• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.3
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• pp.505-516
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• 2008

Image which appears in fashion illustration on the late twentieth century is not the representative image as an equivalence to the real fashion styles but the virtual image which bears no relation to any reality. The purpose of this study is review the concept of virtuality and analyze in which way virtual image is expressed in fashion illustrations on the background of Jean Baudrillard's simulacre theory. In post-modem paintings the expression methods of image-virtualization were image mixing through photo-image appropriation, image overlapping, and the icons inserted unreasonably, the focus-out effect through scrubbing and the over-painting on the photograph. Image-virtualization in fashion illustration was expressed through image mixing and expression of image uncertainty. Image mixing was made by photo-image appropriation, image overlapping, connection of heterogeneous images and using interface image, and uncertain image was expressed through the expression of visual ambiguity and virtual movement.

• PNF and Movement
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• v.5 no.1
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• pp.57-66
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• 2007

This review discusses the development of muscle receptors, in particular, that of muscle sensory neurons and monosynaptic stretch reflex circuit. The development of muscle sensory neurons and monosynaptic stretch reflex requires a series of steps including expression of neurotrophic transcriptional factors and their receptor. The monosynaptic stretch reflex circuit is unique neuronal circuit system, and highly precise synaptic connection systems. Thus, coordination of sensory-motor function in muscle receptors depend on the expression of distinct classes of molecular cues, and on the formation of selective synaptic connections between sensory-motor neurons and their target muscle. Recent neurotrophic and transcription factor expression studies have expanded our knowledge on how muscle sensory neuron is formed, and how sensory-motor system is developed.

• International Journal of Advanced Culture Technology
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• v.10 no.1
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• pp.122-130
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• 2022

In modern times, text has become an image, and typography is a style that is a combination of image and text that can be easily encountered in everyday life. It is developing not only for the purpose of conveying meaningful communication, but also to bring joy and beauty to our lives as a medium with aesthetic format. This study shows through case analysis that typography is a tool for expressing human emotions, and investigates its characteristics that change along with the media. In particular, interactive communication tools and methods used by interactive typography to express viewers' emotions are described in detail. We created interactive typography using the inputted text, the selected music by the viewer and the viewer's movement. As a result of applying it to the exhibition, we could confirm that interactive typography can function as an effective communication medium that shows the utility of both the iconography of letter signs and the cognitive function when combined with the audience's intentional motion.

• PNF and Movement
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• v.4 no.1
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• pp.51-62
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• 2006

Purpose : The purposes of this study were to test the effect of proprioceptive and vestibular sensory input on expression of BDNF after traumatic brain injury in the rat. Subject : The control group was sacrificed at 24 hours after traumatic brain injury. The experimental group I was housed in standard cage for 7 days. The experimental group II was housed in standard cage after intervention to proprioceptive and vestibular sensory(balance training) for 7 days. Method : Traumatic brain injury was induced by weight drop model and after operation they were housed in individual standard cages for 24 hours. After 7th day, rats were sacrificed and cryostat coronal sections were processed individual1y in goat polyclonal anti-BDNF antibody. The morphologic characteristics and the BDNF expression were investigated in injured hemisphere section and contralateral brain section from immunohistochemistry using light microscope. Result : The results of this experiment were as follows: 1. In control group, cell bodies in lateral nucleus of cerebellum, superior vestibular nucleus, purkinje cell layer of cerebellum and pontine nucleus changed morphologically. 2. The expression of BDNF in contralateral hemisphere of group II were revealed. 3. On 7th day after operation, immunohistochemical response of BDNF in lateral nucleus, superior vestibular nucleus, purkinje cell layer and pontine nucleus appeared in group II. Conclusion : The present results revealed that intervention to proprioceptive and vestibular sensory input is enhance expression of BDNF and it is useful in neuronal reorganization improvement after traumatic brain injury.

• Korean Journal of Human Ecology
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• v.18 no.3
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• pp.793-798
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• 2009

Hair cut is one of the best useful technical tool for hair styling. In this study using the rule of the layers of hair design, balanced for visual art, perceptual ability and form created by the principles of analysis and offer hair cuts and hair design of the representation of regions and even hair design as the basis of a student of Hair Beauty and all the people working in the field can create a variety of hair design puts the purpose to establish a basis. The result of this study can be outline as follows: First, the step line and the movement of the relationship between the law of the layers above and below the length of the same layer techniques, the same consists of a vertical cross-section of the overall round shape of the cut same layer is created and the appropriate volume and movement, the movement of low-layer round a little bit more feeling and expression is used when you want. High-layer used to want to move a lot of light and could see that. Second, the layer of the Law and over direction, lifting, section, the line control. weight control and analyzed by principle and the principle of the process of forming the written form was unknown. Third, hair design, the expansion of the expressive power of the law of the layers, and the section of the over direction depends on the presence of line control to express the length of the outline I had to, lifting the weight to adjust form controls, and the expression of Hair Design will be expanding the width. A hair designer, a layer style to create a zone he thought the law of the first layer formative area To further the reach will be a lot of research, leading up formative aspects of this research thesis do not have missing parts, or as a result of the Beauty of Hair Design and the width of a hair design education in the field can perform to help feed the reference materials that will be.

• Journal of Crop Science and Biotechnology
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• v.11 no.2
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• pp.127-134
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• 2008

Tobamoviruses are the major viral pathogens of tomato and bell pepper. The preliminary results showed that Acibenzolar-Smethyl(ASM; S-methylbenzo(1,2,3) thiadiazole-7-carbothiate) pre-treatment to tomato and tobacco plants reduces the concentration of Tomato mosaic tobamovirus(ToMV) and Tobacco mosaic tobamovirus(TMV) in tomato and bell pepper seedlings, respectively. Pre-treatment of the indicator plant(Nicotiana glutinosa) with the ASM followed by challenge inoculation with tobamoviruses produced a reduced number and size of local lesions(67 and 79% protection over control to TMV and ToMV inoculation, respectively). In order to understand the mechanism of resistance the gene expression profiles of antiviral genes was examined. RT-PCR products showed higher expression of two viral resistance genes viz., alternative oxidase(AOX) and RNA dependent RNA polymerase(RdRp) in the upper leaves of the ASM-treated tomato plants challenge inoculation with ToMV. Further, the viral concentration was also quantified in the upper leaves by reverse transcription PCR using specific primer for movement protein of ToMV, as well as ELISA by using antisera against tobamoviruses. The results provided additional evidence that ASM pre-treatment reduced the viral movement to upper leaves. The results suggest that expressions of viral resistance genes in the host are the key component in the resistance against ToMV in the inducer-treated tomato plants.

• The Korean Journal of Physiology and Pharmacology
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• v.1 no.5
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• pp.505-513
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• 1997

To search the correlations between electrical activity and c-Fos expression in the process of vestibular compensation, we examined the changes of those two parameters in the medial vestibular nuclei (MVN) of unilaterally labyrinthectomized (ULX) rats. Spontaneous nystagmus with fast component toward the intact side disappeared gradually within 48 hours. Fourty eight hours after ULX, directional preponderance of the eye movement induced by sinusoidal rotation of the whole body which represents the symmetry of bilateral vestibular functions showed less than 20% by rotation of 0.1, 0.2, and 0.5 Hz, indicating the recovery of symmetry in bilateral vestibular functions. Six hours after ULX, spontaneous electrical activity of type I neurons resulted in asymmetry between bilateral MVN, however, the asymmetry of the electrical activity was decreased 48 hours after ULX. Immunocytochemical staining revealed that ULX produced dramatic induction of c-Fos positive cells in the MVN bilaterally. The number of c-Fos immunoreactive cells in the contralateral MVN was significantly higher than those in the ipsilateral MVN (p＜0.0001) 2 hours after ULX. Thereafter, the number of c-Fos positive cells decreased bilaterally and was slightly, but not significantly higher in the ipsilateral MVN at 48 hours after ULX. The present results suggest that both electrical activity of type I neurons and c-Fos expression in MVN following ULX will reflect underlying mechanisms of recovery process of vestibular compensation.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.5
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• pp.769-782
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• 2014

This study considers the correlation between model pose and clothes in Patrick Demarchelier's fashion photos as well as expression characteristics. The conclusions of the study are as follows. The type of model pose in Patrick Demarchelier's fashion photos can be categorized into five types: maximized type of upper and lower body part, minimized type of upper and lower body part, maximized type of upper body and minimized type of lower body part, minimized type of upper body and maximized type of lower body part, basic type of upper and lower body part. In case of having examined the correlation between body movement and costume, the clothes in the model pose included in the maximization of the body were formed mainstream by silhouette, which was formed by decorative elements or full drapery. In the model poses included in the reduction of the body, the costume tended to expose many parts of the body to provide a simple or structural silhouette form. The costume was expressed in colorful form and poses assumed without body movements. The expression characteristics of the model poses in Patrick Demarchelier's fashion photos were sensuality, dynamicity, and simplicity. First, sensuality was expressed as feminine sensuality accompanying an erotic mood by naturally emphasizing a woman's breast or leg by reducing the body. Second, dynamicity provided a vividness to the image as if directly living and moving by highlighting the rhythmic aspect of the body. Simplicity aroused the effect of paying attention to clothes or other incidental elements rather than the image expressed by the body of a model by excluding body movement.

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.43-52
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• 2020

This paper is a study of Gustav Deutsch's film (2013). The film transformed the painting of Edward Hopper into an homage film. So it gives the impression that the picture is moving. In this regard, it raises the issue of 'remediation' between film and pictures. In this study, We ask how (2013) dealt with the movement in turning Hopper's paintings into movies. To that end, To this end, we look at two aspects of movement: the actor's movement and the screen's movement. The concepts of "tableau vivant," Agamben's gesture and mediation were used in the process. The actor's movement in the film is not an act of making and developing events. It is a gesture that moves a person's body and expression itself. It is not a story-oriented acting, but a gesture that Giorgio Agamben said. Editing and camera movements are used while maintaining frontality. This suggests that the movement of the screen is the eye of the audience. At first glance, it embodies the voyeuristic gaze of the original work. However, But the audience isn't looking at the image unilaterally, as in mainstream fiction films, but they are also being seen by that image. Also, the camera's movement to take a closer look at the details of the screen shows the movement itself rather than the means to reveal the details. The 'vision of reality' in a film is made through movement. The film questions the vision of reality between painting and film, between words and images. The move is a means of mediating reality, but the film is regaining the "lost gesture" that Giorgio Agamben once said by revealing its mediated nature. This tells us that the vision of reality appears when it obscures its mediated nature.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.221-236
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• 2016

The purpose of this study is to make a contribution to the development of creative fashion culture through the expansion of creative fields in the fashion design area and also the combination of fashion and art techniques, by classifying the cases of Trompe $L{\oe}il$ expressed in modern fashion, and also analyzing its aesthetic characteristics. Conducting the qualitative research through the literature study and the analysis of design cases, it targeted the women's wear collections of Paris, Milan, London, and New York, limiting its range from S/S 2010 to F/W 2015. The results are as follows: First, based on the preceding research, the types of Trompe $L{\oe}il$ expressed in modern fashion were shown as realistic expression of clothing, movement of daily objects, double images, and application of human body. Second, the aesthetic characteristics of Trompe $L{\oe}il$ based on its expression types were deconstruction, avant-garde, and amusements. The deconstruction was expressed in the expression type of Trompe $L{\oe}il$ such as freedom of materials using digital printing technique, change in the position of clothes, and movement of daily items using collage technique by collecting objets like daily items or waste. The avant-garde was expressed by switching/overlapping in and out of clothes, intentionally exposing some body parts like breast or torso, displacing body parts, and moving daily items. The amusements was shown by realistically expressing accessories or details of clothes using digital printing technique, or moving daily items such as book and fork.