• Korean Institute of Interior Design Journal
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• v.16 no.3 s.62
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• pp.21-29
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• 2007

The communication in a play has a dual structure, which is composed of the communications within a play and in a theatre space. This research focuses on the scene design that creates the background or the theme of a play and communicates theme of a play to the audience. A scene design of a theatre has meta-linguistic aspects, which is the image or mood as the theme of a play. The scene design is composed of various design elements of space and objects as the properties of a play. Design elements and the objects are the design languages in various form; plane, three-dimensional, multi-dimensional form. These design languages have the significant meanings as signs like human language. The play works chooses the rhetorical expression to arouse the audience's sympathy. The scene design is completed with rhetorical expression for communication in theatre too. This research defines the category of meanings that design elements of scene design can create and the rhetorical expression of the scene design language. King Lear directed by Robert G. Anderson was analyzed with the category of design elements as a sign and the pattern of the rhetorical expression. The scene design for a play is completed effectively by the rhetorical expression of design elements as the design language for the communication with the audience in theatre.

• Archives of Craniofacial Surgery
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• v.20 no.3
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• pp.181-185
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• 2019

Intraosseous hemangioma is a rare, slow-growing, benign tumor of blood vessels. Primary hemangioma of the skull is a benign lesion that may appear as a palpable mass or accidentally detected during image evaluation. Simple radiography is the most commonly used technique to localize a lesion and computed tomography (CT) may help determine the effect of a lesion. We report a case of multifocal intraosseous calvarial hemangioma developed in the subgaleal plane of an elderly male patient. Ultrasonography examination revealed hyperechoic striated septae parallel to the skin and discontinuity of the focal cortex, however, the underlying bone cortex appeared relatively intact. No significant flow is observed on Doppler ultrasonography. Based on these evaluations, the mass was interpreted by a radiologist as a subgaleal lipoma. This case highlights the importance of additional CT examination in a patient presenting with a scalloping sign of the underlying calvarium. Clinicians also should be aware of the possibility of intraosseous calvarial hemangiomas in lesion. Furthermore, the proper choice of congenital vascular malformation term is still quite confusing with misconception present in the literature.

• Journal of Cerebrovascular and Endovascular Neurosurgery
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• v.20 no.4
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• pp.241-247
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• 2018

Treatment of paraclinoid aneurysms weather by surgery, or endovascular embolization has a risk of visual loss due to optic neuropathy, or diplopia due to cranial nerve palsies. Visual complications occur immediately after the clipping, whereas they can occur variable time after endovascular coiling. Recently, endovascular coiling for paraclinoid aneurysm is regarded as a safe and feasible treatment. But it still has risks of acute thromboembolic complication, or cranial nerve palsies. A 45-year-old woman was referred from local hospital to our hospital due to ruptured large ICA dorsal wall aneurysm. A total of 12 coils (195 cm) were used for obliteration of aneurysm. Postoperative diffusion weighted image showed no abnormal signal intensity lesion and magnetic resonance angiography demonstrated no sign of vasospasm, or vessel narrowing. But, she complained visual problem 23 days after coil embolization. Ophthalmologist confirmed the left optic disc atrophy on fundoscopy. Although steroid was started, but monocular blindness did not recover completely. The endovascular embolization of paraclinoid aneurysm, especially projecting superiorly with large irregular shape, has the risk of progressive visual loss because of the proximity to optic nerve.

• Journal of Science of Art and Design
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• v.7
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• pp.5-63
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• 2005

Generally, the meanings of destruction are related in the meaning of demolition, breakdown, into fragments ... and so on, and the similar meanings are twist, crush, demolish, split, cut, into pieces , break up ... etc. Further, it has related in the cruelty and destructive heart which are linked with orgy, Sadism, Necrophilia and so on. The meanings are also expressed by the initial , which are deprivation, deface, defame, deform, degrade, delegitimize, denounce , deride, destroy, devalue, as well as debase, debunk, declaim, declassify, decry, delete, denigrate, deprecate, despise or detract ...and so on. Dario Gamboni has discussed the meaning in his book as two categories Iconoclasm and Vandalism. And the similar meanings could be found in the words which has the initial of , like abase, abate, abhor, abjure, abolish, abridge, abuse ...and so on. Even though the distinct meanings of Iconoclasm and Vandalism, it is not easy to distinguish clearly between the differences when the results are accomplished in contemporary paintings because of the similarity of the results. In korean vocabulary there are no similar words to distinguish between the meanings of destruction and deconstruction, and the deconstruction is not recorded in the general dictionaries. However the meaning of is diminishing, separation, contrast and so on. So the unification of the word as do-construction is not construct, minus construction, reverse construction. And Vincent Ditch explained that there are the meaning of destroy the text. From Jacques Derrida, the deconstruction strategy is to criticise the world of traditional metaphysics and logocentrism, and not to reconstruire the philosophical meaning of texts but $d\'{e}construire$ them. And Saussure emphasized that the signifers could have more meaning that there can be more signified in traditional texts in the art. as a result, deconstruction is explained that there are many signified meanings in a signifer. In this thesis , from using the meanings of destruction and deconstruction, to distinguish the expressive skills in contemporary art works are arising. Therefore, special methods which are linked in the destruction styles are selected. As a result, the two different purposes of destruction is arising, one is enmity destruction and the other is self destruction another word, auto destruction or destruction to create The enmity destruction can be distinguished by the two category Iconoclasm and Vandalism. They come from the moment of different historical aspect is arising and want to attack the Icon or masterpiece this concept is from the study of John Philips and especially iconoclasm is linked with religious and artistic heart, but Vandalism is come from the political attack. Sometime, this distinguish is not clearly arising, because the two aspects are co-related in the attack. As a result, firstly, the Iconoclastic controversy had arisen in the methods of Dadaism which has developed by Man Ray, Francis Picabia and Marcel Duchamp. They want to attack the pre-established master-pieces and painting spaces, and they had 'non-artistic attitude' not to be art. Since 1980, the German artist Anselm Kiefer adapted the methods and made them his special skills so he had tried to paint tough brush strokes and draw with hugh pallette image line and fire and water images , they can be the image attack as the Iconoclasm. secondly, the model of vandalism is to be done by hammer, drill, canon and so on. the method is to attack the content of painting. Further, the object of destruction is bound by cords and iron lings to demolish or to declare the authority of pre-statues; it symbolize the pre-authority is gone already. Self-destruction based paintings are clearly different in the purpose of approaching the art work. First of all, they can be auto-destruction, creative destruction and metamorphosis destruction, which is linked with the skill the material aspect and basic stature, and sign destruction or signifier destruction, which is link with the inner meaning destruction that is considered as the Semiotical destruction in post-modern paintings. Since 1960, the auto destruction is based on the method of firing, melting, grinding and similar skills, which is linked with Neo-Dada and reverse-assemblage. Metamorphosis destruction is strongly linked with the basic inner heart price and quality, so it can be resulted in the changedness of expectation and recognition. Tony Cragg has developed the skills to metamorphose the wood as stone or iron as cloth and stone as sponge and rubber and so on. The researcher has developed the same style in the series of since 2003. The other self-destructive methods are found in the skill of sign destruction. In the methods the meaning of the art is not fixed as one or two, but is developed multi-meaning and differ from original starting situation, so Jacques Derrida called the difference meaning in deconstruction. It is the destruction of textes. These methods are accomplished by David Salle, Francesco Clemente, and recently Tracy Emin, who has developed the attacking heart in the spectators' emotion. Sometime in the method of self-destruction, it is based on horror and shock, the method is explored by Demian Hirst and Jakes and Dinos Chapman. Their destructive styles stimulate ambivalent heart and destroy original sign of girl and animals.

• Archives of design research
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• v.18 no.2 s.60
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• pp.189-200
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• 2005

Paper currency is a cultural symbol sign representing identity of a nation as well as a tool of barter system and a measure of value. The purpose of this study is to analyze the design characteristics shown in the pattern of the paper currencies of advanced countries and Korea and to make comparative analysis of the image type of each nation as a cultural code. The results show that 1) the usability of paper currency design was evaluated by denominations, size type, color, braille system and the paper currencies of Switzerland and EU were judged superior to those of the other counties. 2) The national image type represented paper currencies was classified as 'state oriented type' and 'culture & art oriented type'. The countries of Korea, U.S.A, Japan etc. have on the paper currencies the ruling class who contributed to organizing the national system foundation emphasizing their nationalism. In the case of European countries, their paper currencies reveal a variety of citizen who have contributed to art, science, music, architecture without distinction of gender and this fact puts an emphasis on egalitarianism and equality of both senders and importance or cultural art. 3) Paper currency design of Switzerland, Netherlands, France, U.K. was visualized as an art work with utilization of work-type subject, brilliant color, CG technique, unique layout etc. This study provides us with a valuable opportunity to examine the present state of the Korean paper currencies design in Comparison With those of the world's advanced countries. It is expected that this study could be a resource material for new paper currency design and emphasize the importance of the paper currencies representing a national image as a cultural design.

• Cartoon and Animation Studies
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• s.47
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• pp.125-148
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• 2017

This paper analyzes Korean aesthetic characteristics of Korean independent animation, which is closely related to artistic and social characteristics, by searching Korean independent animation image for the winner of "Indie AniFest", the only independent animation film festival in Korea. And social communication methods. There are three ways in which Korean Independence Animation shows the way of speaking through award-winning works. The first is a method of expressing feelings, impulses, and desires in a formative way, and a direct and sensuous image as in sign language or sound. In the second method of speaking differently with images, in the third method, It makes the voice of the fringe through the real world of the story sound as a story of reality. Animation is a medium that 'originalizes and communicates meaning' as an image, and has implemented and constructed a new way of speaking, which is different from existing social voices. Nevertheless, it is not easy to find a research that approaches animation from the viewpoint of social and political speech through images. Therefore, this paper is necessary for the balanced development of animation. In addition, this study can contribute to re - examining Korean independent animation from an academic point of view and to discover and evaluate fair value from a wider perspective.

• The Journal of Korean Society for Radiation Therapy
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• v.25 no.2
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• pp.175-180
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• 2013

Purpose: Modern radiation therapy technique such as IGRT has become a routine clinical practice on LINAC for decrease patient's set-up error. CBCT can be used to adjust patient set-up error and treat patient more accurately. The Purpose of this study is to evaluate field size of CBCT for improving Image quality and suggest reference date of CBCT field size. Materials and Methods: Image date were acquired using KV CBCT and Catphan phantom (Half fan and full fan mode were scanned from 2 ~16 cm, at intervals of 2 cm). Field size were categorized by Small field size (2 cm, 4 cm), Medium field size (8 cm, 10 cm), Large field size (more than 14 cm) and evaluate. To estimated the CTDi using CTDi phantom and Ion chamber. Results: CT number linearity of Small and Large field size are greater than Medium field size. Spatial resolution are not significantly different without Small field size. But half fan mode is more different than full fan mode. In full fan, except Medium field size, all field size exceed recommendation for HU uniformity. But half pan has stability for all field except Small field size. CTDi makes radical sign function graph in Medium field size. Conclusion: The worst result was given by Small field size for Image quality and practically. Medium field size can be useful to prevent patient from radiation exposure and give better Image quality. So this study recommends that Medium field size (8~10 cm) is more suitable for CBCT.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.34 no.1
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• pp.185-194
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• 2014

This study investigates the methodology to evaluate the quantified performance of pavement markings and traffic guide signs using digital images. This methodology is significant to attempt to quantify their performance without large brightness photometer at the nighttime and bad weather. The retroreflective performance of pavement markings are evaluated through the contrast of gray levels of pavements and markings in collected digital images under the case of rain, dampness, and dryness. In addition, the appraisal of retroreflective performance of traffic guide signs are implemented through the comparison between interior illuminated and the existing retroreflective traffic guide signs using the contrast of luminance extracted from the value of RGB of backgrounds and legends in collected digital images according to geometric design, driving lanes, and the distance between the car and the sign. As a result, the retroreflective performance of pavement markings deteriorates about 3.5 times and 2 times under the case of rain and dampness respectively than dryness. Also, the performance of the existing traffic guide signs is significantly influenced by geometric design, driving lanes, and the distance, otherwise interior illuminated traffic guide signs. This methodology can be utilized to construct objective information of performance of traffic safety facilities to select appropriate position of expensive high reflective pavement markings and interior illuminated traffic guide signs considering diverse weather and geometric design.

• Journal of the Korean Society of Costume
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• v.31
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• pp.145-164
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• 1997

Cinema costume can stimulate the public to synchronize with and replicate what they see in the movies. Especially when the public thinks the stars in the movies . Especially when the public thinks the stars in the movies are beautiful or dramatic the styles of cinema costumes powerfully affect them. Thus cinema costume designers quickey become fashion designers. Edith Head who strongly believed cinema costumes to be an effective means of portraying the Character's personality and psychological make-up was an innovative designer whose costumes manifested this belief. She enhanced the character's individual image and distinction for the public through her artistic design in costumes. She adapted a realistic approach but her costumes invariably produced aesthetic ef-fects. Since the Academy Awards added the category of costume design she led the field with 35 nominations and eight oscars during 33 years of her productive work. Edith head was a dominant figure in costume design; her creations were highly renowned as an art form while they gained popularity. The purpose of this study was to reveal the ef-fects of Edith Head's cinema costume designs on fashion. This study was also to emphasize the powerful influence on ashion of cinema costume and cinema costume designers in general. The study was done through literature movies for which she created costumes fashion magazines and Edith Head's original sketches. The influence of Edith Head's costume de-sign on fashion is as follows: 1. She introduced and lead the casual fashion in the 1950's combining simplicity and sophistication. 2. She altered uniforms and reconstructed public clothing for multiple functions. 3. She rearranged high school prom dresses through the movie 'A Place in the Sun" to en-hance characteristic of each gender and the Dandy Look of the 1930's into men's apparel in the 1970's through the movie "The Sting" 4. She expanded the traditional style in the 1940's and became a leader in ecological style. 5. She adapted glitter from astronaut's ap-parel into public clothing. 6. She resturctured Sabrina Pants in the 1960's to accentuate the individuals strength by overcoming one's weakness without minimi-zing it's aesthetic appeal and reintroduced the pants in the 1990's. 7. She introduced elegant negligees to gen-eral public and maintained it in the public do-main. As it is revealed Edith Head's costume de-sign not only impacted the field of fashion dur-ing her time but also is presently influencing modern fashion throughout the world as it is witnessed by repeated reintroduction of her fashion styles. Reviewing her cinema costumes it is concluded that cinema costumes it is concluded that cinema costumes powerfully af-fect the public through a visual channel more than any other routes. Cinema costumes can become the origin of fashion by stimulating the public to synchronize with and replicate what they see in the movies. Since cinema costumes can launch fashion trend it requires further research. Based on what is revealed in this study. it would be beneficial to examine how cinema costumes affect people socially and culturally and how they could provide resources for re-search in fashion trends. It is also the writers opinion that there should be more designers such as Edith head who could lead the field of costume design into the twenty-first century.

• Investigative Magnetic Resonance Imaging
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• v.20 no.2
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• pp.105-113
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• 2016

Purpose: Susceptibility vessel sign (SVS) on gradient echo image, which is caused by MR signal loss due to arterial thrombosis, has been reported in acute middle cerebral artery (MCA) infarction. However, the reported sensitivity and diagnostic accuracy of SVS have been variable. Susceptibility-weighted imaging (SWI) is a newly developed MR sequence. Recent studies have found that SWI may be useful in the field of cerebrovascular diseases, especially for detecting the presence of prominent veins, microbleeds and the SVS. The purpose of this study was to evaluate the diagnostic values of SWI for the detection of hyperacute MCA occlusion. Materials and Methods: Sixty-nine patients (37 males, 32 females; 46-89 years old [mean, 69.1]) with acute stroke involving the MCA territory underwent MR imaging within 6 hours after the symptom onset. MR examination included T2, FLAIR (fluid-attenuated inversion recovery), DWI, SWI, PWI (perfusion-weighted imaging), contrast-enhanced MR angiography (MRA) and contrast-enhanced T1. Of these patients, 28 patients also underwent digital subtraction angiography (DSA) within 2 hours after MR examination. Presence or absence of SVS on SWI was assessed without knowledge of clinical, DSA and other MR imaging findings. Results: On MRA or DSA, 34 patients (49.3%) showed MCA occlusion. Of these patients, SVS was detected in 30 (88.2%) on SWI. The sensitivity, specificity, positive predictive value, negative predictive value and diagnostic accuracy of SWI were 88.2%, 97.1%, 96.8%, 89.5% and 92.8%, respectively. Conclusion: SWI was sensitive, specific and accurate for the detection of hyperacute MCA occlusion.