• The Korean Journal of Nuclear Medicine Technology
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• v.21 no.1
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• pp.15-22
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• 2017

Purpose During Brain SPECT study, critical factor for proper study with $^{99m}Tc-ECD$ or $^{99m}Tc-HMPAO$ is one of the important causes to patent's movement. It causes both improper diagnosis and examination failure. In this study, we evaluated the effect of Dynamic Continuous Mode Acquisition compared to Step and Shoot Mode to raise efficacy and reject the data set with movement, as well as, be reconstructed in certain criteria. Materials and Methods Deluxe Jaszczak phantom and Hoffman 3D Brain phantom were used to find proper standard data set and exact time. Step and Shoot Mode and Dynamic Continuous Mode Acquisition were performed with SymbiaT16. Firstly, Deluxe Jaszczak phantom was filled with $Na^{99m}TcO_4$ 370 MBq and obtained in 60 minutes to check spatial resolution compared with Step and Shoot Mode and Dynamic Continuous Mode. The second, the Hoffman 3D Phantom filled with $Na^{99m}TcO_4$ 74 MBq was acquired for 15 Frame/minutes to evaluate visual assessment and quantification. Finally, in the Deluxe Jaszczak phantom, Spheres and Rods were measured by MI Apps program as well as, checking counts with the frontal lobe, temporal lobe, occipital lobe, cerebellum and hypothalamus parts was performed in the Hoffman 3D Brain Phantom. Results In Brain SPECT Study, using Dynamic Continuous Mode rather than current Step and Shoot Mode, we can do the reading using the 20 to 50 % of the acquired image, and during the test if the patient moves, we can remove unneeded image to reduce the rate of restudy and reinjection. Conclusion Dynamic Continuous Mode in Brain study condition enhances effects compared to Step and Shoot Mode. And also is powerful method to reduce reacquisition rate caused by patient movement. The findings further indicate that it suggest rejection limit to maintain clinical value with certain reconstruction factors compared with Tomo data set. Further examination to improve spatial resolution, SPECT/CT should be the answer for that.

• Journal of Distribution Science
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• v.9 no.3
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• pp.73-82
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• 2011

This study presents an effective and distinctive marketing strategy through the implementation of the aesthetic art marketing communication technique of storytelling. The reason applying art to marketing is effective is that it gives "class" and aesthetic beauty to the brand's image, which will lead to an increase in revenue and loyalty of consumers. The story stands in for the brand's subject of "desire." Luxury brand customers not only consume high-quality products, require the utmost in service, and value of the brand, they also appreciate the story the brand is telling. The story, combined with art, is called art marketing communication; it makes the brand more unique through its enhanced visual elements. The study discusses art collaboration, art exhibition, a transforming architecture project, art advertisement, a flagship store, and a human resource training center. Based on the "desire," I adopted the element and principle of storytelling. By visualizing the brand with a symbol, the company is able to relate to consumers' sentimentality. Through storytelling art marketing communication, and the strategy using relevance of brand and artist's popularity, the research shows efficient art marketing influences to the brand's image. The results of the research indicate that by using adequate art marketing communication that best reflects the identity and story of the luxury brand, it produces great results; the research also demonstrated, in various ways, that art marketing will succeed. The case showed the following outcomes. First, consumers have a tendency to choose a brand that is associated with an empathizing story. World renowned brands see through the market's "desires" for unique stories, and they also provide the ability to amuse consumers. The story in a product will become an important competitive element in future markets. Second, the art marketing communication applying a story rendered a brand with distinction. The most effective art marketing communications are art collaboration, art exhibition, locomotive architecture project, and others that are adopted as various means. Third, the brand's products were considered as an art piece, which led to not only strengthening the loyalty of consumers but also an increase in sales. In addition, the company could sustain a premium price for the goods sold. By adapting art to a brand's tradition, an innovative and creative new product provides consumer satisfaction, and producing goods in limited editions creates enthusiastic collectors. Fourth, this study suggests an abridged report, implication, limitation of the study, and directions for further research. Referring to the case for the adaptation of luxury brands, efficient art marketing strategies considering Korean company brand and efficiently study preceding Korean company brand art marketing strategy could be proposed.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.3
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• pp.60-70
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• 2019

Today, Deoksugung Doldam-gil, which is a well-known area in Seoul, has become a mixed place as many places reaching a critical age have been converted into parks. However, the previous research on the Deoksugung Doldam-gil was deficient in that the user, an essential variable, was not considered when assessing the place. Based on that, this study aims to analyze and interpret the perception of the places in Deoksugung Doldam-gil and to analyze factors to further enrich the place to visitors. According to the research, the representative idea of Deoksugung Doldam-gil is "the distance you want to go" and that has influencing factors, such as vehicle restrictions and the improvement of the walking environment. The analysis of classifying the variables that make up the perception of the place, physical environments, activities and meanings showed high awareness in, "streets of green (3.95)" and "stone walls of curves (3.88)." In the category of activities, "walking activities in the inner city (4.01)" and "love and romance (3.57)" were high. These results seem to reflect the spatial characteristics of the streets and the familiar image of the place were important. Five factors were extracted from the factor analysis to provide a more detailed understanding of the place perception, the correlation between each factor, and the place atmosphere of Deoksugung Doldam-gil. These factors confirmed a high correlation between 'green landscape' and 'historicity.' This can be attributed to the fact that the analysis reflects vital space, visual experience, and free walking conditions to be important, and these variables are present in urban parks. It also indicates the long-accumulated image and behavior near the site of Deoksugung Palace, including the historical and cultural heritage. It was confirmed that the factors related to the cognitive perception of Deoksugung Doldam-gil and the formation of the atmosphere of the place were strongly recognized. It found that there was a need to reflect the value and importance of 'green' in the future as culture or in the use of preservation and management related to heritage. This study presented a direction to be noted from the perspective of a user's place awareness, but considered only a fraction of the variables that affect the multidimensional sense of place and location recognition, and thus must be supplemented in the future.

• Trans-
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• v.15
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.

• Journal of Science of Art and Design
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• v.11
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• pp.221-249
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• 2007

Today, photography is facing to the crisis of identity and dilemma of ontology from the digital imaging process in the new technology form. It is very important points to say rethinking of the traditional photographic medium, that has changed the way we view the world and ourselves is perhaps an understatement and that photography has transformed our essential understanding of reality. Now, no longer are photographic images regarded as the true automatic recording, innocent evidence and the mirror to the reality. Rather, photography constructs the world for our entertainment, helping to create the comforting illusions by which we live. The recognition that photographs are not constructions and reflections of reality, is the basis for the actual presence within the contemporary photographic world. It is shock. This thesis's aim is to look for the problems of photographic identity and ontological crisis that is controlling and regulating digital photographic imagery, allowing the reproduction of the electronic simulations era. Photography loses its special aesthetic status and becomes no more true information and, exclusively evidence by traditional film and paper that appeared both as a technological accuracy and as a medium-specific aesthetic. The result, photography is facing two crises, one is the photographic ontology(the introduction of computerized digital images) and the other is photographic epistemology(having to do broader changes in ethics, knowledge and culture). Taken together, these crises apparently threaten us with the death of photography, with the 'end' of photography and the culture it sustains. The thesis's meaning is to look into the dilemma of photography's ontology and epistemology, especially, automatical index and digital codes from its origin, meaning, and identity as the technological medium. Thus, in particular, thesis focuses on the analog imagery presence, from the nature in the material world, and the digital imagery presence from the cultural situations in our society. And also thesis's aim is to examine the main issues of the history of photography has been concentrated on the ontological arguments since the discovery of photography in 1839. Photography has never been only one static technology form. Rather, its nearly two centuries of technological development have been marked by numerous, competing of technological innovation and self revolution from the dual aspects. This thesis examines recent account of photography by the analysis of the medium's concept, meaning, identity between film base image and digital base image from the aspects of photographic ontology and epistemology. Thus, the structure of thesis is fairy straightforward to examine what appear to be two opposing view of photographic conditions and ontological situations. Thesis' view contrasts that figure out the value of photography according to its fundamental characteristic as a medium. Also, it seeks a possible solution to the dilemma of photographic ontology through the medium's origin from the early years of the nineteenth century to the raising questions about the different meaning(analog/digital) of photography, now. Finally, this thesis emphasizes and concludes that the photographic ontological crisis reflects to the paradoxical dynamic structure, that unsolved the origins of the medium, itself. Moreover, even photography is not single identity of the photographic ontology, and also can not be understood as having a static identity or singular status from the dynamic field of technologies, practices, and images.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.72-84
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• 2010

This study was attempted in order to offer basic data for implementing and applying Samjonseokjo(三尊石造), which is one of traditional stone construction method, by confirming how the constructive principle is expressed such as proportional beauty, which is contained in the modeling of Triad of Buddha Carved on Rock that was formed in the period of the Three States, centering on Triad of Buddha Carved on Rock in Susan. The summarized findings are as follows. 1. As a result of analyzing size and proportion of totally 17 of Triad of Buddha Carved on Rock, the average total height in Bonjonbul(本尊佛) was 2.96m. Right Hyeopsi(右挾侍) was 2.19m. Left Hyeopsi(左挾侍) was 2.16m. The height ratio according to this was 100:75:75, thereby having shown the relationship of left-right symmetrical balance. The area ratio in left-right Hyeopsi was 13.4:13.7, thereby the two area having been evenly matched. 2. The Triad of Buddha Carved on Rock in Seosan is carved on Inam(印岩) rock after crossing over Sambulgyo bridge of the Yonghyeon valley. Left direction was measured with $S47^{\circ}E$ in an angle of direction. This is judged to target an image change and an aesthetic sense in a Buddhist statue according to direction of sunlight while blocking worshipers' dazzling. 3. As for iconic characteristics of Buddha Carved on Rock in Seosan, there is even Hyeopsi in Bangasang(半跏像) and Bongjiboju(捧持寶珠) type Bosangipsang. In the face of Samjon composition in left-right asymmetry, the unification is indicated while the same line and shape are repeated. Thus, the stably visual balance is being shown. 4. In case of Triad of Buddha Carved on Rock in Seosan, total height in Bonjonbul, left Hyeopsi, and right Hyeopsi was 2.80m, 1.66m, and 1.70m, respectively. Height ratio in left-right Hyeopsibul was 0.60:0.62, thereby having been almost equal. On the other hand, the area ratio was 28.8:25.2, thereby having shown bigger difference. The area ratio on a plane was grasped to come closer to Samjae aesthetic proportion. 5. The axial angle of centering on Gwangbae was 84:46:50, thereby having been close to right angle. On the other hand, the axial angle ratio of centering on Yeonhwajwa(蓮華坐: lotus position) was measured to be 135:25:20, thereby having shown the form of inequilateral triangle close to obtuse angle. Accordingly, the upper part and the lower part of Triad of Buddha Carved on Rock in Susan are taking the stably proportional sense in the middle of maintaining the corresponding relationship through angular proportion of inequilateral triangle in right angle and obtuse angle. 6. The distance ratio in the upper half was 0.51:0.36:0.38. On the other hand, the distance ratio in the lower half was 0.53 : 0.33 : 0.27. Thus, the up-down and left-right symmetrical balance is being formed while showing the image closer to inequilateral triangle. 7. As a result of examining relationship of Samjae-mi(三才美) targeting Triad of Buddha Carved on Rock in Susan, the angular ratio was shown to be more notable that forms the area ratio or triangular form rather than length ratio. The inequilateral triangle, which is formed centering on Gwangbae(光背) in the upper part and Yeonhwajwa(lotus position) in the lower part, is becoming very importantly internal motive of doubling the constructive beauty among Samjae, no less than the mutually height and area ratio in Samjonbul.

• The Korean Journal of Nuclear Medicine
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• v.39 no.6
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• pp.481-488
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• 2005

Purpose: Functional imaging of dopamine transporter (DAT) defines integrity of the dopaminergic system, and DAT is the target site of drugs of abuse such as cocaine and methamphetamine. Functional imaging the DAT may be a sensitive and selective indicator of neurotoxic change by the drug. The aim of the present study is to evaluate the clinical implications of qualitative/quantitative analyses of dopamine transporter imaging in methamphetamine abusers. Materials and Methods: Six detoxified methamphetamine abusers (abuser group) and 4 volunteers (control group) were enrolled in this study. Brain MRI was performed in all of abuser group. Abuser group underwent psychiatric and depression assessment using brief psychiatric rating scale (BPRS) and Hamilton depression rating scale (HAMD), respectively. All of the subjects underwent I-123 IPT SPECT (IPT SPECT). IPT SPECT image was analysed with visual qualitative method and quantitative method using basal ganglia dopamine transporter (DAT) specific/non-specific binding ratio (SBR). Comparison of DAT SBR between abuser and control groups was performed. We also performed correlation tests between psychiatric and depression assessment results and DAT SBR in abuser group. Results: All of abuser group showed normal MRI finding, but had residual psychiatric and depressive symptoms, and psychiatric and depressive symptom scores were exactly correlated (r=1.0, p=0.005) each other. Five of them showed abnormal finding on qualitative visual I-123 IPT SPECT Abuser group had lower basal ganglia DAT SBR than that of control ($2.38{\pm}0.20\;vs\;3.04{\pm}0.27$, p=0.000). Psychiatric and depressive symptoms were negatively well correlated with basal ganglia DAT SBR (r=-0.908, p=0.012, r=-0.924, p=0.009). Conclusion: These results suggest that dopamine transporter imaging using I-123 IPT SPECT may be used to evaluate dopaminergic system of the basal ganglia and the clinical status in methamphetamine abusers.

• Fashion & Textile Research Journal
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• v.6 no.1
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• pp.41-50
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• 2004

This research proposes the on-stage costumes for the play Hamlet of Shakespeare performed by Yunheedan Guhri Pae - the Street Theater Troupe. Stage costumes have an important role in displaying the characteristics of each characters to the audience and has big visual effects. However, in order to design the costumes in the object viewpoints of the audience, the survey on the images of the characters who had actually watched the performance was taken place and proposed the costume design according to the results of the survey. Hamlet a: This result was applied to propose a sweater in black color, black leather pants and vest. Hamlet b: This result was applied to propose hooded coat in purple in middle level of brightness and color spectrum and yellow coat. For free image, loose pants in blue and vest in the same color tone were proposed. Gertrude a: This result was applied to use purple (violet) with reddish tone to propose the formation of a dress applying tailored suit. Gertrude b: This result was applied to propose purple gown and the one-piece dress with black laces. Ophelia a: This result was applied to propose feminine white dress and cape in purple color tone. Ophelia b: This result was applied to propose dyed and weaved clothes. Through the surveys as above, the images of each character was driven in adjectives, and using the results driven from the brightness, coloration, and color, color images were proposed. Only one costume cannot make up for the stage costumes and because it exists as an element of stage production, it is true that costumes are limited in some areas. However, that limit can become the motive of the costume. There is a limit, which the designer cannot produce the costumes as he or she had designed but I believe it is the center of the on-stage customers to display the characteristics of the characters according to the given concept. The limit of this research is the fact that because the costumes were designed so they fit the conditions already given, thus it was difficult to regard the process of designing and producing the costume as a project done according to the interaction. And in the future, if it is possible, I wish for the joint research with the people responsible for stage art to take place as a practical stage art. It was possible to produce practical costume since they were produced for actual performance and the production of costumes considering the dance steps, line of flow, and acting, was able to reduce the trial and error on stage. Through this research, I felt that the understanding and smooth interaction on diverse other areas not limited to the costume design should be taken place and believe that this was a research that proposes new research method since there had been only a few previous research regarding the on-stage costumes for actual performances. Therefore, this research had depended on the surveys given to the audiences to endow objectivity, however, I wish this research can contribute to defining effective process and methods for the on-stage costumes with more active researches with diverse methods and in diverse areas. I am sorry that the costume production for all the characters and all the scenes in Hamlet couldn't be done due to many limitations. As the following research assignment, I am planning on designing the costumes for all the scenes.

• Journal of Korean Ophthalmic Optics Society
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• v.16 no.4
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• pp.409-415
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• 2011

Purpose: To design applied anamorphic lens that focal length ratio is 3:1 optical system to improve detecting distance. Methods: We defined a boundary condition as $50^{\circ}{\sim}60^{\circ}$ for viewing angle, horizontal direction 36mm, vertical direction 12 mm for focal length, f-number 4, $15{\mu}m{\times}15{\mu}m$ for pixel size and limit resolution 25% in 33l p/mm. Si, ZnS and ZnSe as a materials were used and 4.8 ${\mu}m$, 4.2 ${\mu}m$, 3.7 ${\mu}m$ as a wavelength were set. optical performance with detection distance, narcissus and athermalization in designed camera were analyzed. Results: F-number 4, y direction 12 mm and x direction 36 mm for focal length of the thermal optical system were satisfied. Total length of the system was 76 mm so that an overall volume of the system was reduced. Astigmatism and spherical aberration was within ${\pm}$0.10 which was less than 2 pixel size. Distortion was within 10% so there was no matter to use as a thermal optical camera. MTF performance for the system was over 25% from 33l p/mm to full field so it was satisfied with the boundary condition. Designed optical system was able to detect up to 2.9 km and reduce a diffused image by decreasing a narcissus value from all surfaces except the 4th surface. From sensitivity analysis, MTF resolution was increased on changing temperature with the 5th lens which was assumed as compensation. Conclusions: Designed optical system which used anamorphic lens was satisfied with boundary condition. an increasing resolution with temperature, longer detecting distance and decreasing of narcissus were verified.

• Journal of Science of Art and Design
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• v.11
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• pp.201-220
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• 2007

From two viewpoints the writer investigated the beauty of space by overall arrangement and composition of a picture in Oriental painting. In particular, she examined the expanded representation and significance of space use which had not properly been recognized in the field of a colored picture contrary to a painting in India ink. She studied that the boundary for the representation and appreciation of space was unlimited to one field of painting by studying and analyzing it in connection with other fields of art which had something in common with it in techniques or languages of representation. The writer considered the aspects of similar forms and spirits as the methods of understanding and representing the essence of an object in creating a work. She generally considered the aspect of perfecting knowledge by studying the principle of an actual thing for the representation of revealed forms corresponding to the aspect of similar forms, and tried to reach the stage of 'materialization' united with the spirit of the subject of creation for the formless forms corresponding to the aspect of representing an artist's inner world as well as the external shapes of things. She tried to reach the stage of spiritual cultivation in pursuit of the boundary between 'mental vanity' and 'sitting quietly and attaining the state of perfect selflessness', which were presented by Chuang-tzu, to express the spirituality internal to it. She recognized that the projection of the cultivation on a work could convey internal essence as well as external forms to a picture. It was because the image of the form represented in a picture was based on the aesthetic experience got from realty. In the concept of space and a method of representing it, she explored and analyzed the basic concept of space, arranged the concept of space shown in Oriental ideas dividing it into the concepts of space in Confucianism, Taoism and the Zen sect. What she felt acutely through this study was that she should establish the identity of her work by succeeding to, changing and re-creating tradition based on the historical heritage left by successive excellent painters and theorists. Putting together all these things showed that establishing the identity in the world of work pursued and oriented by her required searching the direction in future works by mixing tradition with modern times in a creative way, which is just the purpose of study in this thesis.