• The Journal of Korean Society for Radiation Therapy
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• v.25 no.2
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• pp.137-143
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• 2013

Purpose: We are to find out the difference of calculated dose of treatment planning system (TPS) and measured dose in case of inhomogeneous organ structure. Materials and Methods: Inhomogeneous phantom is made with solid water phantom and cork plate. CT image of inhomogeneous phantom is acquired. Treatment plan is made with TPS (Pinnacle3 9.2. Royal Philips Electronics, Netherlands) and calculated dose of point of interest is acquired. Treatment plan was delivered in the inhomogeneous phantom by ARTISTE (Siemens AG, Germany) measured dose of each point of interest is obtained with Gafchromic EBT2 film (International Specialty Products, US) in the gap between solid water phantom or cork plate. To simulate lung cancer radiation treatment, artificial tumor target of paraffin is inserted in the cork volume of inhomogeneous phantom. Calculated dose and measured dose are acquired as above. Results: In case of inhomogeneous phantom experiment, dose difference of calculated dose and measured dose is about -8.5% at solid water phantom-cork gap and about -7% lower in measured dose at cork-solid water phantom gap. In case of inhomogeneous phantom inserted paraffin target experiment, dose difference is about 5% lower in measured dose at cork-paraffin gap. There is no significant difference at same material gap in both experiments. Conclusion: Radiation dose at the gap between two organs with different electron density is significantly lower than calculated dose with TPS. Therefore, we must be aware of dose calculation error in TPS and great care is suggested in case of radiation treatment planning on inhomogeneous organ structure.

• Journal of the Korean Association of Geographic Information Studies
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• v.8 no.3
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• pp.74-83
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• 2005

The Riparian Buffer Zone has many potential values including the preservation of water quality as well as being ecologically friendly. This study aims to quantitatively analyze the landscape structure index of the Riparian Buffer Zone in the Kyoung-an stream and to produce base information necessary for proper management. The study used aerial images that were applied to geometric corrections for a time series from 1966 to 2000 for land data and also used FRAGSTATS, which is a type of ARCVIEW extension module, as an analysis tool. An analysis of land use change and the Landscape Index revealed that the area of farm land has decreased and that the area of residential property has increased. In addition, there was a slight change for land used for purposes other than farming or for residence. The results of analyzing the Landscape Structure Index, revealed that the NP has increased from 437 in 1966 to 695 in 2000. This data reveals that the change of land use is influenced by various artificial factors. The NPS, which represents the declining degree of patch, decreased from 9.441 to 5.934, revealing that the change of land use has been progressing considerably. In regard to forest areas, land use reduced somewhat but did not indicate a significant change. Therefore, an analysis of the total index reveals that the edge of patch has become more complicated and that the variation index of patch has increased significantly. However, this study reveals that barriers to block pollution have weakened as a result and that there is a need to concentrate on the implementation and the management of the Riparian Buffer Zone. Consequently, this study reveals that substantial research is necessary in order to carry out the proper management of the Riparian Buffer Zone, especially in light of the distribution type of each patch and the change in conditions regarding them.

• Korean Journal of Environment and Ecology
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• v.34 no.1
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• pp.63-71
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• 2020

This study characterized the spatial and seasonal patterns of light pollution in the Deogyusan National Park and examined the potential effects of light pollution on ecosystems in the park using light intensities derived from VIIRS (Visible Infrared Imaging Radiometer Suite) DNB (Day and Night Band) nightlight images collected in January and August 2018. Results showed that the Muju Deogyusan resort had the greatest light intensity than other sources of light pollution in the park, and light intensity of the resort was much higher in January than in August, suggesting that artificial lights in ski slopes and facilities were the major source of light pollution in the park. An analysis of an urban-natural light pollution gradient along a neighboring urban area through the inside of the park indicated that light radiated from a light pollution source permeated for up to 1km into the adjacent area and contaminated the edge area of the park. Of the legally protected species whose distributions were reported in literature, four mammals (Martes flavigula, Mustela nivalis, Prionailurus bengalensis, Pteromys volans aluco), two birds (Falco subbuteo, Falco tinnunculus), and nine amphibians and reptiles (Onychodactylus koreanus, Hynobius leechii, Karsenia koreana, Rana dybowskii, Rana huanrenensis, Elaphe dione, Rhabdophis tigrinus, Gloydius ussuriensis, Gloydius saxatilis) inhabited light-polluted areas. Of those species inhabiting light-polluted areas, nocturnal species, such as Prionailurus bengalensis and Pteromys volans aluco, in particular, were vulnerable to light pollution. These results implied that protecting ecosystems from light pollution in national parks requires managing nighttime light in the parks and surrounding areas and making a plan to manage nighttime light pollution by taking into account ecological characteristics of wild animals in the parks.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.40 no.2
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• pp.195-201
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• 2014

Body fluid has been studied for diverse fields like Ringer's solutions, artificial joint fluids, cell growth culture media because it plays a crucial role in controlling body temperature and acts as a solvent for diverse metabolite processes in the body and delivery media of mineral, energy source, hormone, signal and drug from and to cell via blood or lymphatic vessel by osmotic pressure or active uptake. Stratum corneum containing extracellular lipids and NMF (natural moisturizing factor) absorbs atmospheric water residing outside of cells and utilize it to hydrate inside of their own. This process is related to skin barrier function. In this study, we conducted the cell viability test with Cell Bio Fluid $Sync^{TM}$, which mimicks body fluids including amino acids, peptides, and monosaccharides to strengthen skin barrier, and the clinical skin improvement test with cosmetics containing Cell Bio Fluid $Sync^{TM}$. In the cell viability test, HaCaT cell was treated with PBS for 3 hours, followed by the treatment of a cell culture medium (DMEM) and isotonic solution (PBS) and Cell Bio Fluid $Sync^{TM}$ for 3 hours each. Then, MTT assay and image analysis were conducted. In the clinical skin improvement test, twenty-one healthy women participated. Participants applied cosmetics containing Cell Bio Fluid $Sync^{TM}$ on their face for a week and evaluated the skin hydration, skin roughness, brightness and evenness. All measurements were conducted after they washed off their face and took a rest under the constant temperature ($22{\pm}2^{\circ}C$) and constant humidity conditions ($50{\pm}5%$) for 20 minutes. All the data were analyzed by SPSS (version 21) software program. Results showed that Cell Bio Fluid $Sync^{TM}$ improved both the cell viability and in vivo skin conditions such as skin hydration, roughness, brightness and evenness.

• Journal of Intelligence and Information Systems
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• v.24 no.2
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• pp.21-35
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• 2018

Since the introduction of MP3 players, CD recordings have gradually been vanishing, and the music consuming environment of music users is shifting to mobile devices. The introduction of smart devices has increased the utilization of music through music playback, mass storage, and search functions that are integrated into smartphones and tablets. At the time of initial MP3 player supply, the bitrate of the compressed music contents generally was 128 Kbps. However, as increasing of the demand for high quality music, sound quality of 384 Kbps appeared. Recently, music content of FLAC (Free License Audio Codec) format using lossless compression method is becoming popular. The download service of many music sites in Korea has classified by unlimited download with technical protection and limited download without technical protection. Digital Rights Management (DRM) technology is used as a technical protection measure for unlimited download, but it can only be used with authenticated devices that have DRM installed. Even if music purchased by the user, it cannot be used by other devices. On the contrary, in the case of music that is limited in quantity but not technically protected, there is no way to enforce anyone who distributes it, and in the case of high quality music such as FLAC, the loss is greater. In this paper, the author proposes an audio watermarking technology for copyright protection of high quality stereo music. Two kinds of information, "Copyright" and "Copy_free", are generated by using the turbo code. The two watermarks are composed of 9 bytes (72 bits). If turbo code is applied for error correction, the amount of information to be inserted as 222 bits increases. The 222-bit watermark was expanded to 1024 bits to be robust against additional errors and finally used as a watermark to insert into stereo music. Turbo code is a way to recover raw data if the damaged amount is less than 15% even if part of the code is damaged due to attack of watermarked content. It can be extended to 1024 bits or it can find 222 bits from some damaged contents by increasing the probability, the watermark itself has made it more resistant to attack. The proposed algorithm uses quantization in DCT so that watermark can be detected efficiently and SNR can be improved when stereo music is converted into mono. As a result, on average SNR exceeded 40dB, resulting in sound quality improvements of over 10dB over traditional quantization methods. This is a very significant result because it means relatively 10 times improvement in sound quality. In addition, the sample length required for extracting the watermark can be extracted sufficiently if the length is shorter than 1 second, and the watermark can be completely extracted from music samples of less than one second in all of the MP3 compression having a bit rate of 128 Kbps. The conventional quantization method can extract the watermark with a length of only 1/10 compared to the case where the sampling of the 10-second length largely fails to extract the watermark. In this study, since the length of the watermark embedded into music is 72 bits, it provides sufficient capacity to embed necessary information for music. It is enough bits to identify the music distributed all over the world. 272 can identify $4*10^{21}$, so it can be used as an identifier and it can be used for copyright protection of high quality music service. The proposed algorithm can be used not only for high quality audio but also for development of watermarking algorithm in multimedia such as UHD (Ultra High Definition) TV and high-resolution image. In addition, with the development of digital devices, users are demanding high quality music in the music industry, and artificial intelligence assistant is coming along with high quality music and streaming service. The results of this study can be used to protect the rights of copyright holders in these industries.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.2
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• pp.52-61
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• 2018

Urban heat islands occur due to increases in the extent of artificial surfaces such as concrete, asphalt and high-rise buildings. In this regard, research into the use of satellite thermal infrared images for thermal environment analysis of urban areas is being carried out. However, such analysis of the characteristics of individual land cover with low-resolution satellite images suffers from limitations because land cover patterns in urban areas are complicated. Recently, UAV has been widely used, which can compensate for this limitation as it is able to acquire high-resolution images. In this paper, the accuracy of UAV infrared images is verified and the applicability of UAV in urban thermal environment analysis is examined by comparing the results with land surface temperatures from Landsat 8 thermal images. The results show a high positive correlation of temperature values at 0.95, and no statistically significant difference between the two groups. Comparisons of land surface temperature according to land cover showed that the largest difference observed was $4.63^{\circ}C$ in the Used area, and UAV images with small cell units reflected various surface temperatures. Furthermore, it was possible to analyze the surface temperatures of various green spaces such as wetlands and street tree areas, which can lower surface temperatures in urban areas, with street tree shadows reducing surface temperatures by about $4-6^{\circ}C$. UAV can easily and rapidly measure the surface temperature of urban areas and is able to analyze various types of green spaces. Thus, this is an effective tool for thermal environment analysis in urban areas to aid in the design or management of urban green spaces, as it can allow for land cover and the effects of the various green spaces.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• KIPS Transactions on Software and Data Engineering
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• v.9 no.10
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• pp.303-308
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• 2020

The ReLU(Rectified Linear Unit) function has been dominantly used as a standard activation function in most deep artificial neural network models since it was proposed. Later, Leaky ReLU, Swish, and Mish activation functions were presented to replace ReLU, which showed improved performance over existing ReLU function in image classification task. Therefore, we recognized the need to experiment with whether performance improvements could be achieved by replacing the RELU with other activation functions in the super resolution task. In this paper, the performance was compared by changing the activation functions in EDSR model, which showed stable performance in the super resolution task. As a result, in experiments conducted with changing the activation function of EDSR, when the resolution was converted to double, the existing activation function, ReLU, showed similar or higher performance than the other activation functions used in the experiment. When the resolution was converted to four times, Leaky ReLU and Swish function showed slightly improved performance over ReLU. PSNR and SSIM, which can quantitatively evaluate the quality of images, were able to identify average performance improvements of 0.06%, 0.05% when using Leaky ReLU, and average performance improvements of 0.06% and 0.03% when using Swish. When the resolution is converted to eight times, the Mish function shows a slight average performance improvement over the ReLU. Using Mish, PSNR and SSIM were able to identify an average of 0.06% and 0.02% performance improvement over the RELU. In conclusion, Leaky ReLU and Swish showed improved performance compared to ReLU for super resolution that converts resolution four times and Mish showed improved performance compared to ReLU for super resolution that converts resolution eight times. In future study, we should conduct comparative experiments to replace activation functions with Leaky ReLU, Swish and Mish to improve performance in other super resolution models.

• Journal of Korean Society of Forest Science
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• v.80 no.1
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• pp.32-41
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• 1991

This study is focusted to the national park of Korean typical mountain Chi-ri, its visual resources of forests, and practiced inspectind course by way of hypothesis and tests, to show visual resource management objectively, and that of quantitative basic data. spatial image structure measured by Semantic Differential(S.D.) Scale was shown through factor analysis algorithm for the analyzing psychological amount and examined the flowing out of decisive factor and the objective importance related mutual factors by appling the measurement of visual quality. Also, it has been investigated the differences between the degrees of expectation which is used before and of satisfaction which is used, by appling instrumental expectation theory. And showed patterns of investigation area through factor analyzing algorithm. As a national Park, visual factors that have natural landscape harmonized forest, sky, surface of the water, curious stones and rocks, temples should be escalate their values affirmatively so as to be the scenery of pointed direction and enjoyable, and it is needs the techniques visual resource management and its controlling technique to make artificial structures more intentional planning and systemical setting. Manmade distinctive quality in the spatials that affect complementally or harmonizingly, should be received considering relations between the distifution and joining which in line with various visual presenting massive factors. More than that, it is needed united basic standard to the beauty of arrangements which contain visual continuity considered balance between nature and human work, simplicity of structural types, assimilation, emphasis, unification of different factors and pro rata.