• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• Cartoon and Animation Studies
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• s.33
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• pp.153-172
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• 2013

There are many cases that messages of boring contents of most contents with public interests appear on the surface. Audiences don't think these contents are interesting. It is true that animations cannot be generally boring when delivering messages of public interests. was produced to focus on making audiences experience that a global warming story, the boring and textbook contents is interesting. And it was composed by the multiform story to realize narration through audiences' participation by utilizing the characteristics of live windows, not just watching the animation. This paper examines the differences between theaters and live window through the case that was produced and examples which utilized interaction for audiences' participation based on this. It analyzes the differences between environments according to characteristics of places and audiences in the differences between the theaters and live window, examines the examples to utilize interaction focusing on the process that narration is gradually changed as response to user environment design and interaction for unspecified individuals, and suggests direction that animation should move forward as public art based on the results to show the animation in Millano Piazza. According to the characteristics of live windows, the audiences of are people in the streets who are heading for different destinations, not the ones who come to theaters to watch the animation. Showing the animation with narration to them was a new attempt. When it began to show it in Millano Piazza, the audiences were very satisfied with the experiences that the stories were changed as they participated in it by themselves and naturally thought of global warming problems. You cannot know how the message of change people's habits and thoughts for the present, but this attempt was an opportunity that animations play the social role. Many animations are being produced in the world. Most of them are being done to aim at theaters, TVs, and film festivals. They should meet audiences through more various methods. One of them is animations as public art. And can be the new attempt in this sense. And in the future, animations as public art should make efforts to show you interesting experiences that you can share thoughts to be able to live together. As art of various media is changing to the one which considers public interests, animations can be new types of public art by integrating them with various technologies.

• The Journal of the Acoustical Society of Korea
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• v.13 no.6
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• pp.75-82
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• 1994

The ray paths and travel times of sound wave in the ocean depend on the physical properties of the propagating media. Ocean Acoustic Tomography(OAT), which is inversely estimate the travel time variations between fixed sources and receivers the physical properties of the corresponding media can he understood. To apply ocean survey technology by using the OAT, the tomographic procedure requires forward problem that variation of the travel times be identified with the variability of the medium. Also, received signals must be satisfied the necessary conditions of ray path stability, identification and resolution in order for OAT to work. The canonical ocean has been determined based on the historical data and its travel time and ray path are used as reference values. The sound speed of canonical ocean in the East Sea is about 1523 m/s at the surface and 1458 m/s at the sound channel axis(400m). Sound speeds in the East Sea are perturbed by warm eddy whose horizontal extension is more than 100 km with deeper than 200 m in depth scale. In this study, an acoustic source and receiver are placed at the depth above the sound channel axis, 350 m, and are separated by 200 km range. Ray paths are identified by the ray theory methed in a range dependent medium whose sound speeds are functions of a range and depth. The eigenray information obtained from interpolation between the rays bracketing the receiver are used to simulate the received signal by convolution of source signal with the eigenray informations. The source signal is taken as a 400 Hz rectangular pulse signal, bandwidth is 16 Hz and pulse length is 64 ms. According to the analysis of the received signal and identified ray path by using numerical model of underwater sound propagation, simulated signals satisfy the necessary conditions of OAT, applied in the East Sea.

• Journal of the Korean Society of Radiology
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• v.17 no.6
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• pp.903-909
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• 2023

The purpose of this study is to compare and analyze the effect of changes in the patient's central position on the exposure dose and image quality of surrounding organs during a chest lateral examination using an Auto Exposure Control(AEC). The experiment was conducted on a human body phantom. A needle was attached to the lower part of the center of the coronal plane of the phantom, and a lead ruler was attached to the lower part of the detector so that the 50 cm point was located at the lower center of the AEC ion chamber. The exposure conditions were 125 kVp, 320 mA, the distance between the source and the image receptor was 180 cm, and the exposure field size was 14 × 17 inches. Only one AEC ion chamber was used at the bottom center, and the density was set to '0' and sensitivity to 'Middle', and the central X-ray was incident vertically toward the 6th thoracic vertebra. With AEC mode applied, the 50 cm point of the needle and lead ruler were aligned and the phantom was moved 5 cm toward the stomach (F5) and 5 cm toward the back (B5), and the dose factor was analyzed by measuring ESD. The ESD of the thyroid gland according to the change in patient center position was 232.60±2.20 μGy for Center, 231.22±1.53 μGy for F5, and 184.37±1.19 μGy for B5, and the ESD of the breast was 288.54±3.03 μGy for Center, F5 was 260.97±1.93 μGy, B5 was 229.80±1.62 μGy, and the ESD of the center of the lung was 337.02±3.25 μGy for Center, F5 was 336.09±2.29 μGy, and B5 was 261.76±1.68 μGy. As a result of comparing the average values of dose factors between each group, the difference in average values was statistically significant (p<0.01), and each group appeared to be independent. As a result of the study, there was no significant difference in the dose to the thyroid, breast, and center of the lung according to the change in the patient's central position, except for the breast (10%) when the patient moved forward about 5 cm. However, movement of about 5 cm posteriorly resulted in an average dose reduction of 23.7%. Additionally, when the patient's central position was moved to the rear, image quality deteriorated.