• Journal of Science of Art and Design
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• v.11
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• pp.153-199
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• 2007

The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.

• Journal of Global Scholars of Marketing Science
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• v.20 no.1
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• pp.70-79
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• 2010

There has been some research conducted that addressed immoral consumer behaviors in Korea; however, most of this research focused on purchasing counterfeits or shoplifting. High return rates of apparel and used apparel returns have been acknowledged as problem areas within the fashion industry. However, very few researchers have addressed this issue. Therefore, the goal of this research was to explore consumer's retail borrowing experience using a mixed methods approach. In study 1 Korean consumer's retail borrowing experiences was explored through focus group interviews. Findings informed study 2 an examination of apparel consumers' attitudes toward retail borrowing behavior via an online survey. Findings assist both researchers' and practitioners' understanding of retail borrowing behaviors and provide insight into retail borrowing issues in the apparel retail industry. For study 1, five focus-group interviews were conducted with seven panels of individuals that had retail borrowing experience within the past year. Thirty-five Korean consumers who lived in a metropolitan area participated in the focus group interviews. Most of consumers were in their 20's (n=21) and were women (n=24). Most participants purchased apparel items from a retail store and returned the worn items for either a full refund or exchanged the worn item for another item. Motives underlying retail borrowing behavior included social needs, job-related needs, fashion needs, and "smart shopping." Similar to existing research findings from other countries, social needs were the most frequently mentioned cause of retail borrowing in fashion stores. Consumers' moral values, attitude toward large corporations, and prior retail borrowing experience were mentioned as possible factors affecting consumers' retail borrowing behavior. For study 2, the questionnaire used to gather the data was developed based on the findings of part I and existing research. Questions concerning consumers' moral beliefs, sensation seeking tendencies, self-worth, past retail job experience, retail borrowing experience, and some demographic characteristics were included in the questionnaire. The data were collected via an online survey using an online panel provided by a commercial online research company located in Seoul, Korea. In order to obtain various consumers, a quota sample was (male: female=1:1, 20's:30's:40's=1:1:1, retail experience: no retail experience=1:3) obtained from the company. A total of 401 consumers who had shopped for apparel items during the prior 6 months participated in the online survey. The results indicated that 19.7% of the respondents reported they had experience borrowing fashion merchandise. Among these individuals, male borrowers (57%) outnumbered female borrowers. In terms of age distribution, x2 revealed that there was a statistical difference between respondents with and without retail borrowing experiences: 41.8% of the respondents with retail borrowing experience were in their 40's, while respondents without retail borrowing experience were evenly distributed between their 20's to 40's. There was also a significant difference between respondents with and without retail borrowing experience in terms of income: respondents with retail borrowing experience tended to have higher incomes than those without retail borrowing experience. T-tests were performed to compare respondents' fashion shopping behavior, moral beliefs, sensation-seeking tendencies, and attitudes toward retail borrowing behavior between participants with and without retail borrowing experience. As compared to those with no borrowing experience, respondents with experience tended to shop for fashion items more frequently and spent more on shopping for fashion items. Consumers with experience borrowing tended to have higher sensation-seeking tendencies than consumers without retail borrowing experience. A regression analysis revealed that attitudes toward fashion retail borrowing were negatively related to consumers' moral beliefs, but positively related to monthly fashion shopping frequency, sensation-seeking tendencies, and past fashion retail borrowing experience. Among these variables, past retail borrowing experience was the most significant predictor, followed by moral beliefs. This research serves as an initial attempt to address the motives that underlie retail borrowing behaviors and the factors affecting those behaviors. The findings of this study may facilitate an understanding of the consumer's retail borrowing, which will provide a basis for approaches that may help decrease retail borrowing and inappropriate returns at fashion retail stores. The findings may also provide materials for consumer education over the long term. In order to better understand fashion retail borrowing behavior, more research is needed in the future.

• Proceedings of the Membrane Society of Korea Conference
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• 1999.07a
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• pp.39-42
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• 1999

Perfluoropolymers represent the ultimate resistance to hostile chemical environments and high service temperature, attributed to the presence of fluorine in the polymer backbone, i.e. to the high bond energy of C-F and C-C bonds of fluorocarbons. Copolymers of Tetrafluoroethylene (TEE) and 2, 2, 4Trifluoro-5Trifluorometoxy- 1, 3Dioxole (TTD), commercially known as HYFLON AD, are amorphous perfluoropolymers with glass transition temperature (Tg)higher than room temperature, showing a thermal decomposition temperature exceeding 40$0^{\circ}C$. These polymer systems are highly soluble in fluorinated solvents, with low solution viscosities. This property allows the preparation of self-supported and composite membranes with desired membrane thickness. Symmetric and asymmetric perfluoropolymer membranes, made with HYFLON AD, have been prepared and evaluated. Porous and not porous symmetric membranes have been obtained by solvent evaporation with various processing conditions. Asymmetric membranes have been prepared by th wet phase inversion method. Measure of contact angle to distilled water have been carried out. Figure 1 compares experimental results with those of other commercial membranes. Contact angles of about 120$^{\circ}$for our amorphous perfluoropolymer membranes demonstrate that they posses a high hydrophobic character. Measure of contact angles to hexandecane have been also carried out to evaluate the organophobic character. Rsults are reported in Figure 2. The observed strong organophobicity leads to excellent fouling resistance and inertness. Porous membranes with pore size between 30 and 80 nanometers have shown no permeation to water at pressures as high as 10 bars. However high permeation to gases, such as O2, N2 and CO2, and no selectivities were observed. Considering the porous structure of the membrane, this behavior was expected. In consideration of the above properties, possible useful uses in th field of gas- liquid separations are envisaged for these membranes. A particularly promising application is in the field of membrane contactors, equipments in which membranes are used to improve mass transfer coefficients in respect to traditional extraction and absorption processes. Gas permeation properties have been evaluated for asymmetric membranes and composite symmetric ones. Experimental permselectivity values, obtained at different pressure differences, to various single gases are reported in Tab. 1, 2 and 3. Experimental data have been compared with literature data obtained with membranes made with different amorphous perfluoropolymer systems, such as copolymers of Perfluoro2, 2dimethyl dioxole (PDD) and Tetrafluorethylene, commercialized by the Du Pont Company with the trade name of Teflon AF. An interesting linear relationship between permeability and the glass transition temperature of the polymer constituting the membrane has been observed. Results are descussed in terms of polymer chain structure, which affects the presence of voids at molecular scale and their size distribution. Molecular Dyanmics studies are in progress in order to support the understanding of these results. A modified Theodoru- Suter method provided by the Amorphous Cell module of InsightII/Discover was used to determine the chain packing. A completely amorphous polymer box of about 3.5 nm was considered. Last but not least the use of amorphous perfluoropolymer membranes appears to be ideal when separation processes have to be performed in hostile environments, i.e. high temperatures and aggressive non-aqueous media, such as chemicals and solvents. In these cases Hyflon AD membranes can exploit the outstanding resistance of perfluoropolymers.

• Journal of Korean Philosophical Society
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• no.117
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• pp.139-167
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• 2017

This essay attempts to reveal how taste spontaneously cultivates and why it is necessary for cultivating taste to edify our personality and to develop culture. It is a key of the solution of the problems that taste always reflects its judgment through pleasure. Because the grounds of the universal validity of the judgment of taste are found, whenever taste tests the validity of its own judgment, the so-called 'delight of discovery' makes taste cultivate itself. For having the moral personality, we need to practice spontaneously the morality of our own behaviour and for judging whether an artwork to represent the period is succeeded or not, we need to have a high insight to select the cultural heritage. But the autonomous thinking can delightfully be made a habit, judging the beauty of artworks. In the main body of this essay, it is determined from the three examples of the negative judgment of taste which Kant suggested in deduction. According to Kant, the negative judgment of taste means that the beautiful work is displeased, but what it asserts is that taste is cultivated. I formalize the methods of reflection of taste revealed in three negative judgments of taste into'resisting', 'indicating of error', 'self-retracting'.(Chapter 2) And from this, I emphasize the necessity to cultivate taste in the way that these methods of the cultivation of taste can affect building our personality by stimulating our reason to have interest in moral(Chapter 3) and in the way that taste directly judges the product of cultural succession.(Chapter 4) In the end of last chapter, I examine further essentially the method of the reflection of taste, to inquire into how to enable it.(Chapter 5) Especially, I try to illuminate its grounds through Schiller's concept of the "impulse of amusement(Spieltrib)", because his explanation helps us to understand the dynamics of taste's delight of discovery. Although the abilities of mind conflict with each other, taste has the characters that it reflects to encourage them for each other and that it is vitalized by its own activity. We, as it were, can pleasantly handle two tasks, because taste makes the impulse of amusement from conflictive impulses in mind. In conclusion, I state that we have to experience directly the impulse of amusement like creative artist, because it is maximized from creation.

• Journal of Global Scholars of Marketing Science
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• v.20 no.1
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• pp.15-26
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• 2010

Due to the globalization across various industries and cultural trade among many countries, oriental concepts have been attracting world’s attentions. In fashion industry, one's traditional culture is often developed as fashion theme for designers' creation and became strong strategies to stand out among competitors. Because of the increase of preferences for oriental images, opportunities abound to introduce traditional fashion goods and expand culture based business to global fashion markets. However, global fashion brands that include Korean traditional culture are yet to be developed. In order to develop a global fashion brand with Korean taste, it is very important for native citizen to accept their own culture in domestic apparel market prior to expansion into foreign market. Loungewear is evaluated to be appropriate for adopting Korean traditional details into clothing since this wardrobe category embraces various purposes which will easily lead to natural adaptation and wide spread use. Also, this market is seeing an increased demand for multipurpose wardrobes and fashionable underwear (Park et al. 2009). Despite rapid growth in the loungewear market, specific studies of loungewear is rare; and among research on developing modernized-traditional clothing, fashion items and brands do not always include the loungewear category. Therefore, this study investigated the Korean loungewear market and studied consumer evaluation toward loungewear with Korean traditional fashion design elements. Relationship among antecedents of purchase intention for Korean traditional fashion design elements were analyzed and compared between lifestyle groups for consumer targeting purposes. Product quality, retail service quality, perceived value, and preference on loungewear with Korean traditional design elements were chosen as antecedents of purchase intention and a structural equation model was designed to examine their relationship as well as their influence on purchase intention. Product quality and retail service quality among marketing mixes were employed as factors affecting preference and perceived value of loungewear with Korean traditional fashion design elements. Also effects of preference and perceived value on purchase intention were examined through the same model. A total of 357 self-administered questionnaires were completed by female consumers via web survey system. A questionnaire was developed to measure samples' lifestyle, product and retail service quality as purchasing criteria, perceived value, preference and purchase intention of loungewear with Korean traditional fashion design elements. Also, loungewear purchasing and usage behavior were asked as well in order to examine Korean loungewear market status. Data was analyzed through descriptive analysis, factor analysis, cluster analysis, ANOVA and structural equation model was tested via AMOS 7.0. As for the result of Korean loungewear market status investigation, loungewear was purchased by most of the consumers in our sample. Loungewear is currently recognized as clothes that are worn at home and consumers are showing comparably low involvement toward loungewear. Most of consumers in this study purchase loungewear only two to three times a year and they spend less than US$10. A total of 12 items and four factors of loungewear consumer lifestyle were found: traditional value oriented lifestyle, brand-affected lifestyle, pursuit of leisure lifestyle, and health oriented lifestyle. Drawing on lifestyle factors, loungewear consumers were classified into two groups; Well-being and Conservative. Relationships among constructs of purchasing behavior related to loungewear with Korean traditional fashion design elements were estimated. Preference and perceived value of loungewear were affected by both product quality and retail service quality. This study proved that high qualities in product and retail service develop positive preference toward loungewear. Perceived value and preference of loungewear positively influenced purchase intention. The results indicated that high preference and perceived value of loungewear with Korean traditional fashion design elements strengthen purchase intention and proved importance of developing preference and elevate perceived value in order to make sales. In a model comparison between two lifestyle groups: Well-being and Conservative lifestyle groups, results showed that product quality and retail service quality had positive influences on both preference and perceived value in case of Well-being group. However, for Conservative group, only retail service quality had a positive effect on preference and its influence to purchase intention. Since Well-being group showed more significant influence on purchase intention, loungewear brands with Korean traditional fashion design elements may want to focus on characteristics of Well-being group. However, Conservative group's relationship between preference and purchase intention of loungewear with Korean traditional fashion design elements was stronger, so that loungewear brands with Korean traditional fashion design elements should focus on creating conservative consumers' positive preference toward loungewear. The results offered information on Korean loungewear consumers' lifestyle and provided useful information for fashion brands that are planning to enter Korean loungewear market, particularly targeting female consumers similar to the sample of the present study. This study offers strategic and marketing insight for loungewear brands and also for fashion brands that are planning to create highly value-added fashion brands with Korean traditional fashion design elements. Considering different types of lifestyle groups that are associated with loungewear or traditional fashion goods, brand managers and marketers can use the results of this paper as a reference to positioning, targeting and marketing strategy buildings.

• Journal of Global Scholars of Marketing Science
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• v.18 no.2
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• pp.147-187
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• 2008

Online game researchers focus on the flow and factors influencing flow. Flow is conceptualized as an optimal experience state and useful explaining game experience in online. Many game studies focused on the customer loyalty and flow in playing online game, In showing specific game experience, however, it doesn't examine multidimensional experience process. Flow is not construct which show absorbing process, but construct which show absorbing result. Hence, Flow is not adequate to examine multidimensional experience of games. Online game is included in hedonic consumption. Hedonic consumption is a relatively new field of study in consumer research and it explores the consumption experience as a experiential view(Hirschman and Holbrook 1982). Hedonic consumption explores the consumption experience not as an information processing event but from a phenomenological of experiential view, which is a primarily subjective state. It includes various playful leisure activities, sensory pleasures, daydreams, esthetic enjoyment, and emotional responses. In online game experience, therefore, it is right to access through a experiential view of hedonic consumption. The objective of this paper was to make up for lacks in our understanding of online game experience by developing a framework for better insight into the hedonic experience of online game. We developed this framework by integrating and extending existing research in marketing, online game and hedonic responses. We then discussed several expectations for this framework. We concluded by discussing the results of this study, providing general recommendation and directions for future research. In hedonic response research, Lacher's research(1994)and Jongho lee and Yunhee Jung' research (2005;2006) has served as a fundamental starting point of our research. A common element in this extended research is the repeated identification of the four hedonic responses: sensory response, imaginal response, emotional response, analytic response. The validity of these four constructs finds in research of music(Lacher 1994) and movie(Jongho lee and Yunhee Jung' research 2005;2006). But, previous research on hedonic response didn't show that constructs of hedonic response have cause-effect relation. Also, although hedonic response enable to different by stimulus properties. effects of stimulus properties is not showed. To fill this gap, while largely based on Lacher(1994)' research and Jongho Lee and Yunhee Jung(2005, 2006)' research, we made several important adaptation with the primary goal of bringing the model into online game and compensating lacks of previous research. We maintained the same construct proposed by Lacher et al.(1994), with four constructs of hedonic response:sensory response, imaginal response, emotional response, analytical response. In this study, the sensory response is typified by some physical movement(Yingling 1962), the imaginal response is typified by images, memories, or situations that game evokes(Myers 1914), and the emotional response represents the feelings one experiences when playing game, such as pleasure, arousal, dominance, finally, the analytical response is that game player engaged in cognition seeking while playing game(Myers 1912). However, this paper has several important differences. We attempted to suggest multi-dimensional experience process in online game and cause-effect relation among hedonic responses. Also, We investigated moderate effects of perceived complexity. Previous studies about hedonic responses didn't show influences of stimulus properties. According to Berlyne's theory(1960, 1974) of aesthetic response, perceived complexity is a important construct because it effects pleasure. Pleasure in response to an object will increase with increased complexity, to an optimal level. After that, with increased complexity, pleasure begins with a linearly increasing line for complexity. Therefore, We expected this perceived complexity will influence hedonic response in game experience. We discussed the rationale for these suggested changes, the assumptions of the resulting framework, and developed some expectations based on its application in Online game context. In the first stage of methodology, questions were developed to measure the constructs. We constructed a survey measuring our theoretical constructs based on a combination of sources, including Yingling(1962), Hargreaves(1962), Lacher (1994), Jongho Lee and Yunhee Jung(2005, 2006), Mehrabian and Russell(1974), Pucely et al(1987). Based on comments received in the pretest, we made several revisions to arrive at our final survey. We investigated the proposed framework through a convenience sample, where participation in a self-report survey was solicited from various respondents having different knowledges. All respondents participated to different degrees, in these habitually practiced activities and received no compensation for their participation. Questionnaires were distributed to graduates and we used 381 completed questionnaires to analysis. The sample consisted of more men(n=225) than women(n=156). In measure, the study used multi-item scales based previous study. We analyze the data using structural equation modeling(LISREL-VIII; Joreskog and Sorbom 1993). First, we used the entire sample(n=381) to refine the measures and test their convergent and discriminant validity. The evidence from both the factor analysis and the analysis of reliability provides support that the scales exhibit internal consistency and construct validity. Second, we test the hypothesized structural model. And, we divided the sample into two different complexity group and analyze the hypothesized structural model of each group. The analysis suggest that hedonic response plays different roles from hypothesized in our study. The results indicate that hedonic response-sensory response, imaginal response, emotional response, analytical response- are related positively to respondents' level of game satisfaction. And game satisfaction is related to higher levels of game loyalty. Additionally, we found that perceived complexity is important to online game experience. Our results suggest that importance of each hedonic response different by perceived game complexity. Understanding the role of perceived complexity in hedonic response enables to have a better understanding of underlying mechanisms at game experience. If game has high complexity, analytical response become important response. So game producers or marketers have to consider more cognitive stimulus. Controversy, if game has low complexity, sensorial response respectively become important. Finally, we discussed several limitations of our study and suggested directions for future research. we concluded with a discussion of managerial implications. Our study provides managers with a basis for game strategies.

• Archives of design research
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• v.2 no.1
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• pp.63-97
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• 1989

There is nothing more important than the form and function in design, because every design product can be done on the basis of them. Form and Function are already existed before the word of design has been appeared and all the natural and man-made things' basic organization is based on their organic relations. The organic relations is the source of vitality which identifies the subsistance of all the objects and the evolution of living creatures has been changed their appearances by the natural law and order. Design is no exception. Design is a man-made organic thing which is developed its own way according to the purposed aim and given situations. If so, what is the ultimate goal of design. It is without saying that the goal is to make every effort to contribute to the -human beings most desirable life by the designer who is devoting himself to their convenience and well-being. Therefore, the designer can be called the man of rich life practitioner. This word implies a lot of meanings since the essence of design is improving the guality of life by the man-made things which are created by the designer. Also, the things are existed through the relations between form and function, and the things can keep their value when they are answered to the right purpose. In design, thus, it is to be a main concern how to create valuable things and to use them in the right way, and the subject of study is focused on the designer's outlook of value and uk relations between form and function. Christopher Alexander mentioned the importance of form as follows. The ultimate object of design is form. Every design problem begins with an effort to achieve fittness between the form and its context. The form is the solution to the problem: the context defmes the problem. In other words, when we speak of design, the real object of discussion is not form alone, but the ensemble comprising the form and its context. Good fit is a desirable property of this ensemble which relates to some particular division of the ensemble into form and context. Max Bill mainatined how important form is in design. Form represents a self-contained concept, and its embodiment in an object results in that object becoming a work of art. Futhermore, this explains why we use form so freguently in a comparative sense for determining whether one thing is less or more beautiful than another, and why the ideal of absolute beauty is always the standard by which we appraise form, and through form, art itself. Hence form has became synonymous with beauty. On the other hand, Laszlo Moholy-Nagy stated the importance of function as follows. Function means the task an object is designed to fulfill the task instrument is shaping the form. Unfortunately, this principle was not appreciated at the same time but through the endeavors of Frank Lloyd Wright and of the Bauhaus group and its many collegues in Europe, the idea of functionalism became the keynote of the twenites. Functionalism soon became a cheap slogan, however, and its original meaning blurred. It is neccessary to reexamine it in the light of present circumstances. Charles William Eliot expressed his idea on the relations between function and beauty. Beauty often results chiefly from fittness: indeed it is easy to manitain that nothing is fair except what is fit its uses or functions. If the function of the product of a machine be useful and valuable, an the machine be eminently fit for its function, it conspicuously has the beauty of fittness. A locomotive or a steamship has the same sort of beauty, derived from the supreme fittness for its function. As functions vary, so will those beauty..vary. However, it is impossible to study form and function in separate beings. Function can't be existed without form, and without function, form is nothing. In other words, form is a function's container, and function is content in form. It can be said that, therefore, the form and function are indispensable and commensal individuals which have coetemal relations. From the different point of view, sometimes, one is more emphasized than the other, but in this case, the logic is only accepted on the assumption of recognizing the importance of the other's entity. The fact can be proved what Frank Hoyd wright said that form and function are one. In spite of that, the form and function should be considered as independent indivisuals, because they are too important to be treated just as the simple single one. Form and function have flexible properties to the context. In other words, the context plays a role as the barometer to define the form and function, also which implies every meaning of surroun'||'&'||'not;dings. Thus, design is formed under the influence of situations. Situations are dynamic, like the design process itself, in which fixed focus can be cripping. Moreover, situations control over making the good design. Judging from the respect, I defined the good design in my thesis An Analytic Research on Desigh Ethic, "good design is to solve the problem by the most proper way in the situations." Situations are changeable, and so is design. There is no progress without change, but change is not neccessarily progress. It is highly desirable that there changes be beneficial to mankind. Our main problem is to be able to discriminate between that which should be discarded and that which should be kept, built upon, and improved. Form and Function are no exception. The practical function gives birth to the inevitable form and the $$\mu$ti-classified function is delivered to the varieties of form. All of these are depended upon changeable situations. That is precisely the situations of "situation de'||'&'||'not;sign", the concept of moving from the design of things to the design of the circumstances in which things are used. From this point of view, the core of form and function is depended upon how the designer can manage it efficiently in given situations. That is to say that the creativity designer plays an important role to fulfill the purpose. Generally speaking, creativity is the organization of a concept in response to a human need-a solution that is both satisfying and innovative. In order to meet human needs, creative design activities require a special intuitive insight which is set into motion by purposeful imagination. Therefore, creativity is the most essential quality of every designer. In addition, designers share with other creative people a compulsive ingenuity and a passion for imaginative solutions which will meet their criteria for excellence. Ultimately, it is said that the form and function is the matter which belongs to the desire of creative designers who constantly try to bring new thing into being to create new things. In accordance with that the main puppose of this thesis is to catch every meaning of the form and function and to close analyze their relations for the promotion of understanding and devising practical application to gradual progression in design. The thesis is composed of four parts: Introduction, Form, Function and Conclusion. Introduction, the purpose and background of the research are presented. In Chapter I, orgin of form, perception of form, and classification of form are studied. In Chapter II, generation of function, development of function, and diversification of function are considered. Conclusion, some concluding words are mentioned.ioned.