• Journal of Korean Elementary Science Education
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• v.37 no.3
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• pp.296-308
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• 2018

The purpose of this study is to analyze the characteristics and differences of gesture between career teachers and novice teachers in elementary science class. In order to analyze the gesture of elementary science teachers, gesture analysis framework was developed. The teachers who participated in the experiment were 2 beginner teachers and 2 career teachers. We analyzed 'bones and muscles', 'digestion', 'breathing', and 'excretion' of 'body' section in the second semester of 5th grade. The video recording of the class scene with the camcorder was recorded and analyzed by Observer XT. The results of this study are summarized as follows. First, the career teacher lessens unnecessary gestures than the novice teacher. During the class, the career teachers lessened the gestures not related to the context of the class. These differences were more prominent in the activities of the group with many unexpected situations than those of the teachers who prepared the class contents. Second, career teachers have more communication control act than novice teachers. Career teachers have often made adjustments to induce learner presentations or control unnecessary utterances. Third, career teachers efficiently interacted with learners using gestures that can enhance communication.

• Journal of the Korea Society of Computer and Information
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• v.7 no.2
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• pp.124-129
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• 2002

Currently, image processing are used widely and have various types of characteristics with the applications of VOD(Video on demand), the web casting services, the video conference systems and virtual realities. Using the scene change, at every time of video image transitions, an editor can classify the video context and also require a function of in(Boxing insertion. Digital watermarking provides a solution to illegal copying of digital contents and has many other useful applications, including web broadcast monitoring, transaction tracking, authentication, copy control and device control. The Purpose of this thesis is to implement of nonlinear moving picture editor for the multiple watermarking. For the effective watermarking performance, this thesis considers the protection of image quality reduction and robustness for hiding information concurrently.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.4
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• pp.15-24
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• 2019

Currently, museums and architectural heritage provide augmented user experiences by incorporating various media technologies. They still, however, suffer from the limitation of entertainment-based and the provision of location-based simple and repetitive contents. In addition, while acting as a key medium of experience for architectural heritage, the concept of space is not properly reflected in current services. The purpose of this study is to design user space experience considering such characteristics of architectural heritage. The spatial experience content and content production platform are defined. This software platform creates content that enhances the experience of the place by giving a context-based digital data associated with space and objects. The spatial experience content is designed as a series of experience sequences. The composition of the sequence borrows the method of film and narrative which segment and connect consecutive experiences on a scene basis considering user's detailed spatial experience. Therefore, content components can be combined and reproduced in various types. Augmented contents were extracted by using rule-based reasoning function of ontology at the moment. As a practical example of architectural heritage, the Seokjojeon Hall is used to reveal a spatial experience scenario.

• Journal of English Language & Literature
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• v.64 no.2
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• pp.273-298
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• 2018

This paper, postulating that Lowell's Imagism is not some "Amygism" that wobbles with "emotional slither," "mushy technique" and "general floppiness" as Pound once mocked, but another kind of poetic discourse that deserves the fullest re-consideration, goes back to the very scene where Pound left for Vorticism, condescendingly allowing Lowell and her supporters to use the name "Imagism" for three years. There, it tries to illuminate how Lowell, making the most of the opportunity given to her, picked up what Pound had left behind, grafted it on the soil of America, and finally fulfilled her literary passion to awaken the common reading public to the taste for poetry reading. For the purpose, it looks into her critical reviews in Tendencies in Modern American Poetry, and stresses her creative critical efforts to re-address Pound's principles of "Imagisme." In particular, given the limit of space, it focuses only on the second principle of her Imagism and examines the modernity of her concepts of "a cadence," "suggestion," and "the real poem beyond." Then it reads "Patterns" in the context of Japanese poetry and Noh drama and analyzes the poetic patterns that Lowell made through a creative adaptation of Japanese aesthetics for Imagist poetics. In doing so, this paper aims to provide reasonable evidences to evaluate the modernity of Lowell's Imagist ars poetica and to consider her a truly serious Imagist poet worthy of a place in the history of American poetic modernism.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.167-202
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• 2014

When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960's and 1970's video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience's recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne's Hamlet and Lenea de Sombra's Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero's perspective. It is also noteworthy that Ostermeir understood Hamlet's dilemma as these days' young generation's propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator's perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne's Hamlet and Lenea de Sombra's Amarillo.

• Sijohaknonchong
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• v.42
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• pp.117-150
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• 2015

English sijo is the sijo poems written in English. This paper considered English sijo especially in association with its wit. In English-speaking countries, wit has been often emphasized as one of the main characteristics of the sijo genre, and it is often found in many English sijo poems. As a critical term, wit indicates a kind of "concord of discord", which consists of dissimilar images, paradox, irony, etc. This paper investigated how English sijo embodied this kind of critical wit and created three kinds of delight; those are intelligent, sarcastic, and humorous one. First, I examined old Korean sijo poems and the wit embedded in them, and then I compared them to the case of English sijo. Sijo was received in English-speaking countries in the context of the literary genre tradition such as the epigram and the sonnet, and of the literary concepts such as irony and wit. In this context, sijo, which has a three-divided semantic structure and a twist in the last part, often containing irony and wit, could be received and composed without much difficulty in Englih-speaking countries. Many English sijo poems contain wit, and they make abundant delight, which is intelligent, sarcastic, or humorous. Wit is found in Korean old sijo too, but the wit that catches humorous moments variously in everyday lives, rather than show acid sarcasm or exaggerated comic scene, is a remarkable characteristic of the English sijo. English sijo presents the possibility of the sijo genre as the poetry of everyday life, which presents various aspects of daily lives in a warm and delightful perspective.

• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.701-712
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• 2012

This study examines the various expressions and immanent value of fashion and beauty style based on Craig Owens's Allegory theory. I analyzed four application elements of Borrow, Site Specificity, Accumulation of Strategy, and Hybridization in? Ladygaga's Music Videos. The results are as follows. 'Borrow' presents a kitsch style and playful Pop-art style, transformation of gender from Mini Mouse body suit, telephone headpiece, and can hair. 'Site specificity' presents the temporarity of fashion material through rebirth, aging, natural extinction from the chain over the black jump suit, crime scene tape, and skull-face makeup with masculine style. 'Accumulation of strategy' presents a futuristic chic fashion style from a layered style, retrospective fashion, repetition and duplication in Music Videos. It shows the physical beauty of an Asian warrior style in Poker Face. 'Hybridization' present Cyborg feminism and 'Will of Power' from iPOD LCD glasses and Pyro-Bra. The Pyro-Bra represents how the female body can be used as a weapon in the outfits of Lady Gaga. In addition, Immanent value is as follows. Textual interaction with high art is accomplished through a combination of contemporary social and cultural significance to understand the cultural code and to extend the value. Combined with high culture, popular music genre is accomplished through musical appreciation by a woman in fashion styling and sensual pleasures of the body as a tool to express a sublime advantage. Fashion style is accomplished by overcoming a self-transcendent body image representation. The way in which mutual coupling dismantling, destruction, and uncertainty is to re-launch the static, with a pluralistic context of Textuality.

• The Journal of Art Theory & Practice
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• no.16
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• pp.7-40
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• 2013

Historian Eric J. Hobsbawm once said "the task that historians have is to analyze the meanings of the past within the context of society and to track the changes and implementation." It would not be too far of a stretch to apply Hobsbawm's quote to art historian since art history, although quite specific, is still history. In addition, Hobsbaum also asserted that, "a mold called the past continuously forms the present or at least thought to be." It is my recognition that the major westernization of the last century took place under the Japanese colonization which served as the channel to usher in western art; however, the current 20thcentury Korean art history fails to recognize that the mold of the past, namely western art in this case, has formed the modern art of the present. Based on this recognition, attention was given to what lacked in the analysis of the current 20th-century Korean art history in terms of "Informel" which was identified as the turning point towards "modern art" in the Korean art history as well as the following "experimental art." My belief is that the art history of Korea has to be reassessed from, a socio-cultural perspective as well as adopting multi-level and diachronic understanding. However, the existing Korean art, especially the one between the end of 1950s to the 1970s was based on the perspective of "severance"; thus, raising the needs for the starting point of a new perspective. It is my conviction that meta perspective on writing is most essential in order to lay a solid basis for the Korean art scene to have a productive discussion. I feel the utmost necessity to reinterpret the typified history analysis and criticism which stemmed from the trauma under the Japanese colonization. The most urgent task is to avoid academic closeness and to share the research. Painting is an individual expression of the artist, but the act of expression is not free from the cultural and societal influence to which the artist belongs.

• The Journal of the Korea Contents Association
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• v.17 no.1
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• pp.193-200
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• 2017

Computer technology pursuing more innovative image than before, makes some characteristics which distinguishes the digital fiction film from the analogue fiction film. One hand, the split screen in analogue film aides the development of drama in the aspect of narrative, on the other hand, it controls the psychology of spectator. The composite image in digital fiction film by computer graphic, and elaborated digital editing show many innovation in the field of audiovisual. In this context, I would like to remark on the digital film (2003) directed by Ang-Lee. In , the split screen and the composition of the fast transiition of shots in the scene of laboratory were created by computer graphic program for special effects. As visual special effect plays an important role in digital film, its narrative space creates a space which is distinguishable from that of analogue film.This can be an example which says a lot for the special aspect of digital narrative.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2012.10a
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• pp.659-662
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• 2012

In this paper, the service system the urgent of the danger area or the managed object region is proposed whether the system is autonomously the police or situation where it informs through the police car and it can convey the contextual information or not. In case the nodes location is continuously confirmed from the gateway and it queues and the event is generated in the server of system whether it is the situation, or not the system to be proposed transmits the event triggered message and system transmitting the video message to the nearby which the event is generated node. As a result of the test, in case the event was generated in the server whether it was the situation, or not it confirmed to transmit the video message as the route where it is stored in the server.