• Title/Summary/Keyword: Props

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Analysis of VMD Elements Characteristics of Chinese Lifestyle Shops (중국 라이프스타일 샵의 VMD 구성요소 특성 분석)

  • Kim, Hyeon Ju;Lee, Min Gyung
    • Journal of Digital Convergence
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    • v.19 no.11
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    • pp.267-278
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    • 2021
  • This study differentiated it from previous studies by selecting Chinese lifestyle shops in the current situation where lifestyle shops are rapidly emerging due to the increase in single-person households in China and changes in consumption patterns. The purpose of this study is to present basic data for establishing VMD strategies for domestic lifestyle shops wishing to enter China through the analysis of the characteristics of VMD elements. The results of this study are as follows.The research results are as follows. In the display elements of the VMD of Chinese lifestyle shops-GAROSU, CH'IN, and Nome, the appliances and props used differentiated shapes and materials according to the product concept and design. There seemed to be a difference depending on the concept of the lifestyle shop. Also, there were differences in the form of VP and the presentation method of PP and IP in VP, PP, and IP according to the store product group and the amount of products displayed in the presentation element. In a follow-up study, it is considered meaningful to conduct a study on domestic lifestyle shops and a comparative analysis of VMD between Chinese and domestic lifestyle shops.

The Synesthetic Presence and Physical Movement of Nong-ak as Seen Through Affect Theory (정동 이론으로 본 농악의 공감각적 현존과 신체 운동)

  • Kwon, Eun-Young
    • (The) Research of the performance art and culture
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    • no.40
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    • pp.5-35
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    • 2020
  • Affect is intensity and quality that are generated as the physical body senses the outside world. Of experienced affect, notions that are granted meaning and interpretation are emotions. Affect theory distinguishes emotion and affect and by focusing on affect, it provides methods with which to analyze physical body responses and changes and it presents new possibilities to performing arts research that uses the physical body as a medium. Nong-ak is art that concentrates mainly on the occurrence of affect rather than 'representation'. Nong-ak is a performance type in which sound, color, texture, and physical movement overlap and exist in a synesthetic way. Here, physical things such as instruments, props, costumes, and stage devices are gathered together with non-physical things such as rhythm, mood, and atmosphere around human bodies. The physical body is stimulated by these things, displays tendencies that suit performances, and becomes 'the body without an image' as it immerses itself into the performance, acting while displaying 'quasi-corporeality'. The body, which moves automatically as if without consciousness, appears more easily within groups. To transition individuals of everyday life to 'the body without an image', Nong-ak executes the group physical exercise of 'Jinpuri'. Such physical exercise builds up affect by increasing nonverbal communion and communication and brings out the creativity of individuals within mutual trust and a sense of belonging. Affect and emotion stirred up by Nong-ak act as confirmation and affirmation of the existence, vitality, and ability of one's self and groups. Such affirmation recalls Nong-ak as a meaningful and important value from group dimensions and perceives it as a performance form that should be preserved and passed on.

Ideology, Politics, and Social Science Scholarship on the Responsibility of Intellectuals

  • Koerner, E.F.K.
    • Lingua Humanitatis
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    • v.2 no.2
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    • pp.51-84
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    • 2002
  • The 1990s have seen the publication of many books devoted to Language and Ideology (cf. Joseph & Taylor 1990. for one of the early ones) even though the term 'ideology' itself has remained ill-defined (Woolard 1998). The focus of attention has usually been placed on the particular use of language and often for some kind of 'political' ends, not on linguistic or other scholarship which might have been driven by some sort of ideology, i.e., a bundle of assumptions which themselves were taken as given. At least since Edward Said's 1978 book Orientalism, it has been clear to everyone that scholars construct their conceptualization of things in line with their understanding of the cultural, social, and political world in which they live, and that this often unreflected 'pre-understanding' effects their view of cultures that are different from theirs and more often than not geographically and temporally distant from theirs. This recognition has had a sobering effect no doubt, and Said's book has long since become 'mainstream.' Much more disturbing to the scholarly profession has been the publication of Martin Bernal's Black Athena in 1987, since it went much further, going beyond accusations of colonialism and cultural bias, in suggesting that the Western representation of Classical Greece over the past two hundred years was false and that what had been accepted until now about occidental antiquity must now be seen derived from African-Asiatic cultures of the Near East, notably that of the Ancient Egyptians, and that no other than Socrates should be seen as black man. While we may understand the intellectual climate in the United States that led academics to present 'myth as history' (Lefkowitz 1996), it is obvious that lines of regular scholarly principles of investigation have been crossed (cf Lefkowitz & Rogers 1996). The present paper investigates what may be seen as the ideological underpinnings of such work. After reviewing some recent scholarship in the area of linguistic historiography that have shown that academic work has never been 'value-neutral' (as may have been assumed or has been claimed by some practitioners), it is argued that in effect one must be aware of what Clemens Knobloch has recently termed Resonanzbedarf, i.e., the desire, whether conscious or not, of scholars-and probably scientists, too-to have their work recognized by the educated public and that, in so doing, their discourses tend to pick up on contemporary popular notions. These efforts may be harmless if everyone was to recognize these allusions and adoption of certain lexical. items(buzz words) as props or what Germans call Versatzstiicke, but history tells us that this has not always been the case. Still, as Hutton (1999) has shown, not all scholarship during the Third Reich for example can simply be dismissed as worthless because it was conducted in under a prevailing political ideology. Indeed, in seemingly innocent times, linguists can be shown to frame their argument in a way that makes them appear so utterly superior to their predecessors (cf. Lawson 2001). Upon closer inspection, those discourses turn out to be much like those of scholars in nationalistic environments that have tended to select their 'facts' to prove a particular hypothesis (cf., e.g., Koerner 2001). The article argues for scholars to take a more active role in exploding myths, scientifically unfounded claims, and ideologically driven distortions, especially those that are socially and politically harmful.

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Conservation Treatment of the Rickshaw in the Daegu Modern History Museum Collection (대구근대역사관 소장 인력거 보존처리)

  • Seo Yeonju;Lee Uicheon;Park Junghae;Lee Yeongju;Kim Soochul
    • Conservation Science in Museum
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    • v.29
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    • pp.33-46
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    • 2023
  • Modern and contemporary cultural assets are defined as a collective term for tangible historical and cultural assets produced in the modern and contemporary period (around the opening of Joseon to the present) in Korea. Among them, rickshaws have been used as a major means of transportation for about 40 years since the opening of the ports in Joseon. The repair process for rickshaws divides the rickshaw into three parts, namely the body, the cover, and the wheels, applying a plaster treatment process by referring to the outcomes of the condition assessment and material analysis for the metal, wood, fiber, and paint used. Overall, the repair process is carried out through dry/wet cleaning, joining, stabilization, reinforcement of damaged parts, and other restoration treatments, which reveal metal decorations and patterns on the scaffolding (flowers, arabesque patterns, etc.) that were previously not observable with the naked eye, while also adding to the stability of the artifact. In addition, props were produced to ensure the artifact's safe exhibition.

CINEMAPIC : Generative AI-based movie concept photo booth system (시네마픽 : 생성형 AI기반 영화 컨셉 포토부스 시스템)

  • Seokhyun Jeong;Seungkyu Leem;Jungjin Lee
    • Journal of the Korea Computer Graphics Society
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    • v.30 no.3
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    • pp.149-158
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    • 2024
  • Photo booths have traditionally provided a fun and easy way to capture and print photos to cherish memories. These booths allow individuals to capture their desired poses and props, sharing memories with friends and family. To enable diverse expressions, generative AI-powered photo booths have emerged. However, existing AI photo booths face challenges such as difficulty in taking group photos, inability to accurately reflect user's poses, and the challenge of applying different concepts to individual subjects. To tackle these issues, we present CINEMAPIC, a photo booth system that allows users to freely choose poses, positions, and concepts for their photos. The system workflow includes three main steps: pre-processing, generation, and post-processing to apply individualized concepts. To produce high-quality group photos, the system generates a transparent image for each character and enhances the backdrop-composited image through a small number of denoising steps. The workflow is accelerated by applying an optimized diffusion model and GPU parallelization. The system was implemented as a prototype, and its effectiveness was validated through a user study and a large-scale pilot operation involving approximately 400 users. The results showed a significant preference for the proposed system over existing methods, confirming its potential for real-world photo booth applications. The proposed CINEMAPIC photo booth is expected to lead the way in a more creative and differentiated market, with potential for widespread application in various fields.

Exploring the Effects of Passive Haptic Factors When Interacting with a Virtual Pet in Immersive VR Environment (몰입형 VR 환경에서 가상 반려동물과 상호작용에 관한 패시브 햅틱 요소의 영향 분석)

  • Donggeun KIM;Dongsik Jo
    • Journal of the Korea Computer Graphics Society
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    • v.30 no.3
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    • pp.125-132
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    • 2024
  • Recently, with immersive virtual reality(IVR) technologies, various services such as education, training, entertainment, industry, healthcare and remote collaboration have been applied. In particular, researches are actively being studied to visualize and interact with virtual humans, research on virtual pets in IVR is also emerging. For interaction with the virtual pet, similar to real-world interaction scenarios, the most important thing is to provide physical contact such as haptic and non-verbal interaction(e.g., gesture). This paper investigates the effects on factors (e.g., shape and texture) of passive haptic feedbacks using mapping physical props corresponding to the virtual pet. Experimental results show significant differences in terms of immersion, co-presence, realism, and friendliness depending on the levels of texture elements when interacting with virtual pets by passive haptic feedback. Additionally, as the main findings of this study by statistical interaction between two variables, we found that there was Uncanny valley effect in terms of friendliness. With our results, we will expect to be able to provide guidelines for creating interactive contents with the virtual pet in immersive VR environments.

Historical Evolution of Stage Costumes in Europe since the Second World War (제2차 세계대전 이후 나타난 유럽 무대의상의 사적 분석)

  • Na, In-Wha;Lee, Kyu-Hye
    • Journal of the Korean Society of Clothing and Textiles
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    • v.31 no.12
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    • pp.1761-1771
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    • 2007
  • The artificial exaggeration of stage costumes is thought to be one of the major techniques of enhancing dramatic expression on stage, whichever for visual impact or symbolic effect of dramatization. In the history of stage dressing, a variety of styles has been tried using different materials and production techniques. This may be reviewed as an effort to express dramatic effects more effectively. As this trend became obvious in Europe after the Second World War, this study analyzes the stage costume to deepen our understandings of the role of costumes in expressing dramatic effects. To accomplish this, we first summarized the history of stage costume materials and technical advance and chose five major cases representing the history of stage costume since the Second World War in Europe based on aesthetic and creative aspects: 1) Simplified stage of Jacques Copeau, 2) Stylized stage of Bertolt Brecht, 3) Essential stage of Grotowski, 4) Measured stage of Robert Wilson the Master, and 5) Post-dramatic stage of Philippe $Decoufl\'{e}$. In each of particular case, the historical, material and dramatic contexts were examined as well as different material-effects. The results are as followings: 1) Costume for Copeau's simplified stage: its simplicity plays a supporting role to the gesture of actors(intensifying effect). 2) Costume for Brecht's stylized stage: the artificial stylization integrates into the play with the importance approximately equal to the actors's acting. 3) Costumes for Grotowski's essential stage: costumes disappeared to emphasize only actor's presence on stage. 4) Costumes for Robert Wilson's measured stage: costumes made concrete impression to the extent of obtaining the same importance of actor's body among other stage art elements(lighting, sound, props, actor, text, etc). 5) Costumes for Decoufle's post-dramatic stage: costumes in the era of multi technology possess multi functional aspects that surrogate actors' body. This study suggests that stage costumes take an important part in dramaturgy to the extent that the intent of dramaturgy can be induced enough from stage costume. Thus, costume makers are expected to incorporate the appropriate dramatic factor more than before.

Studies on Growth Responses of Tomato and Environmental Characteristics of Various Rain Shelter Types (간이시설 형태별 환경특성과 토마토 생장반응 연구)

  • 김현환;조삼증;이시영;권영삼;신만균;남윤일;최규홍
    • Journal of Bio-Environment Control
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    • v.2 no.2
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    • pp.89-98
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    • 1993
  • The purpose of this study was to investigate crop growth responses under various rain shelters which were devised to improve the indoor environment in summer season. For developing the proper type of rain shelter, the improved rain shelters with the roof of saw - tooth type(saw-tooth type) and 3 span-arch type(improved arch type) were compared with the conventional one with the roof of single arch type(conventional arch type) and no rain shelter (open field ). The results were summarized as follows ; 1. The air temperature in the improved arch type was 4$^{\circ}C$ and 1$^{\circ}C$ lower than those in the conventional arch type and the saw - tooth type, respectively. 2. The air temperature drop by the evaporative cooling + improved drainage was 1.3$^{\circ}C$ which was 0.9$^{\circ}C$lower than that by the improved drainage only. 3. The effect of labour saving in the saw-tooth type was superior to any other type because its frames were used as props and the labour for ventilation was not needed. 4. The highest marketable yield of tomato was 4,897kg/10a in the improved arch type and the total leaf areas which related to photosynthesis was the largest in the saw - tooth type. 5. The improved arch type was proved to be proper to raise yield potential. The effect of the underground environment treatment on the quality and quantity of vegetable showed to be outstanding in the saw- tooth type with the evaporative cooling + improved drainage, and in the improved and conventional arch type with the trickle improved drainage. 6. In conclusion, the saw - tooth type and the improved arch type were proved to be labour saving rain shelters and the indoor environments in both types were better than that in the conventional arch type.

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Narrative Composition and Visual Representation of Alternative History in FPS Game Trailer -By focusing on (FPS 게임 트레일러 속 대체 역사적 서사구성과 시각적 재현 - <울펜슈타인: 더 뉴 오더>를 중심으로)

  • Choi, Do-Won;Lee, Hyun-Seok
    • Cartoon and Animation Studies
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    • s.41
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    • pp.253-277
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    • 2015
  • When was launched in 2014, it was immediately ranked 2nd in English gross sales record in the first half of 2014, attracting huge attention from avid game users. Colin Moriarty(2014) states that the worldwide popular game, , lies on the alternative history assumption, 'what if Nazi Germany won the second world war? In regard to this, this research addresses how the characteristics of alternative history was adopted and visually represented in FPS game trailer. In terms of research method, firstly, literatures will be reviewed about definition of alternative history and some of the previous examples where alternative history was applied in novels, films and games. Secondly, narrative composition of alternative history is categorized as three sequential phases, (1) borrowing real history material, (2) connection between real and fictional history and (3) reconstruction of history through reinterpretation. Thirdly, the live-action game trailer will be analysed by three sequential phases of narrative composition, and CG game character and background will be analysed by spatial background, characters and props. The phase of 'borrowing' has used the historic images related to the World War II, and the phase of "connection' has composited by "connection through circumstantial events". The phase of 'reconstruction' has unfolded its fictional narrative in the form of "limited fictional history" In addition to this, has constructed dystopia world through composing of historic images and CG characters by SF design. In the light of this, the narrative composition of alternative history successfully extends to game area.

A Study on the Characteristics of Chuibyong(翠屛: a Sort of Trellis) in Paintings of Late Joseon Dynasty (조선 후기 회화작품에 나타난 취병(翠屛)의 특성)

  • Jung, Woo-Jin;Sim, Woo-Kyung
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.31 no.4
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    • pp.1-21
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    • 2013
  • This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.