• Korean Journal of Human Ecology
• /
• v.8 no.2
• /
• pp.255-273
• /
• 1999

The purpose of this study was to examine the relationship between characteristics of personality and respondent characteristics of Kinetic Family Drawing for young children. The subjects were 170 children(110 boys and 60 girls). The personal interview contained Personality Characteristic Test for young children(In-Sub Song, 1993) and Kinetic Family Drawing Test(Burns and Kaufman, 1982). Results of the test were analyzed by t-test and ANOVA by SAS program. Results are followings. First, chileren's sex and the general tendency of personal characteristic showed significant difference in the emotional personality among 4 personality characteristics. Girls show more positive tendency than boys in moral, physical, appearance and feature which expressed personal feeling and emotion. Also, girls showed more positive tendency than boys in personal characteristic which showed physical ability. Second, Children's sex and individual characteristic in Kinetic Family Drawing respondent characteristic showed significant difference in own's arm length. Also, Using a rare of paper and chapter 1 of the power among the family showed significant difference in styles and symbols. The boys drew lengther arms compared with their height than the girls. The girls were less complicative, anxious, comparative and aggressive for their family. Third, As a result of the study about the relationship between 4 personal characteristics of children and individual's behavior in Kinetic Family Drawing respondent characteristic, the significant difference is showed in academic personality and social personality had higher completion of their father's feature and drew bigger feet. In socal personality, negative behavior than positive children. Fourth, As a result of the study about the relationship between 4 personal characteristics of children and individual's characteristic, the significant difference were found in academic personality, social personality, family personality and emotional personality. Children with negative academic personality drew longer arms than children with positive academic personality, social personality and family personality. Also, Children with negative emotional personality drew more siblings than children with positive emotional personality. Fifth, The academic personality and the social personality had significant difference in the relationship between 4 personal characteristics of children and dynamics. In social personality, normal children were more tendencious to look at the important person with their mother's direction than positive children. Sixth, In terms of the relationship between 4 personal characteristics of children and mode, academic personality and family personality showed significant difference. Children with negative academic personality used more edge of papers than children with positive academic personality and children with positive academic personality and children with negative family personality fold more papers than children with positive family personality. At last, there were no significant difference between 4 personal characteristics of children and styles as well as symbols.

• Archives of design research
• /
• v.20
• /
• pp.135-144
• /
• 1997

Italian industrial design influences strong impression worldwidely by their identity of free style, unique and artistic character, and get a very important status in aspect of the history of design and economy. Also, italy has many common feature with Korea in the geographic back- ground, character of history, culture, and nationality that is well-oriented by emotion, and it seems to be formed a valuable study. This study is based on the book 'Italian Design Through Generations' by kazuko Sato and tried to examine the character of Italian design by searching history, exam- ples, representative designers and enterprises of Italy, and to draw some lesson from it for establishiment identity of Korean design by reflecting to the origin character of Korea. Also, this study aims to inspect change of the civilization paradigm which is entering new aspect, and to suggest an ablity of our origin character and direction of the development.

• Korean Institute of Interior Design Journal
• /
• v.13 no.5
• /
• pp.82-89
• /
• 2004

Today, people are bombarded with information, high-technology and multimedia. With that in mind, museum can no longer attract visitor with traditional concept, so it must find some solution or stimulation to attract their attention back. New museum is becoming a experimental space for new culture, new education, and most of all a place to fulfill one's satisfaction of life. Over the past centuries, Guggenheim Foundation has done a great job in providing place for art and place to get emotional stimulation. Out of all of their museums, Frank L. Wright's Solomon R. Guggenheim in New York and frank O. Gehry's Guggenheim Museum in Bilbao had most unique character yet share similar feature to be recognized as the architectural landmark of the 20th & 21st century Although there are close to 50 years of gap between two museums, their unique, attractive, site-specific, emotional value comes from the two most innovative architect of the past and present century. For Wright the Guggenheim was his last project but it had one of the greatest impact on his career and for Gehry the museum gave him confidence that anything is possible. This study will focus on the spatial organization as well as the architectural formation of both museum to compare and analyze. The goal of the research is to give fundamental data which will reveal emotional elements as well as concepts from each work. The content of this research will mainly focused on their architectural philosophy and it will reveal their concept on human emotion as well as the characteristics of the spatial organization. The result of the study will be a valuable reference for people designing art & cultural facilities in the future.

• Journal of the Korean Institute of Intelligent Systems
• /
• v.20 no.6
• /
• pp.806-813
• /
• 2010

Human facial expression shows human's emotion most exactly, so it can be used as the most efficient tool for delivering human's intention to computer. For fast and exact recognition of human's facial expression on a 2D image, this paper proposes a new method which integrates an Discrete Adaboost classification algorithm and a neural network based recognition algorithm. In the first step, Adaboost algorithm finds the position and size of a face in the input image. Second, input detected face image into 5 Adaboost strong classifiers which have been trained for each facial expressions. Finally, neural network based recognition algorithm which has been trained with the outputs of Adaboost strong classifiers determines final facial expression result. The proposed algorithm guarantees the realtime and enhanced accuracy by utilizing fastness and accuracy of Adaboost classification algorithm and reliability of neural network based recognition algorithm. In this paper, the proposed algorithm recognizes five facial expressions such as neutral, happiness, sadness, anger and surprise and achieves 86~95% of accuracy depending on the expression types in real time.

• Journal of Korean Classical Literature and Education
• /
• no.15
• /
• pp.329-353
• /
• 2008

Tasan Jeong Yak-yong is great scholar, who makes a synthesis of Sil-hak[實學, Practical Science of Korea], reformer of society, and a poet in the Joseon Dynasty. He expressed contradiction and conflict of those days by intellectual language, and reperceived basic ideology of the Joseon society. Also he theorized dissatisfaction of the people about those days and its system as form of religion. We can divide Tasan's life into two times. The first part is his ages 16~39 in the period of Jeong-jo(1777~1800). The second part is in the period of Sun-jo(1801~1834). In this period, he was exiled into Gang-jin for 17 years. After banishment, he lived a quiet life for the rest of his life in his hometown. His allegoric poetry were written in this second period. The special feature of allegoric poetry is strong satire. An allegory would be that is 'king's ear', which the barber has sight, or the barber's voice, which has divulged king's secret among the bamboos. Otherwise it would be that is the sound 'king's ear is donkey's ear' in the bamboos. This sound is divulging of the true donkey's ear. It doesn't travel to audiences, but travels trough wind in the bamboos. The narration exists just as story that barber can't stand to keep silence about king's secret. There are exposure of true and critical motive as allegoric expression. Tasan's allegoric poetry stand on the basis of his love for the people. Also there reveals his thought deeply with an enormous amount of reading and self-communion. Moreover there are his warm mind with his sharp insight in which captures alive lives as allegoric materials. Most of allegoric poetry satirize actuality of those days to make an excuse for external distinguishing marks of animals and plants. However Tasan's poetry are different from them. After he grasped serious problems from his contemporary actuality, and then choosed allegoric media to express correctly. Because he grasped the special features of lives after minute observation, he could exposure controversial point of the actual. His sharp insight was not limited to allegoric media. He noticed his period and the current of his society sensitively. It made his allegoric poetry as important materials to make us to know the condition of the people in the Joseon Dynasty. Tasan's allegoric poetry is inherited by Baek Seok[白石, 1912~1995] as regular juvenile literature. Baek Seok's juvenile stories are the results of expansion and transition for Tasan's allegoric poetry. Allegoric poetry was the shout of barber to prosecute about social irregularities and contradiction, and the sound of the bamboos to travel moaning of the people in the past. Now allegoric poetry create new emotion to make us to speculate ourselves with our surrounding. This changes are caused by special feature of allegoric poetry as a form to reflect our general lives.

• Journal of the Korea Society of Computer and Information
• /
• v.16 no.10
• /
• pp.93-100
• /
• 2011

The necessity of research on extracting information of face and facial components in animation characters have been increasing since they can effectively express the emotion and personality of characters. In this paper, we introduce a method to extract face and facial components of animation characters by defining a mesh model adequate for characters and by using dominant colors. The suggested algorithm first generates a mesh model for animation characters, and extracts dominant colors for face and facial components by adapting the mesh model to the face of a model character. Then, using the dominant colors, we extract candidate areas of the face and facial components from input images and verify if the extracted areas are real face or facial components by means of color similarity measure. The experimental results show that our method can reliably detect face and facial components of animation characters.

• Anxiety and mood
• /
• v.10 no.1
• /
• pp.3-10
• /
• 2014

Reactive disorder is a group of diagnosis with a definitely known etiology and whose etiological factor is essential to the diagnosis. In DSM system, such reactive disorders are listed as adjustment disorder, acute stress disorder, brief psychotic disorder with marked stressor and posttraumatic stress disorder (PTSD). However, a growing number of individuals is suffering from a prolonged feeling of embitterment after exceptional negative life events and this condition could be diagnosed neither PTSD nor adjustment disorder nor depressive disorder in the context of DSM-IV diagnostic system. This clinical condition can be described as 'posttraumatic embitterment disorder' (PTED). PTED is a reactive disorder triggered by exceptional, though normal negative life events such as conflict in the workplace, unemployment, death of a relative, divorce, severe illness, or experience of loss or separation. The common feature of such events is that they are experienced as unjust, as a personal insult, accompanied by psychological violation of basic beliefs and values. The central psychopathological response pattern in PTED is a prolonged feeling of embitterment. In particular, the core emotion of embitterment can lead to the rejection of treatment. Therefore, "wisdom therapy" as a new treatment approach specifically designed for PTED has been developed. It is assumed that many patients suffering from PTED are often misunderstood and misdiagnosed. This review would help to introduce PTED into the clinical field in psychiatry.

• Cartoon and Animation Studies
• /
• s.36
• /
• pp.147-165
• /
• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.38 no.1
• /
• pp.49-63
• /
• 2010

This study was intended to analyze and interpret the pattern of naming the domestic apartment brand from a semiologic viewpoint in a bid to review the meaning and value of apartment brand, while on the other hand, evaluating the characteristics of persuasive message pursued by current apartment brand in 2010, and consequently, the conclusion of the study is outlined as follows. 1. As a result of analyzing the coinage of branding naming, the words such as combination, joint and blending pattern tended to dominate, which seemed to attempt to represent the variety of values of the housing culture. Brand ideation tends to stress the character symbolism and polysemic message using syllepsis, and the experimental attempt to revive the traditional dwelling concept in a modern sense in a way of combining the archaic word with the Chinese character was found as well. 2. As a result of analyzing the frequency of verbal identity and lexeme of domestic apartments, those frequently used are in order of ville, nature, beauty(美), park, hi, green, palace(宮), nobility and center(tra), which are the lexemes representing the landscape, view, nature and dignity. 3. As a result of identifying the pattern of lexeme using analysis frame based on existing researches such as apartment brand positioning, the most important external core concepts controlling the direction and value of apartment brand are 'environment-orientated' and 'emotion-orientated', and internally, 'function-oriented'. Given the persuasive language expressing the 'environment-oriented' feature and the priority of brand lexeme are garden, park, view and the nature, a landscape-oriented persuasive message is seen to be surging in brand naming. 4. An emotion-oriented persuasive language such as dignity axis having major lexeme represented by palace, nobility, class and a pride axis having major semantic elements represented by human, I and you are used as major value concepts and persuasive language that lead domestic apartment brands to differentiation and upgradation. 5. Among the lexemes focusing on view from environment-oriented standpoint, hi, hill, tower, view, mark, heights are the trend pursued by high-rise apartment aiming at the view such as residential-commercial apartment, and thus the persuasive language focusing on high-rise concept is expected to become the element dominating the trend of apartment brand for the time being.

• Cartoon and Animation Studies
• /
• s.49
• /
• pp.325-357
• /
• 2017

It can be assumed that the reasons why the animation characters, 'Olaf (in Frozen Kingdom)' and 'Minions (in Super Bad)', etc., which were very successful in the merchandising market while having won the popularity better than the main characters are very popular even though such characters appeared only by playing a funny role while assisting the adventures of the main characters are not only because of their cute appearances but also because such characters have their own core features in their inner world as the transitional object-characters. Simply expressing, a 'Transitional Object' as a concept suggested by a child psychologist, 'Donald Winnicott', means a lovey doll or an imaginary friend which temporarily replaces an infant's mother during the procedure when the infant is mentally separated from its mother. However, in case that the theory of transitional objects was applied directly to many narrative content characters for doing a study, there must have been done some studies in advance for establishing some new criteria and indexes related to the transitional object-characters of such narrative contents. Accordingly, while thinking that the 'emotional relationship' between a growth-subject and a growth mediator must be dealt with as the most important content in order to define a transitional object-character in a narration clearly, this researcher established some emotional index for judging the propensities of a transitional object-character on the basis of such way of thinking. The index is composed of 4 kinds of emotional roles (quasi-family member, growth mediator, lovey doll, an imaginary friend), 6 kinds of emotional supports (hugging, protecting, accepting, giving the initiative, improving the relationship and mutual supervising) and 4 kinds of emotional impressions (impression by contacting, impression to protect and impression accepting an attack). In case that some main characters of a family feature animation, 'Inside Out', are analyzed while the index mentioned above is applied, it was found that 'Bing Bong' and 'Sadness' have a high propensity as a transitional object-character. Especially, it could be inversely inferred in which ways some good transitional object-characters can help the narrations on growth of a family feature animation by taking a look at the character, 'Sadness' that has the highest propensity as a transitional object-character. The transitional object-character, 'Sadness' assists the narration on growth internally and externally by helping the internal maturity of a growth-subject in a way of projecting the tasks for the internal maturity of a growth-subject while helping the growth-subject to be successfully externally in a way of providing the growth-subject with some kinds of facilitating emotion. As the results from this Study, since such kinds of emotional experiences provided by such transitional object-characters are displaced to not only the relevant growth-subjects but also the audience who are emphasized with such growth-subjects as they are, such transitional object-characters play a role of hidden benefactors who induce some immersion into the narrations and provide child and adult audience with various layers of emotional satisfaction.