• Title/Summary/Keyword: Full-body

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The Representative Body Type of Lower Body of Chinese Males in Their 20s (중국(中國) 20대(代) 남성(男性)의 하반신(下半身) 대표체형(代表體型) 연구(硏究))

  • Lee, So-Young;Shim, Boo-Ja
    • Journal of Fashion Business
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    • v.11 no.2
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    • pp.58-75
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    • 2007

  • This study held human measurement for 200 male subjects in their twenties in full age living in Ningbo City, Zhejiang Province in China. Their lower body types were classified and grouped according to shapes and sizes. Consequently, representative body type reflecting shapes, sizes, and characteristics were chosen and presented with their measurement values to be used as the basic data for slacks pattern making and fitness evaluation. The following are the results of the analysis: 1. Homogeneity analysis was given to determine the correspondence relationships among index types, indirect types, and size types. Index Type 1 (H-Round), Indirect Type 2 (Adjacent Straight Legs & Slight Slant of Lateral Lower Body), and Size Type 1 (Medium-Thick) were correlated; Index Type 2 (A-Trapezoid), Indirect Type 1 (Bow Legs & Slight Slant of Lateral Lower Body), and Size Type 3 (Small-Slim) were corresponded; Index Type 3 (A-Balance), Indirect Type 3 (Balance Legs & Large Slant of Lateral Lower Body), and Size Type 2 (Tall-Normal) were mutually related. 2. Mahalanobis distance based on each shape factor (index or indirect) and size factor (absolute) was obtained, while an index-absolute representative body type group (47 people, 24.4%) and an indirect-absolute representative body type group (45 people, 23.7%) were chosen, each reflecting shapes, sizes, and characteristics. 3. The representative body type group of lower body shapes of Chinese males in their 20s had average measurement values, such as 169.15cm (stature), 73.32cm (waist circumference), 75.76cm (omphalion waist circumference), 91.08cm (hip circumference), 106.02cm (outside leg length), 53.96cm (thigh circumference), and 74.42cm (crotch length).

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Demystifying an Appropriate Use of a Performer's 'Energy' Where the Performer's Body Becomes 'Real'

  • Son, Bong-Hee
    • International Journal of Advanced Culture Technology
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    • v.10 no.2
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    • pp.148-153
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    • 2022

  • This thesis investigates the meaning of a performer's energy taking into an account of the full bodily engagement as the flow of energy and/or psychophysical readiness focusing specifically on the significance of qualitative bodily transformation. In this contemporary era, the dominance of performer training and its approaches to acting/training has very frequently meant that how to play a character in a textual based approach by emphasizing on interpreting and impersonating the role as real as possible. In this sense, as a performer trainer, from my observation and research findings shows that it is common for the term energy is not to be motivated by what a performer's body needs within a specific moment in specific performance which they are working on. To address the problematic issues, this thesis begins by interrogating the practical meaning of transformation with addressing the principle and process of movement by means of the flow of energy on stage. For a performer, inhabiting/integrating his/her body and mind as oneness and/or unity means s/he sincerely encounter, confront, and therefore listen to his/her body in here and now. Because since the performer's physical appearance completely defined his/her psychological state, no one can play either the past or the future in the moment. In this manner, an appropriate use of energy synonymous with the flow of energy correspondence with the given time and space in which the performer's body informs and initiates movement as necessary action. To be precise, the performer's bodily movement either visible or invisible in a sense of training and rehearsal is perceived as attaining or achieving psychophysical involvement as the full body engagement which enable to make the event happen in the right moment. Here, this thesis argues that the significance of a performer's inner intensity reminds us of the necessity of qualitative transformation on which the performer could discover his/her own mode of awareness as well as a way his/her body function in the given circumstance. From this point of view, this research finding would advocates that the performer's body maintains in the field of energy flow where his/her conscious effort and/or mindfulness disappear. The performer's movement is a manifestation of the whole bodily engagement by means of being as real in that moment rather than representing reality.

  • https://doi.org/10.17703/IJACT.2022.10.2.148 인용 PDF KSCI

Application of Immersive Virtual Environment Through Virtual Avatar Based On Rigid-body Tracking (강체 추적 기반의 가상 아바타를 통한 몰입형 가상환경 응용)

  • MyeongSeok Park;Jinmo Kim
    • Journal of the Korea Computer Graphics Society
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    • v.29 no.3
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    • pp.69-77
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    • 2023

  • This study proposes a rigid-body tracking based virtual avatar application method to increase the social presence and provide various experiences of virtual reality(VR) users in an immersive virtual environment. The proposed method estimates the motion of a virtual avatar through inverse kinematics based on real-time rigid-body tracking based on motion capture using markers. Through this, it aims to design a highly immersive virtual environment with simple object manipulation in the real world. Science experiment educational contents are produced to experiment and analyze applications related to immersive virtual environments through virtual avatars. In addition, audiovisual education, full-body tracking, and the proposed rigid-body tracking method were compared and analyzed through survey. In the proposed virtual environment, participants wore VR HMDs and conducted a survey to confirm immersion and educational effects from virtual avatars performing experimental educational actions from estimated motions. As a result, through the method of utilizing virtual avatars based on rigid-body tracking, it was possible to induce higher immersion and educational effects than traditional audiovisual education. In addition, it was confirmed that a sufficiently positive experience can be provided without much work for full-body tracking.

  • https://doi.org/10.15701/kcgs.2023.29.3.69 인용 PDF