• Archives of design research
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• v.17 no.2
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• pp.451-462
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• 2004

The range of graphic design has expanded very widely as the digital era emerged, and many new areas of film design, including film, DVD, interactive TV, mobile and DMB, began to require the work of designers. This could be considered as an application as well as a case of digital film design as it has more developed new media environment as basis. The change in the expression techniques of film language is inevitable since major consumers of new media are the younger generation. The method of creating and distributing visual communication work is not standing still anymore. It has been diversified through dynamic movements and changes resulting from interaction. The major objective of this study is to find out and suggest the directions that film and digital media graduate school education of future by researching and analyzing how the nature of design, as an academic subject that keeps on changing and developing, is evolving in the new media environment. For this purpose, the methods of appropriate education system in higher design education, which are derived from case studies and previous studies on education system, are evaluated by examining the consumers. This study aims at finding the most effective training method in film and digital media design, and by integrating current design education with digital film design education establish a better fit education system that complies with the demands of today's society. It will suggest how an educational institute should see ahead of the time and provide what the society will demand in the future.

• Archives of design research
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• no.18
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• pp.165-174
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• 1996

In the I950s the German firm Braun began to pursue a policy of uncompromising modem design for products aimed at the upper reaches of the market. Dr. Fritz Eichler as a head of design with Hans Gugelot and Otl Aicher in the Graduate School VIm developed the guide line of Braun Design strategy as the foundation of the corporate identity programme. In 1955 Dieter Rams joined the staff, and was largely responsible for establishing the formal characteristics of Braun Design and its further development. In the mid-1950s complete product programme of the firm Braun began to be re-designed, and these undoubtedly hit the market. New design line of the firm Braun, was an exclusive avantgarde movement at that time, which became to be the epitome of the idea of an objectifiable "Good Form". By the result in the 60s and 70s, when Braun product program was completely re-designed to the new line, Braun Design had a decisive influence on the design scene of the world. Braun Design is essentially functional and concrete, which depends on perfect fulfillment of purpose, precision, safety, durability, the quality of the product and, more recently, environmental compatibility is similarly balanced and unified approach, eliminating every unnecessary detail and concentrating on ordering essential elements. elements.

• Archives of design research
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• v.19 no.3 s.65
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• pp.105-116
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• 2006

In product manufacturing industries, a recent issue is the green concept. The green concept is a complicated area. If the green concept is for products, its serious issues have to be criticized. Although the importance of the green concept has overflowed, its influences have not been disputed vigorously. So this study is to critic the serious issues of the green concept in aesthetics in product design, manufacturing, and products' prices. The green environment has four representative elements: systems, policies, minds, and technologies, but they are not in the field of design. An element of the green concept, green design is also a sub concept for design, so it should be based on aesthetics. It is green aesthetics. But since green design first appeared, it has never approached by aesthetics because it has mostly had social meanings and expectations. So for green aesthetics, to think about what makes a product, and what can be aesthetic issues among them are important. Products consist of form, structure, material, and technology. Form means different shapes in a structure, but there cannot be any specific directions for a green concept. Structure has two kinds: interior and exterior structure. While interior structure has a technological character, exterior structure is deeply related with aesthetics, but it has also no chance for green concept. Material can be divided as two also: aesthetic and technological. Aesthetics materials mean the colors, opacity, and tactile sense of materials, but they are not aesthetic issues. Technological materials are recycled materials or non-recycled materials. Even if recycled materials are used today, they are close to systems or policies rather than aesthetics. With this result, green aesthetics is a very difficult concept. Second, green products are usually 30% more expensive than general products. But every consumer has his or her own economical conditions, and nobody can coerce consumers into buying expensive green products for green environments. And green products without good quality cannot satisfy consumers. This means that green concept is not accomplished by just manufacturing green products. Third, although a lot of proposals have appeared as green design in exhibitions, most of them are close to craft because they are so hard to be manufactured. Manufacturing is the first consideration for products. These three issues are enough to explain why green concept is complicated in manufacturing products. If they are not solved, the green concept is just a fiction. So if this study proposes a turning point against blind green-oriented atmosphere, it will be meaningful enough.

• Archives of design research
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• v.19 no.5 s.67
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• pp.31-42
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• 2006

Design, to all of us living in the 21st century, is not just an action that revs up the production and consumption as an added value of an industry, but it is recognized as a broader social and cultural action in practice. The purpose of this study is to broaden the role of design as a principal body producing culture, and to proclaim that design itself has to have self-sufficiency as culture. The study starts from a hypothesis that the action of design should be at the core of cultural industry. The study includes studying the documents on and analyzing the current status and case studies of cultural industry and design policies for macro view. Comparative research and analysis of how designers from three countries, Korea, United States and England, perceive policies is a microscopic part of this study. The methods for this study include survey for quantitative research in Korea, United States and England, and intensive interviews for qualitative research to explain past facts and the current situation of design policies. The survey compares design professionals of three countries, and the intensive interviews are done with manager level design professionals who are both decision makers and policy makers. On order to prove the appropriateness of the survey structure, three pilot studies and a pre-test were carried out. As shown in the verification of the subject of study, if, in the cultural industry which was considered to be the blossom of 20th century, the blind running without intervention of reason still keeps its former state and is unable to go beyond history, we will not be able to enter the age of mentality and fall behind. The value of design that we shall judge depends on the dialectic of 'past' and 'present' regarding the principle of enlightenment, and it will open up a new philosophy, a new civilization and a new world.

• Journal of the Korean Society for information Management
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• v.33 no.1
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• pp.247-268
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• 2016

Although it has been a long subject of study why researchers prefer some cited documents to others, the existing relative researches have had a variety of perspectives on the nature and complexity of the citation behavior and not provided a complete answer to this question. In particular, Korea researchers mainly used statistical analysis of bibliographic information, which has limitations in revealing dynamic and complex cognitive aspects of the citation process. In this study, I investigate the citer perception of citing motives and bibliographic factors through survey and compared the responses according to the researchers' characteristics. After extracting the 22 motivations and 21 factors through the literature analysis and configuring a 5-point Likert scale questions, I conducted a survey in the wat of an e-mail attachment. From the SPSS 22.0, the frequency analysis, t-test, and one-way ANOVA were performed on the 354 valid samples. As a result, it is found that supporting is considered the most important citing motive and social connection, self-citation have little influence. In the case of bibliographic factors, the journal's reputation was recognized the most influential factor and the number of pages and authors was the least. Significant differences in fields of study and research careers were showed in some parts. These results can substantiate earlier studies, determine whether the factors assumed influential in selecting references were intended, and suggest the search point to the specialty library or academic database.

• Archives of Pharmacal Research
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• v.27 no.9
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• pp.961-967
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• 2004

The development of an antibody labeling method with $^{99m}$Tc is important for cancer imaging. Most bifunctional chelate methods for $^{99m}$Tc labeling of antibody incorporate a $^{99m}$Tc chelator through a linkage to lysine residue. In the present study, a novel site-specific $^{99m}$Tc labeling method at carbohydrate side chain in the Fc region of 2 antibodies (T101 and rabbit anti-human serum albumin antibody (RPAb)) using dihydrazinophthalazine (DHZ) which has 2 hydrazino groups was developed. The antibodies were oxidized with sodium periodate to pro-duce aldehyde on the Fc region. Then, one hydrazine group of DHZ was conjugated with an aldehyde group of antibody through the formation of a hydrazone. The other hydrazine group was used for labeling with $^{99m}$Tc. The number of conjugated DHZ was 1.7 per antibody. $^{99m}$Tc labeling efficiency was 46-85％ for T101 and 67∼87％ for RPAb. Indirect labeling with DHZ conjugated antibodies showed higher stability than direct labeling with reduced antibodies. High immunoreactivities were conserved for both indirectly and directly labeled antibodies. A biodistribution study found high blood activity related to directly labeled T1 01 at early time point as well as low liver activity due to indirectly labeled T101 at later time point. However, these findings do not affect practical use. No significantly different biodistribution was observed in the other organs. The research concluded that DHZ can be used as a site-specific bifunctional chelating agent for labeling antibody with $^{99m}$Tc. Moreover, $^{99m}$Tc labeled antibody via DHZ was found to have excellent chemical and biological properties for nuclear medicine imaging.edicine imaging.

• Archives of Pharmacal Research
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• v.28 no.1
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• pp.61-67
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• 2005

We evaluated the antiplatelet effects of two classes of ATP-sensitive potassium channel openers $(K_{ATP}\;openers)$ on washed human platelets, and the study's emphasis was on the role of mitochondrial $K_{ATP}$ in platelet aggregation. Collagen-induced platelet aggregation was inhibited in a dose dependent manner by lemakalim and SKP-450, which are potent cardio-nonselective $K_{ATP}$ openers, and also by cardioselective BMS-180448 and BMS-191095 $(IC_{50}\;:\;1,130,\;>\;1,500,\;305.3\;and\;63.9\;{\mu}M,\;respectively)$, but a significantly greater potency was noted for the cardioselective $K_{ATP}$ openers. The latter two $K_{ATP}$ openers also inhibited platelet aggregation induced by thrombin, another important blood-borne platelet activator, with similar rank order of potency $(IC_{50}\;:\;498.0\;and\;104.8{\mu}M\; for\;BMS-180448\;and\;BMS-191095,\;respectively)$. The inhibitory effects of BMS-191095 on collagen-induced platelet aggregation were significantly blocked by a 30-min pretreatment of platelets with glyburide $(1{\mu}M)$ or sodium 5-hydroxyde­canoate$(5-HD,\;100{\mu}M)$, a nonselective and selective mitochondrial $K_{ATP}$ antagonist, respectively, at similar magnitudes; this indicates the role of mitochondrial $K_{ATP}$ in the antiplatelet activity of BMS-191095. However, glyburide and 5-HD had no effect when they were added to the platelet cuvette immediately prior to the addition of BMS-191095. These findings indicate that cardioselective mitochondrial $K_{ATP}$ openers like BMS-191095 are able to exert cardioprotective effects in cardiac ischemia/reperfusion injury via dual mechanisms directed at the inhibition of platelet aggregation and the protection of cardiomyocytes, and both these mechanisms are mediated by mitochondrial$K_{ATP}$.

• Journal of Digital Convergence
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• v.18 no.5
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• pp.441-453
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• 2020

This study conducted a questionnaire survey on SNS users who are conducting K-POP record collection activities using SNS and verified factors affecting the intention to continue K-POP record collection activities. The main methods of analysis were exploratory factor analysis, confirmatory factor analysis, correlation analysis, and path analysis using SPSS 21.0 program and AMOS 21.0 program. The results are summarized as follows. First, compatibility for K-POP record collection activities through SNS has a positive effect on perceived usefulness, and observability also has a positive effect on perceived usefulness and perceived ease of use. Second, perceived ease of use for K-POP records collection using SNS has a positive effect on perceived usefulness. Third, perceived usefulness and perceived ease of use for K-POP records collection using SNS have a positive effect on continuous intention of K-POP records collection activity through SNS. As a result of this study, it suggests that the intention to continue the collection activities of K-POP records using SNS can be explained through the integration of innovation diffusion theory and technology acceptance model.

• Archives of design research
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• v.19 no.6 s.68
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• pp.27-32
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• 2006

TYME is an interactive typography program based on the ephemeral nature of time. It is a text based poetic tool, built with Processing. This project is presented as a performance that utilizes a computer with a display screen, a projector, and speakers. As the user types, white characters appear, flow on the score on the screen and trigger jazz sounds, then characters disappear into black space in several seconds on the screen like smoke. Typography from this invented instrument is evocative and wistful, and allows the user to associate with ephemeral time. While typing the characters as though playing an instrument at intervals of time, the user can freeze the motion and print out or save otherwise fleeting moment with a button. I intend to contain both characteristics: the amorphous shape of smoke and the elusive attribute of smoke for the expression of intangible and ephemeral time. Every alphabetic shape is derived from the video dips that I shot of smoke. The resulting alphabetic images are then programmed using the Processing scripting language and which can then be typed on the screen with a keyboard. TYME could be a model as a project that reflects the unfixed quality of digital typography, and as a design approach for interactive expressive typography by scripting code. This project also represents the characteristics of typographic play, which can be realized in an computational environment like this model.

• Archives of design research
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• v.19 no.6 s.68
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• pp.33-38
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• 2006

The development of the typeface 'Arita' presents a method and its following results for a corporate typographic identity. Amore pacific established a strategy for a typographic identity as for their high quality corporate culture and as a first step for it was to develop their corporate typeface 'Arita'. The typeface 'Arita' which pursues sharing and accompanying was developed to be used in the body text to enhance the function of the typography. What was needed to develop this typeface for Amore pacific was first, understanding of the corporation, and second, vision to present new direction for a typeface and its appropriate supervision, and third, ability in designing. Therefore, under the leading of Hong-ik University's meta design research institute, the typeface 'Arita' was created by in collaboration with Seoul women's university's modeling research institute and the typeface design specialty company, type space and the design company, Ahn-graphics. There are two kinds of weight in 'Arita' typeface, one is normal 'AritaM' and the other is semibold 'AritaSB'. 'Arita' is produced into TrueTypeFont(TTF) for Windows Operating System and OpenTypeFont(OTF) for Macintosh Operating System.