• Journal of Korean Neurosurgical Society
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• v.52 no.6
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• pp.541-546
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• 2012

Objective : The prefabrication of customized cranioplastic implants has been introduced to overcome the difficulties of intra-operative implant molding. The authors present a new technique, which consists of the prefabrication of implant molds using three-dimensional (3D) printers and polymethyl-methacrylate (PMMA) casting. Methods : A total of 16 patients with large skull defects (>100 $cm^2$) underwent cranioplasty between November 2009 and April 2011. For unilateral cranial defects, 3D images of the skull were obtained from preoperative axial 1-mm spiral computed tomography (CT) scans. The image of the implant was generated by a digital subtraction mirror-imaging process using the normal side of the cranium as a model. For bilateral cranial defects, precraniectomy routine spiral CT scan data were merged with postcraniectomy 3D CT images following a smoothing process. Prefabrication of the mold was performed by the 3D printer. Intraoperatively, the PMMA implant was created with the prefabricated mold, and fit into the cranial defect. Results : The median operation time was $184.36{\pm}26.07$ minutes. Postoperative CT scans showed excellent restoration of the symmetrical contours and curvature of the cranium in all cases. The median follow-up period was 23 months (range, 14-28 months). Postoperative infection was developed in one case (6.2%) who had an open wound defect previously. Conclusion : Customized cranioplasty PMMA implants using 3D printer may be a useful technique for the reconstruction of various cranial defects.

• Architectural research
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• v.21 no.3
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• pp.79-90
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• 2019

The ephemeral and temporal nature of pavilions is the underlying motivation that led to the development of this paper. From the beginning of the industrial era through contemporary history, there have been many instances of architects attempting to rethink architectural design in the context of modern social, cultural, and technical imperatives. Today, the leading changes in humanity are accompanied by a revolutionary electronic digital medium. The pavilion has been in an amalgamation of architectural integration since the beginning of human history. World's Fairs/Expos have, since their establishment, served as international presentations of goods and achievements of particular nations. They became a popular stage wherein potential architectural achievements were showcased through the evocative architecture of pavilions. Due to the pavilion's "temporary nature," its coverage includes various perspectives: social, historical, geographical, post-colonial, iconographical, temporal, and ephemeral. It has also served as a receptacle due to its representational value at a given time. The pavilion has offered architectural designers, clients, and visitors a place to use their imaginations. Moreover, the architect's role in creating pavilions cannot be overestimated. Due to fact that they abound in symbolism, contemporary designs, and innovative solutions, pavilions often mirror modern mankind and plan for the next aesthetic revolutions and ideological architectural theories. To understand and appreciate architects' original intentions with their pavilions, this paper focuses on noteworthy pavilions that were created from the beginning of industrialization through the present. It explores and discusses the pavilion's characteristics, highlights the significance of its physical form as generated by a specific theme.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.581-587
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• 2023

During the global pandemic period, The world has created a new paradigm using digital technology, aligning one direction with the highest value of life and survival. Untact has changed from a convenience value to an essential value with quarantine and sanitation. And the industry process has shifted from face-to-face to non-face-to-face. The platform formed an community in a virtual space, and companies started a new service based on presence. For a sense of reality, information is expressed and stored from 2D centered on images to 3D multifaceted. Companies are marketing using 3D modeling, focusing on augmented reality, virtual world, and mirror world of Metaverses. The purpose of this study is to analyze the current status and examples of 3D modeling in the E-commerce environment of domestic and foreign jewelry brands in this era of change, and present ways to use 3D modeling in jewelry industries.

• Journal of Cerebrovascular and Endovascular Neurosurgery
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• v.25 no.4
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• pp.468-472
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• 2023

Bilateral posterior communicating (pComm) artery aneurysms represent only 2% of mirror intracranial aneurysms. Usually, these are surgically approached through bilateral craniotomies for clipping. We present the case of a 50-year-old female presenting with headache and horizontal diplopia. Neurological examination revealed a left oculomotor palsy, with no other neurological deficits. Imaging studies revealed bilateral aneurysmatic lesions in both internal carotid arteries (ICA). A conventional left pterional approach was planned in order to treat the symptomatic aneurysm, and, if deemed feasible, a contralateral clipping through the same approach. The procedure was performed in a hybrid operating room (HOR), performing an intraoperative digital subtraction angiography (DSA) and roadmapping assistance during dissection and clipping. Transoperatively, a post-fixed optic chiasm was identified, with a wide interoptic space, which allowed us to perform the contralateral clipping through a unilateral approach. This technique for clipping bilateral pComm aneurysms can be performed when the proper anatomical features are met.

• Journal of Science of Art and Design
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• v.11
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• pp.221-249
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• 2007

Today, photography is facing to the crisis of identity and dilemma of ontology from the digital imaging process in the new technology form. It is very important points to say rethinking of the traditional photographic medium, that has changed the way we view the world and ourselves is perhaps an understatement and that photography has transformed our essential understanding of reality. Now, no longer are photographic images regarded as the true automatic recording, innocent evidence and the mirror to the reality. Rather, photography constructs the world for our entertainment, helping to create the comforting illusions by which we live. The recognition that photographs are not constructions and reflections of reality, is the basis for the actual presence within the contemporary photographic world. It is shock. This thesis's aim is to look for the problems of photographic identity and ontological crisis that is controlling and regulating digital photographic imagery, allowing the reproduction of the electronic simulations era. Photography loses its special aesthetic status and becomes no more true information and, exclusively evidence by traditional film and paper that appeared both as a technological accuracy and as a medium-specific aesthetic. The result, photography is facing two crises, one is the photographic ontology(the introduction of computerized digital images) and the other is photographic epistemology(having to do broader changes in ethics, knowledge and culture). Taken together, these crises apparently threaten us with the death of photography, with the 'end' of photography and the culture it sustains. The thesis's meaning is to look into the dilemma of photography's ontology and epistemology, especially, automatical index and digital codes from its origin, meaning, and identity as the technological medium. Thus, in particular, thesis focuses on the analog imagery presence, from the nature in the material world, and the digital imagery presence from the cultural situations in our society. And also thesis's aim is to examine the main issues of the history of photography has been concentrated on the ontological arguments since the discovery of photography in 1839. Photography has never been only one static technology form. Rather, its nearly two centuries of technological development have been marked by numerous, competing of technological innovation and self revolution from the dual aspects. This thesis examines recent account of photography by the analysis of the medium's concept, meaning, identity between film base image and digital base image from the aspects of photographic ontology and epistemology. Thus, the structure of thesis is fairy straightforward to examine what appear to be two opposing view of photographic conditions and ontological situations. Thesis' view contrasts that figure out the value of photography according to its fundamental characteristic as a medium. Also, it seeks a possible solution to the dilemma of photographic ontology through the medium's origin from the early years of the nineteenth century to the raising questions about the different meaning(analog/digital) of photography, now. Finally, this thesis emphasizes and concludes that the photographic ontological crisis reflects to the paradoxical dynamic structure, that unsolved the origins of the medium, itself. Moreover, even photography is not single identity of the photographic ontology, and also can not be understood as having a static identity or singular status from the dynamic field of technologies, practices, and images.

• Macromolecular Research
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• v.16 no.7
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• pp.575-585
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• 2008

There are two beamlines (BLs), 4C1 and 4C2, at the Pohang Accelerator Laboratory that are dedicated to small angle X-ray scattering (SAXS). The 4C1 BL was constructed in early 2000 and is open to public users, including both domestic and foreign researchers. In 2003, construction of the second SAXS BL, 4C2, was complete and commissioning and user support were started. The 4C2 BL uses the same bending magnet as its light source as the 4C1 BL. The 4C1 BL uses a synthetic double multilayer monochromator, whereas the 4C2 BL uses a Si(111) double crystal monochromator for both small angle and wide angle X-ray scattering. In the 4C2 BL, the collimating mirror is positioned behind the monochromator in order to enhance the beam flux and energy resolution. A toroidal focusing mirror is positioned in front of the monochromator to increase the beam flux and eliminate higher harmonics. The 4C2 BL also contains a digital cooled charge coupled detector, which has a wide dynamic range and good sensitivity to weak scattering, thereby making it suitable for a range of SAXS and wide angle X-ray scattering experiments. The general performance of the 4C2 BL was initially tested using standard samples and further confirmed by the experience of users during three years of operation. In addition, several grazing incidence X-ray scattering measurements were carried out at the 4C2 BL.

• Journal of Cadastre & Land InformatiX
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• v.52 no.2
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• pp.171-187
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• 2022

Recently, the demand and development for non-face-to-face services are rapidly progressing due to the pandemic caused by the COVID-19, and attention is focused on the metaverse at the center. Entering the era of the 4th industrial revolution, Metaverse, which means a world beyond virtual and reality, combines various sensing technologies and 3D reconstruction technologies to provide various information and services to users easily and quickly. In particular, due to the miniaturization and economic increase of convergence sensors such as unmanned aerial vehicle(UAV) capable of high-resolution imaging and high-precision LiDAR(Light Detection and Ranging) sensors, research on digital-Twin is actively underway to create and simulate real-life twins. In addition, Game engines in the field of computer graphics are developing into metaverse engines by expanding strong 3D graphics reconstuction and simulation based on dynamic operations. This study constructed a mirror-world type metaverse that reflects real-world coordinate-based reality using Unreal Engine 5, a recently announced metaverse engine, with accurate 3D spatial information data of convergence sensors based on unmanned aerial system(UAS) and LiDAR. and then, spatial information contents and simulations for users were produced based on various public data to verify the accuracy of reconstruction, and through this, it was possible to confirm the construction of a more realistic and highly utilizable metaverse. In addition, when constructing a metaverse that users can intuitively and easily access through the unreal engine, various contents utilization and effectiveness could be confirmed through coordinate-based 3D spatial information with high reproducibility.

• Maxillofacial Plastic and Reconstructive Surgery
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• v.20 no.2
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• pp.133-138
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• 1998

Choanal atresia may be membrane or bony, unilateral or bilateral. Approximately 90% of the choanal atresia are bony type. Unilateral choanal atresia often eludes the diagnosis because of the absence of subjective symptoms in the neonatal period. However, bilateral choanal atresia presents at birth with cyclic respiratory distress aggravated by feedings. So complete bilateral choanal atresia is considered as a neonatal emergency. Examinations for the diagnosis of chonal atresia include 1) attempt at passing a rubber catheter or probe through the patient s nose, 2) mirror examination of the nasopharynx, 3) digital examination of the nasopharynx, 4) X-ray examination after installation of radiopaque materal into the nasal cavity. But, computed tomography has become accepted method for evaluation of choanal atresia. Surgical repair of choanal atresia is accomplished via transnasal or transpalatal approach. Advantages of the transpalatal approach are improved exposure and the preservation of mucosal flap along the newly formed apertures. On the other hand, the transpalatal approach carries the risk of injury to the greater palatine neurovascular complex, and requires longer operative time. After careful physical and radiographic examinations, we accomplished the surgical repair of the complete bony bilateral choanal atresia via transpalatal approach without complications.

• Science of Emotion and Sensibility
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• v.8 no.4
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• pp.423-433
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• 2005

The computer hardware development has provided many chances of emergence between art and technology. In many cases today's interactive artworks cannot be completed without audience's participation. The interactive production process with technical supplementation can be celled feedback. Mr. Nam Jun Paik showed 'Participant TV' that interacts with audience's response in real time. It means artwork changes with the constantly changing value from the data set from human visual perception. Dan Graham showed another feedback related work, which delays 5second playback in mirror that implies consequence of time. Today's media art has to sublimate coincidence, time ant audience into philosophical artwork through consonance that comes with video and sound as we can see from Bill Viola. Stelarc produced artworks. That use input data that is weak signals from brain, muscles. Through a terminal display with player, body expanded meaning of media. Jeffrey Shaw's 'Legible City' provided a fabrication of the reality with the interaction of bicycle's pedal speed and steering direction that is controlled by 4river. RE:MARK used microphone as input device as Edmond Couchot's 'Je same a la vent' and Nam Jun Paik's 'Participant TV' did. There is no communication without feedback between human being. The reality makes audience involved into artworks. That is the reason why feedback has to be natural. Through the feedback process, the originality of the idea is altered by audience. The feedback is not just part of flesh of artwork rather skeleton of it. Technological showoff cannot be art itself The perfection of technological application plan helps feedback that interacts with audience naturally in order that audience hoes not feel the feedback as artificial plan. Interactive media art has to be evolved into new media form with new integration feedback technology.

• The Journal of Engineering Geology
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• v.12 no.4
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• pp.405-419
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• 2002

Fracture roughness of rock specimens is observed by a new confocal laser scanning microscope (CLSM; Olympus OLS1100). The wave length of laser is 488 nm, and the laser scanning is managed by a light polarization method using two galvano-meter scanner mirrors. The function of laser reflection auto-focusing enables us to measure line data fast and precisely. The system improves resolution in the light axis (namely z) direction because of the confocal optics. Using the CLSM, it is Possible to measure a specimen of the size up to $10{\;}{\times}{\;}10{\;}cm$ which is fixed on a specially designed stage. A sampling is managed in a spacing $2.5{\;}\mu\textrm{m}$ along x and y directions. The highest measurement resolution of z direction is $10{\;}\mu\textrm{m}$, which is more accurate than other methods. Core specimens of coarse and fine grained granite are provided. Fractures are artificially maneuvered by a Brazilian test method. Measurements are performed along three scan lines on each fracture surface. The measured data are represented as 2-D and 3-D digital images showing detailed features of roughness. Line profiles of the coarse granites represent more frequent change of undulation than those of the fine granite. Spectral analyses by the fast Fourier transform (FFT) are performed to characterize the roughness data quantitatively and to identify influential frequency of roughness. The FFT results suggest that a specimen loaded by large and low frequency energy tends to have high values of undulation change and large wave length of fracture roughness.