• Title/Summary/Keyword: 길이 재현성

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Interpretation and Preservation Plan for Landscapes of Okyeonsipyeong at Buyongdae, Hahoe Village - Based on the Writings of "Okyeonseodanggi" and "Okyeonsipyeong" - (하회마을 부용대의 경관 해석 및 보전방안 - "옥연서당기(玉淵書堂記)"와 "옥연십영(玉淵十詠)"을 중심으로-)

  • Rho, Jae-Hyun;Oh, Hyun-Kyung;Shin, Sang-Sup
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.31 no.1
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    • pp.59-70
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    • 2013
  • This study was to suggest cultural landscape preservation, value creation, as well as utilization plan to help landscape development of Hahoe village by identify the existence of Okyeonsipyeong(玉淵十詠) natural features, which were set around Buyongdae(芙蓉臺) in Hahoe Village by Seoae(西崖) Ryu, Seongryong(柳成龍), and understanding their characteristics and meanings of natural features and meanings. Based on the writings of "Okyeonseodanggi" and "Okyeonsipyeong", the major results of this study are as belows. 'Okyeon(玉淵)' letters carved on the rocks, also known as the name of pavilion in Okyeonjeongsa(玉淵精舍), is the center of Okyeonsipyeong that symbolizes the enlightenment of clean noble man, as well as the symbolic locational expression of studying room. One of Okyeonsipyeong, 'Wansimjae', is assumed to be the name from the combination of two Buddhist names, 'Wanjeok(玩寂)' and 'Seshim(洗心)', 'Dangho(堂號)', lined on both sides with Wonlakjae, the residence of Seoae, as the center. Wansimjae is after all the natural feature indicating the overall Okyeonjeongsa as the core of Okyeonsipyeong with west edge Gyeomamjeongsa(謙巖精舍). Among ten Okyeonsipyeong natural features, Wansimjae(玩心齋), Ganjukmun(看竹門), Gyeomamsa(謙菴舍), Dalgwandae(達觀臺), Ssangsongae(雙松厓), and Dohwacheon (桃花遷) are on the right side of the stairway from Okyeonjeongsa to Gyeomamjeongsa, while Chuwoldam(秋月潭), Neungpadae(凌波臺), Gyeseonam(繫船巖), and Jijuam(砥柱巖) are on the road to the cliff under river cliff in Buyongdae as well as to the dock, and all are located within 500m radius close and diameter area. As the results of lexeme and context analyses of Okyeonsipyeong poet, they are mainly about Confucian teachings symbolizing the constancy of the classical scholar including ego becoming one with the nature and back to the nature, unworldliness and farsighted view, transcendence and seclusion, as well as integrity spirit. In Dohwacheon and Gyeomamsa poets, there is Tao characteristics and brotherhood that pursue fairylands such as Mooreungdowon(武陵桃源). To create tourism brand and landscape of Okyeonsipyeong, it is necessary to prepare storytelling plans including the letters carved on the rocks introduction in Buyongdae area, and also synopsis of the Silgyeongsusang musical, 'Buyongjiae(芙蓉之愛)' that is related to 10 natural features. In addition, the related plans of the experience road from Gyeseonam, which is the boat stop in Buyongdae, to Ganjukmun of Okyeonjeongsa, and again to viewing routes on the stairways to Gyeomamjeongsa using boats are necessary. For preliminary preservation and maintenance plans, the safety of the stairway from Okyeonjeongsa to Gyeomamjeongsa should be secured, the rock inscription should be preserved, landscape interpretation plates should be installed, trees and shrubs around Dohwacheon rock inscription should be removed, Dalgwandae letters carved on the rocks should be restored, and the bamboo forest outside Ganjukmun as well as Prunus persica plantation around Dohwacheon should be pointed out.

Rotation Errors of Breast Cancer on 3D-CRT in TomoDirect (토모다이렉트 3D-CRT을 이용한 유방암 환자의 회전 오차)

  • Jung, Jae Hong;Cho, Kwang Hwan;Moon, Seong Kwon;Bae, Sun Hyun;Min, Chul Kee;Kim, Eun Seog;Yeo, Seung-Gu;Choi, Jin Ho;Jung, Joo-Yong;Choe, Bo Young;Suh, Tae Suk
    • Progress in Medical Physics
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    • v.26 no.1
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    • pp.6-11
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    • 2015
  • The purpose of this study was to analyze the rotational errors of roll, pitch, and yaw in the whole breast cancer treated by the three-dimensional radiation therapy (3D-CRT) using TomoDirect (TD). Twenty-patient previously treated with TD 3D-CRT was selected. We performed a retrospective clinical analysis based on 80 images of megavoltage computed tomography (MVCT) including the systematic and random variation with patient setup errors and treatment setup margin (mm). In addition, a rotational error (degree) for each patient was analyzed using the automatic image registration. The treatment margin of X, Y, and Z directions were 4.2 mm, 6.2 mm, and 6.4 mm, respectively. The mean value of the rotational error for roll, pitch, and yaw were $0.3^{\circ}$, $0.5^{\circ}$, $0.1^{\circ}$, and all of systematic and random error was within $1.0^{\circ}$. The errors of patient positioning with the Y and Z directions have generally been mainly higher than the X direction. The percentage in treatment fractions in less than $2^{\circ}$ at roll, pitch, and yaw are 95.1%, 98.8%, and 97.5%, respectively. However, the edge of upper and lower (i.e., bottom) based on the center of therapy region (point) will quite a possibility that it is expected to twist even longer as the length of treatment region. The patient-specific characters should be considered for the accuracy and reproducibility of treatment and it is necessary to confirm periodically the rotational errors, including patient repositioning and repeating MVCT scan.

Deviations of Implant Position between Pre- and Post-operation in Computer-guided Template-based Implant Placement (Computer-guided template를 이용한 임플란트 식립에서 술 전과 술 후 사이의 임플란트 위치에 따른 변위량 검사)

  • Kim, Won;Kim, Seung-Mi;Kim, Hyo-Jung;Song, Eun-Young;Lee, Si-Ho;Oh, Nam-Sik
    • Journal of Dental Rehabilitation and Applied Science
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    • v.27 no.2
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    • pp.175-184
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    • 2011
  • With a development of implant restoration technique, there are increasing use of computer-guided system for edentulous patients. It was carried out simulated operation based on CT information about patient's bone quantity, quality and anatomical landmark. However, there are some difference between the programmed implant and post-operative implant about it's position. If the deviation was severe, it could happen a failure of 'passive fit' and not suited for path of implant restoration. The aim of this presentation is to evaluate about a degree of deviations between programmed implant and post-operative implant. Five patients treated by 'NobelGuide' system (Nobel Biocare AB, G$\ddot{o}$teborg, Sweden) in Department of Prosthodontics, Inha University were included in this study. The patients were performed CT radiograph taking and intra-oral impression taking at pre-operation. Based on CT images and study model, surgical stent was produced by NobelBiocareTM. To fabricated a pre-operative study model, after connected lab analog to surgical template, accomplished a pre-operative model using type 4 dental stone. At final impression, a post-operative study model was fabricated in the conventional procedures. Each study model was performed CT radiograph taking. Based on CT images, each implant was simulated in three dimensional position using $Procera^{(R)}$ software (Procera Software Clinical Design Premium, version 1.5; Nobel Biocare AB). In 3D simulated model, length and angulation between each implant of both pre- and post-operative implants were measured and recorded about linear and angular deviation between pre-and post-operative implants. A total of 24 implants were included in this study and 58 inter-implant sites between each implant were measured about linear and angular deviations. In the linear deviation a mean deviation of 0.41 mm (range 0~1.7 mm) was reported. In the angular deviation, a mean deviation was $1.99^{\circ}$ (range $0^{\circ}{\sim}6.7^{\circ}$). It appears that the both linear and angular mean deviation value were well acceptable to application of computer-guided implant system.

The Landscape Organization of the Dodong-SeoWon in the Aesthetics of Moderation (중용(中庸)의 미학으로 살핀 도동서원(道東書院)의 경관짜임)

  • Rho, Jae-Hyun;Shin, Byung-Chul
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.30 no.4
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    • pp.44-55
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    • 2012
  • This study is to interpret how landscape aesthetic characteristics of moderation, which is the point of human-oriented neo-confucianism vision, are projected to the landscape organization of a Dodong-SeoWon, known for its overflow to neo-confucianism grounds and standards among domestic SeoWon. The aspects of neo-confucianism discussion in the shape of Dodong-SeoWon with the beauty of from and contents dominating the landscape of Dodong-SeoWon different from constructive completeness as 7 external and internal landscape organization including placement, circulation, setting, vista, fencing, naming, and decoration are as follows. The left direction of Dodong-SeoWon, part of external organization, is the result of landscape organization that emphasized the stage of moderation through the unification of man and nature by naturalizing natural direction to human-oriented directions. Important aspects to rule external orders and standards of Dodong-SeoWon are principles of one classes based on ranks and bilateral symmetry that is the unity of setting and circulation landscape organization from penetrating the spirit of moderation with no bias. By securing territoriality by fencing the unity of verticality and horizontality, the landscape organization to reach moderation is expressed. Meanwhile, Suwoloo(水月樓) perceived on the floor of central assembly hall, the formation of time frame from roof piles of Hwanjumun(喚主門) as well as pilars of Jungjeongdang(中正堂), and rime link method inducing visual balance and openness through segment, combination, and others are vista organization that show the ideality of unique neo-confucianism building. Also as part of landscape organization contents. semantically, building name including arrangement from Taegukdoseol, ideological naming following the name of Ssanggye-SeoWon, which is the former body, the name of the hall symbolizing the transfer of neo-confucianism enlightenment, impartiality with no bias, as well as Geoinjae(居仁齋) and Geoijae(居義齋) based on olympic, are also results of applying neo-confucianism standards. Additionally. the SeoHoe(瑞花) expressing the change of IleumIlyang(一陰一陽) on the stylobate of Jungjeongdang, Saeho(細虎) which goes up and down, as well as Simul made of four dragons, are artistic expression of the moderation that symbolizes the harmony of ying and yang with no exceeding or insufficiency. Humorous and unique rocks and stones evenly arranged in all spots of Dodong-SeoWon are to promote anti-strict organization by offsetting the image and external order of the lecture hall as strict as it is, and this is very ironic as it is the other landscape organization in different dimension as well as the expression of moderation.

Storyboard of Immortal Land in Gugok-Wonlim - A Special Reference to Goisan - (구곡원림(九曲園林)에서 찾는 신선경(神仙境)의 경관 스토리보드 - 괴산 갈은구곡(葛隱九曲)을 대상으로 -)

  • Rho, Jae-Hyun;Park, Joo-Sung;Sim, Woo-Kyung
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.29 no.1
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    • pp.90-104
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    • 2011
  • This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

A study on the interaction between visual perception and the body in contemporary painting space (20세기 회화공간에서 시지각과 신체의 상관성에 관한 연구)

  • Lee, Kum-Hee
    • Journal of Science of Art and Design
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    • v.11
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    • pp.109-152
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    • 2007
  • This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

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Landscape Meanings and Communication Methods Based on the Aesthetics of Ruins in the Poem 'Kyungjusipiyung' written by Seo Geojeong (서거정의 '경주십이영(慶州十二詠)'의 의미와 폐허미학적 소통방식)

  • Rho, Jae-Hyun
    • Journal of the Korean Institute of Landscape Architecture
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    • v.37 no.2
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    • pp.90-103
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    • 2009
  • The poem 'Kyungjusipiyung(慶州十二詠)' written by Seo, Geo-jeong(徐居正) describes sentiments felt for the ruined historical and cultural landscape of Silla's capital city, Kyungju. It differs from the existing 'Eight Sceneries(八景)' as it conveys the strong metaphorical aesthetics of ruins as the episodes and figures are sung, as well as the myths and stories related to the representative holy places of the Silla culture: Gyelim(鷄林), Banwolseong(半月城), Najeong(蘿井), Oneung(五陵), Geumosan(金鰲山), the scenic beauty of deep placeness, Poseokjeong(鮑石亭), Mooncheon(蚊川), Cheomseongdae(瞻星臺), Boonhwangsa(芬皇寺), Youngmyosa(靈妙寺) and Grave of the General Kim Yu-Sin(金庾信墓). Compared with the former "Eight Sceneries" Poems, including Seo Geojeong's 'Kyungjusipiyung', there is a difference in the content of theme recitation, as well as in structure and form, especially with the deep impression of the classical features of the meanings and acts. The sequence of theme recitation seems to be composed of more than two visual corridors visited during trips that last longer than two days. The dominant emotions expresses in this poem, through written in the spring, are regret and sadness such as 'worn', 'broken and ruined', 'old and sad', without touching on the beauty of nature and the taste for life that is found in most of the Eight Sceneries Poems. Thus, the feelings of the reciter himself, Seo, Geo-jeong, about the described sceneries and their symbolism are more greatly emphasized than the beauty of form. The characteristic aspect of his experiences of ruins expressed from 'Kyungjusipiyung' is that the experiences were, first of all, qualitative of the aura conveyed; that is, the quality omnipresent throughout the culture of Silla as reflected in the twelve historical and cultural landscapes. In this poem, the cultural ruins of the invisible dimension such as the myths and legends are described by repetition, parallelism, juxtaposition, reflection and admiration from the antiphrases, as well as the civilized ruins of the visible dimension such as the various sceneries and features of Kyungju. This seems to be characteristic of the methods by which Seo, Geo-jeong appreciates 'Silla' in the poem 'Kyungjusipiyung'. Ruins as an Aesthetic Object imply the noble pride of Seo, Geo-jeong in identifying himself with the great nature of ruins. In 'Kyungjusipiyung', the images of the ruins of Silla and Kyungju are interspersed in spite of his positive recognition of 'the village of Kyungju' based on his records. However, though the concept of ruins has a pessimistic tone connoting the road of extinction and downfall, the aspect here seems to ambivalently contain the desire to recover and revive Kyungju through the Chosun Dynasty as adominant influence on the earlier Chosun's literary tide. The aesthetics of the scenery found in Seo, Geo-jeong's 'Kyungjusipiyung' contain the strongest of metaphor and symbolism by converting the experiences of the paradoxical ruins into the value of reflective experiences.

A Study on the Water Exchange Plan with Disaster Prevention Facilities in Masan Bay (마산만 재해방지시설을 이용한 해수교환 방안에 관한 연구)

  • Kim, Gweon-Su;Ryu, Ha-Sang;Kim, Kang-Min
    • Journal of Navigation and Port Research
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    • v.37 no.6
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    • pp.637-645
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    • 2013
  • Masan bay with a semi-enclosed waters has serious water quality problems due to the low flow and river pollution load from land, and shows the vulnerable locational characteristics to storm surge. We are seeking the way of both operating disaster prevention facilities and water quality improvement measures in the bay. That is, the water was exchanged using the head difference occurred by operating disaster prevention facilities. The location of disaster prevention facilities was assumed to be in the inlet of the bay, in the vicinity of Machang bridge, and in the vicinity of Dot island and the operation time was assumed to be early morning hours(01~05) considering the number of shipping passage and annual tide, and spring tide of the largest head difference. In addition, the experiment case of water exchange including the in-outflow feeder pipe was tested. According to the simulation results, water exchange rate in all experiments has shown a steady increase. Water exchange rate of the whole of Masan bay in the case of present is 38.62%. The water exchange rate of the inside of Masan bay compared with the inlet of bay, appeared to be very low. Thus, we judged that the characteristics of semi-enclosed waters were well reproduced. On the results of the experiment of disaster prevention facilities and in-outflow feeder pipe, the case of the operation of disaster prevention facilities, water exchage rate is high compared with the case of present. And, the higer the operating frequency, the more water exchange is appeared. The cases of water exchange prevention facilities through the in-outflow feeder pipe caused by the head difference, also showed the higest improvement of the water quality. Compared with the south of Machang bridge, the effect of water exchange was better in the inlet of Masan bay and Dot island. On the other hand, the inlet of Masan bay is higer than Dot island as for water exchange of the whole of Masan bay, but opposite, water change rate including Masan inside was higher in the case of Dot island.

A study on recording Gut's performance history - To search on how to create a performance out of Gut - (굿공연사 기술을 위한 시고 - 굿의 공연화 방법 모색을 위한 -)

  • Kim, Hyung Kun
    • (The) Research of the performance art and culture
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    • no.36
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    • pp.693-724
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    • 2018
  • This article was started to find a way for creating a performance out of Gut. In order to find such way, the first thing that had to be done was to organize the Gut performances that had been made until now. It was to organize the existing study on the performances and to seek a different way from it, believing that the virtue of a performance is to 'create diversity'. However, it was not easy to organize the Gut performances, which became full-scale in the 1980s, because they were never organized before. Therefore, based on my direct and indirect experience, I have organized the most important performances in chronological order. Most importantly, as the planners of the performances (can sometimes be a group or an organization instead of an individual) are the ones who make the show possible, I have noted on them with keen interest. The National Folk Art Performance Contests in Korea, Theater 'Space Sarang', The Association of Gut, Theater 'Madangsesil', Seoul Nori Madang, and National Gugak center were the center space and planning body of the Gut performances. Recording the history of Gut is a worthwhile work of its own. However, it is a substantial amount of task to be done with individual effort, and it has to be progressed as a public project in order to promote and spread its value. Therefore, this article raises the need for it. Meanwhile, as stated earlier, this article has recorded the history of Gut performances as a precondition to finding a way to create a performance out of Gut. From the experimental organization of the Gut performances history, I could find out that most of the performances had the people who did Gut as the main body and the method of the Gut performance did not significantly deviate from just reenacting the original Gut at the time of when it was performed. Therefore, I have introduced Shinmyeong, the Nori-Pae (troupe), and TheGwangdae, the Korean Traditional Performance troupe, who create Madangguk from various Gut materials. By refining the wholly complicated performance elements of the Gut, it could escape from the 'reenacting' performance to becoming a material or a metaphor for a whole new performance.

GIS based Development of Module and Algorithm for Automatic Catchment Delineation Using Korean Reach File (GIS 기반의 하천망분석도 집수구역 자동 분할을 위한 알고리듬 및 모듈 개발)

  • PARK, Yong-Gil;KIM, Kye-Hyun;YOO, Jae-Hyun
    • Journal of the Korean Association of Geographic Information Studies
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    • v.20 no.4
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    • pp.126-138
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    • 2017
  • Recently, the national interest in environment is increasing and for dealing with water environment-related issues swiftly and accurately, the demand to facilitate the analysis of water environment data using a GIS is growing. To meet such growing demands, a spatial network data-based stream network analysis map(Korean Reach File; KRF) supporting spatial analysis of water environment data was developed and is being provided. However, there is a difficulty in delineating catchment areas, which are the basis of supplying spatial data including relevant information frequently required by the users such as establishing remediation measures against water pollution accidents. Therefore, in this study, the development of a computer program was made. The development process included steps such as designing a delineation method, and developing an algorithm and modules. DEM(Digital Elevation Model) and FDR(Flow Direction) were used as the major data to automatically delineate catchment areas. The algorithm for the delineation of catchment areas was developed through three stages; catchment area grid extraction, boundary point extraction, and boundary line division. Also, an add-in catchment area delineation module, based on ArcGIS from ESRI, was developed in the consideration of productivity and utility of the program. Using the developed program, the catchment areas were delineated and they were compared to the catchment areas currently used by the government. The results showed that the catchment areas were delineated efficiently using the digital elevation data. Especially, in the regions with clear topographical slopes, they were delineated accurately and swiftly. Although in some regions with flat fields of paddles and downtowns or well-organized drainage facilities, the catchment areas were not segmented accurately, the program definitely reduce the processing time to delineate existing catchment areas. In the future, more efforts should be made to enhance current algorithm to facilitate the use of the higher precision of digital elevation data, and furthermore reducing the calculation time for processing large data volume.