• Fashion & Textile Research Journal
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• v.24 no.1
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• pp.1-14
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• 2022

K-pop stars are an important influence in the era of digital culture based on emotions. The purpose of this study is to visually express the identity and worldview of their music in the virtual and real world, and to promote Korea's current and past culture. The study also intends to appeal to the emotions of the global fans by designing original textile in their music video 'IDOL' on Tiny TAN - a symbol of world pop star BTS. For design development, traditional Korean images shown in the 'IDOL' video were collected, patterns for each member were selected, and a motif was designed on Adobe Illustrator. We selected the dragon as the motif for V, cloud for Suga, chrysanthemums for Jin, mask for Jung Kook, hanok pavilion for RM, fan for Jimin, and Sam Taegeuk for J-Hope. The selected motifs were designed as per the four textile design arrangement methods: square pattern, 1/2 half drop pattern, turn-around pattern, and panel pattern. The design was presented by mapping Kwaeja to Tiny TAN character. The developed textile design can be used not only for character costumes in virtual space, but also for various products such as clothes, accessories, bedding, cosmetics, stationery, and food. By using it to produce goods inspired by K-pop stars, it can be used as basic data for the development of high value-added competitive products in the global market and create synergy effects of K-Design, which would lead a new trend in the design world.

• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.24 no.4
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• pp.528-535
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• 2014

Objectives: This study compares the differences of fit factors before and after training on the N95 mask. The results will be utilized to suggest the need of providing effective training on respirator use. Methods: A total of 49 study subjects were tested, comprised of nurses from a general hospital and undergraduate nursing students from a medical school. Anthropometric measurements of face length and face width were compared with the NIOSH(National Institute for Occupational Safety and Health) panel. Fit factors(FF) were measured with TSI Portacount Pro+8038 before and after on-site training regarding the proper use of respirators. The FF pass/fail criterion was set at 100. Results: Two subjects(4.1 %) passed the fit test before training on use of the N95. However, 36(73.5%) of the 49 passed the test after training. Overall the FF(GM(GSD)) was 13.4(3.2) before training, but improved to 106.6(2.1) after training, which was statistically significant. These findings suggest the efficacy of educational intervention, and the performance of the direct on-site training proved to be better than that of the traditional educational methods. Conclusions: This study showed the effect of on-site training of the N95 respirator among health care workers(HCW). Therefore, providing effective training on the use of N95 for HCWs before their work assignments will greatly reduce exposure to harmful agents. It is recommended that fit testing be mandated to check for adequate protection being provided by the given respirators.

• (The) Research of the performance art and culture
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• no.36
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• pp.783-837
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• 2018

This study examines the lives and the performances of the people who participated in Songpa Sandae-nori(a korean traditional mask dance drama) before and after the designation as cultural heritage, and reviews the changes and the inheritance patterns of the mask dance which appeared in the lives of the performers. Chapter 2 reviewed previous debates about the derivational theory and the players of Songpa Sandae-nori before the flood in 1925, and discussed on awareness and the characteristics of the performers found through the review. Then the study went on to the inheritance patterns of the drama before the designation, focusing on the figures of Dolmari(a name of village in Songpa, Seoul) players who led the stage after 1925. As a result, the missing part of the activities and the lives of Dolmari performers have been more clearly identified, especially about Lee Beomman, Yeo taesan and Eum Joongeun(the main performers of Songpa Sandae-nori). Chapter 3 is about the inheritance patterns of the cultural heritage after the designation, and Heo Hoyoung was the main focus of the discussion. The researches so far have admitted his great contributions to the designation of cultural asset, although they have not proved how. After investigating various records and combining the testimonies of his students and locals, Heo Ho-young was found that he did not only gave plays of Songpa Sandae-nori but also actively engaged in the field of various traditional arts. Furthermore, jokes, dances, and masks left by him are considered to be evidences to reassess his performances.

• (The) Research of the performance art and culture
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• no.37
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• pp.327-363
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• 2018

Bhutan's mask dance drama, Cham is performed in the festival of Tshechu. Originating from the 17th century, Tschechu is a religious ritual as well as a traditional festival held to commemorate the birth of Padmasambhava, who spread Buddhism in the kingdom of Bhutan. Bhutanese Cham and Tibetan Cham share similar traits in their content of , , and in their characters of Pawo and Pamo. Meanwhile, , , , , , , , are distinctive performances of Bhutanese cham. Moreover, the clown character Atsara in Bhutanese cham is a character that does not appear in the Tibetan Cham. Atsara, a humorous character, can be identified by its use of a long phallus ornament on the head or by a distorted face mask with a phallus in its hand. Bhutanese Cham, originally from Tibet, is a religious mask dance drama handed down in Lamaism temples. In later generations, new performances reflective of Bhutan's history, myth, legends, and religion were added in large amount. Thus, the Cham of Bhutan now has very independent and characteristic aspects.

• Journal of Broadcast Engineering
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• v.25 no.4
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• pp.475-486
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• 2020

This paper is a thesis on media art technology for high-tech performances and exhibitions. After creating an interactive stroke in VR, it is projected in real time through a media facade technique. Among our traditional dramas emphasizing linear movements, movements were extracted from the Bongsan mask dance, and the movements of the lines were used in a media art performance called 'Multi-face Convergence'. When motion data enters the virtual space, geometry consisting of faces is created in the VR space. The created strokes can be set with various brush types, and when performing, a stroke with a red fire effect that matches a dynamic movement was used. It was made to be able to harmonize with the dancers performing the Bongsan mask dance. The medium called VR has characteristics that are not suitable for melting into a performance, but in this performance, it has overcome its limitations by using a technique called media façade. We propose the world's first performance technique that combines interactive strokes with traditional dance performances.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.57-70
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• 2016

Gutnori(ritual A Comparative Study on Shaman's Costume of south coast Byeolsingut in Korea and the Guizhou Nahui in China play) refers to a play in the form of showing actual appearance of god and actual comedic gag with gutguri rhythm. In order to carry out a comparison between the shaman's costume in Korea and China, this study will delve into the types of shaman costumes that are worn in the gutnoris(mask plays) performed in Korean guts and those of China performed in Nahui. As research method, literature reviews and field surveys have been conducted concurrently. In terms of literature reviews, previous research have been studied centrally. For field surveys, Korean gut, Byeolsingut performance was observed for 2 days 1 night between 1st Feb. 2014-2nd Feb. 2014 in the south coast and Chinese Nahui in Guizhou was observed for 2 days 1 night between 25th Nov. 2014-26th Nov. 2014. By comparing Shaman's costume that is worn in Korean shamanism with that of Chinese shamanism as a partial means of understanding the uniqueness of Korean shaman's costume, the following conclusion was derived upon focusing on the common types of gutnori costumes and organizing them. As a universal trait for shaman's costumes in gutnori and nahui in Korea and China, traditional clothing were worn. A unique trait for shaman's costume in gutnori and nahui in Korea and China, deity expressions were shown in both cases using colors.

• (The) Research of the performance art and culture
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• no.37
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• pp.61-94
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• 2018

This article examined that the historical changes and current significance of the Jaedam(재담) and the Xiangsheng(相聲), one of the traditional Korean and Chinese language games. Both Korean Jaedam and Chinese Xiangsheng are representative language games and traditional performing arts for laughing. The origin of the Jaedam can be traced back to Uheui(우희). Uheui has been called Changyouxi in China, Bae Woo-hee, and Jo Hee in Korea. Uheui is the most traditional language game and a variety of performances were derived from its spreading and inheriting process. Among them, Korean Jaedam and Chinese Xiangsheng can be said to be a piece of art that has successfully inherited Uheui tradition. From the late 18th century, Korean Jaedam were established as independent performance arts, and became highly active in many performance by professional joker Park Chun-jae and other performers. With the development of gramophone record in the early 20th century, the Jaedam was mainly made on the theater stage and radio. At this time, the new performance art of 'Mandam(만담)' was derived from the Jaedam, which focused more on satire current events and criticizing the social situation. Mandam has been popular for a long time and then extinct in the 21st century. The jaedam have been handed down only in the Korean traditional performance so far. Meanwhile, Chinese Xiangsheng, which was built in the mid-19th century, a bit later than Korean Jaedam, was initially considered to be a vulgar art of the lower class, but finally became popular in the early 20th century. In the mid-20th century, Xiangsheng was transformed into a new character, which mainly deals with social praise and edification of the masses. But since 'New Xiangsheng' does not focous on a satire on social conditions, the humor has been reduced. In the early 21st century, Xiangsheng was on the verge of extinction just like Mandam, but through the efforts of young actors to revive tradition, another reformation of this art was made to return to tradition and small theater. Currently, the 'traditional Xiangsheng', which has returned to tradition, is once again receiving the love and support of the Chinese audience. Korean Jaedam and Chinese Xiangsheng have many similarities in terms of history and recruitment, but they are now in different fates. There is also a great deal in common ground in terms of the content and form of the two arts. In the case of Xiangsheng, it is one of the traditional folk art forms which is still loved by the Chinese people and has become one of the most important traditional performances. On the other hand, in Korea, Jaedam as independent performance arts has disappeared and now only can be seen in traditional performances such as 'Korean mask theater'. The fact that Korean Jaedam and Chinese Xiangsheng have undergone similar changes in their spreading and inheriting process, while Korean Jaedam have disappeared and Chinese Xiangsheng is well preserved. The reason can be confirmed through the main idea of this article.

• The Transactions of the Korean Institute of Electrical Engineers D
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• v.55 no.5
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• pp.205-215
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• 2006

In this paper an optical power meter using Hadamard transform, which can be used in multiple channel optical elements alignment system, is proposed. A traditional optical power meter in multiple channel optical elements alignment system is able to judge how well the elements are aligned each other by measuring optical power of the first and the last two channels with at least two detectors. It has critical drawback that the alignment accuracy per channel is dependent on the number of detectors. The proposed optical power meter can get noise reduction by the Hadamard transform based multiplexing technique. The Hadamard transform based multiplexing technique using spatial light modulators is distinguished by the best enhancement of signal-to-noise ratio (SNR) for the reconstructed signals. Moreover, the noise reduction increases with increasing the order of multiplexing, namely the number of optical element channels. The proposed system is implemented by PDLC (Polymer Dispersed Liquid Crystal) mask which is operated by electric filed and generates optimal multiplexing patterns based on the Hadamard transform and single detector. It means that we obtain not only the each channel's optical power of multiple channel elements at once but also the best enhancement of SNR with single detector. Experimental results show that the proposed optical power meter is suitable for an active optical alignment system for multiple channel optical elements.

• Transactions of the Korean Society of Mechanical Engineers A
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• v.30 no.2 s.245
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• pp.194-201
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• 2006

Gait analysis is essential to identify accurate cause and knee condition from patients who display abnormal walking. Traditional linear tools can, however, mask the true structure of motor variability, since biomechanical data from a few strides during the gait have limitation to understanding the system. Therefore, it is necessary to propose a more precise dynamic method. The chaos analysis, a nonlinear technique, focuses on understand how variations in the gait pattern change over time. Eight healthy eight subjects walked on a treadmill for 100 seconds at 60 Hz. Three dimensional walking kinematic data were obtained using two cameras and KWON3D motion analyzer. The largest Lyapunov exponent from the measured knee angular displacement time series was calculated to quantify local stability. This study quantified the variability present in time series generated from gait parameter via chaos analysis. Knee flexion-extension patterns were found to be chaotic. The proposed Lyapunov exponent can be used in rehabilitation and diagnosis of recoverable patients.

• Proceedings of the Korean Society of Laser Processing Conference
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• 2005.11a
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• pp.37-41
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• 2005

When screen size of the Flat Panel Display (FPD) becomes larger, the traditional photo-lithography using photomasks and UV lamps might not be possible to make patterns on Photo Resist (PR) material due to limitation of the mask size. Though the maskless photo-lithography using UV lasers and scanners had been developed to implement large screen display, it was very slow to apply the process for mass-production systems. The laser exposure system using 405 nm semi-conductor lasers and Digital Micromirror Devices (DMD) has been developed to overcome above-mentioned problems and make more than 100 inches FPD devices. It makes very fine patterns for full HD display and exposes them very fast. The optical engines which contain DMD, Micro Lens Array (MLA) and projection lenses are designed for 10 to 50 ${\mu}m$ bitmap pattern resolutions. The test patterns for LCD and PDP displays are exposed on PR and Dry Film Resists (DFR) which are coated or laminated on some specific substrates and developed. The fabricated edges of the sample patterns are well-defined and the results are satisfied with tight manufacturing requirements.