• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.242-253
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• 2020

Six ornamental metal quiver fittings were excavated from stone chamber No.1 of the ancient tombs of Jeongchon, Bokam-ri, Naju. The ornamental quiver fittings are metal, but the body of the quiver was made of organic material, so that it corroded and disappeared in the burial environment. The ornamental metal quiver fittings were made in pairs, and decorated one quiver according to the location they were found in and their forms. The ornamental metal quiver fitting can be divided into two types: A band style ornament (帶輪狀金具) which decorates the arrow pouch, and a board style ornament (板狀金具) which decorates the board connecting the waist belt. Two ornamental metal quiver fittings excavated from wooden coffin 2 of stone chamber No.1, were made in the band style, while the ornamental metal quiver fittings from southeast of stone chamber No.1 were identified as two boardstyle ornaments and two band-style ornaments for what was presumed to be belt loops. Material analysis of the ornamental metal quiver fittings shows that they are made of a gilt bronze plate attached to an iron plate, and the surface is marked with a speck of chisel to make lines and patterns. Chemical composition analysis (XRF) established that 24~40wt% Au and 50~93wt% Cu were detected on the gold surface, and it was confirmed that bronze corrosion had taken place on the gilt surface. SEM-EDS analysis of the gold plating layer identified a working line for glossing, and 7~9wt% Hg and an amalgam of gilt layers was detected, confirming the amalgam gilding. CT and FT-IR analysis established that the band style was double-layered with silk fabric under the iron plate, and there was also a lacquer piece underneath. The band-style ornaments have two layers of silk under the iron plate, along with lacquer pieces. Adding the fabric to the arrow pouch increases adhesion and decorative value. It is assumed that the lacquer pieces indicate that the surface of the lacquered arrow pouch had fallen together with the ornaments. On the other hand, the board-style ornaments have a thick layer of organic matter under the iron plate, but this is difficult to identify and appears to be a remnant of the quiver board. The characteristics of these ornamental metal quiver fittings were similar in Baekje, Silla, and Gaya cultures from the late 4th to the late 5th centuries, and enable us to identify the art of ancient gold craftwork at that time.

• Food Science of Animal Resources
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• v.32 no.4
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• pp.512-519
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• 2012

The current study was conducted to investigate the effect of macsumsuk and herb resources on the performances and meat quality of broiler chickens. Six hundreds (600) broiler chickens were randomly allocated into four groups (4 groups${\times}$50 chickens/group${\times}$3 replica), Control, Treatment 1 (T1; 0.3% macsumsuk), Treatment 2 (T2; 0.3% herb resources), and Treatment 3 (T3; 0.3% macsumsuk + 0.3% herb resources) and fed for 5 wk. T2 group showed higher total body weight gain and average daily gain of 1,812.5 g and 51.79 g, respectively, than the other groups. Control group showed the highest (p<0.05) mortality (8%) and total blood cholesterol (111.8 mg/dL) among experimental groups. T3 group (6.71 mg/dL) showed the highest (p<0.05) while control group (4.50 mg/dL) showed the lowest (p<0.05) in blood IgG levels. Cooking loss was 17.08, 16.14, 16.55, and 15.25%, shear force value was 1.91, 1.52, 1.55, and 1.47 $kg/cm^2$, and water holding capacity (WHC) was 54.40, 55.97, 56.01, and 55.70% for Control, T1, T2, and T3, respectively. Cholesterol contents in breast meat of Control (88.91 mg/100 g) chickens showed the highest (p<0.05) levels comparing to either T1 (83.59 mg/dL), T2 (82.41 mg/dL), or T3 (80.81 mg/dL) chickens. In conclusion, the current study implies that feeding macsumsuk and herb resources to broiler chickens could decrease cholesterol contents in breast meat.

• MISULJARYO - National Museum of Korea Art Journal
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• v.99
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• pp.10-29
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• 2021

This paper is an introductory study of the wooden Buddha images excavated in the Mekong Delta in present-day southern Vietnam. Approximately thirty examples of wooden Buddha images have been recovered in the Mekong Delta. As they were found among the major historic sites of Funan (the first kingdom in Southeast Asia), including Oc Eo, and likely date to the sixth century, they can be regarded as the works of Funan. Similarly to stone Buddha images, these wooden examples are considered important for their demonstration of aspects of early Buddhist sculpture in Southeast Asia. Most of these Funan wooden Buddha images are presumed to have been produced around the sixth century based on radiocarbon dating and their stylistic characteristics. This paper analyzed the iconography and style of eight examples whose forms are relatively recognizable. The eight images can be divided into four types according to their postures, dress styles, and hand gestures. They all share features of the Sarnath style of the Gupta period in India as seen in their slender bodies and the outer robe that clings to the body. However, some display a South Indian style of Buddha images in their upright posture, style of wearing a monastic robe with the right shoulder exposed, and making the vitarka mudra (preaching gesture) that is often seen in Sri Lankan Buddha images. This suggests that Buddhist sculptors in Funan devised a new style by incorporating the principal styles of Indian Buddhist sculpture. Another notable feature of these Funan images is their material, namely, wood. While none of the contemporaneous Hindu sculptures discovered from the same historic sites are made of wood, numerous Buddhist sculptures are. This paper postulates that the use of wood in Buddhist sculptures was promoted for reasons beyond ease of carving. According to the Buddhist literature, the first-ever Buddha image was the so-called 'Udayana image' made out of sandalwood. This image and its story was well-known in the Southern Dynasty of China around the sixth century. Interestingly, some auspicious sandalwood images of the Buddha was believed to have been brought into the Southern Dynasty from Funan. This suggests the possibility that the legend of the Udayana image might have been known in Funan as well and resulted in the production of wooden sculptures there.

• Cross-Cultural Studies
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• v.52
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• pp.277-312
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• 2018

First-order cybernetics during the 1940s and 1950s aimed for control of an observed system, while second-order cybernetics during the mid-1970s aspired to address the mechanism of an observing system. The former pursues an objective, subjectless, approach to a system, whereas the latter prefers a subjective, personal approach to a system. Second-order observation must be noted since a human observer is a living system that has its unique cognition. Maturana and Varela place the autopoiesis of this biological system at the core of second-order cybernetics. They contend that an autpoietic system maintains, transforms and produces itself. Technoscientific recreation of biological autopoiesis opens up to a new step in cybernetics: what I describe as third-order cybernetics. The formation of technoscientific autopoiesis overlaps with the Fourth Industrial Revolution or what Erik Brynjolfsson and Andrew McAfee call the Second Machine Age. It leads to a radical shift from human centrism to posthumanity whereby humanity is mechanized, and machinery is biologized. In two versions of the novel Demon Seed, American novelist Dean Koontz explores the significance of technoscientific autopoiesis. The 1973 version dramatizes two kinds of observers: the technophobic human observer and the technology-friendly machine observer Proteus. As the story concludes, the former dominates the latter with the result that an anthropocentric position still works. The 1997 version, however, reveals the victory of the techno-friendly narrator Proteus over the anthropocentric narrator. Losing his narrational position, the technophobic human narrator of the story disappears. In the 1997 version, Proteus becomes the subject of desire in luring divorcee Susan. He longs to flaunt his male egomaniac. His achievement of male identity is a sign of technological autopoiesis characteristic of third-order cybernetics. To display self-producing capabilities integral to the autonomy of machinery, Koontz's novel demonstrates that Proteus manipulates Susan's egg to produce a human-machine mixture. Koontz's demon child, problematically enough, implicates the future of eugenics in an era of technological autopoiesis. Proteus creates a crossbreed of humanity and machinery to engineer a perfect body and mind. He fixes incurable or intractable diseases through genetic modifications. Proteus transfers a vast amount of digital information to his offspring's brain, which enables the demon child to achieve state-of-the-art intelligence. His technological editing of human genes and consciousness leads to digital standardization through unanimous spread of the best qualities of humanity. He gathers distinguished human genes and mental status much like collecting luxury brands. Accordingly, Proteus's child-making project ultimately moves towards technologically-controlled eugenics. Pointedly, it disturbs the classical ideal of liberal humanism celebrating a human being as the master of his or her nature.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.114-131
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• 2014

The Portrait of Yang Zhuxi(楊竹西小像) at the Palace Museum in Beijing holds important significance as one of the rare portraits from Yuan Period and as a painting with a definite year of creation in 1363. It is also noteworthy in that it is the only remaining work of Wang Yi(王繹), who was one of the critical portrait painters during the second half of Yuan Period and the author of Xiexiang Mijue(寫像秘訣), the first book on the portrait theories, that it was created in conjunction with Ni Zan(倪瓚), one of the utmost landscape painters of the times, and that it was an early case of landscape and figure painting-format portraits. The figure in Portrait of Yang Zhuxi was originally known as Yang Wu(楊瑀), a high official during Yuan Period, but it was a misunderstanding on the part of Li Rihua(李日華), a literary figure from Ming Dynasty. The actual model was Yang Qian(楊謙), a reclusive literary figure in the Songjiang(松江) region. Yang Qian is estimated as one of the central figures with a high reputation in the literary community of Jiangnan those days. Portrait of Yang Zhuxi was depicted by borrowing the icon of such hermits as Su Shih(蘇軾), which seems like a proper choice to express Yang Zhuxi, a reclusive literary figure. Furthermore, the rocks and pine trees described by Ni Zan reinforced the significance of the portrait through their traditional symbolism of man of virtue and man of letters, respectively. Portrait of Yang Zhuxi used the Baimiao Manner(白描法), thus being differentiated from other portraits from the same period. Even though there is no coloring in the painting, it boasts more excellent realism than colored portraits. It expressed the body with the graceful and controlled Li Gonglin(李公麟) and Zhao Mengfu(趙孟?) style Baimiao Manner, raising its dignity further. In terms of functions, Portrait of Yang Zhuxi is strongly characterized by the appreciative function unlike other portraits focused on the ceremonial function. Being created to be viewed and appreciated by the model himself and his friends, the portrait was very significant to promote their friendship. However, there was a great intention to reflect the emotions of the model himself and his friends in the painting beyond the simple appreciation level.

• Korean Journal of Heritage: History & Science
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• v.34
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• pp.124-136
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• 2001

Among many different types of wares, we have amazing Sacred Water-pot(따르개, 注子) from Goryo-period(고리, 高麗, 918-1392). The stylistic peculiarity of Jung-Byoung(정병, 淨甁) is described in "Goryo-Dhogyoung, 고리도경, 高麗圖經", the classical design canon. It is said, "A sharpened mouth with narrow and prolonged neck is attached upon the broad mouth with thicker and even longer neck of the pot whose body intimates to the shape of melon." One could find this Jung-Byoung similar to the Indian drinking water jar, Kundika, which has been. even today, an everyday article in houses as well as in temples. In the early Buddhist cult, the object had been adopted as personal belonging of the Bodhisattvas(보살, 菩薩), especially of the Bodhisattva Avalokitesvara(관세음보살,觀世音菩薩). In short, the purifying character of water is met by the sacred ware to deliver the refreshing Sweet-Water(Holy-Water, 깨맑물, 단물, 단이슬물, 정수, 감로, 감로수, 성수, 淨水, 甘露, 甘露水, 聖水): For the holy purpose of fulfilling the thirst of people, of symbolozing the virtuous dharma. Thus, Ggamslkh-Byoung(깨맑병,淨水), the literal Korean name, denotes purifying and clarifying and clarifying water-pot to us. Among many other Asian countries, India, China, Korea, and Japan have a profound cult of the sacred water-pot(Ggamalkh-Byoung, Jung-Byoung, 깨맑병, 정병, 정수병, 감로병, 감로수병, 淨甁, 淨水甁, 甘露甁, 甘露水甁). Therefore, this charming holy object drew much attention not only from master artisans to shape and deliver them to people but also from painters and sculptors for their endowment of the sacred images dedicated to Buddha(부처,佛,佛陀). In China, the sacred water pot emerged in the period of Tang(당, 唐, 618~907)-Period and underwent much sophistication later on, I. e., from earthenware, ceramic-porcelain, bronze, and silver. However, the following represents a challenge to the well-known Goryo-Thangka(고리불화, 高麗佛畵) Painting of Bodhisattva Avalokitesvara to our speculation on the Sacred Water-pot(정병, 淨甁). The image suggests, when examined closely, that the Sacred Water-pot has been accompanied by, or placed in, a transparent glasswere(유리그릇) or crystalbowl(수정그릇)! We have no other physical proof of the existence of such a Holding-Bowl(받침그릇, 承盤), except for in this particular painting. This Holding-Bowl would have not been a mere elaboration on the practicality of controling the drips from the mouth of the pot. As in the chapter on Tang-ho(탕호, 湯壺), or thermal bowl, in the "Goryo-Dhogyoung" it advises readers that this style of bowl is to be filled with hot water, and thus function as a preserver of heat in the water inside the pot. As an offering to the Buddha, the Sacred Water-pot could have been used for serving him hot tea. Hence the sacred bottle is to contain the refreshing water, the water transcends to nectar, and the nectar is prepared as a nectar tea to offer the Buddha. For both the Holding-Bowl of Ggamalkh-Byoung(Jung-Byoung)and the Celestial-Robe(날개옷, 天衣) of the Bodhisattva Avalokitesvara, whose specified character is the Water-Moon(수월, 水月) in this particular Thangka(불화, 佛畵) painting, the transparency is essential. This is to refer to the purity and the lucid clarity of Bodhisattva Avalokitesvara and at a deeper level, to refer to the world of Buddhas-the Tushita(Paradise, Heaven, Eden, 극락, 불세계, 極樂, 佛世界). Howerver, without the discovery of an actual Holding-Bowl, accompanied by a Sacred Water-pot, such speculation will necessarily remain hypothetical. Nevertheless, there is an abundance of evidence of our ancient craftsmanship in jade and ctystal, dating back to the Bronze Age(1000~2B.C.) in Korea. By the time of the Three Kingdom-Period(삼국시대, 三國時代, 57B.C.~935A.D.), and especially the Silla(신라, 新羅, 57B.C.~935A.D.)-Empire, the jade and crystal ornamentation had become very intricate indeed. By the Goryo-Period(918~1392) and Chosun-Period(조선, 朝鮮,1392~1910),crystal-ware and jade art were popular in houses and Buddhist temples, whose master artsanship was heightened in the numerous Sarira-Cases(사리그릇, 舍利器), containing relics and placed inside Stupas(탑, 투, 搭)! Therefore, discovering a tiny part of the crystal or jade Holding-Bowl for the Sacred Water-pot and casting full light on this subject, would not be totally impossible. Lastly the present article shares the tiny hope for a sudden emergence of such a Holding-Bowl.

• Sim-seong Yeon-gu
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• v.38 no.2
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• pp.269-304
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• 2023

The purpose of this paper is to present the psychological meaning of the creation myths by utilizing related myths, analysand's dreams, active imagination, and artwork to reveal the creative function of the unconscious. The creation myth is the phenomenon of projection when a new order is demanded in the chaotic phase of personal and human history. Depending on the attitude of the ego, it can be a sign of a reconstruction/alteration of consciousness or an invasion. Related literature such as Jung, von Franz, Neumann, Harding, and Edinger, domestic papers, and case reports are introduced to identify the background for this research. The psychological meaning of 'darkness' in creation myths is regarded as unconscious that is too dark to see. The Eskimo creation myth and an analysand's dreams of being blind and wandering in darkness are discussed in relation to nigredo in Alchemy. The psychological meaning of 'massa confusa' regards Uroboros, pleroma, early childhood experience, and a psychological womb in which everything is contained in one. With related myths and unconscious materials, a discussion is followed on how this realm can be a precursor of creation but also be trapped in an abyss. The psychological meaning of 'separation of world parent' is related to splitting one into two when unconscious contexts were touched before it became consciousness. Related myths, 'the world created between heaven and earth,' 'celestial being descending to the earth,' and 'the legend of relocation of a mountain,' as well as clinical material, are examined. Then this paper discusses the clinical implications of the separation of heaven and earth occurring on its own, that the creator's emotional aspects, such as loneliness and anxiety, are involved, and that delayed separation leads to the death of creatura and sudden separation leads to the death of the chaos. Then, the meaning of 'separation of world parent' is discussed in relation with separatio, the alchemical process of acquiring light/consciousness from darkness/unconsciousness. The psychological meaning of the creation of 'land/island' refers to the emergence of consciousness, the contents of the unconscious material into the realm of the ego. Related myths, such as the 'body of the monster/dragon becoming land' and analysand's dreams, are introduced, referring to the embodiment of Mercurius. This is followed by discussing related myths in creating the land to coagulatio in alchemy and utilizing creative work such as active imagination, art, music, and dance that can coagulate or concretize unconscious material in clinical approaches. Finally, myths of resurfaced land after the Flood or the complete destruction of the world in relation to the reconstruction of ego are discussed with related clinical material to show the importance of the analyst/therapist/supervisor's mental stability and capacity.

• The Korean Journal of Nuclear Medicine
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• v.38 no.3
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• pp.259-267
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• 2004

Purpose: NEMA NU2-2001 was proposed as a new standard for performance evaluation of whole body PET scanners. in this study, system performance of Siemens CTI ECAT EXACT 47 PET scanner including spatial resolution, sensitivity, scatter fraction, and count rate performance in 2D and 3D mode was evaluated using this new standard method. Methods: ECAT EXACT 47 is a BGO crystal based PET scanner and covers an axial field of view (FOV) of 16.2 cm. Retractable septa allow 2D and 3D data acquisition. All the PET data were acquired according to the NEMA NU2-2001 protocols (coincidence window: 12 ns, energy window: $250{\sim}650$ keV). For the spatial resolution measurement, F-18 point source was placed at the center of the axial FOV((a) x=0, and y=1, (b)x=0, and y=10, (c)x=70, and y=0cm) and a position one fourth of the axial FOV from the center ((a) x=0, and y=1, (b)x=0, and y=10, (c)x=10, and y=0cm). In this case, x and y are transaxial horizontal and vertical, and z is the scanner's axial direction. Images were reconstructed using FBP with ramp filter without any post processing. To measure the system sensitivity, NEMA sensitivity phantom filled with F-18 solution and surrounded by $1{\sim}5$ aluminum sleeves were scanned at the center of transaxial FOV and 10 cm offset from the center. Attenuation free values of sensitivity wire estimated by extrapolating data to the zero wall thickness. NEMA scatter phantom with length of 70 cm was filled with F-18 or C-11solution (2D: 2,900 MBq, 3D: 407 MBq), and coincidence count rates wire measured for 7 half-lives to obtain noise equivalent count rate (MECR) and scatter fraction. We confirmed that dead time loss of the last flame were below 1%. Scatter fraction was estimated by averaging the true to background (staffer+random) ratios of last 3 frames in which the fractions of random rate art negligibly small. Results: Axial and transverse resolutions at 1cm offset from the center were 0.62 and 0.66 cm (FBP in 2D and 3D), and 0.67 and 0.69 cm (FBP in 2D and 3D). Axial, transverse radial, and transverse tangential resolutions at 10cm offset from the center were 0.72 and 0.68 cm (FBP in 2D and 3D), 0.63 and 0.66 cm (FBP in 2D and 3D), and 0.72 and 0.66 cm (FBP in 2D and 3D). Sensitivity values were 708.6 (2D), 2931.3 (3D) counts/sec/MBq at the center and 728.7 (2D, 3398.2 (3D) counts/sec/MBq at 10 cm offset from the center. Scatter fractions were 0.19 (2D) and 0.49 (3D). Peak true count rate and NECR were 64.0 kcps at 40.1 kBq/mL and 49.6 kcps at 40.1 kBq/mL in 2D and 53.7 kcps at 4.76 kBq/mL and 26.4 kcps at 4.47 kBq/mL in 3D. Conclusion: Information about the performance of CTI ECAT EXACT 47 PET scanner reported in this study will be useful for the quantitative analysis of data and determination of optimal image acquisition protocols using this widely used scanner for clinical and research purposes.

• Journal of Sasang Constitutional Medicine
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• v.8 no.1
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• pp.101-186
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• 1996

The clinical application of constitutional Diagnosis is the most important part of Sasang constitutional medicine. It has been studied in various way. However, the study of morphologic characteristics on the face is applied for the first time. For quantitative analysis of the correlation between the sasang constitution and the shape of the face, the head-facial part of 170 cases were measured by Martin's measurement and analysis of a) the measurement value of height and the component ratio from the Gnathion to each part of face by constitution. b) the measurement value of depth and the component ratio from T-projected to each part of the face by constitution. c) the measurement value of breadth and component ratio between each parts of the facial breadth by constitution. d) the ratio of square on every part of face by constitution. e) the characteristics on each part of the face by constitution. f) the contour line of the forehead. g) the result of discriminant analysis about the constitution. Authors obtained the results from the study as follows; 1. The characteristics of Taeum-IN (1) The measurement value of Height, Breadth, T-Projected had a tendency to maximum value in general. (2) The value of lower opthal height and the square of lower opthal part was maximum. (3) The value of Pronasal T-projected length and Subnasal T-projected length was minimum, so Taeum-In has characteristics of depression in middle face, nasal part. (4) In the ratio of Breadth, T-Projected, T-Projected was minimum. (5) It was maximum that the square of nose, Alare, Middle face, Lower face and it was minimum that the square of eye. The square of nose, Alare, Middle facc, Lower face was maximum and the square of eye was minimum. (6) The curvature of the eyebrow was minimum. (7) The projection of jaw (Pogonion T-projection length) was maximum. (8) The breadth of eye was minimum. (9) There was a tendency that the projection of the forehead to the right in general. 2. The characteristics of Soeum-In (1) In all cases of projected length the measurement value was minimum. (2) The value of lower opthal height and the square of lower opthal part was minimum. (3) By the Pupulare T-projected length, the value of Pronasal T-projected length and Subnasal T-projected length was minimum, so the Soeum In's face shape is flat. (4) The square of eye, mouth, forehead was maximum and the square of nose, Alare, Middle face, Lower face was minimum. (5) The curvature of the eyebrow was maximum. (6) The projection of mouth was minimum. (7) The jaw was flat. (8) The breadth of eye was maximum. (9) There was a tendency that the projection of the forehead to the left in general. 3. The characteristics of Soyang-In. (1) In most cases of 고경 length the measurement value was minimum. (2) By the Pupulare T-projected length, each ratio of projected length was maximum, so the Soyang-In's face shape has many protrusions (3) In the ratio of Breadth, T-Projected, T-Projected was maximum. (4) The square of mouth was minimum. (5) The inclination of the forehead was minimum. (6) The projection of mouth was maximum. (7) The breadth of eye was minimum. (8) There was a tendency that the projection of the forehead to the left in general. (9) The middle face was protruded. 4. Discriminant about the constitution. According to the result of discriminant, the accuracy probability of discriminant was 85.58% in total and Taeum-In was 90.5%, Soeum-In was 70.8%, Soyang-In was 89.5%. The accuracy probability of discriminant about 3 constitutional group increased by 49.03% than the accident probility 36.55% 5. Suggestion (1) The study which gather and analysis the data should be continued. (2) The study which subdivide the characteristics of each part of the face by the constitution should be continued. (3) The analysis method about Moire should be supplement. (4) The study about the morphologic characteristics of the whole body should be continued. (5) Computer program of constitution diagnosis should be developed. (6) To increase utility of this method, the measurement should be automation.

• Journal of Intelligence and Information Systems
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• v.19 no.1
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• pp.79-94
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• 2013

Recently, the high value added business is steadily growing in the culture and art area. To generated high value from a performance, the satisfaction of audience is necessary. The flow in a critical factor for satisfaction, and it should be induced from audience and measures. To evaluate interest and emotion of audience on contents, producers or investors need a kind of index for the measurement of the flow. But it is neither easy to define the flow quantitatively, nor to collect audience's reaction immediately. The previous studies of the group flow were evaluated by the sum of the average value of each person's reaction. The flow or "good feeling" from each audience was extracted from his face, especially, the change of his (or her) expression and body movement. But it was not easy to handle the large amount of real-time data from each sensor signals. And also it was difficult to set experimental devices, in terms of economic and environmental problems. Because, all participants should have their own personal sensor to check their physical signal. Also each camera should be located in front of their head to catch their looks. Therefore we need more simple system to analyze group flow. This study provides the method for measurement of audiences flow with group synchronization at same time and place. To measure the synchronization, we made real-time processing system using the Differential Image and Group Emotion Analysis (GEA) system. Differential Image was obtained from camera and by the previous frame was subtracted from present frame. So the movement variation on audience's reaction was obtained. And then we developed a program, GEX(Group Emotion Analysis), for flow judgment model. After the measurement of the audience's reaction, the synchronization is divided as Dynamic State Synchronization and Static State Synchronization. The Dynamic State Synchronization accompanies audience's active reaction, while the Static State Synchronization means to movement of audience. The Dynamic State Synchronization can be caused by the audience's surprise action such as scary, creepy or reversal scene. And the Static State Synchronization was triggered by impressed or sad scene. Therefore we showed them several short movies containing various scenes mentioned previously. And these kind of scenes made them sad, clap, and creepy, etc. To check the movement of audience, we defined the critical point, ${\alpha}$and ${\beta}$. Dynamic State Synchronization was meaningful when the movement value was over critical point ${\beta}$, while Static State Synchronization was effective under critical point ${\alpha}$. ${\beta}$ is made by audience' clapping movement of 10 teams in stead of using average number of movement. After checking the reactive movement of audience, the percentage(%) ratio was calculated from the division of "people having reaction" by "total people". Total 37 teams were made in "2012 Seoul DMC Culture Open" and they involved the experiments. First, they followed induction to clap by staff. Second, basic scene for neutralize emotion of audience. Third, flow scene was displayed to audience. Forth, the reversal scene was introduced. And then 24 teams of them were provided with amuse and creepy scenes. And the other 10 teams were exposed with the sad scene. There were clapping and laughing action of audience on the amuse scene with shaking their head or hid with closing eyes. And also the sad or touching scene made them silent. If the results were over about 80%, the group could be judged as the synchronization and the flow were achieved. As a result, the audience showed similar reactions about similar stimulation at same time and place. Once we get an additional normalization and experiment, we can obtain find the flow factor through the synchronization on a much bigger group and this should be useful for planning contents.