• Journal of the Korean Academy of Esthetic Dentistry
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• v.22 no.1
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• pp.22-29
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• 2013

In general, to conduct aesthetic restorations, various analyses are carried out using a camera from the initial examination with the final prosthesis in consideration. With the reality that many dentists are using digital cameras, it can be considered that the time of digital impression has already started. Just as the recent general trend is that more and more internationally renowned photographers are switching their film cameras to digital counterparts, it is likely that CAD/CAM will show another direction in the area of the aesthetic dentistry that we may want to pursue. With the word 'digital', the convenience and economics often come to mind in the first place. However, from the dental clinical viewpoint, it is important to improve and develop the CAD/CAM system based on understanding its specialty and superiority while respecting the conventional analog techniques. However, a regretful aspect is that it is often difficult to catch up with the latest advancements for proper referencing and follow-up of digital technologies since the CAD/CAM device and material are developing very rapidly. Accordingly, although it is ideal to have hands-on experiences in various digital material and devices, and adapt to their fast changes, it must be stressed that the clinical application is to be implemented on the basis of the proven traditional way of dental clinics in order to obtain better outcomes. This presentation will explore types of approaches that can be made by combining the traditional techniques and the CAD/CAM from the aesthetic viewpoint. In addition, it is hoped and eagerly awaited that the CAD/CAM restoration may play a significant role in the field of the 'digital art'.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.737-742
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• 2007

The concept of 'Picturing' is beyond the 'Illusion' of traditional art in the Digital Media era. It is a 'Suffering' of the 'Re-appearance' that is masquerade the 'Actual' as a 'Digital Apparition.' This study aims to concern the point of view on the above subject; the 'Picturing' through the analysis of communication problems in the digital era. To begin with, need to define the concept of 'Picturing' and how it is expected to have a role through the accessibility of medium use, intervention by body and images. Also, I suggest a new approach to 'Picturing' as a new mutual communication method. Body, Digital media, and Image. These three principles of 'Picturing' create huge benefits to our world/nature whether we want it or not. It seems to become more and more of powerful self-replicating organism. We have to be aware what sort of images are surrounding us and how transmitting it to where in/on our body via newest sophisticated media we use. 'Picturing' is an invasion of ordinary, no longer exists pleasure for body, no longer speaks intension of its next destination. It strongly self-grows and also controls us in the name of Digital media era. However, 'Picturing' is a mode of re-imaging activity and also suggestion of re-appearance practice.

• Korean Chemical Engineering Research
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• v.43 no.5
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• pp.616-620
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• 2005

The morphology and photoluminescence characteristics of green light emitting hexaaluminate phosphor particles prepared by high temperature spray pyrolysis from spray solution with and without ammonium dihydrogen phosphate flux were investigated. The particles prepared from spray solution without flux material had hollow morphology at preparation temperatures between $900^{\circ}C$ and $1,650^{\circ}C$. Ammonium dihydrogen phosphate flux added into spray solution enabled the formation of particles with spherical shape and filled morphology at preparation temperatures between $900^{\circ}C$ and $1,650^{\circ}C$. The hexaaluminate phosphor particles with magnetoplumbite structure were directly prepared by spray pyrolysis from spray solution with ammonium dihydrogen phosphate flux above $1,600^{\circ}C$. Ammonium dihydrogen phosphate flux was effective in improving the photoluminescence intensity of the phosphor particles at low preparation temperatures. The phosphor particles prepared from spray solution with and without flux material by spray pyrolysis under reducing atmosphere at $1,650^{\circ}C$ had comparable photoluminescence intensities with that of the phosphor particles optimized by post-treatment.

• Korean Journal of Ichthyology
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• v.12 no.1
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• pp.38-45
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• 2000

Depending on the fish species the vascular tone is distinctively regulated by numerous vasoactive substances. In most fish species the regulatory role of autonomic neurotransmitters and other vasoactive substances are not well defined. This research was designed to delineate the regulatory role of various endogenous autonomic neurotransmitters known to be important in mammalian vascular systems on isolated Israeli carp ventral aorta. Acetylcholine(ACh) contracted the aorta regardless of the pre-existing level of vascular tone, and the contraction was almost completely abolished by a cholinergic-muscarinic antagonist atropine. Endogenous, multiple receptor ($\alpha$ and $\beta$)-acting adrenergic agonist epinephrine (Epi) relaxed the vessel in the presence and absence of the pre-existing tones. Another endogenous multiple receptoracting agonist norepinephrine (NE) weakly contracted the aorta in non-preconstrcted state, but the response was reversed to relaxation when preconstricted. Isoproterenol, ${\alpha}\;{\beta}$ adrenergic receptor agonist, was a potent vasodilator whereas an ${\alpha}_1$ agonist phenyephrine was a contractor. The ${\alpha}_2$ adrenergic receptor agonist clonidine has not any significant effect in altering the vascular tone. The vasorelaxing action of Epi, NE and isoproterenol was significantly attenuated by $\beta$ receptor antagonist propranolol. These results imply that ACh may primarily play a contractor role via muscarinic receptor activation while adrenergic agonists, Epi and NE, are relaxants through activation of $\beta$ adrenergic receptors in vivo.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.391-400
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• 2007

The ways of expression are infinite to make animated film. When we compare to live action film, that fact is the actual power that animation only has and is one of the big weapons to appeal to the audience. Nonetheless, techniques to be chosen are monolithic like drawing, 3D computer, and clay when animation maker makes feature animation to screen in movie theatre. It's probably because feature animation must have popularity of visual style and they need to standardize technique about side of making. But popularity in expression does not mean monolithic visual style and making technique. It should be understood about side of artistic value to fascinate public audience. Audience is always eager for new subject, new directing style and new visual style. Monotonous and boring animation cannot but turn away from the audience. So if production does not have artistic value, we cannot expect commercial value and success also even it plans and makes for the feature animation. To create new visual style fnr animation is not only limited to artwork itself but also creation, which is included story and tone of the film and acting style about character. Also making process must be calculated and experimented to actualize that visual style about side of making.

• Journal of the Korean Society of Costume
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• v.44
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• pp.181-199
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• 1999

The industry of modern clothing has deviated from the overflow of commercialism and the standardization and nowadays is going toward pursuing art, creativity, and high added value. This trend brings the return of the natural materials from the synthetic textiles and increases the value of old and handmade fabrics. Finally, the handmade-paper, which is a natural material, comes to be reconsidered as a new material for the clothing. Therefore, as the natural materials and the manufacture of handmade clothing are rising again, the qualitative improvement and globalization of clothing industry should be first realized through the developments of creative and various clothing materials and new expressing techniques. The above investigation and study have been synthesized and analyzed as follows: First, through the study on the origin of the paper clothing, its historical background and the process of its development, we've learned these two facts following : the paper clothing of the East in the past mostly had practiced meanings. On the other hand, in the West it had meanings which were raised the artist's emotions and beauty-consciousness to the artistic level by the various kinds of expressing methods. Second, handmade-paper was manufactured by the embedding method, which mixed mulberry pulp, gauze, corn, hair, sisal, silk and so on. It was found that handmade-paper had the affluent and proper texture as the clothing material and was be able to control the clarity through the variation of thickness. It was also confirmed that the creative and original texture with hand-worked molding beauty was obtained by the use of handmade-paper. Third, when the handmade-paper is used, the molding beauty of plane, relievo, and solid can be freely pursued, and various and effective molding conformation can be constructed by the effect of superposition and repetition. Also, because the maximum discretion from the various optional manufacturing methods is allowed, the molding beauty can be maximized when the clothes are manufactured with handmade-paper. Fourth, the gauze with strong drape was combined to overcome the stiffness and the tearing of the paper. As a result, the durability and the wearability of the paper were strengthened and thus the thus the applications as the clothing material were enlarged. In conclusion, in order to enhance the value, creativity, practicality, and artistic sense of the design for modern clothing, the clothes made of handmade-paper should be more studied. Moreover, for the generalization of paper clothes, the studies on the development of practical paper with paper with water resistance, post-treatment after dyeing, flexibility, and durability should be done. I really hope that this study will be the motive to provoke the possibility of handmade-paper as new clothing material in not only practical sense but also artistic sense.

• Horticultural Science & Technology
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• v.30 no.5
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• pp.603-612
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• 2012

In order to select potato clones for making cold chip, this study analyzed the glucose content, acrylamide content, and the correlation between the two properties after harvest, $4^{\circ}C$ and $8^{\circ}C$ low-temperature storage, and $20^{\circ}C$ heating treatment of 47 breeding clones and control cultivars 'Atlantic', 'Sumi', and 'Gui Valley'. In all of the control cultivars and 47 clones, glucose content was below 0.25% and acrylamide content was below 1000 ppb just after harvest, but after $4^{\circ}C$ low-temperature storage both the glucose content and acrylamide content increased rapidly and only 4 clones H7, H13, H16, and H40 showed a level below 500 ppb. In $8^{\circ}C$ low-temperature storage as well both contents increased, but the increase was relatively smaller than that in $4^{\circ}C$ low-temperature storage. In addition, $20^{\circ}C$ heating treatment decreased both contents. In the results of analyzing the correlation between glucose content and acrylamide content at low-temperature storage, a positive correlation was observed. In conclusion, clones H7, H13, H16, and H40 showing low glucose content even at low-temperature treatment were found to contain less acrylamide and therefore they were selected as potato clones suitable for making cold chip.

• Science of Emotion and Sensibility
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• v.23 no.1
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• pp.41-56
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• 2020

This study suggests multisensory interaction techniques to help visually impaired people appreciate and understand artworks through non-visual senses such as tactile, auditory, and olfactory senses. A user study was conducted on the basis of a qualitative interview about the experience of appreciating artwork through the multisensory interaction system to visually impaired people so as to verify the development of the interaction techniques. The user test shows that the multisensory interactions in artwork generally not only help them appreciate and understand it but also give them satisfaction through artwork appreciation. However, it also indicates that some multisensory interactions caused the visually impaired people confusion and could not be perceived during the appreciation. On the basis of these outcomes, implications in this study are as follows. This study has contributed to providing specific development guidelines and indicators of non-visual multisensory interactions as a technical alternative to improve accessibility to cultural and artistic activities for the visually impaired. Furthermore, this study is expected to contribute to building a technical background, which can provide comprehensive sensory experiences with not only blind people but also non-blind people such as children and the elderly through universal interaction techniques beyond existing visual-oriented fragmentary experience.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.268-275
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• 2011

21C digital culture is now affecting the life of arts and development through our system, as well as body arts and body painting. Body painting is not has been focused through our lives in 21stcentury as one genre. UV body painting is from short to long wave length that demonstrates to us the dimension by science and lighting showing more than 8 colors that are better off being set. From this research the theory of body painting considerate characteristics and vision for it. From the researchers line, dots, and side shows the UV body painting as a one piece of art and analyzing the 3D theory and once again showing vision through what it's affecting to their result.' UV body painting is usage of floral paints and using so called 'black light' that shows the short and long term wavelength that provides the 3D material, but first, this is different from normal body painting like dots, like, and layers shows more thoroughly and shows focused motive and you can easily tell the difference. As of all UV body painting is showing more 3D vision more than the design itself. From all this research, to all the body painters we await the future practical theory to be used and for the better future.

• The Journal of the Korea Contents Association
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• v.20 no.2
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• pp.51-59
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• 2020

Advancements in digital technology have caused significant changes to the tradition of creative educational activities. Such an with digital technology is prone to an error where digital technology itself becomes the goal, ignoring educational efficacy grounded on improved user experience and immersion. Previously, picture book-making activities for children allow them to actively participate in the process of book-making, and is often employed to instill reading habits as well as nurture linguistic abilities. Aside from such picture book-making activities, diverse efforts are being made for innovation in educational pedagogy through digital technology. However, as the goal of children's picture book-making activities is realizing creative education through expressions in language and pictures, digital technology should be considered in the viewpoint of fusion, not as a simple replacement to the traditional tools employed in children's picture book-making activities. This study examines previous researches related to children's picture book-making activities to propose contents and methodology allowing effective immersion by fusing digital technology based on a physical environment, from the viewpoint of fusion and integration. Expect this study will become a fundamental data in visualizing a practical integration of digital technology in future creative education.