• Science of Emotion and Sensibility
• /
• v.9 no.1
• /
• pp.49-61
• /
• 2006

The present mobile phone industry has significant effect on the domestic economy and has taken root as the core item that has the responsibility to lead the Korean economy for a considerable period of time. As the mobile phone market becomes gigantic, the mobile phone is being used by people in broader age bracket, and functions or designs preferred by people of various age are getting more diverse. Like that, as the mobile phone has greater effect on and meaning in our daily lives, consumers of mobile phone have growing expectation of the mobile phone Now, the core function of voice communication via the mobile phone is not a great concern to consumers. But the function, such as more convenient and friendly information input and output, processing and storage, and the design, which is more sophisticated and optimized for the user environment, are being demanded, not just the simple voice communication. And as the modern design is getting more similar to the objects of traditional high art consumed by consumers every day, the aesthetic aspect of design can play an important role, as the factor that differentiates the product, in creating new value which forms the spiritual and emotional value of human beings to improve the quality of living, and in addition, the willingness of consumers to buy is determined by the design that they prefer the most. Like that, a new design of mobile phone based on a new dimension and preferred by the consumers the most is urgently required to be developed by shedding light on the factors related to the preference of consumers on the basis of the analysis on the aesthetic aspect, which can be said to be the most critical factor in the design process. Therefore, this study aims to identity the common preference and different factors of aesthetic aspects through the analysis on the aesthetic aspects of the mobile phone preferred by users among countries, and figure out the formative artistic factors of aesthetic aspects that are considered to be important, in order to propose the guideline on the aesthetic aspect of mobile phone that can be applied to the design of mobile phone practically.

• Science of Emotion and Sensibility
• /
• v.10 no.2
• /
• pp.199-208
• /
• 2007

The olfactory function of subjects could be different due to various factors such as aging, and such discrepancies influence on the olfactory sensibility. Therefore, the objectives of this study was to investigate changes of olfactory sensibility characteristics and structure in relation to the consideration of olfactory threshold of subject. Stimulants of this study were five standard odor samples of T&T olfactometer, and thirty undergraduates over than 19 years old were tested twice during this study In experiment 1, subjects were given to odor samples which were controlled on the basis of individual olfactory threshold. Whereas, subjects were provided with uncontrolled odor samples which had the same concentration(+1) in experiment 2. Olfactory sensibility characteristics were significantly different with presentation types of odor samples, and these gaps were more higher on condition that the preference of odor sample was not distinct. Moreover, such differences affected the olfactory sensibility structure, and 'esthetic sense', 'intensity', and 'activity' were common factors, but 'friendship' of experiment 1 and 'weight' of experiment 2 were unique factors. In conclusion, the olfactory sensibility characteristics and structure could be different with consideration of olfactory threshold of subject. Overall, this study suggest that the olfactory function and the presentation method of odor sample be regarded as principal consideration factors in the olfactory sensibility evaluation.

• Korean Journal of Fisheries and Aquatic Sciences
• /
• v.19 no.2
• /
• pp.155-168
• /
• 1986

In Korea, lots of Israeli carp (Cyprinus carpio) are cultured by means of net cages in dams and lakes, but many carp have been subjected to heavy infestation of the cestoid, Bothriocephalus opsariichthydis. Nevertheless the parasitic state and life history of the cestoid are not yet reported. This reason led the author to study the parasitic state and life history of B. opsariichthydis parasitized in the carp in order to take effective control measures against its damage. Israeli carp were sampled from two fish farms, in Taech'on and Kyongch'on. After dissection of the specimens, the cestoid were obtained and the parasitic rates were examined. After taking the eggs from adult worms, the development of the eggs were observed. Coracidia were exposed to four kinds of crustaceans in order to investigate the infection rate and development of the larva. Finally, tile development of the larva in the final host was investigated. The fully mature eggs were in the cleavage stage, when they are released, and the size ranged 47.5 to 55.0 $(50.9){\times}30.0$ to 32.5 (31.1) um, in the state of under-developed coracidia and blastomeres. The parasitic rate of the cestoid in Israeli carp from Taechon was $55.5\%$ in 1984 and $21.6\%$ in 1985, that from Kyongchon was $64.7\%$ in 1984, and color carp from Kusan was $14.9\%$ in 1984. The eggs were hatched to coracidia within 48 hours under 26 to $28^{\circ}C$. The cestoid showed a strong affinity to Thermocyclops hyalinus and Paracyclops fimbriatus and the infection rates were $93.5\%$ and $75.5\%$, respectively. At 14 days after the infection to Thermocyclops hyalinus and Paracyclops fimbriatus, the larvae of the cestoid grew into fully developed procercoids; 207 to $226 (214){\times}90$ to 102 (94) um in size. Sixty days after carp have ingested the Thermocyclops hyalinus infected with the fully developed procercoids, the larvae of the cestoid matured into adult worms in the intestines of the carp.

• Korean Journal of Fisheries and Aquatic Sciences
• /
• v.7 no.1
• /
• pp.15-27
• /
• 1974

Since the summer of the year 1972 ulcer disease of common carp, colour carp ana goldfish had suddenly spread widely and caused a serious mortality at fish farms especially around Gim-hae and Yang-san, near Busan. The present study aimed to find out the causative organisms, histopathological changes and the way of treatment, and the results are summarized as follows : Two kinds of pathogenic bacteria, i. e, Chondrococcus columnaris and Aeromonas sp. were isolated from the mucus of the lesion. According to the macroscopic findings, these symptoms began with the hemorrhagic spots under scales which fell out, after the collapse of the dermis, which was followed by lesion to form ulcer, and then the muscle was exposed. The fin was eroded mostly from the distal part, but sometimes from the basal part. Gills showed grey colour, and this part of the tissue collapsed. According to the histopathological findings, the dermis was exposed after the collapsed of the epithelium of the skin, and the necrosis of the musculature occurred, the muscular fibre being destroyed. The epithelial cells of gill tissue proliferated, thus gill filaments were conglutinated and collapsed. Fatty degeneration happened at the liver but the other organs seem to be normal. Treatment with the following mixtures were effective the water temperature of $22\~25^{\circ}C$, but not effective when the temperature was under as low as $13\~15^{\circ}C$. Mixture 1. Aivet (HB-115.HCI) 0.3ppm Malachite green 0.2ppm. Dipterex 0.4ppm Mixture 2. Furanace (P-7138) 0.05ppm Malachite green 0.2ppm Dipterex 0.4ppm When lesion healed, the epithelium, dermis, and the muscular fibre were regenerated.

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

• Journal of Korean Ophthalmic Optics Society
• /
• v.12 no.3
• /
• pp.39-48
• /
• 2007

The stimulus of accommodation A, the stimulus of convergence C and the prism diopter ${\Delta}$ are reviewed and redefined more obviously. How the A and C are managed in the practice are reviewed and summarized. As a result, the common practical process of the binocular vision findings is most suitable in the case of the $l_c=26.67mm$, where the near distance is measured from the test lens to the near target and its value is 40 cm and the average of the P.D equal to 64 mm. The $l_c$ is the distance between the test lens and the center of rotation. Those values were used at calculating the various values in this paper. The error of the stimulus of accommodation values which are evaluated by the practically used formula (5) are calculated. Where the distance between lens and the principle point of eye is 15.07 mm ($=l_H$). The incremental stimulus of convergence values P' caused by the addition prism $P_m$ are evaluated by the recursion computation method. The P' are varied with the $P_m$, the distance $p_c$ between the prism and the center of rotation, the initial convergence value (or inverse target distance) $C_o$ and the refractive index n of the prism material. The recursion computation method and the other formulas are described in detail. In this paper n=1.7 is used. The two factors by which the P' is increased are exist. The one which is major is the property by which the values of convergence whose unit is ${\Delta}$ are not added in the generally way. The other is the that the actual power of the prism is varied with the angle of incidence light. And the P' is decreased remarkably by an increase in the $p_c$ and $C_o$. The $P^{\prime}/P_m$ are calculated and graphed which are varied with the $p_c$ and $C_o$, where the $P_m=20{\Delta}$, P.D=64 mm and n=1.7. The index n dependence of the $P^{\prime}/P_m$ is negligible (refer to fig. 6). The $p_c$ are evaluated at which the P' equal to the $P_m$ for various $P_m$ (refer to table 1). The actual values of the stimulus of convergence and accommodation which are manipulated simply in the practice are calculated. Two graphical forms are suggested. The one is like as the commonly used one. But the stimulus of convergence and of accommodation values in the practice are positioned at the exact positions when the graphic is made (refer to fig. 9). The other is the form that the incremental stimulus of convergence values caused by the addition prisms are represented at actual positions (refer to fig. 11).

• Archives of design research
• /
• v.20
• /
• pp.279-291
• /
• 1997

The history of modern design begins with the arts and crafts movement(1860). The importance of the movement which decorated the outset gave birth to all the trends of thought which would occur under the circumstances within it, and is deemed that the ideas of the figures who played an active part in the movement might be ceaselessly continued through the works and ideas of their outstanding juniors or purpils as a doctrine of the philosophy of design. Therefore, it might be a prerequisite that the significance and spirit of the movement, and its developing process should be addressed in detail in the first place, but for the limited space of this paper, it was intended to desvribe only the part which can be interpreted in duplicate, linked with post-impressionism. The subject of this thesis is about a theory of art in which both ideas of the movement(1860) and the post-impressionism(1910) are comparatively reviewed. The genre, strictly speaking, is classified into the history of painting, and there is a gap fo about an half century between the issues which are comparatively discussed here. Both the movements began in a same environmental place of England, specially the movement at Milieu in England, and since there is a common point that the representative runners of each movement, William Morries(1834-1896) and Roger Fry(1866-1934), belong to a same race of Engol-Saxon, their ideas coincide with an aesthetic scholar, H. Tanie's aesthetic interpretation method and the more important is, as being elucidated in the comment and aesthetic theory for which Roger Fry gave effort and activity in his later life, that when he read intensively Ruskin's books, $\ulcorner$Modern Painters$\lrcorner$and$\ulcorner$Stones of Venice$\lrcorner$he had solidified his idea of post-impressionism while giving approval and criticism on them. After all, as in a co-painter, Windyham Lewis's reference of 'Roger Fry's Too Late Morris Movement', he, inspired by the actual activities of Morris, played activities similar to that of Morris in which exhibiting and selling some of his decorative art works signed by him and the works of post-impressionism through (1913-1920). Herein, that is wished to add a remark by this author is a point that the author of$\ulcorner$Vision and Design$\lrcorner$, Roger Fry, has not be made a subject of discussion specially in the Korean world of design. So, with this case of a thesis, it's wished that many latent awakened, design persons in korea give efforts to researching into Roger Fry so that their findings could be officially announced in the would. By the way, what is tried to describe in this paper from now on is to analyse and review the origin of post-impressionism which idea was first coined in the art world through the 1st and 2nd exhibitions of 'Manet and Post-impressionism' which were opened each at the Grafton Gallery in 1910 and 1913 by him. And also, it is intended to review it through the art journals and some references by critics of the day in which favorable criticism or severe criticism were ready to comment through the opinions and influences of the coworkers of Roger Fry, say, Clive Bell, Desmond Maccarthy, etc. and of himself as a main axis, on the art ideas of Gauguin, Gogh, Matisse, and Cezanne whose works were the typical ones participated and exhibited in those 1st and 2nd exhibitions.

• Archives of design research
• /
• v.18 no.2 s.60
• /
• pp.37-46
• /
• 2005

Today's advertisement is dominated by visual images, which deliver messages in the most efficient and engaging way. Vivid and live images, through multimedia, attract the viewer to consume the products being advertised. In this course, the effect of 'Verfremdung' or alienation is often detected. This terminology was at first used in a epic play of Bertolt Brecht to signify a specific effect to block the empathy of the audience by reminding them of their position as the audience separate from the play. 'Verfremdung' helps them to have a sense of objectivity and critical attitude toward the performance. Multimedia commercials nowadays exhibit such a quality together with 'viewer participation:' criticism on reality: and 'speed.' In an advertisement for Shinsegi Communications' mobile system titled <017-I-Touch series, the hand transformed into a web>, the copy, 'my blood type is 'i', ' is accompanied by six unrelated fictitious scenes in which the same ocean appears as a common denominator. Because there is no connection between the scenes, free imagination of the viewer has to be involved and thus plays a significant role in making them into a context. This fact dearly exhibit some characteristics of post- modern advertisement. Momentary 'Gap' and 'Difference' between scenes contribute to 'Verfremdung' or alienation' that makes it hard for the consumers to comprehend the content on the spot. Such an uneasy situation, however, keeps the viewers thinking about the advertisement itself. While repeatedly exposed to the alienated images, the viewers come to get involved in the advertisement, trying to make the fragmented images into a coherent context. In addition, the leaps between the scenes produce a sense of 'speed' in a context, which adds more impact to the way of delivering messages using multimedia. With the help of multimedia, 'Verfremdung: which was originally intended to bring about objective and critical altitude of the audience in a play, plays a crucial role in attracting the viewer's attention and conveying a specific message in a moment in contemporary advertisement.

• Archives of design research
• /
• v.19 no.5 s.67
• /
• pp.119-128
• /
• 2006

The scale of visual expression has expanded from freeze frame to motion picture as media have developed. Moving pictures such as animation, movies, TV CM and GUI become formative elements whose movement is necessary compared to freeze frame as apparent movement phenomenon and unit structure such as short and scene appear. Therefore, of formative elements such as a shape, color, space, size and movement, movement is importantly distinguished in the moving image. The expression and form of image as a relationship between the signified and signifier explained by Saussure are accepted as a sign by mutual complement even though they limit the content. This makes it possible to infer that the formal feature of movement participates in the message content. To verify this, the result of moving picture visual perception experiment based on the gestalt grouping principle result shows that 70-80 percent of subjects think that 'movement' is the important grouping clue in perception. Movement affects the maintenance of the context of message content in the communication process when the meaning structure of moving picture is analyzed based on the structural feature. The identity can be maintained with if there is a movement with similar directive point even if the color and shape of people, things and background are changed. Second, the clarity of the content is elevated by a distinguished object as a figure by movement. Third, it acts as a knowledge representation which can predict similar movement process of next information processing. Forth, movement gives the content consistency even though more than two scenes have fast switch and complicated editing structure like cross-cutting. Movement becomes a clue which can make grouping information input by visual perception reaction. Also, it gives the order to the visual expression which can be used improperly by formation of structural frame of image message and has the effectiveness which elevates the clarity of signification. Moving picture has discourse with several mixed unit structures because it fundamentally contains time and the common and distinguished expression is needed by media-mix circumstances. Therefore, by the application of gestalt grouping principle to moving picture field, movement becomes the more distinguished than other formative elements and affects the formation of meaning structure. This study propose a viewpoint that develops structural formative beauty and new image expression in the media image field.

• Asian Journal of Turfgrass Science
• /
• v.24 no.2
• /
• pp.211-217
• /
• 2010

This study was conducted to investigate a proper method of ball mark repair by comparing the creeping bentgrass recovery speed on golf course green treated by various methods of ball mark repair. Nine general repairing methods were tested and compared; control (no repair, A type), two common methods of USGA (B type) and GCSAA (C type), three methods with fork shaped hand set performing at Korean golf courses (Ansung Benest, D; Sky72, E; Lakeside, F type), and three methods using the repair machine with 6, 8, or 14 teeth (G, H, I type, respectively). Three creeping bentgrass cultivar of 'Penncross', 'T-1', and 'CY-2' were tested in this field experiment. This test was carried out from September to November in 2009 at the nursery on the Seoul Lakeside Golf course. The average speed of turfgrass recovery after various ball mark repairing methods have been ranked as in the order of E, D, C, B, F, I, H, G, and A. The methods of hand practise showed more effective results than repair method using machines. The ball mark recovery speeds of 'Penncross' were in the order of E, D, B, C, F, I, H, and A. In the case of 'T1' and 'CY-2', similar orders were showed as D, E, B, F, C, H, I, A, G and the order of D, E, C, F, B, H, G, I, A, respectively. The ball mark recovery speed among creeping bentgrass cultivar resulted in the order of 'CY-2', 'Penncross', and 'T-1'. The most proper method of ball mark repair was repair method using a hand set tool especially the method of the Sky72 Golf course (E type). At the first, remove a damaged grass area with fork and tap. And then gather the side grasses into the center area with pulling the grasses with fork. After that, make harden and flat on the turf surface by pounding and rolling with the round wooden stick. The final Nstep, water the repaired grass surface. This ball mark repairing practise showed a most rapid and proper recovery method on creeping bentgrass green.