• Geophysics and Geophysical Exploration
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• v.10 no.4
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• pp.383-392
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• 2007

Karstic features and mining-related cavities not only lead to severe restrictions in land utilizations, but also constitute serious concern about geohazard and groundwater contamination. A microgravity survey was applied for detecting, mapping and monitoring karstic cavities in the test site at Muan prepared by KIGAM. The gravity data were collected using an AutoGrav CG-3 gravimeter at about 800 stations by 5 m interval along paddy paths. The density distribution beneath the profiles was drawn by two dimensional inversion based on the minimum support stabilizing functional, which generated better focused images of density discontinuities. We also imaged three dimensional density distribution by growing body inversion with solution from Euler deconvolution as a priori information. The density image showed that the cavities were dissolved, enlarged and connected into a cavity network system, which was supported by drill hole logs. A time-lapse microgravity was executed on the road in the test site for monitoring the change of the subsurface density distribution before and after grouting. The data were adjusted for reducing the effects due to the different condition of each survey, and inverted to density distributions. They show the change of density structure during the lapsed time, which implies the effects of grouting. This case history at the Muan test site showed that the microgravity with accuracy and precision of ${\mu}Gal$ is an effective and practical tool for detecting, mapping and monitoring the subsurface cavities.

• Journal of Chest Surgery
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• v.40 no.12
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• pp.855-858
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• 2007

A left ventricular rupture might be one of the most disastrous complications after a mitral valve replacement. An acute atrioventricular groove rupture (type I) was detected in a 54-year-old female diagnosed with a mitral stenosis combined with severe tricuspid regurgitation. She had a prior medical history of an open mitral commissurotomy in Japan at 30 years ago. The surgical findings suggested that the previous procedure was not a simple commissurotomy but a commissurotomy combined with a posteromedial annuloplasty procedure. After a successful mitral valve replacement and a measured (De Vega type) tricuspid annuloplasty, the weaning from a cardiopulmonary bypass was uneventful. However, copious intraoperative bleeding from the posterior wall was detected and the cardiopulmonary bypass was restarted. Exposure of the posterior wall of the left ventricle showed bleeding from the atrioventricular groove 3 cm lateral to the left atrial auricle. Under the impression of a Type I left ventricular rupture, epicardial repair (primary repair of the Teflon felt pledgetted suture, continuous sealing suture using auto-pericardial patch and application of fibrin-sealant) was attempted. Successful local control was made and the patient recovered uneventfully. The patient was discharged at 14 postoperative days without complications. We report this successful epicardial repair of an acute type I left ventricular rupture after mitral valve replacement.

• Journal of the Korea Society of Computer and Information
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• v.26 no.1
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• pp.19-26
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• 2021

Cultural assets excavated in historical areas have their own characteristics based on the background of the times, and it can be seen that their patterns and characteristics change little by little according to the history and the flow of the spreading area. Cultural properties excavated in some areas represent the culture of the time and some maintain their intact appearance, but most of them are damaged/lost or divided into parts, and many experts are mobilized to research the composition and repair the damaged parts. The purpose of this research is to learn patterns and characteristics of the past through artificial intelligence neural networks for such restoration research, and to restore the lost parts of the excavated cultural assets based on Generative Adversarial Network(GAN)[1]. The research is a process in which the rest of the damaged/lost parts are restored based on some of the cultural assets excavated based on the GAN. To recover some parts of dammed of cultural asset, through training with the 2D image of a complete cultural asset. This research is focused on how much recovered not only damaged parts but also reproduce colors and materials. Finally, through adopted this trained neural network to real damaged cultural, confirmed area of recovered area and limitation.

• Journal of Korean Ophthalmic Optics Society
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• v.18 no.2
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• pp.143-148
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• 2013

Purpose: The aim of this study was to investigate the distribution of age and gender, types of intraocular lens (IOL), and refractive errors in subjects who had cataract surgery. Methods: 2,217 subjects who had cataract surgery were surveyed at an optometry clinic in Chungbuk from 2010 to 2012. Information about IOL was obtained from case history, reflective and retroillumination images IOL by auto refracto-keratometer. Refractive errors were determined by objective and subjective refraction. Results: The mean age of the subjects was $71.74{\pm}10.62$ years. The number of cataract surgeries increased from 524 persons in 2010 to 888 persons in 2012. Of the subjects surveyed, 52 persons (2.3%) were under the 40 years of age, 144 persons (6.5%) were in 50s, 404 persons (18.2%) were in 60s, 1,132 persons (51.1%) were in 70s, 485 persons (21.9%) were in above 80s. Cataract surgery was significantly prevalent in more female (1,338 persons, 60.4%) than in male (879 persons, 39.6%). Types of IOL were 2,141 persons (96.6%) for monofocal lens, special IOLs such as multifocal, accommodative and toric lens were 76 persons (3.4%). The distribution of refractive errors after cataract operation were 1,588 eyes (38.5%) for simple myopic astigmatism, 327 eyes (7.9%) for simple hyperopic astigmatism, 601 eyes (14.6%) for mixed astigmatism, 1,240 eyes (30.0%) for myopia, 136 eyes (3.3%) for hyperopia, and 234 eyes (5.7%) for emmetropia. The uncorrected and best corrected visual acuity of the subjects were $0.55{\pm}0.25$ and $0.80{\pm}0.23$, respectively. Conclusions: The prevalence of cataract surgery increased with age until 70s years of age, it was more prevalent in men than women over 60s, and frequency of special types of IOL were low. Most cataract surgeries left residual refractive errors. Therefore even after cataract surgery it may need spectacles for better vision at either distance or near.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.