinforcement for absurdity she performs, the worse she will overcome. Through the results in this study, the following suggested: 1) A study whose object is all family members, and a comparative study on the case of a husband who has lost his wife should be done. These studies can be expected to develop a more refined theory. 2) Because of the collapse of the extended family system and the changes of family culture in Korea, a widow's status and position are apt to be ambiguous between her husband's home and her parent's. Therefore a new study on family culture should be made. 3) A continuous study on growing social Self Help Groups should be requested for the widows of this study to re-establish and recover from their twisted and scattered lives.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.2
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• pp.508-516
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• 2010

An autonomous and automatic home mess-cleanup robot is newly developed in this paper. Thus far, vacuum-cleaners have lightened the burden of household chores but the operational labor that vacuum-cleaners entail has been very severe. Recently, a cleaning robot was commercialized to solve but it also was not successful because it still had the problem of mess-cleanup, which pertained to the clean-up of large trash and the arrangement of newspapers, clothes, etc. Hence, we develop a new home mess-cleanup robot (McBot) to completely overcome this problem. The robot needs the capability for agile navigation and a novel manipulation system for mess-cleanup. The autonomous navigational system has to be controlled for the full scanning of the living room and for the precise tracking of the desired path. It must be also be able to recognize the absolute position and orientation of itself and to distinguish the messed object that is to be cleaned up from obstacles that should merely be avoided. The manipulator, which is not needed in a vacuum-cleaning robot, has the functions of distinguishing the large trash that is to be cleaned from the messed objects that are to be arranged. It needs to use its discretion with regard to the form of the messed objects and to properly carry these objects to the destination. In particular, in this paper, we describe our approach for achieving accurate localization using RFID for home mess-cleanup robots. Finally, the effectiveness of the developed McBot is confirmed through live tests of the mess-cleanup task.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.