• Radiation Oncology Journal
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• v.18 no.4
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• pp.337-344
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• 2000

Purpose :To design and test test CT simulator phantom for geometrical test. Materials and Methods : The PMMA phantom was designed as a cylinder which is 20 cm in diameter and 24 cm in length, along with a 25$\times25\times31cm^{3}$ rectangular parallelepiped. Radio-opaque wires of which diameter is 0.8 mm are attached on the other surface of the phantom as a spiral. The rectangular phantom was made of four 24$\times24\times0.5 cm^{3}$ square plates and each plate had a 24$\times24 cm^{2}$, 12$\times12cm^{2}$, 6$\times6 cm$^{2}$ square line. The squares were placed to face the cylinder at angles 0 $^{\circ}$ , 15 $^{\circ}$ , 30 $^{\circ}$ ,respectively. The rectangular phantom made it possible to measure the field size, couch angle, the collimator angle, the isocenter shift and the SSD, the measurements of the gantry angle from the cylindrical part. A virtual simulation software, AcOSim, offered various conditions to perform virtual simulations and these results were used to perform the geometrical Quality assurance of CT simulator. Results : A 0.3$\~$0.5 mm difference was found on the 24 cm field size which was created with the DRR measurements obtained by scanning of the rectangular phantom. The isocenter shift, the collimator rotation, the couch rotation, and the gantry rotation test showed 0.5$\~$1 mm, 0.5$\~$l$^{\circ}$ 0.5$\~$ 1$^{\circ}$ , and 0.5-1 $^{\circ}$ differences, respectively. We could not find any significant differences between the results from the two scanning methods. Conclusion :The geometrical test phantom developed in the study showed less than 1 mm (or 1 $^{\circ}$ ) differences. The phantom could be used as a routine geometrical QC/QA tools, since the differences are within clinically acceptable ranges.

• FLOWER RESEARCH JOURNAL
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• v.16 no.2
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• pp.112-117
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• 2008

Plug seedlings of vinca (Catharanthus roseus L. 'Pacifica Punch') and salvia (Salvia splendens F. Sellow ex Roem & Schult 'Maestro') were transplanted into square plastic pots (145 mL volume) filled with a soilless growing medium. To determine the effect of application rate on the growing medium EC and growth of plants, 0, 0.5, 1.0, 1.5, 2.0 and 4.0 g per pot of a controlled release fertilizer (14-14-14 Osmocote, 14N-6.2P-11.6K) were mixed with the growing medium. Plants were subirrigated daily with tap water. In both vinca and salvia, growing medium EC increased as application rate was elevated. Growing medium EC was relatively constant over a whole crop period when the application rate was less than 1.5 g per pot, while it decreased throughout the experiment at higher application rates such as 2.0 to 4.0g per pot in both species. The greatest leaf area, plant height, and shoot dry weight of vinca were obtained when plants were fertilized with 2.0 to 4.0 g per pot of the fertilizer, resulting in a growing medium EC of $1.0{\sim}1.7dS{\cdot}m^{-1}$ throughout the experiment. Leaf area, shoot dry weight, and chlorophyll content of salvia increased with elevated application rates. Leaf area, shoot dry weight, and chlorophyll content of salvia were the greatest when plants were fertilized with 4.0 g per pot, resulting in growing medium EC of $1.0{\sim}4.0dS{\cdot}m^{-1}$ throughout the experiment. Plant height of salvia was the greatest when plants were fertilized with 2.0 to 4.0g per pot. Concentrations of nitrogen (N), phosphorus (P), potassium (K), magnesium (Mg), and sulfur (S) in the shoots of vinca increased, while concentration of calcium (Ca) decreased with elevated application rates. Concentrations of boron (B) and manganese (Mn) in the shoots of vinca increased as the application rate decreased.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1837-1847
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• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.