• Korean Institute of Interior Design Journal
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• v.18 no.6
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• pp.12-19
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• 2009

The characteristics of light in the paintings of Rembrandt van Rijn, Johaness Vermeer and Edward Hopper are very different. While Rembrandt and Vermeer lived in the 17th century, Hopper lived in the 20th century. Although this time gap, comparative study on their light-space relationship is important because there are spatial similarities as well as light differences. Most three painters' works depict interior spaces with one person inside. The interior space is filled with different light and shadow. In the Rembrandt's paintings, only part of the figure is lit in the ambiguous darkness. In the Vermeer's paintings, the soft indirect light is filled in the domestic space and the boundary between the figure and space is blurred. In the Hopper's paintings, the direct sunlight invades the interior and the figure confronts with strong daylight. These light differences were caused by the artists' intentions as well as the environmental situations. 4 case paintings of each artist were analyzed by phenomenological aspects and computerized light brightness test. Scale models were built to re-construct the three different light characteristics. The model experimentation will have potential to develop 2 dimensional art analysis into 3 dimensional space design by means of light. However it was very difficult to construct the three lights, the experimentation shows they have unique characteristics that can be applied to spatial design studies.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.241-247
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• 2020

In the late 16th century, the Theatrum Anatomicum or anatomical theatre opened in Leiden in the Netherlands. The theatre was open to a fee-paying audience of students, surgeons, and the public and soon settled down as one of the highbrow cultural activities in the city. This trend soon spread into Amsterdam, and Nicholaes Tulp appearing in Rembrandt van Rijn's was at the center of it. Human anatomy was not just an eyesore but started to get accepted as a cultural event for the civilized citizens of the time. It was with this backdrop that Rembrandt got inspired by this interesting scene of Tulp dissecting human body. Rembrandt well understood the changes of the time and captured them on canvas to attempt convergence between science and art.

• Restorative Dentistry and Endodontics
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• v.20 no.2
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• pp.802-811
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• 1995

The purpose of this in vitro study was to compare the bleaching effect and the surface change according to three bleaching agents (Rembrandt, Natural White, Hi-Lite). Teeth were stained by artificial food colorants for 6 weeks and bleached for 4 weeks. The teeth were evaluated with spectrophotometer after bleaching on the 1st week and on the 4th week. The surface change of enamel was evaluated under SEM after exposure to 3 agents for 1 and 24 hours. The results were as follows : 1. All groups showed increased Lightness difference after bleaching. 2. After 1 week, only Rembrandt group showed significant bleaching effect compared to control group. 3. After 4 weeks, Rembrandt group and Hi-Lite group showed significant bleaching effect compared to control group. 4. SEM evaluation revealed that enamel surface underwent considerable change after 24 hours. Scratch disappeared and smooth surface was shown.

• Cross-Cultural Studies
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• v.50
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• pp.283-311
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• 2018

The Russian poet A. C. Pushkin left more than a hundred self-portraits in his lifetime. These self-portraits are the subject of a special research project. Pushkin liked to sketch himself disguised in various shapes in his manuscripts. Besides Pushkin, many authors have portrayed themselves, but in terms of their quantity and fame, it is difficult to find self-portraits that transcended those which are as detailed and revealing as that of Pushkin's. Focusing on this point, this paper first examines the position of the poet's self-portraits in the context of the tradition of the self-portrait, as a painting genre full of romanticism as manifested and revealed in the 19th century. Subsequently, this article explains the meaning of the Pushkin's typical self-portraits in profile, which were mostly drawn in his manuscripts. Finally, in order to explore the philosophical implications contained in this poet's self-portraits, this paper attempts to read poet's self-portrait in comparison with Rembrandt's self-portrait, and Montaigne's Essais as well for a comprehensive comparison of the three entities.

• Journal of Korea Multimedia Society
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• v.25 no.2
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• pp.374-381
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• 2022

This study analyzes the visual perceptual difference of observers in the artworks created by human artists and artificial intelligence(AI) through eye-tracking. More specifically, the study analyzes the degree of visual attention through a fixation experiment on non-linguistic sources such as the formation and expression of artworks. As a result of this study, the subjects had guessed that one out of four artworks were created by AI (in actuality, 61.1% of the artworks were created by The Next Rembrandt). This demonstrates that most of the subjects hardly recognized the difference between the artwork of human artists and AI. From the comparative analysis of visual perceptual differences found through eye-tracking, more visual attention was found to be demanded for catching details of more stimulating visuals compared to less stimulating visuals. In the gender difference analysis, both of the female and male subjects were likely to stare more intently at the flowers of still-life paintings (Deep Dream & Vincent Van Gogh) while the eyes of a portrait painting (Rembrandt & The Next Rembrandt); this demonstrates no significant differences in gender. Various opinions on AI and art creation from different perspectives arose, therefore, this research is meaningful in a way that it suggests an objective examination through experiments with an artistic perspective.

• Restorative Dentistry and Endodontics
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• v.24 no.2
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• pp.364-371
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• 1999

본 연구는 테트라싸이클린에 의해 변색된 백서 치아에 대한 3 종 표백제의 표백효과를 비교하고 표백제의 침투 깊이 (법랑질 두께)에 따른 표백효과의 차이를 판별하기 위해 시행되었다. 30 마리의 웅성 백서에 매일 2주 동안 테트라싸이클린 용액을 복강내 주입하였다. 디스크 형태의 32개 백서 치아 표본을 16 시간 동안 자외선으로 조사하여 변색을 야기시켰다. 대조군은 생리 식염수에 보관하였으며 실험군은 3종 표백제(Opalescence, Rembrandt, NiteWhite)에 하루 5회씩 2주간 노출시켰다. 치아 색상을 표백전, 표백 1일, 3일, 5일, 7일, 9일, 11일, 및 14일에 각기 기록하여 치아내 변색부와 정상 색상간의 색상차 (${\Delta}$E)를 판독하였다; 대조군 - 9.78, 9.17, 9.36, 9.65, 9.40, 9.99, 10.57, 11.36; Opalescence - 10.08, 7.63, 6.72, 6.04, 5.10, 4.87, 4.89, 4.27; Rembrandt -9.83, 11.27, 9.55, 8.36, 7.75, 6.94, 7.11, 7.04; NiteWhite - 10.44, 9.92, 7.58, 6.80, 5.45, 5.05, 4.73, 4.01. 표백된 모든 치아들의 색상이 밝아졌다. (p<.01) 테트라싸이클린이 주입된 56개 백서 치아를 3 일간 자외선에 조사한 다음, 3가지 유형의 표백제 침투깊이를 설정하였다. 설측 상아질과 순측 법랑질을 통한 침투 (DN), 순측 법랑질만을 통한 침투 (RE), 1.0 mm 두께의 사람 법랑질로 피개된 순측 법랑질을 통한 침투 (HE). 표본들을 Opalescence로 하루 5회씩 1주일 및 4 주간 표백한 후 횡단하여 치아 색상을 측정하였다. 표백되지 않은 치아들을 대조군으로 이용하였다. 치아내 변색부와 정상 색상간의 색상차 (${\Delta}$E)는 다음과 같았다. 대조군 - 11.67; 1주 DN 군 - 13.55; 1주 RE군 - 12.80; 1 주 HE군 - 12.07; 4주 DN군 - 7.48; 4주 RE군 - 7.50; 4주 HE군 - 11.69. 4주 DN군과 4주 RE군의 색상 변화가 가장 크게 나타났다.(p<.01)

• Restorative Dentistry and Endodontics
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• v.30 no.3
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• pp.178-183
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• 2005

This study was done to evaluate whether vital bleaching agents could influence on the translucency of the bovine enamel. The anterior bovine teeth that were extracted one day before and without any gross discoloration were obtained and then were preserved in physiologic saline. 6 mm cylindrical tooth specimens were fabricated with diamond puncher perpendicularly on labial surface of bovine tooth. After embedded in transparent acrylic resin with labial surface being exposed, they were cut to a thickness of 1.2 mm with low speed diamond saw (Isomat, Buehler Co., Lake Bluff, IL, USA). They were smoothly ground to 1 mm thickness of enamel with sandpaper. 24 specimens were randomly divided into 3 groups and control group respectively. Opalescence (10% carbamide peroxide, Ultradent, South Jordan, USA), Rembrandt (10% carbamide peroxide, DenMat, USA) and Opalescence F (15% carbamide peroxide with fluoride, Ultradent, USA) were applied on labial sides of the bovine enamel for 7 days (bleaching agents were reapplied every 24 hours) and the opposite surface was contacted to cotton that soaked in distilled water. The control group was soaked in distilled water. Three stimulus value X, Y and Z were evaluated with colorimeter (Color ' Color Differencerneter, Model TC-6FX, Tokyo Denshoku Co., Japan) on the labial surface of all specimen three times on white and black background plate before the bleaching agents were applied and on 3rd, 5th and 7th day after applied. The degree of translucency was normally assessed by measuring the inverse property, opacity (contrast ratio). 10% Opalescence, 15% Opalescence-F, and control group showed no significant variation in the translucency of bovine enamel, However Rembrandt decreased the translucency of it (p < 0.01).

• Toxicological Research
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• v.33 no.1
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• pp.63-69
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• 2017

Transmembrane protein 39A (TMEM39A) belongs to the TMEM39 family. TMEM39A gene is a susceptibility locus for multiple sclerosis. In addition, TMEM39A seems to be implicated in systemic lupus erythematosus. However, any possible involvement of TMEM39A in cancer remains largely unknown. In the present report, we provide evidence that TMEM39A may play a role in brain tumors. Western blotting using an anti-TMEM39A antibody indicated that TMEM39A was overexpressed in glioblastoma cell lines, including U87-MG and U251-MG. Deep-sequencing transcriptomic profiling of U87-MG and U251-MG cells revealed that TMEM39A transcripts were upregulated in such cells compared with those of the cerebral cortex. Confocal microscopic analysis of U251-MG cells stained with anti-TMEM39A antibody showed that TMEM39A was located in dot-like structures lying close to the nucleus. TMEM39A probably located to mitochondria or to endosomes. Immunohistochemical analysis of glioma tissue specimens indicated that TMEM39A was markedly upregulated in such samples. Bioinformatic analysis of the Rembrandt knowledge base also supported upregulation of TMEM39A mRNA levels in glioma patients. Together, the results afford strong evidence that TMEM39A is upregulated in glioma cell lines and glioma tissue specimens. Therefore, TMEM39A may serve as a novel diagnostic marker of, and a therapeutic target for, gliomas and other cancers.

• Cartoon and Animation Studies
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• s.36
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• pp.349-374
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• 2014

The light is the language. Directors have to describe the scene component effectively his intention to configure the scene as an appropriately. After this act of the character, the layout of the props and scene lights will enter to the scene components. Those things help to audiences can understand narrative of work and emotion that producer want to send. Expressing their emotions especially using the lights by adjusting the colors and contrast makes audience to concentrate on work and understand naturally. This lighting technique clearly appears on early year theaters stage of England and Rembrandt's paintings. Properly dividing and controlling the lights dramatically increases the beauty of the work elements to express a variety of emotions such as worries and fear. Therefore, it can be evolve depending on director's intent of using lights on his work. Lights can increase involvement of human emotion through basic features that cognition of object, visualization of space-time and by artistic method in the product. This study will examine the role and how to use lighting to express the proper sentiment based on the narrative of the work. Making research named "Lighting Research of 3D animated film which applying light features to express emotion" previous study and have to combine emotional vocabulary and emotion-based theory for classifying the emotional language that can be applied on 3D animation. And choosing most emotional scene from 3D animation for analyze how they used lighting to expressing emotions. Directors trying to show up about the light role through light method that matched perfectly with an emotional language. Expecting this research work of directing 3D animations light for expressing emotional feelings will be continue successfully.

• Korean Association of Arts Management
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• no.51
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• pp.75-102
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• 2019

This study aims to figure out the progression of Hyundai motor's corporate cultural marketing by conducting semantic network analysis. Although the previous research has focused on conception, categorization, impact, and performance of cultural marketing, they hardly pay attention to changes in cultural marketing over time. To explore the identified gap, we collected 2,315 articles concerning Hyundai motor's cultural marketing on daily newspapers printed from 2001 to 2018. The 18-year time period was classified into four periods, and lists of words were extracted and analyzed by Korean language analysis program, Textom and social network analysis program, called 'UCINET'. The outcome of our analysis indicates that Hyundai Motor's cultural marketing has been developed from the strategy of merely increasing sales to the means of distinguishing their corporate and brand identity. In the early 2000s, the words 'customer', 'The Age of Great Paintings: Rembrandt and the 17th century Dutch paintings', and 'performances' were extracted with high frequency. It shows Hyundai Motor held performance-oriented events and provided benefits to specific consumer groups under the type of 'Cultural Promotion'. In addition, as the exhibition sponsored by Hyundai motor was reported in the media with high publicity effect, the concept of 'Cultural Support' is also emerged. In the late 2000s, the top exposures were 'Seoul Arts Center' and 'Seoul Metropolitan Symphony Orchestra'. Under the concept of 'Cultural Support', both organizations and cultural events were sponsored by Hyundai motor. Hyundai Motor has the tendency to cooperate with high profile parties who have already accomplished high publicities to attract social interests and issues. In the early 2010s, Hyundai Motor created cultural marketing brand and space ('Brilliant' and 'Hyundai Art Hall') that broadened the potential target groups, which represented both 'Cultural Support' and 'Cultural Enterprise'. In the middle and late of the 2010s, as shown by the high frequency of 'brand' and 'global', Hyundai Motor has focused on the global market and viewpoint has expanded to brand building focusing on the type of 'Cultural Enterprise'.