• Progress in Medical Physics
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• v.20 no.3
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• pp.132-138
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• 2009

Studies on target motion in 4-dimensional radiotherapy are being world-widely conducted to enhance treatment record and protection of normal organs. Prediction of tumor motion might be very useful and/or essential for especially free-breathing system during radiation delivery such as respiratory gating system and tumor tracking system. Neural network is powerful to express a time series with nonlinearity because its prediction algorithm is not governed by statistic formula but finds a rule of data expression. This study intended to assess applicability of neural network method to predict tumor motion in 4-dimensional radiotherapy. Scaled Conjugate Gradient algorithm was employed as a learning algorithm. Considering reparation data for 10 patients, prediction by the neural network algorithms was compared with the measurement by the real-time position management (RPM) system. The results showed that the neural network algorithm has the excellent accuracy of maximum absolute error smaller than 3 mm, except for the cases in which the maximum amplitude of respiration is over the range of respiration used in the learning process of neural network. It indicates the insufficient learning of the neural network for extrapolation. The problem could be solved by acquiring a full range of respiration before learning procedure. Further works are programmed to verify a feasibility of practical application for 4-dimensional treatment system, including prediction performance according to various system latency and irregular patterns of respiration.

• Korean Journal of Ecology and Environment
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• v.56 no.3
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• pp.207-217
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• 2023

This study was conducted to investigate the current status of seagrass species in the Nakdong River estuary from May to June 2023. To survey the seagrass habitat area, the Nakdong River estuary was divided into seven zones. Aerial photography using drones was conducted to find seagrass areas, GPS tracking was carried out on foot in the intertidal zone and by boat and SCUBA diving in the subtidal zone. To analyze the seagrass status, we measured the morphological characteristics, shoot density, and biomass of representative seagrass species in each zone. Four seagrass species were found in this area: Zostera japonica, Z. marina, Ruppia maritima, and Phyllospadix japonicus. The distribution areas of each species was 338.2 ha, 92.9 ha, 0.9 ha, and 1.4 ha, respectively, with a total area of 432.5 ha. Z. japonica was widely distributed in most of the tidal flats and mudflats of the Nakdong River estuary, while Z. marina was restricted to Nulcha-do, Jinu-do, and Dadae-dong. R. maritima occurred within the habitat of Z. japonica in Eulsukdo and Myeongji mudflats, and P. japonicus inhabited rocky areas in Dadae-dong. The shoot density of each species was 4,575.8±338.3 shoots m^-2, 244.8±12.0 shoots m^-2, 11,302.1±290.0 shoots m^-2, and 2862.5±153.5 shoots m^-2, respectively. The biomass of each species was 239.7±18.5 gDW m^-2, 362.3±20.5 gDW m^-2, 33.3±1.2 gDW m^-2, and 1,290.0±37.0 gDW m^-2, respectively. The results of this study revealed that Z. japonica was dominant in the Nakdong River estuary. In particular, Z. japonica habitats of Eulsukdo, Daema-deung, and Myeongji mudflats were identified as the largest in Korea. The Nakdong River estuary is an important site of ecological, environmental, and economic value, and will require continuous investigation and management of the native seagrasses.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.