• Journal of Korean Medical classics
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• v.21 no.4
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• pp.243-247
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• 2008

본 논문은 "난경(難經)"과 "내경(內經)"에 나타난 영위기혈(營衛氣血)의 관념에 관한 연구로서 문자의 훈석(訓釋)을 중심관점으로 삼아 전문적 문자학(文字學) 서적 및 고대경전원저(古代經典原著)를 인용하여 그에 근거해 해설하였다. 문자적(文字的) 근원(根源)을 연구하는 과정에서, 문자학적(文字學的) 관점을 이용하여 여러 전적(典籍)들에서 서술된 관념들을 한층 더 깊이 있게 이해할 수 있다는 점을 발견하였다. 예컨대 본문(本文)에서 논술한 '영'(榮)자에는 "무성하며 밝고 윤택(潤澤)하여 일정한 규칙에 따라 온몸을 순환한다(번무광윤(繁茂光潤), 규도환주(規度環周))"는 의미가 있으며, '위'(衛)자에는 "온몸을 순환하면서 지키고 방어한다(환요어주(環繞於周), 수위방호(守衛防護))"는 의미가 있는데, 중의경전(中醫經典)에서는 영(營)과 위(衛)라고 명명(命名)하여, "온몸을 순환하면서 영양(營養)을 공급하고 몸을 보호하는 작용"을 나타내었다. 문자는 이치를 담고 있으며, 의학의 이치는 글로써 전해진다. 중의(中醫)의 사상(思想)은 모두 이러한 경전고적(經典古籍) 속에 기록되어 있으며, 이러한 경전저작을 학습할 때에는 그것이 표현하는 형식을 분명히 이해해야 하는데, 특히 그 가운데 문자(文字)에 대한 분명한 인지는 매우 중요하다.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2022.05a
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• pp.589-591
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• 2022

시니어를 위한 메디컬 가상현실 서비스 개발을 목표로 하고 있으며, 시니어가 쉽고 안전하게 체험할 수 있는 가상현실 콘텐츠를 제작하는 것이 주된 목표이다. 본 연구의 최종 목표로는 체험에 집중하기 위한 환경을 조성하기 위해 안전시스템 구축 및 가족/친구와의 연결을 통한 소통 서비스를 개발한다. 시니어를 대상으로 가상현실 체험을 제공할 때 컨트롤러를 쥐고 상호작용을 해야하는 부분을 핸드트래킹 기술을 연구하여 컨트롤러 없이 물리적으로 양손을 자유롭게 하면서 피로감을 줄이는 것은 물론, 주변의 물건을 내려치거나 컨트롤러를 놓쳐 사고로 이어질 소지도 없애 체험에 집중하게 할 수 있는 환경을 제공하고 체험 중 신체에 이상현상이 나타날 경우 즉시 이를 알릴 수 있도록 콘텐츠 내에서 특정 제스쳐나 긴급 버튼을 통하여 체험시 발생할 돌발상황에 대한 대비를 위해 별도의 앱을 개발하고 체험과 상시 연결하여 체험중인 상황을 관제할 수 있도록 시스템을 구축하고, 알림을 통해 조기에 즉각 대처할 수 있도록 한다. 또한, 몸이 불편하거나 요양원 거주등으로 인해 사회적 단절의 해소를 위해 별도의 앱을 통해 체험중인 콘텐츠와 연결이 가능하도록 설계하고 상호간에 아바타를 통한 감정 표현 및 음성 채팅을 할 수 있게 하여 소통을 할 수 있는 서비스 개발하고자 한다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2021.07a
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• pp.409-414
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• 2021

본 연구는 소셜로봇 디자인 연구의 흐름 중 하나인 로봇의 외형에 관하여 시선 추적을 활용하고자 한다. 소셜로봇의 몸 전체, 얼굴, 눈, 입술 등의 관심 영역으로부터 측정된 사용자의 시선 추적 지표와 디자인평가 설문을 통하여 파악된 사용자의 태도를 연결하여 소셜로봇의 디자인에 연구 모형을 구성하였다. 구체적으로 로봇에 대한 사용자의 태도를 형성하는 메커니즘을 발견하여 로봇 디자인 시 참고할 수 있는 구체적인 인사이트를 발굴하고자 하였다. 구체적으로 본 연구에서 사용된 시선 추적 지표는 고정된 시간(Fixation), 첫 응시 시간(First Visit), 전체 머문 시간(Total Viewed), 그리고 재방문 횟수(Revisits)이며, 관심 영역인 AOI(Areas of Interests)는 소셜로봇의 얼굴, 눈, 입술, 그리고 몸체로 설계하였다. 그리고 디자인평가 설문을 통하여 소셜로봇의 감정 표현, 인간다움, 얼굴 두각성 등의 소비자 신념을 수집하였고, 종속변수로 로봇에 대한 태도로 설정하였다.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Sim-seong Yeon-gu
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• v.29 no.2
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• pp.127-156
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• 2014

This thesis is an psychological study investigating the meanings of skin from the perspective of analytical psychology. Skin, as the outermost layer of our body, protects the body and carries out essential physiologic functions. It is an organ of the body and also psychological contents can be expressed on it in various forms. We can find sociocultural connotations of skin, some of which are demonstrated in our language. Skin may become a carrier of persona which defines a person's role in the society. And it can be a place where ego is expressed. Eros is the principle of relationship by Jung's definition and skin is the space where eros is realized intensely. Skin may carry meanings as a symbol of transformation. Skin disease can be interpreted as a message from Self in certain cases. The theme of casting off skin in myths and dreams can be an analogy of an individual's sacrifice for individuation, and putting on a skin may imply taking special properties in psychological level.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.31 no.6
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• pp.842-851
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• 1998

Development and growth of Acartia steueri from Ilkwang Bay, southeastern coast of Korea, were determined under various temperatures and food condition (Isochrysis galbana and Dunaliella salina) in the laboratory. Relationship between egg hatching time ($D_E$, day) and temperature (T, $^{\circ}C$) was $D_E=744(T+3.5)^{-1.97}$. Mean hatching success was $88.4\%$ in temperature range of $8.4\~26.2^{\circ}C$. This suggests that A. steueri may be adapted to the temperature ranges in temperate regions. Post-embryonic development pattern was equiproportional rather than isochronal, with longer stage duration of copepodites than that of the nauplii. Stage duration of NI was the shortest of all developmental stages, while the duration of NII was the longest in duration of the other nauplii. Male was morphologically distinguished from female in CIV stage, and male was developed faster than female. Median development time at a given temperature was calculated from the Belehradek equation by proper multiplication of proportional constant for embryonic development. Body carbon weight at $19.1^{\circ}C$ was increased exponentially with time. Mean specific growth rate of nauplii (0.200 $d^{-1}$), except for NI stage, was not significantly different from that of copepodites (0.190 $d^{-1}$), with the lowest rate in NVI stage (0.107 $d^{-1}$), probably due to energy consumption for metamorphosis rather than somatic growth. The results suggest that although the development pattern determined in this study was not identical with Uye's result for A. steueri (e.g. Uye, 1980b), median development time may be applicable to calculate the stage duration of A. steueri in this study area.

• Journal of Korean Philosophical Society
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• v.139
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• pp.81-104
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• 2016

Given that the goal of study lies in the pursuit of truth and that philosophy asks questions about the origin of being, dealing with existence rather than essence is distant from the original meanings of philosophy. In spite of this, people talk about existence because it is closely related to the academic goals of phenomenology. It is true that phenomenology is Wesenswissenschaft ("the science of essences") in that it tries to restore the original nature of philosophy and establish philosophy as a strict science, but it cannot be ignored in phenomenological research that essence starts from existence. The purpose of this study is to examine the issues that traditional philosophy has sought after and missed by focusing on the issue of "existence." Existence is man's participation in the world, thus being expressed as being-to-the-world. All that has been perceived is understood in total unity and accordingly cannot be restored to ideological essence. In the end, the issue of existence should make a new start at the root of perception. Man is a thinking being and, at the same time, acting being. Here, an attempt to determine the priority between thinking and acting will be meaningless, indeed, and make an issue where there is none. Human beings will not thus stay at Descartes cogito argument' and try to go out into the world through the door opened by cogito. With these reasons in mind, this study examines the issue of existence with a focus on a phenomenal field and body.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.277-284
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• 2020

This thesis interrogates the term a performer's 'spontaneity' as the key principle to approach and enhance contemporary performer's training and acting. Drawing on a number of problematic issues, this thesis particularly examines the paradigm of the subtle bodily movement inform the experience of a performer's spontaneity as embodied and understood in approaching and adapting through text analysis and action. The in-depth process of the relationship between a performer's action and the transformative effects, is central to understanding and adapting the key principle of acting/training that a specific text would pursue through a specific performance by means of what a performer must do on stage. Following the discussion of acting in training and rehearsal, this thesis argues the necessity of an alternative way(s) and model of the performer's work via how the performer's action is sincerely emerged from the moment-by-moment rather than the performer anticipates what comes in the next and therefore pretend to do/be something/someone. Expanding upon the assumptions mentioned above, this thesis provides some pragmatic and descriptive work(s) from the practitioners' concepts and approaches that invites us to reconsider the nature of acting and its adaptability for contemporary performers.

• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1837-1847
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• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.