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원위부 전대뇌동맥에 발생한 다발성 뇌동맥류- 증 례 보 고 -
김규정,서범석,이종수,윤석훈 대한신경외과학회 2003 Journal of Korean neurosurgical society Vol.33 No.4
Saccular aneurysms of the distal anterior cerebral artery are relatively rare, ranging from 1.5 to 9.2% of all intracranial aneurysms. A 61-year old woman presented with headache and nuchal rigidity. Cerebral angiographic image demonstrated multiple aneurysms of the distal anterior cerebral artery. We report a case of multiple aneurysms of the distal anterior cerebral artery without other vascular anomalies. Key words:Multiple aneurysm;Distal anterior cerebral artery.
김규정,강종술,서범석,이현성,이종수 대한신경외과학회 2003 Journal of Korean neurosurgical society Vol.33 No.2
Objective:The goal of this study is to establish the value of the programmable valve system. Methods:The authors conducted a single center retrospective study of 41 consecutive patients who had undergone ventriculoperitoneal shunt with programmable valve for hydrocephalus of various etiology from March 1999 to February 2002. Results:In 10 patients(24%), valve pressure adjustment was required at least 3 times or more for the reason of underdrainage or overdrainage. The range of pressure reprogramming was 10 to 120mmH2O. The clinical symptoms improved in 37 patients(90%). The radiologic improvement was obtained in 88%. Shunt was minimally functioning in 3 cases without any clinical effect at the pressure of 30mmH2O. Conclusion:The programmable valve has been particularly useful in changing ventricular size for the correction of overdrainage or underdranage by the easy control of valve pressure without any invasive procedure. The authors' preference is to use the programmable valve system for all conditions. Key words:Hydrocephalus;Programmable valve;Overdrainage;Underdrainage.
김규정 한국미학회 2002 美學 Vol.32 No.-
Space and time are components that artists consider when they create works of art.. The way in which contemporary artists manipulate space within and around an art piece has undergone numerous changes. With the development of new video and computer related technologies, the traditional notion of two and three dimensional works in a static exhibition space has been broadened. In interactive multimedia installation art, viewers are no longer passive observers, but rather, they are active participants in which time and space become malleable in video installation art and this creates an art which moves and bends as it never could before. Finally, the exhibition space is transformed and becomes an element in the aesthetic event. These major shifts in expression require new paradigms of construction, interpretation, analysis, and response. In the case of the interactive multimedia installation, the concept of time and space, viewer interaction, artistic intent, and synergistic art effects need to be examined to grasp the impact of this new aesthetic event. Therefore, an investigation of the use of new media in interactive multimedia installations is beneficial in furthering our understanding of some of the complexities inherent in exploring such aesthetic processes, not only for the viewer, but also for the artist as well. This aesthetic inquiry examines the various manner in which artists use media in order to determine the changing nature of the relationship between the viewer and the art work in terms of space and time. The study examines the relationship between multimedia installations and traditional visual media, such as painting and sculpture; describes how artists use video and computer related media to expand their use of the concept of space and time; examines how artists develop a connection or relationship between several media and the actual exhibition space; and examines how the viewer, as an experiential subject, interacts with an environment created by multimedia installation.