• 한국ITS학회 논문지
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• 제17권5호
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• pp.200-209
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• 2018

일반적으로 자율주행 차량은 측위를 위하여 GNSS(Global Navigation Satellite System)에서 절대위치 신호를 수신하여 지도에 매칭하는 방식을 사용한다. 하지만 도심이나 터널에서 정상적인 위성신호를 수신하기 어렵기 때문에 추측항법(Dead Reckoning)으로 절대위치를 추측하므로 누적 오차의 주기적 보정이 병행되어야 한다. 본 연구에서는 자율주행시 GNSS 위치 신호 수신이 어려운 터널 내에서 사용되는 추측항법의 오차를 일정수준 이하로 유지하기 위하여 기존 도로시설물을 이용한 오차 보정을 위한 시설물의 선정 방법을 제안하였다. 시설물의 특성으로서 모양, 설치위치 등 '다양성' 검토를 위하여 관련 기준 검토, 영상 및 라이다센서 조사로 얼마나 잘 인지하는 지에 대한 '인지성' 조사, 설치위치 및 간격에 의한 '규칙성'을 조사하여 후보시설물을 선정하였다. 본 연구 결과로 측위오차 보정 지원시설로 소화전함/안내표지(50m), 유도표지등A(300m), Lane Control System(500m), 최고/최저속도제한표지, 제트팬을 선정하였으며, 기존 시설물만으로 오차 보정이 가능하다고 판단하였다. 본 연구의 결과는 자율주행 차량의 터널내 측위보정시 활용될 것으로 기대된다.

• 한국과학교육학회지
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• 제40권1호
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• pp.13-28
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• 2020

이 연구는 대표적인 뉴미디어 매체인 유튜브 상에서 재현되고 소비되는 과학 실험의 이미지의 특성에 대해 이해하고자 했다. 특히 이 연구에서는 현대사회에서 이미지의 강력한 지위와 가상과 실재의 경계의 모호함에 대해 논의한 보드리야르의 시뮬라시옹과 시뮬라크르의 이론을 바탕으로 유튜브의 과산화수소 분해 실험 영상 사례를 분석했다. 총 14편의 국내외 과산화 수소 분해 실험 관련 유튜브 영상이 분석되었다. 연구 결과, 뉴미디어 매체 속에서 과산화 수소 분해실험은 전형적으로 과학적 실험을 의미하는 기호들과 함께 재현되고 있었으나, 가장 핵심적인 기호는 실험을 통해 생성되는 거품이었다. 콘텐츠의 더 많은 소비 촉진을 위하여 유튜브 속에서 재현되는 과산화수소 분해 실험의 거품은 더욱 자극적인 '초거대한 거품 폭발'의 이미지로 변화되어갔다. 뿐만 아니라 유튜브의 댓글을 통해 과산화수소 분해 실험을 수행하는 교실에서도 이 거대한 거품의 이미지는 실재보다 더 실재같은 시뮬라크르이며, 실제 실험의 수행에도 영향력을 미치는 시뮬라시옹이 일어남을 확인할 수 있었다. 학습자가 언제 어디서나 접근 가능하며 수많은 이미지를 제공하는 뉴미디어의 영향력을 고려할 때, 뉴미디어 속 과학실험이 학생들의 과학에 대한 친밀함과 접근성을 높인다는 점은 긍정적이다. 그러나 즉각적이고 표면적 이미지만을 주로 다루는 뉴미디어의 특성으로 인해 과학실험의 목적이 '스펙터클 이미지의 생성'으로만 고착될 위험성도 유의해야 할 것이다. 더 나아가 이 연구에서는 일상생활에 깊숙이 영향을 미치는 뉴미디어의 특성과 한계를 이해를 토대로 그 속에서 재현되고 굳어지는 과학 관련 이미지들을 비판적으로 검토하는 과학 미디어리터러시가 요구됨을 주장했다.

• 대한핵의학회지
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• 제25권1호
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• pp.46-52
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• 1991

Radioaerosol inhalation imaging (RII) has been used in radionuclide pulmonary studies for the past 20 years. The method is well accepted for assessing regional ventilation because of its usefulness, easy fabrication and simple application system. To evaluate its clinical utility in the study of impaired regional ventilation in bronchial asthma, we obtained and analysed RIIs in 31 patients (16 women and 15 men; age ranging 21-76 years) with typical bronchial asthma at the Department of Radiology, Kangnam St. Mary's Hospital, Catholic University Medical college, from January, 1988 to August, 1989. Scintiscans were obtained with radioaerosol produced by a BARC(Bhabha Atomic Reserch Center, India) nebulizer with 15 mCi of $^{99m}Tc-phytate$. The scanning was peformed in anterior, posterior and lateral projections following 5-minute inhalation of radioaerosol on sitting position. The scans were analyzed and correlated with the results of pulmonary function study and the findings of chest radiography. Fifteen patients had concomitant lung perfusion image with $^{99m}Tc-MAA$. Follow-up scans were obtained in 5 patients after bronchodilator therapy. The patients were divided into (1) attack type (4 patients), (2) resistant type (5 patients), (3) remittent type (10 patients) and (4) bronchitic type (12 patients). Chest radiography showed hyperinflation, altered pulmonary vascularity, thickening of the bronchial wall and accentuation of basal interstitial markings in 26 of the 31 patients. Chest radiographs were norma! in the remaining 5 patients. Regardless of type, the findings of RII were basically the same, and characterized by the deposition of radioaerosol in the central parts or in the main respiratory air ways along with mottled nonsegmental ventilation defects in the periphery. Peripheral parenchymal defects were more extensive than that of expected findings from clinical symptoms, pulmonary function test and chest radiograph. Broomstick sign was present in 17 patients. The abnormality of RII was poorly correlated with perfusion scans. In all 5 patients treated with bronchodilators, follow-up study demonstrated a decrease in the degree of radioaerosol deposition in the central air way with improved ventilation defects. This study indicates that RII is a useful technique for the evaluation of regional ventilation abnormality and the effect of treatment with bronchodilators in patients with bronchial asthma.

• 한국의류학회지
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• 제16권3호
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• pp.197-207
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• 1992

Expressionism, is as diverse as the artists invo)ved, in a very broad sense two main tendencies may be noted. The first is that of the Action painters, concerned in different ways with the gesture of the brush and the texture of the paint. It included such major artists as Arshile Gorky, Jackson Pollock, Willem De Keening, and Franz Kline. The other group consisted of the Color Field painters, concerned with the statement of an abstract sign or tranquil image in terms of a large, unified color shape or area. Here must be included Mark Rothko, Barnett Newman, Ad Rdinhardt, as well as, to a degree, Adolph Gottlieb, Robert Motherwell, and Clyf(ord Still. In this paper, 1 selected two artists Arshile Gorky and Jackson Pollock independent charac-teristics and studied the influence of their Action painting on the fabrics of modern fashion. However, it should be noted it was never the intention of the critic Harold Rosenberg, in coining this term, to imply that Action painting was a kind of athletic exercise. Nor is it true that the furious and seemingly haphazard scattering of the paint involved a completely uncontrolled, intuitive act. There is no question that, in the paintings of Jackson Pollock, Arshile Gorky and many of the other Abstract Expressionists, the element of intuition or the accidental plays a large and deliberate part; this was indeed one of the principal contributions of Abstract Expressionism which had found its own inspiration in surrealism's 'psychic automaton'. However, nothing that an experienced and accomplished artist does can be completely accidental. Aside from their intrinsic quality, the spun-out skeins of poured pigments contributed other elements that changed the course of modern painting. There was the concept of the all-over painting, the painting seemingly without beginning or end, extending to the very limits of the canvas and implying an extension even beyond. The feeling of absorption or participation is heightened by the ambiguity of the picture space. The colors and lines, although never punctur-ing deep perspective holes in the surface, still create an illusion of continuous movement, a billowing, a surging back and forth, within a limited depth. To study the influence of Abstract Expressionism on the fabric of modern fashion, 1 selected and examined four fashion magazines: Collezioni published in France, Bazaar in Italy, Gap in Japan and Vogue in the U.S.a. froim January 1989 to June 1991. As a result of this review I found that some fabrics used in modern clothing are printed in a dripping, pouring and splashing style without any meaning or form. Slides included in the presentation show that modern fabrics which are printed in such a style were influenced by Abstract Expressionism. The slides also show that these abstract prints are well suited to modern fashion design.

• 대한화장품학회지
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• 제39권3호
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• pp.215-224
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• 2013

화장품에 배합되는 원료 중에 피부 모공을 막아 여드름의 초기단계인 면포를 유발함으로써 염증성 여드름으로 악화시키는 사례가 보고되고 있다. 본 연구는 '여드름 피부에 사용이 적합한' 면포 비유발성 화장품의 객관적인 평가 기준을 마련하고자 하였다. 외국 임상기관에서 실시하고 있는 non-comedogenic test를 조사하고 등 상부 반복 폐쇄 첩포를 통해 면포 유발 평가방법을 확립하고자 연구를 수행하였다. 또한 안면부 사용성 시험을 동일 피험자에게 추가로 진행하였다. 등 상부 반복 폐쇄 첩포를 통해 면포를 채취하여 분석한 결과 시험시료로 사용한 보습제와 자외선 차단제가 면포를 유발하지 않음을 확인할 수 있었고, 동일한 시험제품을 안면부에 사용하여 얻은 면포 유발 결과와 Global acne grading system (GAGS)의 여드름 육안평가 결과는 상관관계가 없었다. 또한 사진 판독을 통해 분석하는 면포와 모낭의 구별을 용이하게 하기 위해 면포 채취 표본에 Oil red O staining을 실시하였다. 염색을 한 경우의 표본이 염색을 하지 않은 표본과 비교하여 결과 간 높은 일치도를 확인하였다. 본 연구에서는 Oil red O staining을 통해 객관성과 신뢰성을 증진시킨 새로운 버전의 화장품 면포 비유발성 평가법을 확립하였다.

• Tuberculosis and Respiratory Diseases
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• 제84권4호
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• pp.282-290
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• 2021

Background: Radial probe endobronchial ultrasound-guided transbronchial lung biopsy (RP-EBUS-TBLB) has improved the diagnostic yield of bronchoscopic biopsy of peripheral pulmonary lesions (PPLs). The diagnostic yield and complications of RP-EBUS-TBLB for PPLs vary depending on the technique, such as using a guide sheath (GS) or fluoroscopy. In this study, we investigated the utility of RP-EBUS-TBLB using a GS without fluoroscopy for diagnosing PPLs. Methods: We retrospectively reviewed data from 607 patients who underwent RP-EBUS of PPLs from January 2019 to July 2020. TBLB was performed using RP-EBUS with a GS without fluoroscopy. The diagnostic yield and complications were assessed. Multivariable logistic regression analyses were used to identify factors affecting the diagnostic yields. Results: The overall diagnostic accuracy was 76.1% (462/607). In multivariable analyses, the size of the lesion (≥20 mm; odds ratio [OR], 2.06; 95% confidence interval [CI], 1.27-3.33; p=0.003), positive bronchus sign in chest computed tomography (OR, 2.30; 95% CI, 1.40-3.78; p=0.001), a solid lesion (OR, 2.40; 95% CI, 1.31-4.41; p=0.005), and an EBUS image with the probe within the lesion (OR, 6.98; 95% CI, 4.38-11.12; p<0.001) were associated with diagnostic success. Pneumothorax occurred in 2.0% (12/607) of cases and chest tube insertion was required in 0.5% (3/607) of patients. Conclusion: RP-EBUS-TBLB using a GS without fluoroscopy is a highly accurate diagnostic method in diagnosing PPLs that does not involve radiation exposure and has acceptable complication rates.

• 한국엔터테인먼트산업학회논문지
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• 제13권6호
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• pp.135-142
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• 2019

본 연구는 초현실주의의 정신적 자유를 바탕으로 반혁명적 특성을 지닌 루이스 부뉴엘의 작품에 나타난 몽상과 환각의 알레고리는 무엇을 말하고자 하는가를 화두로 삼았다. 그의 작품 <부르주와의 은밀한 매력>과 <자유의 환상>의 장면에 나타난 기표에 나타난 기의를 파악하기 위하여 초현실주의의 기법 데페이즈망의 특징인 부유하는 오브제의 배치인 우연성과 기존의 관습을 전복하는 양극성, 그리고 이미지들의 패러디와 모순성을 통해 초현실주의의 영화적 영향 양상을 고찰하였다. 세 가지 데페이즈망의 영화적 적용으로 살펴본 루이스 부뉴엘의 나타나는 미학적 관점은 이성에 대한 반감과 법과 질서의 비판 그리고 이데올로기와 국가 장치에 대한 혐오는 근본적인 비이성적인 것을 비판하고 우리로 하여금 해방의 가능성을 열어두고자 함이다. 그는 자신의 주장을 펼치기 위해 초현실주의의 기법을 도용하여 초현실주의 영화의 초석을 다졌다. 이에 본 연구는 데페이즈망의 여러 층위를 통해 영화에 나타난 몽상과 환각의 시니피앙을 해석하고 작가의 이념이 영화에 새겨진 풍경에 나타난 초현실주의적 자유의 의미를 고찰하였다. 초현실주의는 미술과 현대영화에 일정한 영향을 미쳤으며 그 대표적인 사례가 부뉴엘의 텍스트이다.

• 미술이론과 현장
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• 제2호
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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.

• 콘크리트학회논문집
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• 제21권4호
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• pp.531-537
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• 2009

이 연구에서는 알칼리-실리카 반응성을 평가하는데 적용되는 ASTM C 227과 ASTM C 1260 모르타르 봉 시험법으로 쇄석골재의 반응성을 평가하고, 제작된 모르타르를 3년간 일반 환경에 노출시킨 뒤, 알칼리-실리카 반응으 로 인해 생성될 수 있는 반응생성물 확인과 화학분석을 위해 SEM과 EPMA 분석을 실시하였다. 이 연구에서는 SEM의 secondary electron image(SEI)와 EPMA의 backscattered electron image(BSEI)를 이용하였다. 이 연구에 사용된 쇄석골재 는 ASTM C 227에 의해서는 2년간 뚜렷한 팽창을 나타내지 않았지만, KOH 용액을 이용한 반응촉진법에 의해서는 유 해 가능성이 있는 것으로 나타났다. 모르타르 봉 시험 시행 후, SEM SEI 분석 결과, ASTM C 227에 의해 제작된 모 르타르 봉에서는 골재 입자와 시멘트페이스트 사이에 알칼리-실리카 반응에 의한 흔적이나 pore 내에서 반응생성물이 확인되지 않았다. 하지만 ASTM C 1260에 의한 모르타르 봉에서는 알칼리-실리카 반응의 전형적인 반응생성물로 알려 진 꽃잎형(rosette morphology)의 알칼리-실리카 겔(gel)이 확인되었다. EPMA 분석 결과, ASTM C 227에 의한 모르타르 봉에서도 골재 입자 표면에 부분적으로 미세하게 Al-ASR gel이 확인됨에 따라 ASTM C 227에 의해 2년간 무해한 팽 창을 나타내었던 모르타르 봉에서도 알칼리-실리카 반응이 발생하고 있음을 알 수 있었다. 반응성 촉진 시험 후의 모르 타르의 EPMA 분석 결과에서는 골재 입자에 발생된 균열 내부뿐만 아니라 pore 내부에 알칼리-실리카 겔이 축적되어 있는 것으로 나타났으며, 또한 pore 내에서 확인된 겔이 골재 입자 내부에 생성된 겔에 비해 Ca 함량이 더 풍부한 것 으로 나타났다. 국내에서 생산되는 쇄석골재 사용으로 인하여 구조물 내부에 발생한 변화를 미세구조를 통해 확인한 결 과, 알칼리-실리카 반응에 의한 구조물 열화를 알 수 있었다. 따라서, 국내 쇄석골재 사용량 증가에 따라 새로운 건설에 있어서 알칼리-실리카 반응 방지를 위한 고려가 있어야 할 것으로 판단된다.

• 패션비즈니스
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• 제6권1호
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• pp.137-154
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• 2002

It's not easy to renew old brand of over 50 years history to the tastes of new consumer of our time. Most of national brands that has a history of some 20 years in Korea have strove for continuation and growth of brand to no avails, which can be taken as a good example of current situation. For instance, C company, one of the National brand of US which has a history of 51 years, has made its position secure as a fashion group and based itself on a sound foundation by establishing new marketing strategy and completing successful brand renewal in the process of strategic M&A with Italian company. Those successful marketing strategies are as follows. 1) they regarded both market and consumer oriented marketing activity as company's highest priority strategy and put great emphasis upon concentration on target market and reestablishment of brand image of business casual wear. 2) Setting up and operating planning team composed of merchandizer alone in Milano, they set the direction of plan on the basis of concentrated research on potential item in market according to thorough market research done by buying office in Korea, branch office in Hong Kong and buyer in US prior to blueprint planning for season. 3) Great emphasis was placed on business which focused on intensive presentation of basic key item for apparel career women who are main consumer group in the midium-low prices market in US and on supplementation of size and color. they named this line 'collectibles' and helped their customer develop their own clothes plan without worrying about the change of color and fabric by supporting same fabric and color throughout the year and enabled them to add variation easily by supplementing new trend item. 4) Company set black as a main color that lots of apparel career women find easy to care and to express their own image and presented them with pebble which belongs to navy and beige and added fashion color such as wine and brown etc as season goes by. They constructed basic line in order for their customers to coordinate purchased item with new one or to add them to present collection, and to achieve efficient sale by setting up strategy which allows this cross coordination and changing pattern occasionally. 5) Though basic jacket for 99$, short slim skirt for 49$ are products within midium-low prices range, in the material planning stage aiming at production of item that has both resonable function appealing to consumer and is fashionable, synthetic material had to be used as a main source due to price competitiveness. Despite this situation, considering comfortable sense of fit and refined drape of silhouette that has no sign of cheap material, whole collectible line was divided into two items, which contributed to reduction of cost. In case of material that is composed of triacetate and polyester in 70 to 30 ratio, was used up to 4 million yard, which allowed drastic curtailment of cost accompanied by concentration. In case of 'collectibles' line, using Korean material mainly, C company chose to have their product sewed in Southeast Asian countries where transportation is well developed and both productivity and quality verified by operating global production system which aiming at cutdown of cost through outsourcing production from the country where labor cost is low and getting finished product. Polarization between present consumers telling us that consumers with the mind of middle classes in the past no longer exists between consumers who seek after only fine article of highest quality and wise consumers who are sensible enough to judge bubble on correlation between price and quality. To cope with this change in new consumer mind, apparel makes changing their policy so as to produce item that has reasonable quality and falls within affordable price range anywhere in the world. and they're striving to get out of difficult situation by operating global marketing strategy which stresses separation of planning, production and sale and sensibility of fashion shared worldwide. The marketing strategy of C company can be exemplified as a successful one.