• 대한한의학원전학회지
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• 제33권4호
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• pp.167-182
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• 2020

Objectives : The relationship between the Lungs, Stomach and Kidneys were examined in relation to their pulses continuously beating without rest as discussed in the 『Lingshu·Dongshu』, with other chapters in the 『Huangdineijing』. Methods : Chapters in the 『Huangdineijing』 and annotations were referenced in relation to the contents in question of the 『Lingshu·Dongshu』. Results & Conclusions : In 『Lingshu·Dongshu』, the Stomach of the Zuyangming is central. In the flow of Qi that is produced and circulated from the Stomach, we can see that Ancestral qi that is created in the Stomach ascends and accumulates in the chest area to disperse Qi throughout the entire body according to breathing and pulsation, while Nutrient qi exits from the middle energizer and ascends to the Lungs, circulates the entire body and Qi that is partially similar to Defense qi moves upwards to the head and circulates. In the lower part of the body, Qi flows to the Zushaoyin that is associated with Jing qi to assist with actions of the Extra meridians, while it connects to the Ancestral sinew through Zujueyin allowing for smooth movement of the muscles and joints. The special emphasis on the pulsation points of the three meridians, Shoutaiyin, Zuyangming and Zushaoyin, is based on the Qi thoroughfare[氣街] theory, where production and circulation of all Qi in the upper, middle, and lower energizers of the body manifest as pulse movement of the three meridians, which are the fundamental rhythms and movements of life.

• 한국실내디자인학회논문집
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• 제22권5호
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• pp.135-142
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• 2013

This research regards that experiencing certain space according to looking through sensations of body will finally make visual perceptional experience to happen. Our bodies incorporate sensible experience along with interactions with surrounding environment while making movements. The analysis of Seongyojang in Gangleung through top and bottom, depth, movement and experience space which are Merleau Ponty's phenomenological space elements has led to the following conclusions. First, the up and down directivity inherent in Seongyojang has different directions in movements by the axis of plane. Second, the depth by the correlation between things and bodies shows the interactions with things and the depth of space rendered by the servants' quarters of '一字形' and the overlapping effect from the movement between buildings can be seen and felt. Third, mobility is focused on the surroundings for the movements of body and thing. Fourth, the experienced space remains as what it is and is experienced through the experience of traditional cultures. The temporality where the past and the present subsist is given with the application of the modern living pattern in the traditional space. That is, the space from the point of phenomenological view makes the visual-perceptual experience possible through the senses of body, with which the space is experienced and sensed. In other words, the space from the phenomenological viewpoint makes visual-perceptual experience possible through the senses of body so that the space may be experienced and perceived. Through this study, a new viewpoint toward Korean traditional space is expected to be discovered.

• 건축역사연구
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• 제20권1호
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• pp.77-93
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• 2011

Across the culture of Western Europe, dichotomy based on the visual sense has evolved. They believed eyes and ears requiring a distance related in recognition, are more developed than any other human senses in human body. Dominant position, as a condition to using a perspective, the eye has been just concentrated in the development of optical sight. But developed a variety of modern media, highlighting the importance of the other perception, it makes dichotomy to the expansion of perception over the single function of visuality. Recently, Guille Deleuze and Merleau-Ponty try to recover the sense of tactility segregated in skin from body keeping eyes for distance. By the result, the activity can be happened by being connected to the body rather than to eye in the space between the subject and object. From the phase of recognition where the human body tries to identify the object in the space considering a time, it will be changed for the subject to the phase of structure vice versa. Visual tactility is to eliminate the distance between subject and object. If the visual tactility is to erase the distance different from the visual in dichotomy, it will be occurred to having a tension and makes new relationship to work trying to move the subjective point of view in object. Like this evidence in analysis of architecture, it can be easy to find the Korean architecture rather than western architecture in terms of emphasizing the time and space. The fact, architecture of Lee Dynasty had been preserved and consisted basic form and style over the centuries makes us assume that visual tactility was considered as well as the visual sense. This study will be intensive in terms of visual and tactile inherent in the subject and how it is being connected to the movement in the space and time.

• 디지털융복합연구
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• 제16권7호
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• pp.369-379
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• 2018

본 연구는 다양한 사회 문화적 배경을 가진 광고 속에서 지속적으로 묘사하는 완벽한 신체를 가진 여성의 초상이 끊임없이 갈등을 일으킨다는 점에서 시작한다. 이는 라틴 아메리카와 한국을 비교하고 분석하는 새로운 방식으로 접근하였다. 획일적인 미의 기준이 아닌 있는 그대로의 모습을 긍정하는 '보디 포지티브'운동이 압도적인 이슈로 떠오르고 있다. 도브, 빅토리아 시크릿, 아이다의 모델과 같은 영향력 있는 브랜드들의 사례를 분석하여 '보디 포지티브'가 가지는 거대한 움직임의 효과를 테스트하고 기존의 인식을 제고하는 것에 연구의 목적이 있다. 한국과 라틴 아메리카의 30대 남녀를 대상으로 심층인터뷰를 진행하는 방식으로 연구를 진행하였다.

• 한국게임학회 논문지
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• 제13권1호
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• pp.19-30
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• 2013

본 논문에서는 노인 및 재활 환자를 대상으로 재활 훈련을 위한 기능성 게임을 제안한다. 제안한 재활 훈련용 기능성 게임은 3D depth 카메라를 이용한 전신 동작 인식 기반의 인터페이스를 제공한다. 사용자가 카메라 앞에서면 배경과 사용자를 구분한 다음 사용자의 전신을 15개의 관절로 인식하고 각 관절이 위치와 방향의 변화를 분석하여 게임에 필요한 제스쳐를 인식한다. 게임 콘텐츠는 상지훈련, 하지훈련, 전신훈련, 밸런스 훈련을 위한 게임으로 구성하였으며 2D 게임과 3D 게임으로 나누어 구현하였다. 본 논문에서 제안된 시스템은 3D depth 카메라를 이용하여 주변 환경 변화에도 안정적으로 작동하며, 별도의 기기를 사용하지 않고도 전신 움직임 기반의 제스쳐 인식을 이용하여 게임을 진행하게 함으로써 재활의 효과를 높일 수 있다.

• 한국경영과학회:학술대회논문집
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• 대한산업공학회/한국경영과학회 1994년도 춘계공동학술대회논문집; 창원대학교; 08월 09일 Apr. 1994
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• pp.561-568
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• 1994

A man model can be used as an effective tool to design ergonomically sound products and workplaces, and subsequently evaluate them properly. For a man model to be truly useful, it must be integrated with a posture prediction model which should be capable of representing the human arm reach posture in the context of equipments and workspaces. Since the human movement possesses redundant degrees of freedom, accurate representation or prediction of human movement was known to be a difficult problem. To solve this redundancy problem, a psychophysical cost function was suggested in this study which defines a cost value for each joint movement angle. The psychophysical cost function developed integrates the psychophysical discomfort of joints and the joint range availability concept which has been used for redundant arm manipulation in robotics to predict the arm reach posture. To properly predict an arm reach posture, an arm reach posture prediction model was then developed in which a posture configuration that provides the minimum total cost is chosen. The predictivity of the psychophysical cost function was compared with that of the biomechanical cost function which is based on the minimization of joint torque. Here, the human body is regarded as a two-dimensional multi-link system which consists of four links ; trunk, upper arm, lower arm and hand. Real reach postures were photographed from the subjects and were compared to the postures predicted by the model. Results showed that the postures predicted by the psychophysical cost function closely simulated human reach postures and the predictivity was more accurate than that by the biomechanical cost function.

• 제어로봇시스템학회:학술대회논문집
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• 제어로봇시스템학회 2005년도 ICCAS
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• pp.202-205
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• 2005

The purpose of this work is to identify the characteristic of eye movement for visual training of the elderly. This investigation is to examine the relationship between the head and the eye motor system for the localization of visual target direction in three-dimensional space. All experiments were performed in a soundproof chamber. Twenty-one red LEDs (Light-Emitting Diode, Brightness: 20cd/$m^2$) arrayed in three lines on a half circle-surrounding panel are used. LEDs are horizontally 30 degree apart and vertically 20 degree apart from each other. The condition of stimulation is random and anti-saccade. Physiological parameter such as EOG (Electro-Oculography) was measured by BIOPAC system. We measure the mean latency time, which is the time from the start of visual stimulation to the response of the human body. The result shows that the mean latency time is short in the case of the condition of anti-saccade, the fixed head and a quarter visual stimulation. This finding can be used in developing programs for various visual improvements for the elderly by analyzing the characteristic of eye movement.

• 혜화의학회지
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• 제10권1호
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• pp.385-394
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• 2001

Tough study of movement of Tae-Geuk-Guan(太極拳), we understand Tae-Geuk-Guan(太極拳) & essential movement. Theory about creator of Tae-Geuk-Guan(太極拳) is indistinct. there are Jangsampung-theory(張三豊設), Wangjongak-theory(王宗岳設), Jinwangjung-theory(陳王廷設), Jinbok-theory(陳卜設). Tae-Geuk-Guan(太極拳) is military arts developed before Song empire(宋). Tae-Geuk-Guan(太極拳) has many branch.(Jin-sik陳式, Yang-sik楊式, Mu-sik武式 O-sik吳式, Son-sik孫式) Tae-Geuk-Guan'(太極拳) manual movement use fist(拳), palm(掌), hook shape(鉤) and its using form has many type like Bung, Yi, Jae, An, Chae, Yul, Ju, Go. Its gait has many type like Sang-bo(上步), Tae-bo(退步), Jin-bo(進步), Deng-gak, Bun-gak(分脚), Bak-gak(拍脚). Essential theory of Tae-Geuk-Guan(太極拳) is Yi-Sim-Hang-Gi(以心行氣) & Yi-Gi-Un-Sin(以氣運身). It means mind(心) moves qi(氣) and qi(氣) moves body(身).

• 대한한의학회지
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• 제43권3호
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• pp.36-48
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• 2022

Objectives: The aim of this study is to modernize Nutrient Qi(營氣) and Defense Qi(衛氣) from the point of view of Visceral Body and Somatic Body. Methods: Investigate the areas of body and function of Nutrient Qi(營氣) and Defense Qi(衛氣) recorded in the 『HuangdiNeijing(黃帝內經)』 and 『Dongeuibogam(東醫寶鑑)』. And investigate Visceral Body and Somatic Body that anatomical structure is divided according to function based on the book 『Life and Rhythm』. Results: Nutrient Qi(營氣) works to nourish the body such as viscera and bowels in the meridian. Defense Qi(衛氣) works to protect the body such as skin, limb joint, eye outside the meridian. The human body is divided into Visceral Body called a vegetable organ and Somatic Body called an animal organ. Visceral body is the organ that manages "nutrition-reproductive" and is divided into the intestine(腸管), blood vessels(血管), and the nephridium(腎管). Somatic Body is an organ that manages 'sensory-motion' and is divided into a three-layer structure: the outer layer covering the body surface, the nerve layer connecting the outer layer and the muscle layer, and the muscle layer controling contraction and movement. Conclusions: It is estimated that Nutrient Qi(營氣) is similar to Visceral Body, and Defense Qi(衛氣) is similar to Somatic Body.

• 복식문화연구
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• 제17권3호
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• pp.396-406
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• 2009

Drapery costume started with using one fabric to loosely wrap around one's body without using technical skills or needlework. Drapery becomes a beautiful and indeterminate form of pleated costume which determines the costume silhouette and serves as an essential component for the composition of artistic costume. The purpose of this study was to examine the aesthetic characteristics of drapery costume using literature review. The study methods include considerations of the formation process of drapery costume with the analysis of costume in pictures. For modern costume designs, the study analyzed the designer's dress with a focus on drapery forms, which appeared in the collections from 2001 to 2007. First, drapery costume contains the beauty of human body. Drapery costume reveals the smallest movement of the body. The beauty of drapes, which is naturally revealed along the curve of the body, and the pleats which form on the soft cloth create the beauty of body. Second, drapery costume has rhythmical beauty. Drapery pleats feature not only functions, but also unique formativeness that provides rhythmicity and regular or irregular direction effects by line. Third, drapery costume features elegant beauty. Bias cutting by draping can effectively express the elegant characteristics of the fabric. In making a piece of clothing, the composition method can express elegant beauty by covering up the shortcomings of the fitting and by fitting to the body line without cutting the fabric, or fitting it by bias cutting.