• 한국ITS학회 논문지
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• 제19권1호
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• pp.94-106
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• 2020

근래의 위치 측위 방법으로 GPS(Global Positioning System) 위성정보를 활용하는 전파항법 방식을 많이 사용하고 있다. GPS 활용범위가 넓어지고 다양한 측위 정보를 기반으로 하는 분야가 생기면서 보다 높은 정확도를 얻기 위한 새로운 방법들이 요구되고 있다. 자율주행차의 경우 IMU(Inertial Measurement Unit)를 사용한 항법 시스템인 INS(Inertial Navigation System)와 차량 내부 센서를 이용한 DR(Dead Reckoning) 알고리즘을 사용하여 GPS의 정확도 저하나 음영지역에서의 위치 측정방법으로 사용하고 있다. 그러나 이러한 측위 방법은 대형화되는 빌딩 지역, 터널, 지하 주차장 등 다양한 음영지역과 시간이 지남에 따라 오차가 계속 증가하는 누적 기반 위치추정 방법의 한계로 인해 많은 문제 요소가 있다. 본 논문은 GPS 음영지역에서 차량의 위치 측위를 위해, 대중적 무선 통신인 WLAN을 이용한 Fingerprint 기법을 4개의 Anchor 형태로 AP(Access Point)와 지향성 안테나를 위치하여 넓은 지하 주차공간에서 효율적인 측위 방법을 제시하고 시간이 지남에 따라 주차된 차량이 이동하는 환경에서도 변화가 없는 위치 측위 결과를 입증하였다.

• 한국전통조경학회지
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• 제32권1호
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• pp.10-21
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• 2014

본 연구는 함양 남계천변에 돌출한 바위 대고대의 경관성과 향유 주체에 주목하였다. 옛 시문과 석벽에 의탁(依託)된 인명 등 바위글씨의 분석과 해석을 통해 이곳의 장소 특성을 밝히고, 대고대에서 벌어졌던 경관 향유와 장소 패권 양상을 조명한 본 연구의 결과는 다음과 같다. 고지도에서 나타난 대고대는 지근거리에 5개소의 서원이 집중 포치(布置)되고 있으며, 대(臺) 자체의 입체적 볼륨감과 기괴함이 흥미를 불러일으키고 있다. 16C 옥계(玉溪) 노진(1518~1578)에 의해 최초로 명명된, 대고대(大孤臺)의 쓰임새를 고대(孤臺) 정경운(鄭慶雲: 1556~?)의 고대일록(孤臺日錄)에 근거해 분석한 결과, 남계서원 등의 임원과 유생의 조망 놀이 휴양 회의 계회 등 다양한 용도의 정치 사회적 소통의 장으로 활용된 것으로 확인된다. 대고대의 공간구성을 살펴보면 구졸암(九拙菴) 양희(梁喜: 1515~1581)의 신도비를 중심으로 상단 암벽에는 청근정(淸近亭)이, 그 서측에는 산앙재(山仰齋)가 위치한다. 동서로 펼쳐진 높이 11m, 넓이 약 $350m^2$의 대고대 반석 상부는 강론과 음영을 위한 장소로 널리 활용되었다. 반석 북서측에 '석송(石松) 추사(秋史)'라고 음각된 추사(秋史) 김정희(金正喜: 1786~1856) 서체의 바위글씨와 그 옆의 일명 '석송'이라 불렸을 것으로 추정되는 고사목의 잔해는 이곳의 역사성과 진정성을 한층 강화시켜 주는 경관요소이다. '대고대(大高臺) 개은서(介隱書)'와 '묵헌(默軒)' '정근상('鄭近相)' 바위글씨는 각각 개은(介隱) 정재기(鄭在箕: 1811~1879)와 그의 증손(曾孫) 정근상(鄭近相: 1893~1934)에 의해 기록된 배타적 공간 향유와 장소패권의 산물이자 조선 말기 이후 일제강점기까지 그들이 이곳 대고대의 향유 주체였음을 알리는 낙관(落款)이다. 요컨대 대고대는 조선 중기 이후 '구졸양선생장구소'로서 장소 선점의 묵시적 의미를 지녀왔으며, 조선말기와 일제강점기에는 정재기와 정근상의 연이은 장소패권 과정을 거치면서도 '동북강회소 천령제선현장구소'라는 범함양(凡咸陽)의 다자(多者) 강회 및 추념공간으로 변형 계승되어 왔다. 그럼에도 불구하고 석벽에 쓰여진 다수의 인명 바위글씨는 '하동정씨(河東鄭氏)'와 '풍천노씨(豊川盧氏)'가 대고대의 경관 향유 및 장소패권의 주체였음을 묵언한다. 대고대에서 새긴 '바위글씨'는 경관향유 의지의 표상이자 장소 주도권 쟁탈을 보여주는 또 다른 형태의 문화경관이자 정원 경영의 사례이다.

• 미술이론과 현장
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• 제2호
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• Journal of International Society for Simulation Surgery
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• 제1권1호
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• pp.13-15
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• 2014

Nowadays, with advanced 3D printing techniques, the custom-made implant can be manufactured for the patient. Especially in skull reconstruction, it is difficult to design the implant due to complicated geometry. In large defect, an autograft is inappropriate to cover the defect due to donor morbidity. We present the process of manufacturing the 3D custom-made implant for skull reconstruction. There was one patient with skull defect repaired using custom-made 3D titanium implant in the plastic and reconstructive surgery department. The patient had defect of the left parieto-temporal area after craniectomy due to traumatic subdural hematoma. Custom-made 3D titanium implants were manufactured by Medyssey Co., Ltd. using 3D CT data, Mimics software and an EBM (Electron Beam Melting) machine. The engineer and surgeon reviewed several different designs and simulated a mock surgery on 3D skull model. During the operation, the custom-made implant was fit to the defect properly without dead space. The operative site healed without any specific complications. In skull reconstruction, autograft has been the treatment of choice. However, it is not always available and depends on the size of defect and donor morbidity. As 3D printing technique has been advanced, it is useful to manufacture custom-made implant for skull reconstruction.

• 복식
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• 제66권6호
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• pp.67-78
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• 2016

Research on ancient Indonesian 'sacred cloths' is essential since it shows a different perspective into Indonesian identity. Based on its function, the 'sacred cloths' are either made as a medium for religious ceremonies or as a medium for the living and the dead. The consuetude of preparing and creating the 'sacred cloths' are done to achieve the finest 'sacred cloths' worthy to be presented to God. The research aims to analyze the characteristics of ancient Indonesian textiles and to focus on the 'sacred cloths.' The research is divided into two parts, and this paper is the first part. The paper analyzes the characteristics of ancient Indonesian textiles by focusing on the period, religion, region, and color of the 'sacred cloths.' The subsequent research analyzes the characteristics of ancient Indonesian textiles by focusing on the techniques and the patterns of the 'sacred cloths.' In this first part of the main research, the analysis reveals that animism developed in various ways in Indonesia from 500 BC to AD 1800. It was also as kingdoms of Buddhist, Hinduism, and Islam. The changes of religion may differ according to its region. Indonesian regions are divided into six big regions that produce textiles. These islands are Sumatra, Borneo, Java, Celebes, Nusa Tenggara, and Bali. By space and time, the colors of Indonesian textiles represent the ideology of one religion. Indonesia produces primary colors of red, yellow, and blue(RYB). The colors are produced by extracting leaves of Indigo, Indian Mulberry root shell, Sappanwood's branches, Candlenut fruit, Turmeric root, and Mangosteen rind. Indonesia is a religious country, therefore the meaning of creating each 'sacred cloth' shows piety of the maker and the wearer.

• 대한두개안면성형외과학회지
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• 제21권2호
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• pp.92-98
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• 2020

Background: Posttraumatic acquired facial deformities require surgical treatment, with options including scar revision, fat grafts, implant insertion, and flap coverage. However, each technique has specific advantages and disadvantages. Methods: From 2016 to 2018, 13 patients (eight with scar contracture and five with a depressed scar) were treated using dermofat grafts from the groin. The harvested dermofat was then inserted into the undermined dead space after the contracture was released, and a bolster suture was done for fixation considering the patient's contour and asymmetry. A modified version of the Vancouver Scar Scale and satisfaction survey were used to compare deformity improvements before and after surgery. Results: In most cases, effective volume correction and an aesthetically satisfactory contour were maintained well after dermofat grafting, without any major complications. In some cases, however, lipolysis proceeded rapidly when inflammation and infection were not completely eliminated. A significant difference was found in the modified Vancouver Scar Scale before and after surgery, with a p-value of 0.001. The average score on the satisfaction survey was 17.07 out of 20 points. Conclusion: A dermofat graft with the groin as the donor site can be considered as an effective surgical option that is the simplest and most cost-effective method for the treatment of acquired facial deformities with scar contracture.

• 한국공간정보시스템학회 논문지
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• 제7권1호
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• pp.13-24
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• 2005

차량과 같이 시간의 흐름에 따라 위치가 변경되는 객체를 이동체라 한다. 이동체의 과거 궤적은 시간이 지남에 따라 누적되므로 대용량 정보가 된다. 대용량 궤적 정보를 저장하는 이동체 데이터베이스에서 효율적으로 궤적을 검색하기 위해서는 색인이 필요하다. 특히 궤적을 선택하는 과정(영역 질의)과 선택된 궤적의 일부분을 추출하는 과정(궤적 질의)으로 이루어진 복합 질의를 처리하기 위해서는 궤적 보존을 지원하는 TB-tree와 같은 색인 구조가 적합하다. 그러나 TB-tree는 비단말 노드에서의 공간적인 특성을 고려하지 못하여 영역 질의시 불필요한 노드 접근이 발생하는 문제가 있다. 이 논문에서는 영역 질의를 효율적으로 처리하기 위하여, TB-tree의 비단말 노드의 사장 영역을 감소시킬 수 있는 분할정책을 제안하고 이를 TB-tree에 적용하여 구현한다. 이 논문에서 제안하는 분할 정책은 높은 공간 활용도, 효과적인 궤적 추출과 같은 TB-tree의 장점을 유지하면서 비단말 노드의 사장 영역을 줄임으로써 영역 질의에 효과적인 특징이 있다. 제안된 분할 정책은 성능평가를 통하여 기존의 TB-tree보다 영역 질의에서 우수함을 보인다.

• 복식문화연구
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• 제7권3호
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• pp.50-57
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• 1999

Folk belief, which originated with the rise of human existence is a fundamental and comprehensive mode of living that reflects sociocultural conditions. Adherents of folk belief accept a certain thing to be true and real without scientific authority and absolute certainty. Taboo can be seen as a king of folk belief. The object of this study is to examine the taboos in relation to the manufacturing process and the quality of the shroud and to shrouding customs. I will also try to find out the meaning and significance in this. Through this task, I hope to contribute to the enhanced understanding of the cultural characteristics, the spiritual life, and the views on after life of the Korean people. In Korea, it is considered to be propitious to prepare the shroud on the intercalary month of the leap year , as it allows one to enjoy longevity healthy and sound. Moreover, as this belief gives credence and repose while preparing for the “final departure”, this custom is relatively well observed. From the taboo concerning leap months, we infer that death as viewed as a commencement of a new life, which reveals a positive view on afterlife. This can be seen as a return to the origin of anti-universal space in this “bonus” month of anti-universal time. Taboos on the manufacturing process of the shroud is related to the belief that it allows the deceased to go the nest world without any hesistation or disturbances. This symbolizes the immortality of the human soul: I. e. that the human spirit does not end in this world but continues on to the next. Taboos concerning the preparation process of the shroud as well as various other taboos are related to the belief that preparation for the shroud should be done in sincerity and secredness with a thoughtful consideration for the deceased. This can be perceived as an implication to sanctity for the dead.

• Maxillofacial Plastic and Reconstructive Surgery
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• 제18권3호
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• pp.348-352
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• 1996

Soft tissue defects in oral & maxillofacial region caused by tumor resection, trauma, congenital deformities have been treated in autogenous soft tissue flap, allogenic material, free dermal graft, fascia graft. Of these methods, autogenous dermis graft had initially been applied in hernia treatment at the beginning of nineteenth century and have been applied in soft tissue augmentation coverage of vital structure, dead space removal and reconstruction of fascia. A fat graft is used in reconstruction of orbit at the enucleation, restoration of facial contours, etc. In this case, patient with chin soft tissue defect in traffic accident was treated in autogenous dermis-fat graft from patient's abdominal and gluteal region. Chin defect was reconstructed favorably. There was no severe atrophy of grafted area 12 months postoperatively. We will report the result that is favorable esthetically with literature review.

• 건축역사연구
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• 제18권4호
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• pp.43-62
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• 2009

No.87 Sogong-dong where is the Chosun hotel stand. There was the Nambeol-gung(south ern royal villa) which had been a reception hall for enboys of the toadied country before Hwangudan圜丘壇 being set up in the year 1897. The site of the Nambeol-gung was Gyeongjeong慶貞 princess's a lot for house in the early 15th century. But after princess's death, it occurred property dispute between her son and four daughters. As a result of the dispute, a lot and a house of all the princess's properties reverted to the government. At reverted this lot was established a big royal villa in the year 1583 and that royal villa was granted to Uian prince. The villa reverted to the government again when the Uian義安 prince was dead in 12 years old by an epidemic. After the Imjin Invasion壬辰倭亂, another houses and buildings got to be role as a palace because of all the palace in the capital was burnt down to ashes. Among others Nambeol-gung was brought into play as the royal audience chamber. As well as, the villa became brought out role as a reception hall for enboys of the toadied country instead of a damaged reception hall the Taepyong-gwan太平館. In period when the envoy didn't come, the Nambeol-gung was used to extraordinary office of government like Dogam都監. This situation is to mean that the Nambeol-gung is not the royal villa any more. Because of the Nambeol-gung was built as a royal villa, that spaces were composited like space of house and palace. But this spatial composition and spatial name were not fit to hold a ceremony of government office. After all, Nambeol-gung was used change only the spatial name conform to ceremony of office keep up the spatial composition.