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유방암 환자의 3D-CRT, TOMO 방법에 따른 선량 분포 평가
김대웅,김종원,최윤경,김정수,황재웅,정경식,최계숙,Kim, Dae-Woong,Kim, Jong-Won,Choi, Yun-Kyeong,Kim, Jung-Soo,Hwang, Jae-Woong,Jeong, Kyeong-Sik,Choi, Gye-Suk 대한방사선치료학회 2008 대한방사선치료학회지 Vol.20 No.1
Purpose: The goal of radiation treatment is to deliver a prescribed radiation dose to the target volume accurately while minimizing dose to normal tissues. In this paper, we comparing the dose distribution between three dimensional conformal radiation radiotherapy (3D-CRT) and helical tomotherapy (TOMO) plan for partial breast cancer. Materials and Methods: Twenty patients were included in the study, and plans for two techniques were developed for each patient (left breast:10 patients, right breast:10 patients). For each patient 3D-CRT planning was using pinnacle planning system, inverse plan was made using Tomotherapy Hi-Art system and using the same targets and optimization goals. We comparing the Homogeneity index (HI), Conformity index (CI) and sparing of the organs at risk for dose-volume histogram. Results: Whereas the HI, CI of TOMO was significantly better than the other, 3D-CRT was observed to have significantly poorer HI, CI. The percentage ipsilateral non-PTV breast volume that was delivered 50% of the prescribed dose was 3D-CRT (mean: 40.4%), TOMO (mean: 18.3%). The average ipsilateral lung volume percentage receiving 20% of the PD was 3D-CRT (mean: 4.8%), TOMO (mean: 14.2), concerning the average heart volume receiving 20% and 10% of the PD during treatment of left breast cancer 3D-CRT (mean: 1.6%, 3.0%), TOMO (mean: 9.7%, 26.3%) Conclusion: In summary, 3D-CRT and TOMO techniques were found to have acceptable PTV coverage in our study. However, in TOMO, high conformity to the PTV and effective breast tissue sparing was achieved at the expense of considerable dose exposure to the lung and heart.
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김대웅,백용혁,Kim, Dae-Woong,Baik, Yong-Hyuck 한국세라믹학회 2001 한국세라믹학회지 Vol.38 No.9
Bayer process는 보오크사이트로부터 수산화알루미늄을 추출시키는 가장 일반적인 방법으로 공정 조건에 따라 수산화알루미늄의 1차 입자경, 입도분포도 및 생산효율 등이 달라지게 된다. 본 실험에서는 앞선 석출실험 결과를 기준으로 화학제품용 및 금속제련용 수산화알루미늄 제조조건을 설정하여 석출제품의 특성을 검토하였다. 그 결과 석출율은 화학제품용 원료 제조조건이 높게 나타났으며 입자크기는 화학제품용은 42∼44${\mu}$m, 금속제련용은 74∼77${\mu}$m로 금속제련용 원료 제조조건이 입자크기가 크게 나타났다. 산용해 실험결과는 화학제품용 원료가 금속제련용 원료보다 용해성이 좋게 나타났으며, 금속제련용 제품의 마모도는 상업용 금속제련용 제품에 비해 다소 떨어지는데 이러한 이유는 타사 제품에 비해 1차입자가 작가 때문인 것으로 판단된다. Bayer process is based on the extraction of aluminium trihydroxide from bauxite. The process is operated with the several criteria such as primary crystal size, particle size distribution and yield etc.. In this study basing on the previous results, an investigation on the effect of chemical grade and smelting grade aluminium trihydroxide precipitation condition were undertaken. As a result, particle size was 42∼44${\mu}$m form chemical grade product and 74∼77${\mu}$m for smelting grade product. The yield and solubility by acid of chemical grade product was higher than smelting grade product. The attrition index of smelting grade product was lower than that of other commercial product because primary crystal size of the smelting grade product was small.
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이상 초기 일문시의 정치적 상상력 : 「出版法」을 중심으로
김대웅(Kim Dae Woong) 이상문학회 2017 이상리뷰 Vol.- No.13
This essay discusses the familiar dichotomy of modern Korean literature that has consistently shown a unilateral perspective in approach to Lee Sang’s work. The two axes of this dichotomy are realism and modernism. By deviating from this old dichotomy, this essay seeks to reveal that Lee Sang’s early Japanese poem, Publication Law was not a cryptic poem implying a process of publication and printing. This discussion proposes to explore the possibilities of realism in his literature and “historicalize” his work by directly mediating with history as an “absent cause.” Consequently, Publication Law is rearranged into a poem that exposes the shadow of the colonial policy of urbanization that robs the urban poor of their right to live, and sharply thinks of its ‘unspeakable’. Lee Sang’s work is political, in the sense that it unfolds a new world over an already existing and self-evident world. It is a long-held prejudice to judge his literary works as being unable to express historical consciousness or to say that his works are disconnected from reality. Thus, when someone seeks history, reality, and politics in Lee Sang’s works, things that seem obvious begin to lose their certainty and the existing value system starts to crack. Along with such a split, political imagination takes flight.
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김대웅(Dae-Woong Kim),남영진(Young-Jin Nam),박찬익(Chan-Ik Park) 한국정보과학회 1998 한국정보과학회 학술발표논문집 Vol.25 No.2Ⅲ
본 논문에서는 기존의 로그구조 디스크 서버(Log-structured Disk Server; LDS) 상에서 부분 세그먼트에 의한 디스크 대역폭 이용률 저하 및 높은 공간 정리 부하 (cleaning overhead)량과 같은 문제점을 제기하고, 이러한 부분 세그먼트를 제거하기 위한 방법의 하나로 비휘발성 메모리를 사용한 LDS를 제안한다. 이 새로운 LDS를 Solaris 운영체제 상에서 구현하였으며, 다양한 실험을 통하여 제안된 구조가 디스크 대역폭 이용률 및 공간 정리 부하 측면에서 기존의 구조에 비해서 월등히 좋은 성능을 보임을 볼 수 있었다.
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김대웅 ( Kim Dae-woong ) 한국문학언어학회(구 경북어문학회) 2019 어문론총 Vol.79 No.-
이상의 소설 「지도의 암실」은 그동안 연구자들에 의해 난해하고 일관성이 없다거나, 독서가 불가능한 텍스트라는 평가를 받아왔다. 그러나 이 소설은 ‘시간’과 ‘공간’이라는 두 형식의 측면에서 당대 현실에 맞서고자 한 이상의 자의식이 집약되어 있는 작품이다. 본고는 이 소설에 삽입되어 있는 백화문 문장에 등장하는 지명들이 ‘상해사변’과 결부되어 있는 고유명사라는 기존의 연구에 이어, 주인공인 ‘그’가 가리키고 있는 ‘지도’가 실제로 이 시기 신문에 실린 상하이 북정거장 인근의 일본군 공습을 알리는 지도였다는 사실을 확인함으로써 이 작품이 다루고 있는 것이 추상적인 내면세계가 아님을 분명히 밝히고자 했다. ‘그’는 시계나 캘린더로 표상되는 근대적 ‘시간’이라는 규율과는 무관하게 ‘암뿌을르(램프)’를 켜고 끄는 것에 따라 시간을 능동적으로 만들어가고 있었다. 이 행위는 작품 속 시간을 복잡하게 보이게 했지만, 그것은 ‘그’가 이 ‘시간’과 싸우고자 한다는 점에서 필연적이었다. 공간의 측면에서 이 작품은 아침에 일어난 ‘그’가 외출한 뒤 귀가하기까지의 이동을 다루고 있다. 본고에서는 ‘그’의 공간 이동이 ‘통인동-인왕산-동물원(창경원)-본정(혼마치, 미쓰코시 백화점)-조선극장(종로)-통인동’의 순서로 이어진다는 것을 살펴보았다. ‘그’는 화려한 경성의 도심을 ‘무덤’으로 간주하고, 세계를 막다른 골목(死胡同)으로 여기고 있었다. 이처럼 ‘그’는 ‘암실’과 같은 세계의 지도 위를 걷고 있지만, 이 지도는 다름아닌 현실의 음화들이라는 점에서 중요하다. ‘그’는 암실 속에서 ‘지도’를 들고 모험을 감행하면서, 되돌아 나올 수 없을지도 모르는 ‘글쓰기’의 공간 속으로 나날이 더 깊이 들어간다. 바로 그곳에 이미 주어진 세계의 시간과 공간을 넘어설 수 있는 ‘그의 의미’가 있다고 믿기 때문이다. Yi-Sang's novel “The dark room of the map” has been evaluated as a complicated text that is inconsistent and difficult to understand. This study sought to explore this notorious work as a comprehensible novel. This approach to the text reveals that the novel is the result of Yi-Sang’s self-consciousness, which he tried to confront in reality from the two standpoints of “time” and “space.” In particular, this study confirms that the Chinese sentences embedded in the novel and the “map” that allows the main character to walk with his fingers were closely related to the Shanghai-incident (上海事變) that broke out in 1932 when the novel was published. It becomes clear that the time and space in this novel are not abstract, but distinctly “real.” The main character of this novel is living the time for himself by turning the “lamp” on and off regardless of the “modern time” symbolized by the clock or the calendar. He tells himself that he wants to resist this “time” without going backwards, and lives in a different way to “K,” who lives an ordinary life as his other self. His life pattern, which follows the rhythm of his turning on and off of the lamp, makes the time of the novel seem intricate, but this is inevitable, given his desire to resist the negative time of reality. In terms of space, the plot of this novel follows the main character waking up at 10 am on a holiday, leaving his house, returning home, and falling asleep at 4 am. This study confirmed that he went to a mountain, a zoo, the main street, a department store, a theater, restaurants, and so on. However, he considers the city's downtown as a graveyard, and is constantly attempting to die in it. This is because he regards the world in which he lives as a dead end. Thus, he was walking in the darkroom , but must have been holding the map. This is important because the map that he holds is made of some dark pieces of “reality.” Perhaps he may not be able to return to reality, but that is because there is a meaning of life there that he goes deep into the space of “writing,” as he attempts a dangerous adventure. There is also a reason that Yi-Sang's novel “The dark room of the map” cannot be left as an unreadable text.
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김대웅(Kim, Dae-Woong) 새한철학회 2021 哲學論叢 Vol.105 No.3
청년 비트겐슈타인은 『논리-철학 논고』에서 논리적 문법의 완성을 선언하였지만 그는 자신의 이른 생각에서 ‘중대한 오류들’을 발견하게 되었고 다시 『철학적 탐구』를 기획하게 되었다. 그리고 비트겐슈타인이 『탐구』에서 말하는 『논고』의 명제들이 지닌 오류들이란 그것들은 그것들이 ‘단지’ 이상적인 논리학의 규칙을 따르는 것일 뿐임을 망각하였다는 것이다. 후기 비트겐슈타인에게 『논고』의 명제들은 실제로 명제와 세계의 본성을 묘사하는 것이 아니며 다만 추론 규칙에 따라서 이행하고 있다. 비트겐슈타인은 『탐구』에서 우리에게 이제 『논고』가 그리는 명제와 세계의 ‘그림’을 가지고서 ‘언어게임’을 할 것을 요청한다. Wittgenstein declared the completion of logical grammar in his Tractatus Logico-Philosophicus. But, as he found grave mistakes in his earlier thoughts, Wittgenstein came black to plan his new philosophy. In Philosophical Investigations, Wittgenstein confesses that the mistakes committed by the propositions of Tractatus are all about they are oblivious that they are merely obeying the rules of ideal logic. The propositions of Tractatus do not deal with the nature of the proposition and the world indeed, but do follow the rules of logical inference. Therefore, Wittgenstein demands that we move away from the picture of Tractatus, and play language games, in his Philosophical Investigations.
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김대웅(Kim, Dae-woong),이상옥(Lee, Sang-ok) 한국어문학회 2016 語文學 Vol.0 No.133
This essay purposes to explain the consciousness on time in Lee Sang’s poems, focusing specifically on his poem, Strange Reversible Reaction. The argument will start from the obvious fact that the poet"s literature was based on the discovery of the material condition, called, the colony Gyeongsung. Through this discussion, what caused rejection and distrust for the time, which appear repeatedly in his literary texts, will be explained. Once, the modernist Lee Sang was dreaming of the perfect world of modernity. But the modern world he experienced was nothing but a cruel civilization with no vitality. As a result, he gave the death sentence to the world and tried to build up a new civilization. His literary texts will answer to the question, “Did the straight line kill the circle?”
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