• Electronics and Telecommunications Trends
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• v.36 no.1
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• pp.43-53
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• 2021

Super-realistic content technology has recently attracted attention as a core of the "new normal" that can overcome the spatial constraints caused by pandemics. It is moreover the core that allows users in remote locations to meet and engage in various social, cultural, and economic activities based on a network. Content technology is rapidly spreading beyond the existing entertainment area to various industries as an innovative tool that can be used to overcome space-time constraints and improve the productivity of industrial sites, because reality and virtual reality are now super-connected with ultra-low latency. However, existing services such as teleconferencing and tele-collaboration do not provide a level of realism that replaces face-to-face services, and various technical requirements have been proposed to overcome this. The trends in core technologies such as XR twins, hyper-realistic reproduction, sensory interaction, and emotional recognition technology, which are necessary for interactive realistic content that leads to feelings, from reproduction to experience and emotion, are explained. In this article, our aim is to present the future of realistic content that enables human care and can even overcome psychological difficulties such as the "Corona blues".

• English & American cultural studies
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• v.14 no.2
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• pp.77-96
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• 2014

As the cyberspace several decades ago created a cyber fiction fever, the augmented reality as the future of imagination can generate another kind of literary genre and new social ambiance where books tend to come to life more realistically. This newly created "smart fiction," "smart movies," and "smart environment" will be full of fun, hopes and conveniences. But addiction to smart kinds will create unwanted dangerous plethora like ghost-like avatars, wild animals and Farid due to the limitations of human control over hi-technology. If so, the adventures we plan to take will turn fantasy into horror in no time. Instead of loving new scientific things blindly, the emphasis hereafter must be put rather on the potentially negative aftermaths of the new innovative technology. Some viewers after watching the film Avatar are still suffering from the syndrome called "avatar blues," a homesick for Pandora. After their experiencing of the experimental 3D effects in books and media, audience and readers are required to actively deal with the increased lack of the darker cave which the comparatively unsatisfactory present can never fill with fixity and limit. Like the prevention against the addictive online game or the manual of 3D television or 3D printer, the extreme off-limits and safety zone for this virtually and expendably subverting technology must be seriously reviewed by community before using and adopting it. Also, these technologically expanded and augmented environments must be prudently criticized by the in-depth study of literature just as cyber space begun by Gibson's cyber fiction and its criticism.

• The Research Journal of the Costume Culture
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• v.31 no.6
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• pp.824-836
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• 2023

The purpose of this study is to analyze the formative characteristics of women's costumes among the Regency era's elite in the television drama Bridgerton (2020). Its methodology investigates the socio-cultural background and literature on clothing in the Regency era. It also analyzes the formative elements of Daphne's costumes (of the Bridgerton family) and Penelope's costumes (of the Featherington family) representing the upper class. The study reveals that women's costumes had a tubular silhouette consisting of a low neckline, high waistline, and short puffed sleeves. The series expressed well the Regency-era costumes, which were influenced by Neoclassicism and characterized by silk materials, shawls, gloves, belts, a reticule, and hairstyles. Among the formative elements, the Bridgerton and Featherington families' costumes showed distinct differences in color, materials, patterns, accessories, and hairstyles. Daphne's costumes were intelligent and elegant in pastel-toned blues and had small patterns. She carried small accessories and had a natural curled hairstyle. In contrast, Penelope wore decorative and splendid styles in intense colors and large patterns. Her accessories were large and colorful, and she had a strong curled hairstyle. These costumes express the Bridgerton family as aristocratic and the Petringer family as flashy, thereby distinguishing the two families. These research results will be presented as basic data for producing drama costumes in the 19th century to help complete the drama.

• Journal of Digital Convergence
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• v.13 no.11
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• pp.349-355
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• 2015

It is crucial to a musical artist whether or not they have a musical identity. Major entertainment companies of Korea are strongly promoting a cultural product called 'Idol', where musical identity and musicianship are not important, with careful production and capital. It is important to take note of Prince, who remains to show clearly his philosophy and identity, in the state where lack of musical identity is being promoted. Many studies done on his musical brilliance and uniqueness can be a great incentive to rethink on the nature of music. As an arranger, Prince used tension notes effectively and even showed that avoid notes can be used to express a musical color. Studies on his musical brilliance and uniqueness must continue to be done and become an incentive to not just people who study music but for everyone to rethink the nature of music. There is no correct answer to music, but art has to be the essence of its nature.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.173-186
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• 2002

Street Style, occurred in British and America, has been expressed the character of the new generation by repeating developments and changes. Nowadays, pop music reflects the phase of society. and simultaneously it has influence on from culture to society. Rock Music was rooted in Country 8l western of America. Upon Country & Western, Afro-Americans Rhythm & Blues was added, and that was the birth of Rockabilly. Rockabilly developed to Rock'n 'roll and it started to change to various forms of Rock since 1950s. As the commercial impact and the breakthrough of teenagers emotion, the rock culture comprised the base of the youth culture. However. it formed the anti-establishment culture against the established value, accepting working class subculture. The teenager culture was affected by the Rock culture, also found relief in the opulence provided by the established generation, imitating it as it was. Simultaneously, it had a contrary aspect as anti-establishment form under the banner of revolt against languor in richness. The youth culture created street style that was escaped from high fashion, every time Rock music had changes. Since Street style was based on resistance of established culture and it fully refused vogue, it was indifferent from high fashion. The results of this study were as following. First, every time Rock music had changes, the new youth culture was concomitant with, the youth culture created street style. Secondly, rockahibilly style was characterized as diamond shaped design, embroidery, extra wide shirt collar, vivid contrast color . Rockers style was represented as metal studs, beads, denim, leather jacket, boots. Fusion of hippies style and Psychedelic, long hair, beads. worn denim were elements of headbangers style. Punks style was characterized as ripped T-shirt. rooster hair, over decorated jacket, short skirt. net or plastic T-shirt. Lastly, the firm relation between popular art and fashion was proved by examining the history of Rock Music and Street Style.

• Journal of the Korean Society of Fashion and Beauty
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• v.3 no.1 s.4
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• pp.1-12
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• 2005

The purpose of this thesis is to study the formative characteristics and symbolism shown in Rock stars' hairstyles through rock music to have influenced youth culture. There were a D.A style and a mop top style which included the youth characteristic to seek a new desire and value as the hairstyles of Rock & Roll stars, along with the characteristics of Rock & Roll music to represent the feeling of teenagers in 1950's at that time unlike the previous music due to high beats mixed with Rhythm & Blues (R & B) and Country music, and use of electronic guitars. We can see the desire for challenge and freedom against the then present regime, shouting love and peace, and resistance in the Psychedelic Rock music stars' hairstyle, which are untrimmed and disheveled, that is, natural. We can find explosiveness in Mohican and Spike style of Punk Rock stars playing fierce and aggressive music, along with words including indignation and assertion against the society's regime. The Artistic characteristic is implied in the following hairstyles: Glam Rock stars' hairstyle, a man's long-haired but a little long crew-cut style to reduce the bulky feeling and to give a bisexual, visible shock with hair dyed in orange to emphasize magnificence, and Punk Rock stars' hairstyle showing beauty in their own way with expression of anti-beauty to intentionally look ugly. Like this, the 20th Century's Rock music and youth culture are closely associated each other, and showed a new style, and played a leading role in street fashion, which became a momentum to much influence high fashion as a look of the 20th century modern fashion.

• Archives of design research
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• no.18
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• pp.87-96
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• 1996

The purpose of this study is to classify the images of blue based on expressive values communicated by color on symbolic aspects and the blue images expressed in modem apparel fashion. Images of blue are classified through the document studies as follows : The expressive values of blue are cold, receding, and sedative. Based on these values, affimative images of blue are classified infinite, lofty, peaceful, tranquil and contemplate. Negative images are classified sad, indecent, rebellious, and indignant. In apparel fashion, blue acted as a important image factor in classic, workwear, military and marine look. Blue green and purple blue in pale, greyish and light tones were showed as trend color. Meanwhile, purple blues in dark greyish, pale and greyish tones were more used for domestic womens wear.

• Journal of Satellite, Information and Communications
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• v.8 no.4
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• pp.117-123
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• 2013

The development of the latest emotional recognition and multimedia technology has changed the traditional broadcasting system. The previous broadcasting system, which was operated by the terrestrial broadcasters, is now transformed to the viewer-centered and bidirectional broadcasting through the convergence of internet, mobile and smart TV. In this paper, smart-phone application for estimating human emotion(sadness, anger, depression) has been developed and emerged with smart TV, thereby we can present broadcasting service for enhancing the sense of common humanity among people of same group. If there is friend in the depression, we can bring comfort to him by inviting one for TV program what I watch and having a honest talk with facial avatar or emoticon. The proposed emotional broadcasting service inter-working with smart-phone application can give feeling of belonging and happiness to the people suffering from the blues, and it can prevent him from attempting suicide. In addition, smart-phone based emotional broadcasting service can be expended to program recommendation service customized to user's emotion, emotional LED lighting service to maximize the sense of reality and home shopping service taking advantage of the mood of customer.

• Journal of Korean Academy of Nursing
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• v.43 no.2
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• pp.225-235
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• 2013

Purpose: This prospective cohort study was done to investigate recall bias to antepartum variables measured at postpartum periods and predictors of postpartum depression. Methods: Participants were 215 women who answered a self-administered questionnaire which included demographics, Postpartum Depression Predictors Inventory-Revised and Korean version of Edinburgh Postpartum Depression Scale at antepartum 36-40 weeks and postpartum 2 weeks and 6 weeks. Data were analyzed using kappa, and hierarchical multiple logistic regression. Results: Agreement between antepartum variables at both antepartum and two postpartum periods was relatively high (${\kappa}$=.55- .95). Postpartum depression rates were 36.3% and 36.7% at two follow-up points. In hierarchical multiple logistic regression analysis, prenatal depression (OR=4.32, 95% CI: 1.41-13.19; OR=5.19, 95% CI: 1.41-19.08), social support (OR=1.40, 95% CI: 1.18-1.66; OR=1.27, 95% CI: 1.06-1.53) and maternity blues (OR=4.75, 95% CI: 1.89-11.98; OR=4.22, 95% CI: 1.60-11.12) were commonly associated with postpartum depression at two follow-up points. Child care stress (OR=1.85, 95% CI: 1.01-3.37) was only associated with postpartum depression at 2 weeks postpartum and pregnancy intendedness (OR=1.57, 95% CI: 1.09-2.27) was only associated with postpartum depression at 6 weeks postpartum. Conclusions: The results indicate a need to apply nursing interventions such as prenatal education and counseling with families from antenatal period.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.41-53
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• 2004

The significant role of colors in fashion design is not enough to emphasize in terms of one of the important design elements and its influences on the behaviors of the people. The purpose of this research is to examine the traditional Chinese colors and its ways of color combinations to appreciate the Chinese culture and its people. The Chinese traditional costume of Ching Dynasty were investigated through historic records, historic nobles, costume accessories and so on. The results of the study were summarized as follows： (1) The Blue was the most favoured color for clothing among men and women during Ching dynasty and various blues in terms of hue, value and intensities were used. (2) The bright Yellow which had been a symbol of Emperor were prohibited being used among people. Though, the late period of Dynasty, the regulation became not to strict and various shades of yellow families were adapted among People. (3) The Red which had been preferred during Ming Dynasty were constantly favoured for the formal wears of auspicious events such as weddings. (4) Dark color groups were loved for the clothing which were used as a ground colors against the flamboyant patterns revealing strong visual effects through value contrast or primary color combinations. (5) The White had a symbol of mourning and there were some intentions to adopt pale color groups such as mint, jade, gray, moon whit,. silver white to make up for white. (6) Contrast color combinations were one of the basic ways of color combination in Chinese traditional costume. Therefore Chinese color combinations has a strong visual effect and easy to draw attention of people by the contrast of the hue, value or intensity of color. (7) Multi-color combinations were another characteristics of Chinese costume in the formal wears which bears many surface designs. The surface decorated with full of motifs, were appreciated by the people expressing their longings and hopes through the auspicious meanings of patterns and striking visual effects of color combinations.