• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.2
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• pp.75-91
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• 2003

This study analyzed descriptions about dots, lines, and sides which are used as a basic elements to express geometric figures as followings: -In the aspect of formative art, dots form images and feelings through their concurrence when make a slight move to coordinates. The concurrence can bring out either positive or negative images; -Lines have unlimited variation as a core measure in body art. They can make optimal effects with different lines such as straight and curved lines of human body; -Sides express not only effects of texture and perspective but also of space and solid by color effects. Expressive characteristics and geometric shapes can be classified by tattoo, henna and body painting: First, colorful tattoos are favored by Caucasian and original tattoos are mostly used by yellow and colored races in the way of scarification to get decorative effects. Recently, a rapid cycle of fashion change in tattoo figures has developed a tentative method of tattooing and a variety of decoration methods. It has made it a lot easier to change a pattern of a tattoo. Tattoos are now popular among people because they no longer have to suffer from pains when they get their body tattooed for a long time. Since tattoos boast their unique beauty which consists of most dynamic and attractive images among the types of body art. It will be one of the most favored make-up methods in the nearest future. Second, geometric designs used in henna include crosses, dots, straight lines, triangles, date palms, and so on. Henna has been particularly loved as an instant decoration by the public since it gradually disappears as time goes on. Third, body painting enables to draw a three-dimensional effect because of its close relation with body movements in a limited space. Each individual will have a different feeling appealed in their body painting. Body painting has been applied to many different areas, especially to theatrical art using lights, music and performance altogether producing impromptu and experimental works. Unlike other arts such as painting, sculpture, visual and industrial arts, body painting has mobility. Since it is painted on a three-dimensional human body, it can bear originality expressing realistic objects or animals and strengthen creative functions using body lines. Moreover, geometric designs can be diversified by the sexes. As a result of analysis, geometric designs expressed in body art seemed to transcend expressions of beauty and turned out to be another way of decoration. Body art has also been used as a way to express visual integration and consolidation dynamically not by human instinct but by social changes. The needs for body art will grow as the future comes nearer and be recognized as a new and fresh value. Formative elements of geometric figures deliver visual impressions combined with human body and finally create more various types of body art in harmony of body lines.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.76-91
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• 2008

The purpose of this study is to prescribe formative perspectives as a framework where the aesthetic taste and demands of a certain period are embodied and to develop new analytical tools to examine the beauty of dress in terms of form. First, the theoretical tools selected for this study are Heinrich Wolfflin's formative perspective theory derived from art and Marilyn R. DeLong's framework for visual analysis of dress. Second, several issues that limited the development of a new framework for analyzing the form of dress were identified and addressed. Third, the selected aspects of dress form to be analyzed are specified. They are: silhouette, inner form, structure form, materials and patterns based upon the relationship between the body, dress and space in order to develop new formative perspectives. Based upon these theories a new framework for analyzing dress aesthetics in terms of form is developed. This reconstructed framework consists of three sets of antagonistic representational styles: closed form/open form, linear form/painterly form and multiplicity/unity. Closed form/open form represented in dress can be classified by the clear or obscure silhouette shown not only in the relationship between the dress and space around the dress, but also from changeability or invariability of dress in relation to the body. The material, pattern and various design elements are used as the central criteria to determine the linear/painterly characteristics in dress representations. Finally, the multiplicity/unity can be found in the relationship between the whole and the parts. Multiplicity is represented in dress when the parts have a visual priority over the whole, whereas unity is represented when a dress as a whole has visual priority over the parts. A dress represented with closed form, linear characteristic and multiplicity is perceived as a clear form. In contrast, a dress with open form, painterly characteristic and unity is understood to be an obscure form. It can be said that this study is the first attempt to establish the formative perspectives for analyzing the form of dress in various periods, cultures and races for the future studies.

• Korean Journal of Applied Biomechanics
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• v.21 no.1
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• pp.31-38
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• 2011

This study aimed to determine the effects of the blockage of visual feedback on joint dynamics of the lower extremity. Fifteen healthy male subjects(age: $24.1{\pm}2.3\;yr$, height: $178.7{\pm}5.2\;cm$, weight: $73.6{\pm}6.6\;kg$) participated in this study. Each subject performed single-legged landing from a 45 cm-platform with the eyes open or closed. During the landing performance, three-dimensional kinematics of the lower extremity and ground reaction force(GRF) were recorded using a 8 infrared camera motion analysis system (Vicon MX-F20, Oxford Metric Ltd, Oxford, UK) with a force platform(ORG-6, AMTI, Watertown, MA). The results showed that at 50 ms prior to foot contact and at the time of foot contact, ankle plantar-flexion angle was smaller(p<.05) but the knee joint valgus and the hip flexion angles were greater with the eyes closed as compared to with the eyes open(p<.05). An increase in anterior GRF was observed during single-legged landing with the eyes closed as compared to with the eyes open(p<.05). Time to peak GRF in the medial, vertical and posterior directions occurred significantly earlier when the eyes were closed as compared to when the eyes were open(p<.05). Landing with the eyes closed resulted in a higher peak vertical loading rate(p<.05). In addition, the shock-absorbing power decreased at the ankle joint(p<.05) but increased at the hip joints when landing with the eyes closed(p<.05). When the eyes were closed, landing could be characterized by a less plantarflexed ankle joint and more flexed hip joint, with a faster time to peak GRF. These results imply that subjects are able to adapt the control of landing to different feedback conditions. Therefore, we suggest that training programs be introduced to reduce these injury risk factors.

• The Journal of Art Theory & Practice
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• no.14
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.1
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• pp.477-486
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• 2020

This study was undertaken to analyze the correlation between depression and memory, by considering the occurrence of ApoE ɛ4 and clinical dementia rating in the elderly with Alzheimer's dementia. This study included 50 participants over 65 years of age, evaluated with CDR 0.5 to 2. We performed CDR, SVLT-E, RCFT, SGDS-K, and ApoE genotyping. Spearman's correlation analysis was used for determining the correlation between depression and memory. The results indicate a significant negative correlation between depression and immediate recall verbal memory in the CDR 1 and 2 without ApoE ɛ4 carrier group (p<0.05). Furthermore, a significant negative correlation was also determined between depression and delayed recall verbal memory in the CDR 1 of the same group. Ed. Notes: The previous sentence already shows this correlation. I suggest this should be deleted from this statement. However, no significant correlation was observed between depression and visual memory. This study found a significant correlation between depression and immediate recall verbal memory. Also, the presence of ApoE ɛ4 indicates a significant correlation between depression and delayed verbal recall memory. Taken together, our results indicate that verbal memory training rather than visual memory training can be more effective in early AD. Also, the treatment of depression will provide a complementary effect.

• Archives of design research
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• v.11 no.1
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• pp.219-228
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• 1998

Seymour Chwast, who has worked in various fields as in illustrator, graphic designer, and art director since 1950's, opened a new possibility in the field of visual design. Pushpin Graphics, founded by Chwast and his collegues, played a vital role in experimentation based on their creativity and courage. Amazingly enough his field covers Illustration, graphic design, poster, typography, and publication. His works, in which he sa tired people or events severely using his own lanb'Uage styit', appeals public powerfully and is remembered for a long time. He gives various forms to his creative ideas throughout many fields he deals with including caricature, giving all designers fresh and b'Teat inspiration. The fact that Chwast dose not limit himself to anyone style but uses various styles freely indicates his creative thinking process. The Creative Thinking, which is embedded in all his works, is so interesting and tactful that it may fulfill the requirement of the times, which wants to see something new and epochmaking. The aim of this study is to find creativity of Chwast's new visual language and its meaning through the analysis of unique caricatures among his works based on his philosophy, creative work process, and, particularly, creative thinking.

• Journal of Digital Convergence
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• v.15 no.9
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• pp.407-413
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• 2017

Mis-en-Scene is a direction method of image aesthetics for constructing screen and space. Mis-en-Scene is important factor not only in plays and movies, but also in animations, and it is a strong method to induce audience to immerse in the works and to continue the immersion. This study examined animation's Mis-en-Scene based on theories of Mis-en-Scene in movies, how Mis-en-Scene is directed and expressed in virtual spaces, and what factors and characteristics induce audience to immerse in the works and continue the immersion through analysis on visual Mis-en-Scene factors of a specific case, VR animation . It was found that as visual Mis-en-Scene factors, character and props, background, unique quality and friendliness of character, natural movement and acting, symbolism and utilization, and variety and consistency of background induce and sustain immersion. It is thought that this study would helpful for related areas based on the findings which suggest that there is a need for differentiated measure and method to catch audience's eyes and sustain immersion utilizing characteristics of vidual Mis-en-Scene factors in VR animation in the future.

• Journal of Digital Convergence
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• v.15 no.9
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• pp.453-461
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• 2017

The video image in the movie has become more spectacular than ever, and the expression area and the subject have been infinitely expanded, but it can not be said that the range of imagination has expanded. Instead, the 60s and 70s, which were the epochs of popular culture, The film that implements the artististic visual style and expression style of the artist. Stanley Kubrick's "Clockwork Orange", which has been pursuing technological perfection and experimental style, was created using traditional video grammar and gained a great repercussion with outstanding material and high artistic expression technique at that time. These techniques have led audiences to rational observation through irony, rather than emotional sympathy for the situation, for extreme violence and sensational films. This is because the purpose of the director was not to be in technological perfection but to reveal the contradictions of the real society and to reflect on the meaning of the existence of society itself. These creative traditional visual grammar and expression methods are a good visual style that enables the intentionally transmitted message to be transmitted more intensely and effectively, and the artistic depth can be created at the same time by unconsciously perceiving the meaning present on the back to the audience.

• Journal of Korean Ophthalmic Optics Society
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• v.5 no.2
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• pp.79-85
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• 2000

This study was investigated the refractive state and the analysis of ametropic frequency among schoolchildren who were the three grade in W elementary school in Suwon. Total 488eye (244 persons) were examined by the trial-lens set and the questionary. Through Trial-Lens set verification, several factors related to ametropic frequency were obtained as the following. Among the 244 persons, the students who wear spectacles or need to wear spectacles were 27.3%, among the 27.3% students, the students who have low visual acuity below 0.3 were 6.3%. The ametropia eyes among the total eyes were 27.3%. Among ametropic eyes, myopia and hyperopia were 25.4% and 1.9%. Among the total ametropic errors were low refractive error were 71.4%, and middle refractive error were 28.6%. In ratio myopic frequency, it was statistically related to the refractive errors with the environments factors such as reading distance & habits, T.V watching distance. Among the students belonged to below 0.7 visual acuity, the wear spectacles students were 63.3%. The ratio of anisometropia was 3.4%.

• Spatial Information Research
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• v.5 no.2
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• pp.161-175
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• 1997

In spite of intense advances in the economy and technological progress which include massive and high-rise developments, landscape resources have either been destroyed or left to deteriorate. In recent years, efforts towards landscape management have emerged in the form of legislation and policies. However, relevant computer tools have unfortunately been insufficient in the field of landscape management. In addition, although there has been much research conducted for urban landscape management, pertinent information has not been recorded or managed efficiently. Therefore, this study developed a Landscape Information System for the purpose of managing urban landscape infOlmation and analyzing visual impacts in relation to urban development projects. Main functions of the Landscape Information System consist of the following: inputting and managing the attribute data as well as graphic data, querying attributes of urban landscape, and analyzing landscape impacts of developments. A case study was conducted for downtown Seoul. Using the system, a series of visual impact analyses were implemented at major viewpoints in the area. The results have shown that valuable landscape resources could be damaged by proposed development projects. Thus, the Landscape Information System developed in this study can be used as a major tool to manage urban landscape information efficiently and as the basis for decision-making regarding landscape simulation and visual impact analysis.