• Journal of Biomedical Engineering Research
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• v.19 no.5
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• pp.455-468
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• 1998

For the objective interpretation of cerebral metabolic patterns in epilepsy patients, we developed computer-aided classifier using artificial neural network. We studied interictal brain FDG PET scans of 257 epilepsy patients who were diagnosed as normal(n=64), L TLE (n=112), or R TLE (n=81) by visual interpretation. Automatically segmented volume of interest (VOI) was used to reliably extract the features representing patterns of cerebral metabolism. All images were spatially normalized to MNI standard PET template and smoothed with 16mm FWHM Gaussian kernel using SPM96. Mean count in cerebral region was normalized. The VOls for 34 cerebral regions were previously defined on the standard template and 17 different counts of mirrored regions to hemispheric midline were extracted from spatially normalized images. A three-layer feed-forward error back-propagation neural network classifier with 7 input nodes and 3 output nodes was used. The network was trained to interpret metabolic patterns and produce identical diagnoses with those of expert viewers. The performance of the neural network was optimized by testing with 5~40 nodes in hidden layer. Randomly selected 40 images from each group were used to train the network and the remainders were used to test the learned network. The optimized neural network gave a maximum agreement rate of 80.3% with expert viewers. It used 20 hidden nodes and was trained for 1508 epochs. Also, neural network gave agreement rates of 75~80% with 10 or 30 nodes in hidden layer. We conclude that artificial neural network performed as well as human experts and could be potentially useful as clinical decision support tool for the localization of epileptogenic zones.

• Progress in Medical Physics
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• v.18 no.2
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• pp.98-106
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• 2007

In June 2005, Yonsei University Medical Center, Severance Hospital upgraded a full-PACS system by adding twenty (5 mega pixels) Totoku ME511L flat panel LCD display devices for diagnostic interpretation purposes. Here we report upon the quantitative (or visual) acceptance testing of the twenty Totoku ME511L display devices for reflection, luminance response, luminance spatial dependency, resolution, noise, veiling glare, and display chromaticity based on AAPM TG 18 report. The tools used in the tests included a telescopic photometer, which was used as a colorimeter, illuminance meter, light sources for reflection assessment, light-blocking devices, and digital TG18 test patterns. For selected 8 flat panel displays, mean diffuse reflection coefficient ($R_d$) was $0.019{\pm}0.02sr^{-1}$. In the luminance response test, luminance ratio (LR), maximum luminance difference ($L_{max}$), and deviation of contrast response were $550{\pm}100,\;2.0{\pm}1.9%\;and\;5.8{\pm}1.8%$, respectively. In the luminance uniformity test, maximum luminance deviation was $14.3{\pm}5.5%$ for the 10% luminance of the TG18-UNL10 test pattern. In the resolution test with luminance measurement method, percent luminance (${\Dalta}L$) at the center was $0.94{\pm}0.64%$. In all cases of noise testing, rectangular target In every square in the three quadrants was visible and all 15 targets except the smallest one in the every corner pattern and the center pattern. The glare ratio (GR) was $12,346{\pm}1,995$. The color uniformity, (u',v'), was $0.0025{\pm}0.0008$. Also, the research results of qualify control guideline of primary disply devices suitable for domestic circumstance are presented All test results are in-line with the criteria recommended by AAPM TG18 report and are thus fully acceptable for diagnostic image interpretation. As a result, the acceptance testing schedule described provides not only an acceptance standard but also guidelines for quality control, optimized viewing conditions, and a means for determining the upgrading time of LCD display devices for diagnostic interpretation.

• Journal of Science of Art and Design
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• v.10
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• pp.5-50
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• 2006

The terminology "human body" simply means a physical body but also more often, as an object in art works, carries symbolic concepts incorporating the whole history of human lives. Human body has been employed as an artistic object capturing physical body, delivering artist's idea expressing life indicators from different standpoints of times and places. This point of view about human body in art works has in fact rather short history since 1960's when modern thinking paradigm focusing upon rationality and reasoning has begun declining and on the contrary when the body used to be the servant of the mind and soul for a long time has begun attracting artist's attention as a real entity from the viewpoint of dichotomy. During the 1960's, frequent performances in Pop art and of Fluxus showed that the human body has been an important media for artistic communication after importance of body performances had been raised in Action painting in 1940's. The human body became a more determined media in body art works that had got into stride after Yves Kline's conceptual works applying body and its traces. These kinds of art works have continued and consolidated into the Feminism came into blossom in 1980's and into fragmentated and disembodied body art trend in 1990's. Through development of trends in body works, human body now might well be regarded as a clue provide from individual identity with implication over the world. This thesis is to analyse in semiotic way main works of Kiki Smith who is a representative artist devoting to Feminism and proposing extended significance of human body. In the analysis process of works done by two great artists with histrorical background of art trend in order to find and open an significance horizon of human body, semiotics and bodism are therefore perceived as pertinent and applied as basic tools. The first stage of analysis is to get the significances emerged in between expression part and contextual parts, which are separated structually from the most basic level. The study deals with body works furthermore in the way of structual cohesion of the expression and the context from the view of A J. Greimas' Structural Semantics and tried to build up a basic frame for the extended significances of human body. This thesis is, on the other hand, to attempt to contribute for extension of disembodied and fragmentated body discussed in the structural semantic frame earlier by Julia Kriesteva who delivers abjection concepts and phenomenology of Maurice Merleau-Ponty who enables to overview relationship between the body and the world from the viewpoint of Bodism, further into interpretation level. The other works are Kiki smith's that showed epics about death in mid-1980's, detailed humbleness of vulnerable human body exposed to dichotomy and fragmentation in 1990's and religion and mythology incorporating wouln healing in 2000's and henceforth. Through the analysis of Kiki Smith's representative work 'Pee body', it is verified and confirmed that fragmentated body showed beyond boundary gap of the human body and ultimately tends to imply human healing owing to divine maternity. Bodily symbols in Kiki Smith's are extended to the universal world to imply human life and death on the one hand and religion and mythology of human wound and divine healing one the other hand. This thesis through these process and results of analysis is in a broad context, to emphasize that human body as objectified text has a key indicator role to understand world as well as semiotic extension in art works in late 20th century so that we might confirm bodily symbol as a cultural context constitutes a section of contemporary visual arts.

• Cartoon and Animation Studies
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• s.33
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• pp.99-126
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• 2013

This study is meant to be seeing how fun of animation works by reviewing it theoretically and coordinating it to suggest the structure which integrates fun of animation and validates the proposed fun model. After reviewing fun theoretically, the fun of animation could be able to coordinate that fun of animation is consist of perceptive fun, cognitive fun, and psychological fun. Perceptive fun is induced by visual, auditory and other sensory information and it is directly affected the image, sound, and movement. Cognitive fun can be obtained by reasoning and interpretation to mobilize their knowledge with sensuously perceived stimulation and it is directly affected the story. Psychological fun occurs when the audience see the animation. The psychological fun is the psychological emotional state when the audience watches animation by relieving psychological congestion. It consists of fun of unfamiliarity or identification. By suggesting research model and validating it how the perceptive fun, cognitive fun, and psychological fun affects each other, perceptive fun enhances cognitive fun and psychological fun. Although cognitive fun enhances psychological fun, cognitive fun enhances psychological fun twice than perceptive fun. Also when perceptive fun affects psychological fun, cognitive fun shows the indirect effect as a parameter. In conclusion, perceptive fun affects psychological fun directly and be enhanced through cognitive fun. Fun of animation can be experienced when perceptive fun caused by accepting sensory information of animation instantly, cognitive fun caused by interpretation and understanding sensory information of animation, and psychological fun caused by relieving psychological identity through recognition fuses and acts as one. An animation emphasized a certain element is difficult to be loved by the audience. In this reason, an harmonical combination among the elements of story, image, sound and movement are important to combinate harmoniously for a successful animation to make the audiences fun by arising funny emotions.

• Journal of Science of Art and Design
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• v.11
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• pp.5-35
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• 2007

When it comes to art, the two conflicting themes of 'scientific progress' and the 'nature' have often motivated the advent of the new mode of arts. By the late 20th century, uniform and simplified mode of arts, inspired by scientific and technological progress of that time, was gradually disillusioned by the contemporaries due to the adverse effect of science on human life. In this context, naturalism pursuing for harmony of human and the nature came up as an alternative to those living in the 21st century. The pendulum has swung from minimalism to naturalism. Though the quantitative improvement of human life cannot be denied, the uprise of such problems as environmental pollution and exhaustion of natural resources degraded the quality of human life, which, eventually, shifted the attention to the theme - 'revival of naturality.' Therefore, this thesis intends to represent the modem interpretation of the 'revival of naturality' by applying the major expressions of Art Nouveau that also emphasized naturalism. Art Nouveau found its motifs from organic figures of natural beings and put them to designs of decorative arts. This carries a historical significance in that Art Nouveau boldly revolutionized historicism, which only repeated adoption and modification of the existing modes of arts, and opened it to the modem design with new attempts to practical applications of the arts. Art Nouveau, which means 'new art', prospered from the late 19th century to the early 20th century, and even after one century, it is highly appreciated, reviving as novel and vivid forms in this contemporary art. Art Nouveau based on naturalism has revisited our contemporary period when naturalism and feminized romanticism came into fashion and its common motifs revive in different jenre of arts such as fashion, furniture, glass works, and jewelry works. This study illustrates and analyzes the works of four major artists who gave a specific attention to botanical motifs of Art Nouveau and applies decorative beauty of highly sophisticated and organic curved lines and the expressional forms of botanical figures to design. Art Nouveau proved this; the nature herself is as beautiful as she can be. Within Art Nouveau, the true humanism can be revitalized with the 'revival of naturality'. This study rediscovered the boundless potential of modern interpretation and application of Art Nouveau in decorative art and design.

• Proceedings of the KSPS conference
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• 1997.07a
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• pp.228-229
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• 1997

1 Intonation is important. It cannot be ignored. To convince students of the importance of intonation, we can use sentences with two very different interpretations according to intonation. Example: "I thought it would rain" with a fallon "rain" means it did not rain, but with a fall on "thought" and a rise on "rain" it means that it did rain. 2 Although complex, intonation is structured. For both teacher and student, the big job of tackling intonation is made simpler by remembering that intonation can be analysed into systems and units. There are three main systems in English intonation: Tonality (division into phrases) Tonicity (selection of accented syllables) Tone (the choice of pitch movements) Examples: Tonality: My brother who lives in London is a doctor. Tonicity: Hello. How ARE you. Hello. How are YOU. Tone: Ways to say "Thank you" 3 In deciding what to teach, we must distinguish what is universal from what is specifically English. This is where contrastive studies of intonation are very valuable. Usually, for instance, division into phrases (tonality) works in broadly similar ways across languages. Some uses of pitch are also similar across languages - for example, very high pitch may signal excitement or urgency. 4 Although most people think that intonation is mainly about pitch (the tone system), actually accent placement (tonicity) is probably the single most important aspect of English intonation. This is because it is connected with information focus, and the effects on interpretation are very clear-cut. Example: They asked for coffee, so I made them coffee. (The second occurrence of "coffee" must not be accented). 5 Ear-training is the beginning of intonation training in the VeL approach. First, students learn to identify fall vs rise vs fall-rise. To begin with, single words are used, then phrases and sentences. When learning tones, the fIrst words used should have unstressed syllables after the stressed syllable (Saturday) to make the pitch movement clearer. 6 In production drills, the fIrst thing is to establish simple neutral patterns. There should be no drama or really special meanings. Simple drills can be used to teach important patterns: Example: A: Peter likes football B: Yes JOHN likes football TOO A: Mary rides a bike B: Yes JENny rides a bike TOO 7 The teacher must be systematic and let learners KNOW what they are learning. It is no good using new patterns and hoping that students will "pick them up" without noticing. 8 Visual feedback of fundamental frequency with a computer display can help students learn correct patterns. The teacher can use the display to demonstrate patterns, or students can practise by themselves, imitating recorded models.

• Journal of Science of Art and Design
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• v.11
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• pp.79-108
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• 2007

"Printing is an Art of reproduction & a Technique of However printing has extended its limitation from a genre of reproduction itself and now it stands on the turning point as an art such as painting or sculpture which expresses artist's originality. Early Printing has had relations in depth with press printing in terms of information recording, preservation, and transmission. It was acknowledged value in a way of information satisfaction different from how it is valued as a pure art today. But, later printing has transferred its function from a mean of reproduction to pure art due to the development of printing skills and photography invention. It can be said that the concept of modern printing is taking over its genealogy as a creative work not as just printing. Also its expression capability is widen to dimensional printing and high-tech multimedia from original tradition techniques. As we discussed above, modern painting is very open to various changes. This modern painting aspect can be seen as an extended interpretation of 'board' concept. This dissertation raises a question why monotype and monoprint couldn't secure its position in printing history in spite of numerous artists' tryouts in its way. Monotype and monoprint fundamentally based on intaglio technique in its history. Yet, its systematic study hasn't been worked out. This is because of the lack of recognition of monotype and monoprint's originality as printing. Especially in monoprint, it has known as an early stage in copperplate printing process which is an attempt to solve the technique limitation or trial work for edition. Likewise the reason why monotype and monoprint remains at the edge of printing border ambiguously is because of conceptual, technical characteristics which are against traditional printing. In traditional printing, the concept of board is important as a method of reproduction. Different from the fact, monotype and monoprint accept the form of medium 'board' conceptually out of limited condition as mentioned. Thus monotype and monoprint hasn't stand out for several reasons until late 20th century when it started come out to public as people starts to have interests that works from famous artists are actually based on monotype and monoprint. This dissertation likes to step into the monotype and monoprint theoretically which is not well known in domestic and try to study the meaning of monotype and monoprint as a printing medium which is also hasn't been considered sincerely. For this study the process follow as below. First, look into how monotype and monoprint has a concept and history. Next, check differences through comparison with traditional printing and how printing can be understood in what aspects at the same time. After, verify how monotype and monoprint have influence on the acceptance of extended concept of 'board'. This study will show the expressional possibility of monotype and monoprint which has already known as 'tableau printing' in today's situation where adventurous experiments of printing medium are going on with the development of technology.

• Tunnel and Underground Space
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• v.15 no.1 s.54
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• pp.28-38
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• 2005

According to the recent development of measurement system utilizing one or a set of boreholes, visualization of the explored underground became to be a major issue. It induced even the introduction of monitoring apparatuses on the borehole wall with multi-function tool, but the usage of these was often limited by where is unfavorable rock condition and a few of engineers can approach. And so, a portable type of borehole camera with only the essential function has been investigated and a few of commercial models about this is recently being applied into the field condition. This paper was based on the monitoring results obtained using a commercial model by Dr. Nakagawa. Discontinuities in rock mass were the topic for the visualization, and it was studied how can visualize their three dimensional distribution and what a numerical formulation is needed and how to understand the visualization result. The numerical formulation was based on the geometric correlation between the dip direction / dip of discontinuous plane and the trend / plunge of borehole, a set of the equation of a plane was induced. As field application of this into two places, it is found that the above visualization methodology will be especially an useful geotechlical tool for analyzing the local distribution of discontinuities.

• Science of Emotion and Sensibility
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• v.21 no.3
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• pp.151-164
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• 2018

The appropriate interpretation of social cues is a crucial ability for everyday life. While processing socially relevant information, beyond the low-level physical features of the stimuli to emotional information is known to influence human cognition in various stages, from early perception to later high-level cognition, such as working memory (WM). However, it remains unclear how the influence of each type of emotional information on cognitive processes changes in response to what has occurred in the processing stage. Past studies have largely adopted face stimuli to address this type of research question, but we used a unique class of socially relevant motion stimuli, called biological motion (BM), which depicts various human actions and emotions with moving dots to exhibit the effects of anger, happiness, and neutral emotion on task performance in perceptual and working memory. In this study, participants determined whether two BM stimuli, sequentially presented with a delay between them (WM task) or one immediately after the other (perceptual task), were identical. The perceptual task showed that discrimination accuracies for emotional stimuli (i.e., angry and happy) were lower than those for neutral stimuli, implying that emotional information has a negative impact on early perceptual processes. Alternatively, the results of the WM task showed that the accuracy drop as the interstimulus interval increased was actually lower in emotional BM conditions than in the neutral condition, which suggests that emotional information benefited maintenance. Moreover, anger and happiness had distinct impacts on the performance of perception and WM. Our findings have significance as we provide evidence for the interaction of type of emotion and information-processing stage.

• Journal of the Korean Institute of Landscape Architecture
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• v.18 no.4
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• pp.45-71
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• 1991

The landscape systems in Korean island settlements can be recognized as results of ingabitants' ecological adptation to the isolated environment with the limited natural resources. Both the fishery dominant industry in island society and ecological nature of its environments seem to have influenced on inhabitants' environmental cognition as well as the physical landscape of island villages such as its location, spatial pattern in each village, housing form and so on. This study was done mainly by both refering to the related documents and direct observations in case study areas, and results of the study can be summarized as follows. 1. In general, the landscape of an individual island seems to take more innate characteristics of island's own, corresponding to the degree of isolation from mainland. That is, while the landscape of island in neighboring waters takes both inland-like and island-innate landscape character at the same time, the one in the open sea far from land takes more innate landscape character of all island's own in the aspects of village location, land use and housing density etc. 2. The convex landform of most islands brings about more centrifugal village allocation than centripetal allocation in most inland villages. And thus most villages in each island face extremely diverse directions different from the south facing preference in most inland rural villages. 3. Most island villages tend to be located along the ecologically transitional strip between land and sea, so called 'line of life', rather than between hilly slope and flat land as being in most inland village locations. So they are located with marine ecology bounded fishing ground ahead and land ecology bounded agricultural site at the back of them. 4. The settlement pattern of the island fishing villages shows more compact spatial structure than that of inland agricultural villages, due to the absolute limits of usable land resources and the adaptation to the marine environment with severe sea winds and waves or for the easy accessability to the fishing grounds. And also the managerial patterns of public owned sea weed catching ground, which take each family as the unit of usership rather than an individual, seem to make the villagescape more compact and the size of Individual residence smaller than that of inland agricultural village. 5. The folk shrine('Dand') systems, in persrective of villagescape, represent innate environmental cognition of island inhabitants above all other cultural landscape elements in the island. Usually the kinds and the meanings of island's communal shrine and its allocative patternsin island villagescape are composed of set with binary opposition, for example 'Upper shrine(representing 'earth', 'mountain' or 'fire')' and 'Lower Shrine(representing 'sea', 'dragon' or 'water') are those. They are usually located at contrary positions in villagescape each other. That is, they are located at 'the virtical center or visual terminus(Upper shrine at hillside behind the village)' and 'the border or entrance(Lower Shrine at seashore in front of the village)'. Each of these shirines' divinity coincides with each subsystem of island's natural eco-system(earth sphere vs marine sphere) and they also contribute to ecological conservation, bonded with the 'Sacred Forest(usually with another function of windbreak)' or 'Sacred Natural Fountain' nearby them, which are representatives of island's natural resources.