• Journal of the Korean Society of Radiology
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• v.15 no.7
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• pp.943-948
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• 2021

The purpose of this study was to investigate changes in surface dose due to increased scattering of gamma rays from patients injected with ^99mTc and ¹⁸F, which are radioactive isotopes, in close contact with materials with high atomic number such as the walls of the stable room. Prepare ^99mTc and ¹⁸F by injecting 20 and 10 mCi respectively into the NEMA phantom, and then measuring the surface dose for 60 minutes by positioning the phantom at a height of 1 m above the surface, at a distance of 0, 5 and 10 cm from the wall, and at the same location as the phantom facing the wall. Each experiment was repeated five times for reproducibility of the experiment and one way analysis of variability (ANOVA) was performed for significance testing and Tukey was used as a post-test. The study found that surface doses of 220.268, 287.121, 243.957, and 226.272 mGy were measured at ^99mTc, respectively, in the case of empty space and in the case of 0, 5 and 10 cm, while those of ¹⁸F were measured at 637.111, 724.469, 657.107, and 640.365 mGy, respectively. In order to reduce changes in surface dose depending on the patient's location while waiting, it is necessary to keep the distance from the ground or the wall where the patient is closely adhered to, or install an air mattress, etc., to prevent the scattered lines as much as possible, considering the scattered lines due to the wall etc. in future setup of the patient waiting room and safety room, and in addition to the examination, the external skin width may be reduced.

• Journal of Conservation Science
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• v.37 no.5
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• pp.545-556
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• 2021

In this study, we aimed to elucidate the materialistic characteristics of 11 pieces of earthenware belonging to the Neolithic and Bronze Age excavated from Jeongseon Auraji, South Korea. As a result, the chemical composition of earthenwares belonging to the early Bronze Age was distributed in the intermediate area between the Neolithic and Bronze Age earthenwares, but no significant difference was confirmed based on their manufacturing period. Upon comparison, the earthenwares excavated from Jeongseon Auraji site were found to comprise less acidic components than those excavated from Yeongdong, and are characterized by the alkaline components depending on the excavated site. In the rare earth elements distribution pattern, all the analyzed earthenwares exhibited similar pattern, confirming that the raw materials present in the clay were the same. As a result of microstructure analysis, the clay particles and voids were found to be irregularly distributed in the analyzed earthenwares. Neolithic earthenwares exhibited many irregular voids, and an arrangement of aluminosilicate, including feldspar, was observed along with the clay substrate. Furthermore, we confirmed that the empty space in early Bronze Age earthenwares was filled with fine particles and cube crystals. Moreover, the main mineral phase of earthenwares excavated from Jeongseon Auraji exhibited similar composition, and therefore, there was no significant difference in the firing temperature of these earthenwares. The firing temperature of the earthenwares ranged from 750 to 850℃.

• The Journal of Korean Association of Computer Education
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• v.22 no.1
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• pp.87-98
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• 2019

It is easy to assume that contradictions are logically incorrect or empty sets that have no solvability. This dilemma, which can not be done, is difficult to solve because it has to solve the contradiction hidden in it. Paradoxically, therefore, contradiction resolution has been viewed as an innovative and creative problem-solving. TRIZ, which analyzes the solution of the problem from the perspective of resolving contradictions, has been used for people rather than computers. The Butterfly model, which analyzes the problem from the perspective of solving the contradiction like TRIZ, analyzed the type of contradiction problem using symbolic logic. In order to apply an appropriate concrete solution strategy for a given contradiction problems, we designed the Butterfly algorithm based on decision making tree. We also developed a visualization tool based on Python tkInter to find concrete solution strategies for given contradiction problems. In order to verify the developed tool, the third grade students of middle school learned the Butterfly algorithm, analyzed the contradiction of the wooden support, and won the grand prize at an invention contest in search of a new solution. The Butterfly algorithm developed in this paper systematically reduces the solution space of contradictory problems in the beginning of problem solving and can help solve contradiction problems without trial and errors.

• The Journal of the Convergence on Culture Technology
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• v.5 no.1
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• pp.227-234
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• 2019

Hyochang Park was the royal tomb of the Joseon Dynasty, where were the tombs of Prince Munhyo and his birth mother Ui-bin Seong, king Soonjo's concubine Sook-Ui Park and Youngon princess by a concubine. It was upgraded from Hyochang tomb to Hyochangwon at King Gojong. The Japanese imperialism destroyed Hyochangwon and made it into a park, also moved to Seosamneung in 1944. After returning from Chongqing after liberation, Kimgu made the independence movement tomb in the empty space of Hyochang Park. There were 3 martyr's tomb, provisional government figure tomb. Kimgu himself was buried in Hyochang Park after his death in 1949. During the regime of Rhee Seung-man and Park Jeong-hee, there was a constant attempt to change the identity of Hyochang Park, where independence activists were buried. Hyochang Stadium, Wonhyo buddhist priest's Statue and North Korean Anti-Communist Tower were established. After democratization in 1987, the independence activist tomb of Hyochang Park began to gain meaning again. The 6th Republic succeeded the provisional government in the Constitution, also the national cemetery and independent park of Hyochang Park were attempted but the social consensus could not be achieved. This study focuses on the historical middle layer and symbolism of Hyochang Park and aims to contribute to social consensus on the identity of Hyochang Park by making a storytelling on the theme of 'Independence Road'.

• Journal of the Korean Geotechnical Society
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• v.26 no.5
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• pp.37-48
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• 2010

In this study, the seepage flow monitoring method by the hydraulic head loss rate was developed for the purpose of application to offshore construction site enclosed by cofferdams in which seepage force varies periodically. The amount of the hydraulic head loss rate newly defined in this graph was in a range between 0 and 1. The zero of the rate means the existence of flow with no seepage resistance. The 1 of the rate means no seepage flow through the ground. The closer to 1 the coefficient of determinant in the hydraulic head loss graph is, the more the ground through which seepage water flows is stable. The closer to 0 the coefficient of determinant in the hydraulic head loss graph is, the more the ground through which seepage water flows was unstable and the higher the possibilities of existence of empty space or of occurrence of piping on the seepage flow pass in the ground is. The hydraulic head loss graph makes it possible to monitor sensitively the situation of seepage flow state, and the graph helps to understand easily the seepage flow state at the specific section on the whole cofferdam.

• Cartoon and Animation Studies
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• s.33
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• pp.223-246
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• 2013

Even though cartoons and narration comics were born from different origin, they have been called by names such as 'cartoons' or 'comics'. The reason can be found in the similarity of cartoons and narration comics. The similarity of cartoons and narration comics is the genre consisting of writing and drawing. Writing can be the format of expression and it can represent the story. Such story is present as a component of 'narration'. Sub genre of comics includes cartoons and narration comics. It includes animation in a broad range. In cases of narration comics and animation, it is thought that narration is present with continuity of time. However, in case of cartoon, because one or two cuts without continuity of writing are frequently expressed, it is being asked whether narration is present. It is easy to be reminded of epic or chanson de geste whenever you hear 'narration'. Since it deals with a biography of the character, we think the concept of 'narration' with temporality. However, narration provides a certain event in a broad range. Thus, cartoons presenting one event with the image may have the existence of narration, because description of multiple scenes of narrative comics can be implicitly represented in cartoons. As such implications leave a space, the empty space can be filled by active reasoning of recipients. However, nevertheless, it is very difficult to find studies as well as mentions of narration in cartoons. Thus, in this paper, we investigate the concept and structure of narration and demonstrate the presence of narration in cartoons. First of all, we looked at the narration theory in literature before studying narration in cartoons. The reason is that we thought the approach to the literary theory was required in order to investigate the basic elements, since cartoons are a collection of writing and drawing. We were focused on the prerequisites of narration presented in "story and discourse" of s. Chatman. If the prerequisites of narration are present, we can assume that the narration is present. The prerequisites are 'narration reasoning', 'screening', 'consistency', 'process statements' and 'stasis statement'. As s. Chatman described them as prerequisites of narration, he analyzed the narration structures of films and novels. In addition, we revealed that the narrations were present in cartoons as we identified how prerequisites of narration presented by Chatman were presented and expressed through "vocabulary of comics", "Timeframe" and "life in the line" described in "understanding comics" by Scott McCloud.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.4
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• pp.24-41
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• 2013

This study aims to investigate the complex planning processes and design ideas of the Gwanghwamun Plaza which was opened in 2009. The opening of the plaza was significant as it was built in order to restore the symbolic meaning of axis in the historical Joseon Dynasty that was distorted during the Japanese Imperialism. The plaza itself attracts many citizens and tourists by providing the empty ground carrying historical ambiences around. In this paper, the story of the Gwanghwamun plaza will be summarized. Particularly, the background of promoting the project will be discussed and the whole planning process will be dealt with. The plaza was realized through several stages. First, the planning stage will be reviewed. The planning stage had been a quite long process since the initial idea was discussed. Since the early 90s, the political decision of making the plaza was made through the change of people's understanding toward public space. At this stage, the city government worked together with diverse citizens and professionals to share the vision and to realize the right decision in making the plaza. Second, the design stage will be elaborated in detail. This is the second design stage. The former was the idea competition and the latter was the turn-key base. The final design scheme emphasized the restoration of symbolic axis and the forgotten Yukjo Street. The scheme consists of four zones such as history restoration zone, prospect and history representation zone, culture zone, and the urban zone. Through the whole design process, the original idea remained as it was. The design concept was "a place of memory and prospect." It emphasizes the history representation, view corridor, cultural activities platform as well as the emptiness and flexibility of the basic premise of the plaza. Finally, the construction stage will be discussed. There were some additions and omissions in the construction process. The design chances in the construction stage will be reviewed in detail. After the opening of the plaza, there were some changes in the detail design. We will discuss how and why these modifications were made. In the end, the social and cultural implication of the plaza will be discussed. The storytelling of the Gwanghwamun Plaza will contribute to the clear understanding of planning and design process of pubic places. Based on this reflection, we are able to think about some suggestions of public projects for the future.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.319-357
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• 2014

Formation of 'body schema' is the start for actor to create role and becomes the root and the foundation of existing as a role on the stage. For this, an actor needs to form 'scheme of role' with escaping from own 'body schema.' 'Schema of role' is formed by acquiring through synthesizing daily basic actions, namely, walking, standing, sitting, hand stretching, bending, and touching. The body schema, which was made with simple and usual actions, has fundamental significance in a sense of becoming the body in which the past traces in a role are habituated while energy as a role flows. As for the process of forming body schema, an actor first needs to obtain the visualized materials like photo, magazine, picture and image available for seeing a role specifically and clearly based on what analyzed a character. An actor needs to have three-dimensional image available for always recalling it in the head during acting. To do this, image data available for fundamentally capturing routine actions along with body structure are still more useful. Next, the body schema is formed by interaction with environment. Thus, there is a need of passing through the two-time process of forming body schema. Firstly, the body schema is made on routine actions in a role as physical condition of a role in actor's own everyday life. Secondly, the body schema is made on routine actions available for moving efficiently and economically in line with the environment of performance. A theatrical stage is the temporal space of rhythm and rule different from routine space. What forms body schema immediately in the second phase without body schema in the first phase ultimately becomes what exists as actor's own body, not the body of a role. The body schema, which was formed as the second process, is what truly has identity as a role in the ontological aspect, comes to experience the oppositional force in muscle, a qualitative change in energy, and emotional agitation in the physical aspect, and experiences perception, thinking, volition, and even consciousness with the entire body in the cognitive dimension. Thus, the formation of body schema can be known to be just a method of changing even spiritual and emotional layer. Body schema cannot be made if there is no process of embodiment and habit. Embodiment and habit are not simply the repeated, empty and mechanical action in the body. But, habit itself has very important meanings for forming body schema for role creating. First, habit allows the body itself to learn and understand a meaning. Second, habit relies upon environment, thereby allowing an actor of making the habituated body schema to recognize environment. Third, habit makes the mind. The habituated body schema is just the mind and the ego of a person who possesses the body schema. Fourth, habit comes to experience the expansion in energy and the expansion in existence. It may be experienced through interrelation among actor's body, tool, and environment. Fifth, habit makes identity of the body. Hence, this just becomes what secures identity of a role. These implications of habit are the formation of body schema, which is maintained with the body of being remembered firmly through being closely connected with the process of neural adaptation. Finally, it sought for possibility of practice as one method of forming body schema for role creating through Deleuze's '-becoming' theory. As 'actual animal-becoming' is real '-becoming' of forming structural transformation in the physical dimension, it meets with what the formation of body schema pursues actuality and reality. This was explained with a concept as saying of 'all '-becoming' molecular' by Deleuze/Guattari. 'Animal of having imitated animal's characteristic- becoming' is formed by which the body schema relies upon environment. In this way, relationship among the body, tool and environment has influence even upon a change in consciousness, thinking, and emotion, thereby being able to be useful for forming body schema in a sense of possibly experiencing ultimately expansion in role, namely, expansion in existence.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.28-37
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• 2011

In this study, the series-poem, Bihaedangsasippalyoung(48 poems for beautiful scene of Bihaedang), written by scholars of Jiphyonjeon for Bihaedang garden of Anpyung-Daegun(Prince Anpyung, 1416-1453), was analyzed focusing on scenery lexeme to interpret the meaning of scenery and gardening culture of Sadaebu(noblemen) during the first term of Chosun Dynasty. The study result is as followings. First, the subtitle of Sasippalyoung(48 poems) written by Anpyung-Daegun while he grew Bihaedang garden on the foot of Inwang Mountain showed repetitive nomativity comparing joining of yin and yang, such as life and form of animal and plan, time and space, meaning and symbolism, etc. Among scenery lexemes, 38 are represented plant and flowers, and 8 are represented gardening ornaments and animals. Second, the names of gardens were expressed as Wonrim, Jongje, Imchon(Trees and Ponds), or Hwawon(Flower garden), or also presented as Gongjeong(Empty garden), Manwon(Full garden), Jungjeong(Middle garden), Huwon(Backyard), Wonrak(Inner court), or Byulwon(Seperated garden) depending on density and location. In addition, there were pavilions and ponds, stepping stones and stairs, a pergola, a flat bench, flowerpots, an artificial hill, oddly shaped stones, wells, aviary, flower beds, or hedges. A gardener was called Sahwa(flower keeper), planting and gardening of garden trees were called Jaebae(cultivation), a pond island was called Boogoo(floating hill), and miniature landscapes were called Chukjee(reduced land). Third, willows were planted on the outdoor yard, and plum trees were planted in front of the library, which led to bamboo woods road. Peony, camellia, tree peony and crepe myrtle were planted on the inner court with mossy rocks, small artificial hills, glass rocks, flower pots. There were rectangular ponds, while breeding deer, dove, rooster, and cranes. Fourth, landscape elements were enjoyed as metaphysical symbolic landscape by anthropomorphism, such as (1) gentlemen and loyalty, (2) wealth and prosperity, (3) Taoist hermit and poetical life, (4) reclusion and seclusion, (5) filial piety, virtue, introspection, etc. In other words, the garden presented a variety of gardening culture appreciating meaningful landscape, such as investigation of things, reclusion and seclusion, and building orientation of a fairyland yearning eternal youth and Mureungdowon(Taoist Arcadia) by making a garden blending beautiful flowers and trees, with precious birds and animals. Fifth, there were many landscape appreciation schemes, such as Angkyung(looking-up), Bukyung(looking-down), Jeokyung(looking-under), Chakyung(bringing outer space into inside), Yookyung(flower viewing), Yojeong(walking around the garden enjoying flowers), Hwasaekhyangbyuk(flower gardening), and Garden appreciation enjoying landscape through time and seasons with different inspirations.

• Economic and Environmental Geology
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• v.49 no.6
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• pp.445-458
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• 2016

Most of water curtain cultivation (WCC) area in Korea has been inveterately suffering from the gradual draw-down of groundwater level and related shortage of water resources at the late stage of WCC peak time. To solve this problem, artificial recharge techniques has been recently applied to some WCC area. This study introduces infiltration gallery, which is one of the artificial recharge methods, and tentatively examined the effectiveness of three galleries installed at Sangdae-ri WCC area of Cheongju City. Seven galleries are set up at each empty space between eight vinyl houses in this area and its dimension is designed as 50 cm in each width and height and 300 cm in each length. Installation process was including bed excavation, backfill with gravels and silica sands, and completion of gallery by equipment of piezometer and covering with non-woven cloth. For each B, C, D gallery, 3 types of test including preliminary, four step and one long-term injection were performed. The first preliminary test showed the rough relations between injection rates and water level rise as follows; 20 cm and 30 cm level rise for $33.29{\sim}33.84m^3/d$ and $45.60{\sim}46.99m^3/d$ in B gallery; 0 cm, 16 cm and 33 cm level rise for $21.1m^3/d$, $33.98m^3/d$ and $41.69m^3/d$ in C gallery; 29 cm and 42 cm level rise for $48.10m^3/d$ and $52.23m^3/d$ in D gallery. Afterwards, more quantitative results estimating effectiveness of artificial recharge were reasoned out through stepped and long-term injection tests, which is expected to be employed for estimating water quantity re-injected into the aquifer through these galleries by natural injection over the period of WCC peak time.