The purpose of this study was to propose a patient-specific model of atrial fibrillation (AF) and apply it to virtual radiofrequency ablation (RFA). We obtained patient-specific geometries of the left atrium (LA) from CT data and constructed three-dimensional (3D) simulation models. A bidomain Courtemanche model was used to simulate the 3D electric waves on the LA surface, and an S1-S2 protocol was applied to induce AF in the model. To identify scar areas in the models, we converted clinically measured voltage data on the LA surface to the scar maps of the simulation model. Then, after initiation of AF, we applied the virtual ablation scheme to the model and investigated whether the AF was terminated by the scheme. The computed results of AF and ablation were similar to those of clinical observation, providing a clinically important simulation method for preclinical virtual trials of AF treatment.

Bronze Mirror with fine linear designs in the bronze age shows the greatest alloy and casting skills of the day and presents the highest level of handcrafting and molding techniques. Lately, Lost-wax casting and sand-mould casting were used for the restoration of the national treasures of No. 141 and No. 143 Bronze Mirror with fine linear designs. Also the Principle Component Analysis, Microstructure Analysis, X-ray and SEM-EDS analysis were carried out on the restored Bronze Mirror with fine linear designs. Bronze Mirror that is made of sand-mould casting, hardly has a eutectoid and it is observed as a α dendrite. In contrast, Bronze Mirror that is made of lost-wax casting, the eutectoid has found through the α dendrite. As we compare lost-wax casting to the sand-mould casting through an analysis of restored Bronze Mirror, mostly, sand-mould casting has better castability and it seems that it brings a clear and equal Bronze Mirror as it has a low cooling rate. In this way, we are able to confirm that there is a big difference between the method by lost-wax casting and by sand-mould casting through an analysis of microstructure and restored Bronze Mirror. If such research will be continued, it will be an opportunity that investigates diverse methods of production techniques.

This research involves a gilding experiment using plum acid that has previously been reported to restore Geumdongsamjonpanbul excavated from Wolji, Gyeongju. Chromaticity analysis revealed that the yellowness of the samples was high, and the samples treated with acid for more than 10 minutes showed high brightness. SEM studies revealed that the sample subjected to amalgam application and immediate heating was rarely gilded with gold. When the amalgam application time was longer than 36 h, the gold layer observed was uneven. Therefore, the optimum amalgam application time was 12-24 h. EDS analysis showed that mercury content was ~5 wt.% for samples with an acid treatment time of 20 min, lower than that in other samples. Gold gilding was successful for the sample with amalgam application time of 24 h and acid treatment time of 20 min. This sample showed the high-resolution XPS peak corresponding to Au and retains a little Hg compared with the other samples. In other words, experimental and analytical results using plum acid showed that gilding was successful when acid treatment time was 20 min and amalgam application time was 24 h. Based on these results, Geumdongsamjonpanbul excavated from Wolji, Gyeongju can be restored.

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In museums, exhibition content focuses mostly on cultural heritage’s historical values and functions, but doing so tends to limit visitors’ interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors’ traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors’ scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as “easy to understand and useful as the esoteric science exhibition was combined with media art” (16.7%), “wonderful and interesting” (11.7%), and “firsthand experience was good” (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors’ active participation. This exhibition’s content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.