• Journal of Veterinary Clinics
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• v.28 no.5
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• pp.479-485
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• 2011

The cardiopulmonary responses during total intravenous anesthesia (TIVA) between remifentanil/propofol infusion and remifentanil/ketamine infusion in dogs were compared. Fourteen healthy adult beagle dogs were premedicated with acepromazine (0.1 mg/kg, SC) and medetomidine (20 ${\mu}g$/kg, IV), and anesthetized for 3 hr with remifentanil (0.5 ${\mu}g$/kg/min)/propofol (loading dose: 1 mg/kg, CRI: 0.3 mg/kg/min) CRI (group 'P') or remifentanil/ ketamine (loading dose : 5 mg/kg, CRI: 0.1 mg/kg/min) CRI (group 'K'), respectively. Hemodynamics, blood gas analysis and behavioral changes during recovery were measured. The level of anesthesia was determined by toe-web clamping test. The level of surgical anesthesia was maintained throughout the experiment in both groups. Systolic arterial pressure, mean arterial pressure, $PaO_2$ and $SpO_2$ in group 'K' were significantly higher than in group 'P', and were maintained near the normal ranges. In addition, $PaO_2$ in group 'K' was significantly lower than in group 'P'. However, diastolic arterial pressure, heart rate and respiratory rate were not significantly differed. Mean extubation time from the end of infusion was significantly reduced in group 'K', but mean sitting time was significantly reduced in group 'P'. Mean head-up time and mean walking time were not significantly differed. In group 'K', brief muscle rigidity, head waving and licking during recovery were observed. In conclusion, infusion rate of ketamine (0.1 mg/ kg/min) with remifentanil (0.5 ${\mu}g$/kg/min) is an appropriate for obtaining the surgical plane of anesthesia. These results showed that group 'K' had better cardiopulmonary function than group 'P'. That is, remifentanil/ketamine CRI is better TIVA protocol than remifentanil/propofol CRI for 3 hr surgery.

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.14 no.7
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• pp.586-603
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• 2004

One of the subtle problems that make noise control difficult for engineers is “the invisibility of noise or sound.” The visual image of noise often helps to determine an appropriate means for noise control. There have been many attempts to fulfill this rather challenging objective. Theoretical or numerical means to visualize the sound field have been attempted and as a result, a great deal of progress has been accomplished, for example in the field of visualization of turbulent noise. However, most of the numerical methods are not quite ready to be applied practically to noise control issues. In the meantime, fast progress has made it possible instrumentally by using multiple microphones and fast signal processing systems, although these systems are not perfect but are useful. The state of the art system is recently available but still has many problematic issues : for example, how we can implement the visualized noise field. The constructed noise or sound picture always consists of bias and random errors, and consequently it is often difficult to determine the origin of the noise and the spatial shape of noise, as highlighted in the title. The first part of this paper introduces a brief history, which is associated with “sound visualization,” from Leonardo da Vinci's famous drawing on vortex street (Fig. 1) to modern acoustic holography and what has been accomplished by a line or surface array. The second part introduces the difficulties and the recent studies. These include de-Dopplerization and do-reverberation methods. The former is essential for visualizing a moving noise source, such as cars or trains. The latter relates to what produces noise in a room or closed space. Another mar issue associated this sound/noise visualization is whether or not Ivecan distinguish mutual dependence of noise in space : for example, we are asked to answer the question, “Can we see two birds singing or one bird with two beaks?"

• Journal of Hospice and Palliative Care
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• v.6 no.1
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• pp.34-44
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• 2003

Purpose : The purpose of this study was to elucidate the effects of hospice care on pain management of the terminal cancer patients. Method : The subjects of the study were 37 terminal cancer patients hospitalized in the general hospital in JeonJu with the hospice care nit. The data were collected using the questionaire with interviews from July to Nov. in 2000. The severity and interference of pain were examined with the self reported survey based on the Korean version of Brief Pain Inventory (BPI-K). The data were analyzed with the mean, SDs, paired t-test. The hospice care to provide for three weeks. Results : 1) The mean scores of the worst pain for the last 24-hours measured with the pain severity of BPI-K were pre-intervention (6.35) and post (4.76). The pain interference of BPI-K in pre-intervention was enjoy (8.22), work (7.46), walk (7.08) and activity (7.08), while post was of enjoy (6.62), work (6.43), walk (6.11) and activity (5.78), respectively. 2) In pain severity, significant difference was found between the pre-intervention and post in all of followings. - worst pain for last 24 hours (t=4.085, P=.000) - least pain for last 24 hours (t=4.020, P=.000) - average pain for last 24 hours (t=4.254, P=.000) - pain right now (t=4.017, P=.000) 3) In pain interference, significant difference was found between the pre- intervention and the post in all of followings. - activity (t=3.137, P=.003) - mood (t=6.713, P=.000) - walk (t=2.027, P=.050) - work (t=2.132, P=.040) - relate (t=4.143, P=.000) - sleep (t=4.071, P=.000) - enjoy (t=3.881, P=.000) Conclusion : The terminal cancer patients who were offered hospice care had significantly lower hospice care pain and pain interference than those without hospice care. According to these results, hospice care can be regarded as an effective modality in relief of pain in the terminal ill-patients.

• Journal of Science and Technology Studies
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• v.4 no.2 s.8
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• pp.67-101
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• 2004

Although the study of citation patterns is an important theme within the sociology of science, due to the fact that it is intimately related to the production, reproduction, and evaluation of knowledge, only sustained theoretical research outlining the differences of citation patterns between the hard and soft sciences has been conducted, and empirical studies nevertheless remain few and far between. The perspectives of institutionalism and constructivism have to attempted to explain different citation patterns between the hard and soft sciences as a contrast between 'what one says' and 'who one is'. Therefore, against this background this study examines the 'theoretical' controversy empirically by comparing the contrasting citation patterns of physics, as a representative of hard science, and sociology, as a representative of soft science. The results, in brief, are as follows: the citaton patterns in physics, as in sociology, vary according to the author's status within the hierarchical employment structure, i. e. whether s/he is a full-time lecturer or not, but diversity of citation patterns according to Ph. D. diploma area is unique to sociology. These results would suggest that the explanation of constructivism is more relevant in explaining variance according to the author's status in the employment hierarchy, but the approach of institutionalism is more appropriate to understanding variance due to Ph. D. diploma area. Furthermore, this implies the complex diversity of the citation patterns between the hard and soft sciences, pointing us to the more qualified conclusion that rather than having to choose between institutionalism and constructivism according to a mutually exclusive either/or logic, these two approaches can in fact be mutually complementary, and these approaches should also be applied piecemeal to different levels of phenomena. In conclusion, this comparative research enables us to assert the following two claims: firstly that physics, as a 'science in society', produces knowledge dependent on social context, and secondly that it also possesses a characteristic that transcends locality from the view of a sociology of knowledge.

• Journal of Oral Medicine and Pain
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• v.34 no.2
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• pp.207-216
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• 2009

Trigeminal neuralgia is defined "a sudden, usually unilateral, severe, brief, stabbing, recurrent pain in the distribution of one or more branches of the fifth cranial nerve". The initial treatment of choice for trigeminal neuralgia is medical therapy. In patients with medically intractable pain or intolerable medication side effects, invasive therapeutic approaches are often necessary. Based on the amount of evidence and estimated efficacy, carbamazepine is the drug of choice in the management of trigeminal neuralgia. In case of insufficient or no response to carbamazepine, second-line drugs can be added. In this study, the author tried to review and analyzed the cases of 90 patients whom had visited for treatment of trigeminal neuralgia at the Department of Oral Medicine, Kyungpook National University Hospital from 2003 to 2008. The results were as follows: 1. Trigeminal neuralgia was significantly more common with advancing age, and nearly twice as common in women than men (ratio of 2.1:1) 2. The maxillary branch of the trigeminal nerve involved most often (51.1%), and the right side of the face is affected more commonly than the left (ratio of 2.9:1). 3. 85(94.4%) patients had experiences visiting medical or dental specialties before being referred to the Department of Oral Medicine. 4. 40(44.4%) patients with trigeminal neuralgia had systemic diseases. 5. Treatment with carbamazepine monotherapy was satisfactory initially in 69(76.7%) the patients, and the mean daily dose of carbamazepine was 402.9mg. On the other hand, 16(17.8%) patients expressed effectiveness after combination therapy of carbamazepine and other drugs. 6. Of the 69 patients who had a good initial response to carbamazepine monotherapy, 18 patients became resistant, so that combination therapy of carbamazepine and other drugs were necessary. 7. 54(60%) patients developed side effects such as dizziness, drowsiness, nausea, vomiting, blood dyscrasias, skin rash and constipation, and 11 of the patients decided to stop tmedicaion due to side effects.

• Journal of Food Hygiene and Safety
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• v.36 no.5
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• pp.447-453
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• 2021

In this study, the effectiveness of physical control technology, a combined light sterilization (LED, UV) and hot water treatment in reducing Aspergillus ochraceus for food production environment was investigated. In brief, 1 mL aliquot of A. ochraceus spore suspension (10^7-8 spore/mL) was inoculated onto stainless steel chips, which was then dried at 37℃, and each was subjected to different physical treatment. Treatments were performed for 0.5, 1, 2, 5, 8, and 11 hours to reduce the strains using a light-emitting diode, but no significant difference was confirmed among the treatments. However, a significant reduction was observed on the chips treated with UV-C exposure and hot water immersion. After being treated solely with 360 kJ/m² of UV-C on stainless steel chip, the fungi were significantly reduced to 1.27 log CFU/cm². Concerning the hot water treatment, the initial inoculum amount of 6.49 log CFU/cm² was entirely killed by immersion in 83℃ water for 5 minutes. Maintaining a high temperature for 5 minutes at the site is difficult. Thus, considering economic feasibility and usability, we attempted to confirm the appropriate A. ochraceus reduction conditions by combining a relatively low temperature of 60℃ and UV rays. With the combined treatments, even in lukewarm water, A. ochraceus decreased significantly through the increases in the immersion time and the amount of UV-C irradiation, and the yield was below the detection limit. Based on these results, if work tools are immersed in 60℃ lukewarm water for 3 minutes and then placed in a UV sterilization device for more than 10 minutes, the possibility of A. ochraceus cross-contamination during work is expected to be reduced.

• (The) Research of the performance art and culture
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• no.20
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• pp.251-307
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• 2010

Manbojeonseo, a kind of an encyclopedia published several times in Ming Ch'ing dynasty, includes useful information for scholars and common people on daily lives. In 1720, Manbojeonseo was first introduced to Joseon(朝鮮) dynasty by the diplomatic corps visiting Ch'ing dynasty, and widely circulated in the society as an useful information magazine or an individual collection of reference book. Since Manbojeonseo includes the systematically-organized contents of Geumdoron(琴道論, a theory of a heptachord), it could provide a useful reference when the Geumdoron was inserted as the contents of old scores. For an instance, Obultan(五不彈), Tangeumsuji(彈琴須知), and Taeeumgibeop(太音紀法) recorded in Hangeumsinbo(韓琴新譜, 1724) clearly acknowledge Manbojeonseo as their common source. In this paper, the order and the contents of Geumdorons from four different Manbojeonseo are compared. At first, the comparative analysis of Manbojeonseo (1610) edited by Seo Giryong(徐企龍) and Manbojeonseo(1612) edited by Yu Jamyeong(劉子明) are carried out focusing on the contents of the Geumdoron, where both Manbojeonseos contain considerable amount of Geumdoron sections. The tables of the contents in both Manbojeonseos are composed of upper and lower levels classified into 4 large divisions for each. While the contents of the upper level is presumably older and focused more on the theory of the cardinal virtues, the contents of the lower one is relatively new and centered more on the skills for the real play of a heptachord(琴), the lyrics and the musical scores composed of Gamjabo(減字譜). Therefore, it could be said that the upper level is metaphysical while the lower level is physical. One of the differences between those two Manbojeonseos lies in the order and the terminology found in the large divisions. In the case of Manbojeonseo(1612), some terms in the large division represent and theoretically group the detailed descriptions in the small divisions such as 5 demands or 7 taboos in the play of the heptachord. In addition, a few lower divisions were newly added or revised in order to enhance the completeness of Geumhangmun(琴學門, study of a heptachord), and the detailed classification was revised and polished to improve the reasonableness. In Manbojeonseo(1614) composed by the same editor as Manbojeonseo(1610), the contents of the Geumdoron become much briefer than those of Manbojeonseo(1610) and Manbojeonseo(1612). In the case of Manbojeonseo(1739), a new type of the Geumdoron is included called Oeumjeongjobo(五音正操譜) while carrying a similarly brief section of the Geumdoron. Finally, the Geumdorons in Manbojeonseo and several old scores are comparatively analyzed. While the Geumbo(琴譜) owned by Gugagwon(國樂院) and Hangeumsinbo contains relatively old Geumdoron, Yuyeji(遊藝志) and Bangsanhanssigeumbo(芳山韓氏琴譜) adopt practical and relatively new Geumdorons different from the former old scores and similar to Manbojeonseo(1739) considering the order and the contents. In particular, the contents of the Geumdoron in Geumheonakbo(琴軒樂譜) is notably unique containing much of the upper and the lower levels of Manbojeonseo(1612), therefore thought to have actively adopted the contents of new Geumdorons.

• (The) Research of the performance art and culture
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• no.37
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• pp.391-435
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• 2018

This is the first study in Musicology that discusses the features of Kangwon Sangkangrye(the pre-lecture ritual in Buddhism). In this thesis, I reviewed and compared the similarity and uniqueness between Kangwon Sangkangrye in "Seokmunuibom" and the one being performed these days. The musical relation between the performance shown in the historical record and the one in contemporary ritual was illustrated here based on the findings derived from the anlaysis on its bell(小鐘) performance. The analysis made upon musical sources recorded on-site shows the characteristics of contemporary Kangwon Sangkangrye. Following is a brief summary of this study. The review and comparison between Kangwon Sangkangrae in "Seokmunuibom" and the one being performed these days showed that the second type, which was significantly different from the first type, was closer to that of the historical record. The performers at Unmunsa Temple and Chungamsa Temple seemed to be following the tradition bell(小鐘) performance style which was found in the text of the historical record. Through the analysis on Kangwon Sangkangrae, I found that it has musical characteristics as follows. The vocal range of type 1 and type 2 was mostly performed within Minor 7th and didn't exceed the perfect 8th. The melodic structure of type 1 starts with do'-la of naedeureum and ended with the melody which downscaled from do' and finalized from mi to la. Usually the mode was in menari-tori but at some lecture halls a few cases found to be upscaled from sol to la which differentiates it from the typical menari-tori of folk songs. Like the typical way of traditional rites, the singing was divided into two parts: the leading call and the following choral response. Most were sung to be one syllable on one or two tones or one syllable lasting for several tones and the musical forms were varied by musical pieces. Meantime, Sangkangrae at Haeinsa Temple was differed from that of the other temples in terms of ritual procedure and vocal style. It added Korean version of and the lead vocal skipped the first phrase of the Sasul. The melodic structure of Type 2 started with do'-la of naedeureum and was finalized as the same way of Type 1. The mode of was not the same as typical menari-tori but the Jeongrye(prostration) and Balweon(a great vow) were identical to the menari-tori of folk songs. The singing was done in two forms, solo and unison, and the lyric-attachment of Gesong was one syllable for one or two tones and that of Jeongrye and Balweon were one syllable for one or two tones + one syllable for several tones. The musical form of Jeongrye is A-B-C and A-C. Balweon didn't display a certain periodicity but still maintained sense of unity and formality through repetition of the finalizing melody.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.