• Journal of Digital Contents Society
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• v.16 no.1
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• pp.127-135
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• 2015

The development of stereoscopic display hardwares and 3D authoring softwares expands its application areas from particular virtual simulation applications to general movies, games, advertising applications. However, the binocular-based 3D stereoscopic images cause fatigue to viewers. Recent performed many research results about the binocular stereoscopy's depth perception and viewers' fatigue are derived from experimental users studies. In some results, watching and making guidelines for 3D stereoscopic imaging contents are introduced. The 3D stereoscopic-related contents have the contradictory aspects, which are audiences' pursuit of a tolerable minimum fatigue and producer's its of excessive depth changes for providing viewers' immersion. This paper provides user experiments and analysis data in aspects of 3D depth changes. For use of producers, a safety zone and translational velocity of 3D depth changes are introduced. Also, on the viewer side, we present the depth change adaptation time by using an EEG device.

• Journal of Preventive Medicine and Public Health
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• v.31 no.4 s.63
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• pp.692-707
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• 1998

Aim. A neurobehavioral test for workers exposed to organic solvents in the workplace can be affected by many factors : age, education, motivation, ethnicity, etc. To apply more suitable neurobehavioral test for Korean workers, we evaluated the validity of several items of computerized and traditional neurobehavioral tests. Methods. We have applied eleven tests : four items of computerized neurobehavioral test(Swedish Performance Evaluation System) including Addition, Symbol-Digit, Dig-it Span, and Finger tapping speed, and seven items of traditional neurobehavioral test consisting of Addition, Digit-Symbol, Digit Span, Benton visual retention test, Pursuit aiming, Pegboard, and Tapping. These tests were performed on 96 workers exposed to solvents, and 100 reference workers. The concurrent and construct validities were evaluated by group difference, correlation with age, educational level, hippuric acid level, neurotoxic symptom, current exposure level, multitrait-multimethod matrix, fator analysis, and discriminant analysis. Results. Statistically significant differences were observed between the workers exposed to solvents and referents in computerized Symbol-Digit, Finger tapping speed, traditional Digit-Symbol and Pegboard. The computerized Symbol-Digit, traditional Digit-Symbol, Addition, Benton visual retention test, and Pegboard were found to be related to the age. The performance of computerized Symbol-Digit, Addition, and traditional Digit-Symbol were found to be related to the educational level significantly. The computerized Symbol-Digit, Finger tapping speed, and traditional Digit-Symbol were found to be related to hippuric acid, and neurotoxic symptom. The discriminability of Finger tapping speed, and Pegboard was better than the other tests. In discriminant analysis, the model with two variables, the computerized Symbol-Digit and Pegboard, classified almost 70 percent of the workers correctly. Conclusions. These results suggest that the computerized Symbol-Digit, Finger tapping speed, and Pegboard are more satisfactory for our purpose, and the Addition, Tapping, Benton visual retention test, and Pursuit aiming are less valid than other items. These may allow the reasonable selection of core neurobehavioral tests for workers exposed to solvents in Korea.

• The Research Journal of the Costume Culture
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• v.7 no.3
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• pp.72-92
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• 1999

The purpose of this thesis is to review relationship between various expression method in modern make-up and the tendency of Neo-Avantgarde. In this paper, the author classified the distinctive characters in Neo-Avantagarde with Historicism, Decadence, Humor, and Inhumanism and explained innovation and creatio which is manifested in the late 1990\`s make-up by studying Neo-Avantgarde tendency expressed in modern make-up. The results are as follows. 1. The Historicism in modern make-up is expressed in Japanese Kabuki Make-up, Chinese Pecking Opera make-up, and Primitive mask Make-up in Africa. 2. The Decadence is manifested in Tattoo make-up which is expressing fetishism and fin-de-냗칟 image, and Snobism Make-up which is expressing selg-ostentation and eroticism with artificial nail and eyelash. 3. The humor appears to the Character Make-up copying the characters in doll plays, animation and juvenile story. In addition it is showed in Kitsch Make-up, which has vulagr, rustic and childish image by wearing so diffusive and cheap ornaments. 4. The Inhumanism is appeared in Graphic Make-up which is in the pursuit of the visual happiness. It includes simple geometrical type, drawing and coloring. It is also showed in Vampire Make-up, which means the make-up style mading horro, hizarrerie, and mistery by primary color(black and red) make-up. As the above, Neo-Avantgarde can account for the diversity and pluralism of contemporary make-up.

• Fashion & Textile Research Journal
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• v.15 no.1
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• pp.1-11
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• 2013

This study analyzed the expressive characteristics of padding in contemporary fashion. The methodology of this study was quantified through documentaries, fashion collections, and internet news. The results of expressive characteristics and methods were as follow. First, variability showed the creation of dwelling space by air filling, detail mode by zipper, and diversity of recycled filling by zipper pocket. It reflected the pursuit of nomadism and subversion of permanence by change of filling. Second, it was sexual symbolicity that showed the blurred androgynous silhouette by air filling and padding bar design of the chest, stomach, shoulder for the male body silhouette. It emphasized male sexual identity and power through the expression of a modern ideal body. Third, decoration displayed various crafts (such as knitting), various fabric such as polapolis, suedette, corduroy, denim, leather, knit, and spangle. It reflected visual pleasure, scarcity and various interpretations. Fourth, playfulness character forms throug hair filling, unfamiliar fashion items, diversity of silhouette and change of uses. It reflected a pleasant feeling through astonishment and surprise, nostalgia involved in memory and childhood play and disembarrassment from reality. Fifth, simplicity showed the elimination of a sportswear's factor with regular wad quilting, elimination of wad quilting, wad quilting following the structural line of clothes and the structual line of clothes omitted. It reflected disembarrassment from stereotype and an emphasis on essential elements.

• Journal of the Korean Society of Fashion and Beauty
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• v.1 no.1 s.1
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• pp.79-94
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• 2003

The purpose of this study was to discuss how make-up materials were used for the design techniques of special make-up that is part of impersonation, what kinds of materials were applied to special make-up design and how they were utilized, in a bid to find out more materials available for each of diverse design techniques in pursuit of better make-up design. The most widely used materials were divided into transformational and supplementary types, and the focus of this study was placed on two different design techniques. One put transformational materials to use, and the other utilized supplementary materials that also could serve as alternative and effect materials. Unlike general make-up that pursues beauty, special make-up focuses on realistic effect, and it cannot make any progress without newer, diverse materials which are increasingly gaining in importance. Although special make-up designing is a skilled technique that requires systematic knowledge of theories, proper materials and repeated practice, there is no absolute standard for it, since it is a product of imagination and depends on delicate hand skills and its effect hinges on individual viewer's visual perspective. In the future, more comprehensive and broader-scale experiments are called for to tackle this problem.

• Korean Institute of Interior Design Journal
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• v.24 no.1
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• pp.82-92
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• 2015

The philosophers think that the increase of loneliness in technological society is caused by the reduced feeling to some extent. They started to think the integral feeling in terms of existentialism away from Visualcentrism. It is apparent that in architectural design a concrete feeling(sense) out of Visualcentrism of modern architecture is reflected in a architecture. In particular, the architects such as Herzog & de Meuron, Steven Holl, Peter Zumthor, Kuma Kengo think that the existential value of the objects is important and would like to reflect the existence of materials on architecture. This study is to analyze the common points and different points regarding how in these works sensible experiences are approached. The results show that these works have common features containing escape from visual formativeness in the space, pursuit of locational connection, study on pure essence of the materials, and reflectance of the feeling of depth and motility. In addition, the actual beings of the materials for this feeling were mainly used and showed some difference in terms of the usage of local materials, natural environment, five senses of body. This study is important in the point of view that there are few researches that compared with the characteristics of architects' works while there were many researched that treated architecture as sensible view.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.164-179
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• 2008

The Purposes of this study are to analyze the couture-like design characteristics expressed in modern fashion and to grasp its sociocultural meaning. For this, the documentary study and practical case study have been executed. Fashion writings and visual sources in Gap Pret-a-porter Collection, www.style.com, www.firstviewkorea.com are used. The results are as follows. First, couture ran be featured as a luxurious made-to-order design for individual clients with high quality fabrics, hand-craftsmanship, painstakingly perfect details and finishing. It is valued on authentic originality, uniqueness, aestheticism, and luxury. As the relationship between couture and mass fashion has changed, there appeared not only traditional couture for few privileged people, but also demi-couture which bridges the gap between luxurious couture and pret-a-porter. Second, couture-like designs in modern fashion are classified as (1)the adaption of house archive (2)retro with couture-like silhouette (3)hand-craftsmanship in details and finishing (4)individualization for only one client. They have sociocultural meanings, which are the reaction to the crisis of originality, new luxury for differentiation, the pursuit of new individualism thinking. Ultimately, it ran be thought that couture-like design in modern fashion results from the mutual needs between elitism fashion designer struggling in the hegemony of originality and reproduction, and modern consumer seeking for luxury, individualization.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.3
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• pp.79-95
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• 1996

The traditional gardens of China were constructed on the basis of the common aesthetic consciousness between designers and users. As designers and users communicated each other through the medium of garden, they give suggestions to our design and appreciation of modern landscape architecture. The traditional gardens of China pursued to reach the state of Yi Jing(意境), and this state formed the keynote of the whole field of Chinese culture. Yi Jing is the aesthetic theory originated in Pre-Qin Era, and established in Tang-Dynasty. After this, this theory become the very important aesthetic category of Chinese aesthetics. Yi Jing is the process from conception to appreciation, and requires the three parts of designer, a work of art, and appreciator. To reach Yi Jing, designers must be well grounded and persevere in their efforts. They also had to have the ability of corresponding the inner order of environment and landscape, and expressing their own feelings and emotions into gardens. So ultimately, they were in pursuit of constructing the gardens as if something naturally created. The garden itself is the meeting place of designers and users. The space in which users can think of life, nature, history, and cosmos. In order to do this, designers design the real landscape and non-visual landscape. This design can give appreciators more fertile imagination. Appreciation perfects the Yi Jing of gardens. Yi Jing is created by co-work of artist and appreciator with common aesthetic consciousness and sense. Therefore, it is subjective, and it may be vary with man and time.

• Journal of Fashion Business
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• v.8 no.2
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• pp.102-115
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• 2004

The purpose of this study is to analyze the various types of styles and characteristics of Japanese street fashion since the 1990's. The primary source of data has been a collection of visual materials which include snapshots of young men and women in the Japanese street scene starting in the 1990's. To approach the Japanese street fashion comprehensively, I have divided the background of the Japanese fashion into three parts: 1. The birth of various fashion markets like the Dankai junior generation, Hetauma generation and Shinjinrui junior generation. 2. The pursuit of fashion senses like the well-balanced sense of independence and commensalism, uncommon sense and sense of a tassel. 3. A boom in new fashion business types like SPA and select shop. After the 1990's, the Japanese street fashion has changed through the popularity of styles which include the conservative casual style, sexy casual style, Harajuku pop style, and 3 Re(revival, remake, recycle) fashion style. The characteristics of the Japanese street fashion reflects the performance of virtual reality, the sign of style culture, and the communication of process.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.10a
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• pp.100-105
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• 2005

Recently cosmetic enterprises make rapid progress try to make well-known brands to perceive an image marketing. As the result, the brand's reliability continues to grow, beyond a medium of expression in two-dimensional, but through tridimensional, on brand's image runs strategies. In a strategic point suchlike visual as a shop's image give a stimulus to customers for increase invalue in corporate image and value of commodities. In the strategy of increase in sales, it is on the rise immediate constituent to consumers. Through cosmetic brand shops, cosmetic industries are provide personalized services and cultural facilities, rather than just selling products and to help revitalization of the cosmetic markets, and the pursuit of customer-oriented segmentation strategy to make changes for the better image for the shops. Each cosmetic brand shops' image of segmentation strategy has an effect on individual organizations and designs. As of today in Korea, cosmetic brand shop's designs, start to appear in the late 2000,will try to fine segmentation strategy for strengthen shop's image and research about unique quality of cosmetic brand shops into consumer orientation space, and make the best of significant prepare on the basis of directions for cosmetic brand shop which have ability to function as cultural facilities.