• Asian Pacific Journal of Cancer Prevention
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• v.16 no.7
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• pp.2619-2627
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• 2015

There are several studies that relate oxidative damage as possible mechanism for many cancers. Many studies have also shown that anti-oxidants like selenium and vitamin E decrease the risk for prostate cancer. The main objective of the Selenium and Vitamin E Cancer Prevention Trial (SELECT) study was to look for the benefits of selenium and vitamin E supplementation on prostate cancer. The study had a large sample size, stringent experimental conditions, very long duration, standardized laboratories for biochemical analyses and other factors that contribute to high external validity. The SELECT study failed to show any significant risk reduction for prostate cancers ascribable to selenium and vitamin E supplementations. Because of these conflicting results, many researchers argue about the methods used, supplementations administered (selenium and vitamin E) and indicators used for assessing levels of supplementations. We reviewed many epidemiological studies, clinical trials, and pre-clinical studies. With corroborative evidences we justify that SELECT study has a sound methodology and rationale. In lieu of the contrary results of the select study, researchers should focus on the probable mechanisms for these contrary findings and continue their search for newer and effective agents for prevention of prostate cancer.

• Asian Pacific Journal of Cancer Prevention
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• v.15 no.2
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• pp.663-669
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• 2014

Background: With recent progress in health science administration, a huge amount of data has been collected from thousands of subjects. Statistical and computational techniques are very necessary to understand such data and to make valid scientific conclusions. The purpose of this paper was to develop a statistical probability model and to predict future survival times for male breast cancer patients who were diagnosed in the USA during 1973-2009. Materials and Methods: A random sample of 500 male patients was selected from the Surveillance Epidemiology and End Results (SEER) database. The survival times for the male patients were used to derive the statistical probability model. To measure the goodness of fit tests, the model building criterions: Akaike Information Criteria (AIC), Bayesian Information Criteria (BIC), and Deviance Information Criteria (DIC) were employed. A novel Bayesian method was used to derive the posterior density function for the parameters and the predictive inference for future survival times from the exponentiated Weibull model, assuming that the observed breast cancer survival data follow such type of model. The Markov chain Monte Carlo method was used to determine the inference for the parameters. Results: The summary results of certain demographic and socio-economic variables are reported. It was found that the exponentiated Weibull model fits the male survival data. Statistical inferences of the posterior parameters are presented. Mean predictive survival times, 95% predictive intervals, predictive skewness and kurtosis were obtained. Conclusions: The findings will hopefully be useful in treatment planning, healthcare resource allocation, and may motivate future research on breast cancer related survival issues.

• The Journal of the Korea Contents Association
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• v.11 no.5
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• pp.157-171
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• 2011

James Cameron's Avatar was a stunning success for digital characters. Digital animation character creation was not suddenly enabled by visual technology, rather it was a result of numerous attempts of combining animation and live action film with the help of technology advancement. Two pioneers in this field are James Cameron and Robert Zemeckis. Although continuous interest and research in visual technology existed, the two directors differed in how they viewed the use of technology. The difference is demonstrated in their two recent movies which will be covered in details. How these two directors differed in their approach remains a topic of study for us who continuously are exposed on advance visual technology and our reaction to the changing nature of the industry.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.142-150
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• 2012

The development of technology in traditional media is affecting a variety of ways. In particular, the influence of digital images, the animation turned to a realistic 3D animation. With the release of realistic 3D animation , Robert Zemeckis received much attention but the audience did not like the animation of this style gradually. Robert Zemeckis gave up 3D animation after that drew attention for having a huge production budget while failing at a record-setting proportion in the American box-office. A digital actor in realistic 3D animation looks like real but the audience know that it is not real and they know that realistic 3D animations and live-action movies are different. So the audience will experience an emotional conflict like confusion, hesitation. The visual completion in realistic 3D animation is due to the development of technology and technology must develop to connect the audience acceptance and movie.

• Cartoon and Animation Studies
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• s.28
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• pp.55-78
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• 2012

Underground comics is a trend of comics started by reflecting hippie culture in the 1960's. It reflects hippie culture proclaiming return to nature and denying war with no humanity and social systems of material civilization expresses anti-culture in a radical and humorous way. Robert Crumb adds the features of hippie culture to comics aggressively with issuing comic book, series. Especially received great response from hippie. It became the chance for underground comics to improve further. includes works like 'Whiteman' expressing the hidden desire of conservative middle class or 'Keep on truckin' describing youths in hippie culture as characters lording it over somebody, strutting confidently across various landscape. The Comic was published and distributed independently and character-driven comic that reflected the variety of hippie culture. The Comic represented the characteristics of the underground comics very well. Winding lines and points, a strong contrast, were used for excellent graphical effect. These comics escaped from heroic comics of the era and played great roles in opening an era of underground comics which express satires of social culture more freely.

• The Journal of the Convergence on Culture Technology
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• v.5 no.1
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• pp.275-280
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• 2019

Roger Deakens is one of the best director of photography in the world. He has been worked with Joel Coen & Ethan Coen since (1991). He was nominated for Academy award 13 times. At last, he won the 2018 Academy Award for Best Pictures of the Year. This article aim to look at his style of photography, which he has consistently pursued, and how he controls and implements light. Focusing on The Assassination of Jess James by the coward Robert Ford>,, .

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.375-381
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• 2023

In an increasingly hyperconnected battlefield, the reliance on battlefield networks and AI-based autonomous weapons systems creates uncertainty and raises ethical concerns. This article explores the responsibility gap in operating autonomous weapons systems, using Robert Sparrow's theory. By analyzing Sparrow's arguments, we propose overcoming the responsibility gap in lethal autonomous weapon systems (LAWS). Our objective is to establish a framework of responsibility that aligns with the evolving battlefield, promoting the development and use of responsible weapon systems.

• Journal of English Language & Literature
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• v.58 no.5
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• pp.859-880
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• 2012

This paper aims at analyzing Robert Southey's Thalaba the Destroyer in relation to cultural colonialism of the British Romantic period and investigating the ways in which this text portrays the Other through its literary representation of the East. Especially, this paper attempts to show that the Oriental world constructed in Southey's text reveals the imperial subject's self-conscious awareness of its unstable relation with the unknown Other. For this purpose, this paper attends to the formal aspects of Thalaba the Destroyer, examining the process by which the reader's generic expectations about the "epic" undergo complex revisions and frustrations through reading this text. The epic elements contained in Thalaba the Detroyer include the battle between good and evil and the hero's moral epiphany arising from his struggle against malicious enemies. Yet, Thalaba the Destroyer constantly destabilizes the distinction between self and other by leading the reader to recognize the uncomfortable similarity between the poem's tyrannical figures and imperialistic monarchs in the Western civilization. Thus, when the hero enacts a revolution against despotism, the resistant power points not only to the imagined false kingdom within the text, but to the core of the real Empire that seeks to construct its own "garden" in the global scene. In addition, Southey's "panoramic" description of Oriental objects and stories in his footnotes lacks a framing perspective, erasing and de-stabilizing subject/object distinctions. In these footnotes, he exposes his profound attraction to the culture of "Other" and also conveys his aspiration to transforming Eastern myths and stories into profitable literary texts. Southey's attitude to the East in the footnotes appears to be partially grounded upon the interest of mercantile capitalists of the West, who need to discover potential commodities. Yet, simultaneously, he reveals a sense of moral hesitation about his own desire for the materiality of the East, along with deep anxiety arising from the fear of punishment.

• The Journal of Art Theory & Practice
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• no.15
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• pp.7-30
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• 2013

This is a study on the ecological view of Robert Smithson's reclamation projects. Smithson was a pioneer of Earth art in the late 1960's. Robert Smithson believed that he could transform industrial wastelands, such as an abandoned oil rig and a no longer used quarry, into "Earth Art." In the early seventies, he conceived of land reclamation as a new art form and called this art "Reclamation Projects." His attention regarding industrial ruin started from the American political and social situations in the 1960's. In the late 1960's, American society was in chaos from the right of movement of African Americans, the women's rights movement and from the strike for renunciation of the Vietnam War. The intellectual class seemed to believe that it was the destiny of a closed system's society to run in the direction of entropy. Smithson, who was skeptical about the system of American society, also thought that entropy was the proper diagnosis to describe America's situation in the 1960's. The 1960's civic movements like the civil rights movement and antiwar movements expanded into the environmental movements based on ecological views of the 1970's. The government had also started to worry about environmental pollution. Thus, the reclamation act was also established in 1972. Smithson believed that the relation between art and social background are closely related and affect each other. He was concerned with how art can join society, and the result was reclamation projects. Such reclamation projects lie on man-made wastelands, like abandoned oil rigs and no longer used quarries, which was an allegory of entropy. He also thought that Frederick Law Olmsted was a pioneer of earth art. The aesthetic category of Olmsted's view of landscape is to be based on the picturesque of Uvedale Price and William Gilpin. So Smithson, who considered Olmsted as his touchstone, also accepted the picturesque. Such reclamation projects aim to change with nature by adapting the creative power of artists to the ruin which has the highest level of entropy in industrial society. Smithson wanted this to become the bridge between man and nature. His reclamation project's aim, which shows the system interacting between man and nature as a network, is not different from the ecological view of the 1970's environmental movement.

• The Korea Genome Conference
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• 2006.09a
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• pp.33-33
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• 2006