• 대한전기학회:학술대회논문집
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• 대한전기학회 2003년도 학술회의 논문집 정보 및 제어부문 B
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• pp.878-881
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• 2003

To acquire an appointed speaker's clear voice signal from inspect-camera, picture-conference or hands free microphone eliminating interference noises needs to be preceded speaker's position automatically. Presumption of sound source position's basic algorithm is about measuring TDOA(Time Difference Of Arrival) from reaching same signals between two microphones. This main project uses ADF(Adaptive Delay Filter) [4] and CPS(Cross Power Spectrum) [5] which are one of the most important analysis of TDOA. From these analysis this project proposes presumption of real time sound source position and improved model NI-ADF which makes possible to presume both directions of sound source position. NI-ADF noticed that if auditory sense of humankind reaches above to some specified level in specified frequency, it will accept sound through activated nerve. NI-ADF also proposes practicable algorithm, the presumption of real time sound source position including both directions, that when microphone loads to some specified system, it will use sounds level difference from external system related to sounds of diffraction phenomenon. In accordance with the project, when existing both direction adaptation filter's algorithm measures sound source, it increases more than twice number by measuring one way. Preserving this weak point, this project proposes improved algorithm to presume real time in both directions.

• 미술이론과 현장
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• 제2호
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• 한국콘텐츠학회논문지
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• 제16권9호
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• pp.443-450
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• 2016

국내 바이오의약산업은 국가의 핵심전략 사업으로써 고부가가치 산업이다. 고령화로 인한 의약품 수요증가, 신약 R&D 투자성과 가시화, 바이오의약 중심의 R&D 변화, 전략적 해외 기술수출 확대, 정부의 적극적 지원으로 인하여 해외 시장 진출이 급속도록 가속화되고 있다. 따라서 국내 제약회사도 글로벌 제약기업으로써의 경쟁력을 강화하고 소비자들에게 신뢰 받을 수 있는 기업으로써의 이미지 구축이 절실하다. 이에 본 연구는 마케팅 수단으로써의 CI의 중요성을 인식하고 국내 제약회사의 CI 심벌마크 시각적 특징 분석과 연령대별 선호도를 비교 분석하였다. 그 결과 심벌마크에 대한 선호도는 연령대가 높아질수록 제작년도가 오래된 심벌마크에 대한 선호도가 크게 높은 것으로 나타났으며 인지도와 비례하였다. 또한 픽처마크형 심벌마크가 워드마크 형태보다 절대적으로 선호되었다. 제약회사의 글로벌화를 위하여 기업 역시 대중의 인식변화에 대한 책임감이 요구되며 본 연구가 글로벌 경쟁력이 있는 국내 제약회사의 이미지 제고를 위한 아이덴티티 전략의 기초자료로써 심벌마크 개발 방향에 도움이 되기를 기대한다.

• 한국의상디자인학회지
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• 제10권1호
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• pp.25-44
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• 2008

Geisha's gorgeous kimonos and grotesque make-up was the object of envy to Japanese women. There is a line in the movie like "Kimonos to the Geisha is the same as colors to the painter." Likewise, splendid patterns and colorful kimonos were an indispensible method or symbol for showing their artistic accomplishments. The purpose of this study is to investigate concept and origin of Geisha and their dress and decoration, analyze the dress of the people which appear in the movie, , arrange the expression of Geisha's dress as a movie costume, compare the difference of the dress by the career of Geisha and look back the disappearing aesthetic sense of Geisha. First, since Geisha appeared for the first time in Kyoto in 1751, it has become the world-wide representative of Japanese woman's images so that its existence oneself has become the tradition. Second, Geisha created fashion of various clothes, adornments, and hair styles as a creator of the popularity. Third, the strict regulation without exception is applied in Geisha's clothing, make-up, and motion tuned Samisen, Japanese traditional strings, and there is some difference in their hair style and dress by age of Maiko. Fourth, it is famous for unique make-up that Geisha makes up their faces, necks, and shoulders white, newly paints eyes, nose, lip line like drawing a picture in a pure white paper. Geishas put a little make-up as they have a higher position. Fifth, a heroin, Chiyo, shows clothing as a maid, an apprentice Geisha-Maiko- and a formal Geisha according to time flow. The length of kimono, textures, and hair decorations are longer, more splendid, and are more various as time goes. On the other hand, her make-up is lighter.

• 한국연극학
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• 제49호
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• pp.133-169
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• 2013

Reexamining Brecht's theoretical hypotheses in terms of cognitive science, this essay arrived at several temporary interpretations. Cognitive science implies that empathy can precede the rational understanding in Verfremdungseffekt. The spectator tends to simulate the unfamiliar incident and character and feels the consequential embodied emotion that leads to the cognitive understanding. The similar situation can be found in social gestus. According to cognitive science, gesture(social gestus) is simulated in the mirror-neuron of spectator, arousing consequently the embodied emotion that triggers the succeeding understanding. The spectator apts to experience and feel physically the moving gesture before decoding it as a social signification. Brecht's intention that attempts to reveal the duality of actor and character by eliminating the fourth wall is negated by cognitive science. According to the theory of conceptual blending, the spectator under the eliminated fourth wall mixes actor and character, and simulates this blending image so that he experiences it imaginatively. As such, another kind of illusion can be formed when a fourth wall is collapsed. Meanwhile, the critical thinking of spectator Brecht wanted can be hard to occur during the performance. It is necessary for the spectator to recollect the bygone dialogue and action in terms of social context as if he presses the pause, stopping the playback while watching a play in video. In this respect the social meaning Brecht intended can be achieved more effectively by the stop motion like tableau. It would not only give the time for the spectator to consider the implied social signification, but also make him possible to decode a semiotic meaning as if interpreting a still picture. Or it can be delivered by the dialogue that expresses the playwright's critical judgement. In this case, the subject of critical thinking is not the spectator but the author. The alternative explanation that the cognitive science suggests illuminates theoretically the reasons why Brecht's theory fails to be realized in practice. In a sense, Brecht's theory is nothing but a theoretical hypothesis. It takes the premise that the emotion hinders the rational thinking, understanding emotion and reason oppositively like Plato. This assumption is negated easily by the recent cognitive science that sees the reason as a by-product of physical experience including emotion. The rational understanding, in this sense, begins from the embodied emotion. As such the cognitive science denies the dichotomy of emotion and reason that Brecht adopted. The theoretical hypothesis of cognitive science makes us recognize again the importance of bodily experience in theatre. In theatre the spectator tends to experience physically before decoding the intellectual meaning. The spectator Brecht wanted, therefore, is far from the reality. The spectator usually experiences and reacts physically before decoding the meaning critically. Thus Brecht's intention can be realized by the embodied emotion resulted from simulation. This tentative interpretation suggests that we need to pay more attention to the empirical study of spectatorship, not remaining in a speculative study.

• 한국지형학회지
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• 제28권1호
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• pp.101-114
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• 2021

Junior Ranger is a self-directed interpretation program for young visitors at national parks in the United States. The success of this program can be largely attributed to the role of an activity book which is given an applicant free of charge at a visitor center. This study aims to analyze the main characteristics of activity books for 14 national parks' Junior Ranger and to draw some implications for Korean geomorphological education. Although the activity books are varied in size, volume and printing, all of them offer diverse activities which are composed of different contents related to park resources in four fields and are performed in different ways such as Q&A, picture and word game, and creative activity. The time-consuming activities including attendance at a ranger-led program prevent the participant from making a superficial visit to be a junior ranger. The implications of the study are as follows: Firstly, the geomorphological education for children is needed to be strongly based on field experience learning and to be more carried out using a way of game rather than conventional Q&A, suggesting that it encourages students not to lose their interest for learning. Secondly, it is also necessary for the learning contents to be focused on various resources related to landform as well as landform itself. In addition, a creative activity such as writing verse or drawing feeling should be more applied to the geomorphological education in order to enhance their effects on affective domain beyond cognitive one. It is likely to be an alternative approach to understand landform by internalizing a sense of landform.

• 미술이론과 현장
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• 제6호
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• pp.101-121
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• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.

• 한국한의학연구원논문집
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• 제14권3호
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• pp.97-102
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• 2008

The tongue diagnosis is a diagnostic method in the oriental medicine that uses shape, substance, coating, and movement of the tongue to determine the condition of health and disease characteristics in human. Since this information, however, could be affected by subjective sense and visual information, it is difficult to obtain the objective and reproducible results. This research aims at building a reproducible tongue diagnosis system using color chart that is attached close to the face contact region. The picture of color chart is taken simultaneously with a tongue and applied to color revision. The system, in addition, is focused on providing a clear tongue image through securing a sufficient photographing distance with a surface coating mirror. The lightning part which can suppress the reflection by sputum in maximum is implemented for the objectification and quantification of the tongue diagnosis system. The face contact region is designed for consideration of a testee's convenience. To evaluate the reproducibility of the system, the CVs (coefficient of variance, %) of $L{\ast}$, $a{\ast}$ and $b{\ast}$ of red, green and blue regions in color chart are calculated, respectively. The results of all CVs shows that the tongue diagnosis system is re liable and those consequences contribute to the objectification and quantification of the tongue diagnosis system.

• 소성∙가공
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• 제17권1호
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• pp.59-67
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• 2008

This paper is concerned with the development of multi-action die or multiple sliding die for the forming process of serrated sheets. Serrated sheets is used as a toothed or serrated seal for securing together overlapping portions of steel or plastic strapping ligature and have been produced conventionally in several methods such as rolling and indentation. Recently, longitudinally oriented thermoplastic materials have been widely used in the strapping industry, while such materials are quite slippery. Provided projections on a seal biting into the strap should overcome the slipperiness and also the tooth configuration must be closely controlled to avoid too much transverse penetration of the strap which could result in the shredding of the strap when it is placed under tension. The seal includes a central portion with a plurality of teeth which bite into one strap portion and a pair of reversely bent legs with a plurality of teeth which bite into the other strap portion. Forming processes applicable for serrated sheets have reviewed in qualitative sense to find possibility in terms of applicability of one of existing processes to the serrated sheet forming process. Existing seal products have been analyzed with enlarged picture of strap contacting surface of the seal by microscope. Based on the analyses of the existing forming processes and seal products, a new forming process is proposed for serrated sheets. The proposed process requires a multislide die which enables inclined indentation or cut-in into the seal material as well as scratching processes sequentially in a single action press.

• 영어영문학
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• 제57권2호
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• pp.315-337
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• 2011

This paper aims to examine a truth about love - the close relationship between a person's passionate love and that same person's loneliness and suppressed desires, a relationship that Carson McCullers (1917-1967) portrays in The Ballad of the Sad Cafe. McCullers, one of several brilliant writers from Southern America, managed to overcome her cruel situation and showed deep insight into the human condition, particularly in regard to the relation between love and isolation. The Ballad of the Sad Cafe, like her other works, examines the spiritual isolation and the agony of love that three lovers experience. The love in this story is a triangular relationship among the three main characters, Amelia, Lymon and Marvin Macy. The distinctive characteristics of love described in this story are that each character falls into blind and passionate love for the person he/she loves, no matter how the beloved responds. Love also changes the lover, not the beloved, revealing the completely opposite nature of the lover. The opposite nature and the inner secrets that the love reveals about the lovers reflect their frustrated and suppressed desires, which is femininity and motherhood for Amelia, non-violent masculine power for Macy, and physical attraction and power for the hunchback, Lymon. These suppressed desires are rooted in the deep sense of frustration that they had to experience in their childhood. In short, the seemingly unconditional love of the main characters is not an ideal, altruistic love, but a reflection of their inner desires. This story, however, does not seem to criticize this kind of love but simply tries to give an honest picture of what love might be. It also admits that 'deformed' love is still better than no love (and consequently no stimulus) because what really damages and causes decay in human beings and in a community, is the state of boredom.