A library of TAL effector nucleases spanning the human genome

Kim, Yongsub,Kweon, Jiyeon,Kim, Annie,Chon, Jae Kyung,Yoo, Ji Yeon,Kim, Hye Joo,Kim, Sojung,Lee, Choongil,Jeong, Euihwan,Chung, Eugene,Kim, Doyoung,Lee, Mi Seon,Go, Eun Mi,Song, Hye Jung,Kim, Hwangbeo Nature Publishing Group, a division of Macmillan P 2013 Nature biotechnology Vol.31 No.3

Transcription activator–like (TAL) effector nucleases (TALENs) can be readily engineered to bind specific genomic loci, enabling the introduction of precise genetic modifications such as gene knockouts and additions. Here we present a genome-scale collection of TALENs for efficient and scalable gene targeting in human cells. We chose target sites that did not have highly similar sequences elsewhere in the genome to avoid off-target mutations and assembled TALEN plasmids for 18,740 protein-coding genes using a high-throughput Golden-Gate cloning system. A pilot test involving 124 genes showed that all TALENs were active and disrupted their target genes at high frequencies, although two of these TALENs became active only after their target sites were partially demethylated using an inhibitor of DNA methyltransferase. We used our TALEN library to generate single- and double-gene-knockout cells in which NF-κB signaling pathways were disrupted. Compared with cells treated with short interfering RNAs, these cells showed unambiguous suppression of signal transduction.

朝鮮《李仙圖》에 나타난 작가의 심미의식과 시대적 의의

金道榮(Kim Doyoung) 한국도교문화학회 2012 道敎文化硏究 Vol.36 No.-

본고에서는 한국회화사에서 김명국의 〈풍백도〉라는 오류를 필자가 최초로 발견하여 김명국의 〈철괴도〉로 바로잡았다. 정조시대 프로페셔날 화인 김홍도는 〈풍속화첩〉이라는 대표작으로 서민의 생활상을 자신의 화폭에 그려 넣은 조선의 대표적인 리얼리티 화가로 평가되지만, 필자의 분석은 그것은 제한된 소재이고 당시의 현실과 상당부분 타협한 내용들임을 밝히고 있다. 그런 그의 관념은 그의 작품 전편에 흐르고 있으며, 士大夫를 향한 의식지향이라는 김홍도의 인간적 고뇌로 읽어내었다. 아울러 통시적으로 기타 畵人 김명국, 심사정, 조석진 등의 〈철괴도〉와의 비교를 통해 그들의 〈철괴도〉에 투영된 작가의 예술정신과 시대적 의의를 밝히고 있다. 그리고 조선〈철괴도〉가 중국〈철괴도〉와 어떠한 차별점을 띠는지 집중 분석한 결과, 이 〈철괴도〉가 조선조의 향유계층인 상층양반사회에 수용되며 한국적으로 변형된 점, 日本에서는 원형그대로의 모습을 간직한 이유에 대해 韓?中?日문화와 정신의 차이에서 기인한 점을 밝히고 비교연구의 가능성을 제시하고 있다. This paper aims to assess the Korean modification of Tie kuai-Li in the Chosun Immortal paintings. Especially I focus that why the greatest painter Kim Hongdo(金弘道) can not paint the Immortal Iron Crutch -Li. Li Tie Kuai - the famous Immortal disabled begger with the Iron Crutch 鐵拐 and a bottle-gourd 葫蘆 offers a striking contrast to the other members of the group. Hideous, hairy, deformed, and scantily clad in filthy rags, he is the type of that repulsive legion preying upon a long-suffering public, which is moved to the giving of alms not so much by pity as by feelings of horror and fear. That is the reason why a painter Kim Hongdo wining the heart of the reformation ruler 正祖 of the Chosun Dynasty absolutely can not paint the Immortal disabled begger Iron Crutch -Li, a cripple. Kim Hongdo belonging to the middle class was a struggle for the upper classes and a person who compromised with reality. In this essay, I try to illuminate my initial findings and artistic spirit of 4 painters; 〈the Immortal Iron Crutch -Li(李仙圖)〉 painted by Kim meongguk(金明國) was first discovered by my investigation and reserch. Kim meongguk was also often more creative, unconventional, adventurous, and rebellious. With all his ability and descending from a noble family, Sim sazeng(沈師正) lived in obscurity all his life by the involvement system and had no way to work his will. Cho sukjin(趙錫晋) was a person with mild disposition and negative reconciliation during the Japanese Colonial Period. In conclusion, I am considering it in two bearings; The one is the transformation of the nobility in Immortal paintings, the two upper classes(兩班) of old Korea is living free from worldly cares. Tie kuai paintings losing the Yuan dynasty’s original form in the Chosun Immortal paintings are a mirror of the aristocrat of old Korea. The other is that these 4 Chosun painters was samely breaking up the Chinese Immortal Iron Crutch -Li by each artistic spirit. This is the distinguishing mark of 〈the Immortal Iron Crutch -Li〉 painted by Korean.

Homecare Kit를 활용한 수면무호흡 진단 서비스 개발

김동수(Dongsu-KIM),김도영(Doyoung-KIM),김동현(Donghyeon-KIM),김동겸(Donggyeom-KIM),김민규(Mingyu-KIM),김일곤(Ilgon-KIM) 한국정보과학회 2017 한국정보과학회 학술발표논문집 Vol.2017 No.12

Luminescent Properties of Rare Earth Fully Activated Apatites, LiRE₉(SiO₄)₆O₂ (RE = Ce, Eu, and Tb): Site Selective Crystal Field Effect

Kim, Donghyeon,Park, Doyoung,Oh, Namgyeong,Kim, Jaegyeom,Jeong, Euh Duck,Kim, Seung-Joo,Kim, Sungyun,Park, Jung-Chul American Chemical Society 2015 Inorganic Chemistry Vol.54 No.4

<P>Novel LiCe9(SiO4)(6)O-2 and LiTb9(SiO4)(6)O-2 compounds have been successfully synthesized, and the site selectivity and occupancy of activator ions have been estimated including LiEu9(SiO4)(6)O-2 compound. The rare earth (RE) fully occupied compounds, as well as the RE partially occupied congeners are required for the assessment of site selectivity of RE (activator) ions in apatite-type compounds. The splitting energies of the 6H and 4F Wycoff positions of LiRE9(SiO4)(6)O-2 (RE = Ce, Eu, and Tb) compounds are calculated based on crystal field theory: Delta E-Ce(6H) = 3849.3 cm(-1), Delta E-Ce(4F) = 4228.1 cm(-1), Delta E-Eu(6H) = 3870.0 cm(-1), Delta E-Eu(4F) = 4092.8 cm(-1), Delta E-Tb(6H) = 3637.6 cm(-1), Delta E-Tb(4F) = 4396.1 cm(-1), indicating that the splitting energy for the 4F site is larger than that for the 6H site in all compounds; thus the absorption energy is higher for the 6H site. In apatite-type LiRE9(SiO4)(6)O-2 (RE = Ce, Eu, and Tb) compounds, the Ce3+ ions predominantly occupy the 4F site associated with the absorption band around 300 nm at lower Ce3+ concentration, and then enter the 6H site associated the absorption band around 245 nm. For the Eu3+-doped compounds, the 4F site and 6H site are mixed within the charge transfer band (CTB) between 220 and 350 nm. Eu3+ ions initially preferentially occupy the 6H site (around 290 nm) at lower Eu3+ concentration and subsequently enter the 4F site (around 320 nm) with increasing Eu3+ concentration. For the Tb3+-doped compounds, the absorption due to the two different sites is mixed within f-d absorption band between 200 and 300 nm. At lower Tb3+ concentration, the Tb3+ ions enter favorably 6H site around 240 nm and then enter 4F site around 270 nm. These compounds may provide a platform for modeling a new phosphor and application in the solid-state lighting field.</P>

The formation of a dielectric SiNxCy sealing layer using an atomic layer deposition technique

Kim, Doyoung,Kim, Soo-Hyun,Kim, Hyungjun Elsevier Science B.V., Amsterdam. 2015 Materials science in semiconductor processing Vol.29 No.-

N ‐(Biphenyl‐3‐ylmethyl)ethanamines as G protein‐biased agonists of 5‐HT 7 R

Kim Doyoung,Lee Jieon,Kwag Rina,Kim Hyunbin,Oh Hyunji,문봉진,Kim Hak Joong,Seong Jihye,Jeon Byungsun,Kang Taek,Choo Hyunah 대한화학회 2022 Bulletin of the Korean Chemical Society Vol.43 No.1

There has been much attention to biased ligands of G protein-coupled receptors (GPCRs) for potential pharmacological benefits. Recently, we reported N- ((6-chloro-2’-methoxy-[1,1’-biphenyl]-3-yl)methyl)ethanamine 1 as G proteinbiased agonist of 5-HT7R, which could be used as a chemical probe for the study on treatment discovery of autism spectrum disorder. Herein, we describe the synthesis of derivatives of the compound 1 and their biological evaluations in both G protein and β-arrestin signaling pathway. Total 16 compounds were synthesized and evaluated, and the compounds 3c, 3f, 3i, and 3p could be called as G protein-biased agonists like the compound 1. Among the four compounds, the compound 3c was the best in efficacy with an Emax value of 73% and the compound 3f was the most potent agonist with an EC50 value of 0.094 μM.

Synergistic effects of dietary ascorbic acid, -tocopherol and arachidonic acid on non-specific immune response, tissue concentration and gonad histology in female broodstock Japanese eel, Anguilla japonica

Doyoung Kim,Seunghan Lee,Youngjin Park,Dae-Jung Kim,Dae-Jung Kim,Bae Ik Lee,Sungchul C.Bai 한국수산해양기술학회(구 한국어업기술학회) 2015 한국수산해양기술학회 학술발표대회 Vol.2015 No.10

UV-curing kinetics and performance development of <i>in situ</i> curable 3D printing materials

Kim, Ye Chan,Hong, Sungyong,Sun, Hanna,Kim, Myeong Gi,Choi, Kisuk,Cho, Jungkeun,Choi, Hyouk Ryeol,Koo, Ja Choon,Moon, Hyungpil,Byun, Doyoung,Kim, Kwang J.,Suhr, Jonghwan,Kim, Soo Hyun,Nam, Jae-Do Elsevier 2017 European polymer journal Vol.93 No.-

<P><B>Abstract</B></P> <P>As three-dimensional (3D) printing technology is emerging as an alternative way of manufacturing, the high resolution 3D printing device often requires systems such as drop jetting printing of <I>in situ</I> UV-curable photopolymers. Accordingly, the key issue is process control and its optimization to ensure dimensional accuracy, surface roughness, building orientation, and mechanical properties of printed structures, which are based on the time- and temperature-dependent glass transition temperature (<I>T<SUB>g</SUB> </I>) of the resin system under UV-curing. In this study, the UV-cure kinetics and <I>T<SUB>g</SUB> </I> development of a commercially available UV-curable acrylic resin system were investigated as a model system, using a differential scanning photocalorimeter (DPC). The developed kinetic model included the limited conversion of cure that could be achieved as a maximum at a specific isothermal curing temperature. Using the developed model, the <I>T<SUB>g</SUB> </I> was successfully described by a modified DiBenedetto equation as a function of UV curing. The developed kinetic model and <I>T<SUB>g</SUB> </I> development can be used to determine the 3D printing operating conditions for the overlay printing and <I>in situ</I> UV curing, which could ensure high-resolution and high-speed manufacturing with various UV-curing materials.</P> <P><B>Highlights</B></P> <P> <UL> <LI> UV-cure kinetic analysis were applied to a commercial Multi-jet 3D printing material. </LI> <LI> The developed kinetic model included the limited conversion of cure by temperature. </LI> <LI> The <I>T<SUB>g</SUB> </I> was described by a modified DiBenedetto equation as a function of UV curing. </LI> <LI> The developed kinetic model showed an excellent agreement to isothermal experiments. </LI> <LI> The overlay printing time for each isothermal temperature was determined. </LI> </UL> </P> <P><B>Graphical abstract</B></P> <P>[DISPLAY OMISSION]</P>

RISC-V 가상플랫폼 기반 Yolov3-tiny 물체 탐지 딥러닝 모델 구현

김도영 ( Doyoung Kim ),설희관 ( Seol Hui-gwan ),임승호 ( Seung-ho Lim ) 한국정보처리학회 2022 한국정보처리학회 학술대회논문집 Vol.29 No.1

딥러닝 기술의 발전으로 객체 인색, 영상 분석에 관한 성능이 비약적으로 발전하였다. 하지만 고성능 GPU 를 사용하는 컴퓨팅 환경이 아닌 제한적인 엣지 디바이스 환경에서의 영상 처리 및 딥러닝 모델의 적용을 위해서는 엣지 디바이스에서 딥러닝 모델 실행 환경 과 이에 대한 분석이 필요하다. 본 논문에서는 RISC-V ISA 를 구현한 RISC-V 가상 플랫폼에 yolov3-tiny 모델 기반 객체인식 시스템을 소프트웨어 레벨에서 포팅하여 구현하고, 샘플 이미지에 대한 네트워크 딥러닝 연산 및 객체 인식 알고리즘을 적용하여 그 결과를 도출하여 보았다. 본 적용을 바탕으로 RISC-V 기반 임베디드 엣지 디바이스 플랫폼에서 딥러닝 네트워크 연산과 객체 인식 알고리즘의 수행에 대한 분석과 딥러닝 연산 최적화를 위한 알고리즘 연구에 활용할 수 있다.

장자사상(莊子思想)이 조선후기 사의화(寫意畵)에 끼친 심미경지 연구

김도영 ( Kim Doyoung ) 한국동양예술학회 2017 동양예술 Vol.34 No.-

조선후기(약 1700~1850년)는 정치·경제·사회·문화 등 모든 분야에서 다양한 변화가 활발하게 진행되던 시대였다. 또한, 새로운 예술관과 다양한 화풍·화법의 전개로 한국회화사상 가장 뛰어난 성과를 남겼다. 특히 신분제의 동요와 변화는 문인들의 행동방식에 엄청난 변화를 가져왔다. 유가가 지향하는 삼강오륜에 바탕한 교화와 인격도야에 치우친 예술만으로는 변화된 조선 후기 사회질서에 능동적으로 대응할 수 없었다. 이런 시점에서 장자의 비판정신과 변화와 부정의 논리는 진보적 사상가들에 의해 포착되어서 체제를 비판하고 도덕의 진정성을 반성하는 기제로 사용되었고, 삶의 방향을 새롭게 청초하기 위한 문예적 모색의 방편으로 『莊子』의 사유는 하나의 대안으로 자리 잡았다. 寫意畵는 묘사 대상의 생긴 모습을 작가의 의도에 느낌을 강조하여 그린 그림으로써 작가의 정신세계, 즉 “神似”를 중시하는 문인사대부의 회화이다. 조선후기 사의화는 玄化無言하며 神의 공교함을 운용하며, 虛靜之心의 자유분방한 해방정신을 遊로 형상화한 장자사상에 지대한 영향을 받았다. 특히 姜世晃, 沈師正, 李麟祥, 金弘道, 崔北, 趙熙龍등은 장자의 인식론을 수용하여 새로운 사상의 가능성을 모색하고 이를 작품 속에 구현했던 인물들이다. 이들은 사의화의 새로운 방안으로 『莊子』의 사유를 적극적으로 수용하여 현실의 구속에서 벗어나 자유로운 삶의 경지를 구가하거나 세속적 가치에 대한 회의를 표출하였고, 성리학적 관념에서 벗어나 새로운 예술세계와 그에 따른 미의식을 끊임없이 탐구하였다. 이처럼 장자사상이 조선후기 사의화에 끼친 심미경지이자 심미풍격은 크게 세가지로 분석되어진다. 첫째, 技進乎道의 大巧美이다. 장자가 부정하는 것은 세속적인 미와 남에게 자신을 드러내는데 뜻을 둔 `작은 기교(小巧)`이다. 그렇지만 만일 세속적인 미를 부정하면 `大美`를 파악할 수 있고, 세속적인 감관의 쾌락을 초월하면 `大樂`을 깨달을 수 있으며, 천지자연과 조화를 이루는 `大巧`를 추구할 수 있게 된다. 趙熙龍의 <紅梅圖 對聯>과 金弘道의 <老梅圖>는 자연본성인 道와 수예의 技를 합쳐 최고의 예술경지를 이루어 새로운 매화의 화경을 이루어내었으니, 이는 大巧가 道와 서로 합치하여 일종의 정신 경계에 도달한 技進乎道의 大巧美이다. 둘째, 以虛用實의 簡逸美이다. 筆簡形具를 이룬 획기적인 표현방법으로 虛(여백의 無畵부분)로써 實(묵색의 有畵부분)의 形迹을 드러낸 “以虛用實”의 작법인 여백경영을 들 수 있다. 우주의 근원을 무에 있다고 보고, 미의 근원 역시 무에 있다고 본다면 인위적으로 수식하지 않은 상태의 무위와 연관해서 도를 표현하는 방법이 여백(虛)으로 설명되어진다. 그리고 實은 시각적으로 드러난 먹빛의 선과 면이다. 金弘道의 <舟上觀梅圖>와 李麟祥의 <長白山圖> 등의 그림에는 여백(虛)만큼 기가 배어있다. 이러한 여백과 필선의 파격적인 簡逸함 속에 물상의 `眞`을 온전히 발현했다. 특히 田琦의 <溪山苞茂圖>는 색채가 배제된 수묵에 의한 簡遠한 표현형상과 渴筆의 솔직한 필묵 효과에 의해 전달된 자연생명의 충만함이 강조되었다. 셋째, 逍遙自適의 奇怪美이다. 진정한 예술은 자기의 의식세계로부터 해방될 뿐만 아니라 사회적 규약으로부터 소요유하며 자유자재하게 행동한다. 또한, 외형의 추악·기괴함은 도리어 더욱 진실하고 더욱 유력하게 인간 내재 정신의 숭고함과 아름다움을 표현한다. 여기에서 장자의 본뜻은 결코 하나의 예술화된 형상을 만들어낸 것이 아니고, 이를 통해 自然無爲를 깨달은 사람은 외적 형체가 부자유스럽고 추악해 보이더라도 高古한 인격미를 지닌 인간이 오히려 사람들에게 존경과 애정을 받음을 강조한 것이다. 醜를 통해 眞을 드러낸 沈師正의 <仙人渡海圖>, 속기를 배제한 듯한 기괴한 야성미가 느껴지는 姜世晃의 <怪石圖>에서는 超逸한 화풍이 느껴지고, 指頭畵法으로 그린 崔北의 <風雪夜歸人>은 기이하면서도 창신적 개성이 두드러지며, 불행했던 자신의 환경을 초탈하여 넉넉하고 편안한 자유로움을 추구한 自適경지의 화풍을 전개하였음을 알 수 있다. 조선후기는 이전의 고정된 틀을 부정하고 비판하면서 끊임없는 자기 변신을 꾀할 때 예술은 영원한 생명성을 획득할 수 있다는 것을 자각하는 시기였다. 이러한 시기에 현세와의 타협이나 규범을 배제하고 자연본성을 추구하는 莊子의 자유분방한 미의식은 당대의 화가들에게 심대한 영향을 끼쳤다. In the late Joseon period (about 1700 ~ 1850), various changes were actively made in various fields such as politics and economy as well as society and culture. It was also the time of the most brilliant achievements in Korean painting history with the new paintings and the development of various styles. In particular, the fluctuations and changes of the class system have brought a tremendous change in the manner of the writers. It was not possible to actively cope with the changed order of the late Choson dynasty by the artistic work based on the three -At this point, Chuangtzu`s criticism, the logic of change and injustice were captured by progressive thinkers and used as a mechanism to criticize the system and to reflect the authenticity of morality. As a means of searching literally for refreshing the direction of life, The idea of “Chuangtzu” has become an alternative. The painting of the artist is a painting of the nobleman which emphasizes the feeling of the artist`s intention in the appearance of the object to be depicted, and draws attention to the spiritual world of the artist, the “Paint one`s mind”. The postwar history of the late Joseon Dynasty was greatly influenced by the artistic spirit of the Chuangtzu, who portrayed the liberation spirit of `Draw a meaning` that freed the mind and purifies the mind cleanly. Kang Se-hwang, Sim sa-jung, Lee In-sang, Kim Hong-do, Choi Buk, and Cho Hee-ryong are the characters who embraced the epistemology of the Chuangtzu and sought the possibility of new thought and embodied it in the work. Oriental painting has an artistic orientation to reveal his spiritual world, that is, to the “Draw a meaning” rather than the reproduction of natural objects. As a new method of socialization, they positively accepted the idea of “Chuangtzu”, escaped from the constraints of reality and took a free life or displayed a meeting on secular value, and escaped from the Neo-Confucianism explored aesthetic sense. In this way, it is analyzed that there are three major characteristics of the aesthetic and the aesthetic characteristics of the Chuangtzu`s thought on the painting of the late Joseon Dynasty. First, it is the Daegyo beaty of Ki-jin-ho-do. What the Chuangtzu denies is the “little craft” which means secular beauty and revealing to others. However, if the worldly beauty is denied, it will be possible to grasp the `A big beaty`, and if it transcends the pleasures of earthly delight, it will be able to realize the `Daelock` and pursue the `Daegyo`. Cho Hee-ryong`s < Hongmaedo Dalian > and Kim Hong-do`s < Nomaedo > combine the natural nature and the technique of handicraft to create a new painting of plum with the best artistic status. It is the Daegyo beaty of Ki-jin-ho-do. Secondly, this is a simple beauty of the Empty to reveal reality. This is a way of expressing the shape of the thread (the part drawn) as a `huh` (a part that is not drawn), which is a breakthrough expression method that has taken shape of the brush briefly. If the origin of the universe is regarded as being in the `“Empty to reveal reality” and the source of beauty as “Empty to reveal reality”, the method of expressing the figure in relation to not doing anything in a state that is not artificially modified is explained by the margin (huh). And, in fact, it is a line and a side. The paintings of Kim Hong-do`s “Sansangkwanmaedo” and Lee In-sang`s “Changbaigsando” In the marvelous work of margins and book lines, In stark contrast to the pilseon of the margins, the `jin` of the natural substance was expressed completely. Especially, Jeon ki`s the < Gyesanpomudo > is emphasized the fulness of the natural life conveyed by the Brief expressions with no color and By the dry effect of a dry brush. Third, it is a quaint beauty of so-yo-ja-jeog. True art is free from self-consciousness and free from social conventions. In addition, the external ugliness and bizarre expresses the sublime and beauty of the human intrinsic spirit even more truthfully and more potently. Here, Chuangtzu`s original intention was not to create a single artistic form, and through it, the person who realized the nature of the absurdity, even though the external form looks incongruous and ugly, It is emphasized to receive love. Through the ugliness, the judges who showed `Jin` the < Sunindohaedo > of Sim sa-jung, on the paintings of the < Goeseok do >, which is based on the paintings of the Gang se-hwang, painted with my fingertips on the < Pungseoryaguiin > of Choi buk. It can be seen that he deprived his unfortunate environment and painted a picture that seeks freedom and relaxed freedom. The late Joseon period was a period when the artist perceived that art could acquire eternal life-style when he constantly attempted self-transformation while denying and criticizing the previous fixed framework. At this time, the free spiritual aesthetics of the Chuangtzu who pursued the natural nature by eliminating compromise or norms with the world affects the painters of those days.