• The korean journal of orthodontics
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• v.49 no.4
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• pp.222-234
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• 2019

Objective: To investigate the three-dimensional lip vermilion changes after extraction and non-extraction orthodontic treatment in female adult patients and explore the correlation between lip vermilion changes and incisor changes. Methods: Forty-seven young female adult patients were enrolled in this study (skeletal Class III patients were excluded), including 34 lip-protruding patients treated by extraction of four first premolars (18 patients requiring mini-implants for maximum anchorage control and 16 patients without mini-implants) and 13 patients requiring non-extraction treatment. Nine angles, seven distances, and the surface area of the lip vermilion were measured by using pre- and post-treatment three-dimensional facial scans. Linear and angular measurements of incisors were performed on lateral cephalograms. Results: There were no significant changes in the vermilion measurements in the non-extraction group. The vermilion angle, vermilion height, central bow angle, height/width ratio, and vermilion surface area decreased significantly after the orthodontic treatment in the extraction groups, but the upper/lower vermilion proportion remained unchanged. Significant correlations were found between the changes in incisor position and those in vermilion angles, vermilion height, and surface area. Conclusions: Extraction of the four first premolars probably produced an aesthetic improvement in lip vermilion morphology. However, the upper/lower vermilion proportion remained unchanged. The variations in the vermilion were closely related to incisor changes, especially the upper incisor inclination changes.

• Journal of Information Technology Applications and Management
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• v.28 no.3
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• pp.77-87
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• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.

• The Research Journal of the Costume Culture
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• v.30 no.3
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• pp.348-365
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• 2022

The purpose of this study is to develop Korean clothing designs that can satisfy future consumer's needs based on the elements extracted through the content analysis method in a study on the design elements expressed in traditional outfits in the 2010s. To this end, data analyzing Hanbok in wedding magazines were used, and after extracting design elements, research methods for empirical design development were used. After subclassifying the major design elements, factors with a steady increase in frequency and appearance rate were identified. Through this, five elements capable of aesthetic sampling were extracted by complex expression methods and expressed in a total of seven combinations. The types extracted from the design elements are items, silhouette, top shape, skirt shape, skirt length, mixed items with increasing frequency. In the element of color, the adjacent color harmony, which showed the highest frequency of color, and the white-blue harmony, which showed an increase among them, were extracted. When using materials, top and skirt have similar usage rates of the same and different materials, so both contents were extracted, and many patterns were arranged in the top and the whole, but these three were extracted because there were increasing cases where there were no patterns. In the case of decoration, embroidery, pintuck, sakdong, applique, lace, ribbon on the top, silver foil and print on the skirt were extracted. Through this study, it was possible to propose a future Korean costume design model.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.397-405
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• 2022

NFT art is a new art formed based on NFT technology. This is attracting great attention in the existing art world and art market. Therefore, it is required to analyze whether NFT art can establish itself as a new area of art. Therefore, the formation and development process of NFT art is analyzed from the perspective of Actor-Network Theory of Science and Technology and Studies, and the case of NFT artist 'beeple' is a representative example. It also discusses the artistic value of NFT art and its relationship with traditional art networks based on the aesthetics of science and technology researcher Graham Harman. In particular, it analyzes the future and genre sustainability of NFT art through the case of NFT project "Cryptopunks" and "PUNKISM" advocating a new art genre. By analyzing NFT art with ANT, I would like to raise a technical, aesthetic, and philosophical questions and propose a positive prospect as a new art genre.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.732-751
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• 2022

In this study, we aimed to apply 3D digital printing to basic clothing production and to propose futuristic fashion design and production methods that correspond to contemporary trends. Literature on future trends, dynamism, mechanical aesthetics, and experimentalism were used to define the characteristics of "futurism." Based on theoretical considerations about futurism, we created fashion designs using 3D digital printing methods. These designs were produced using the aesthetic characteristics of futurism; the 3D digital clothing program; and application of digital printing technologies to futuristic silhouettes, colors, and materials. The results were as follows: First, with the application of futurism as a fashion motif, we pursued collaboration between artistic work and fashion, and we then explored the possibility of creative expression. Second, harmony between achromatic and chromatic colors revealed even better dynamism and activeness, and the potential to express dynamism was observed. Third, with the development of fashion design processes based on 3D digital printing methodologies, it was found to be possible to eliminate the limitations of time and space, solve problems related to limited budget or communication, and positively influence the fashion industry by enhancing convenience and diversity. Fourth, with the development of fashion design that utilizes digital printing, it was found that problems related to time, space, or limited budget were able to be solved, as compared to the use of traditional printing and image reproduction.

• 한국체육학회지인문사회과학편
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• v.54 no.4
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• pp.257-269
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• 2015

The purpose of this study was to conduct content analysis on expression activity section in the physical education textbooks of 2009 curriculum revision and provide a basis for future middle school physical education. in order to accomplish the purpose of this study, 5 different kinds of physical education textbook. The physical education textbooks were examined through the comparative analysis and previous studies conducted for selections of the analysis bases. The results were as follows. First, textbooks devoted the space from 14.1 to 17.3%. In deployment and configuration of the section, each textbooks were used variety of methods, photographs and illustrations for motivations and advanced learning. Second, the instructional objectives were presented 4-6 each text book including expression activity concepts, understanding expression methods, personal competence reinforcement through creative activity, and watching performances. Learning contents were to focus on the concepts of aesthetic component in the esthetical expression, to highlight creative component in the modern expression, to express characteristic dances through understanding of the culture in the traditional expression. lastly, the middle assessments hight the understanding of each contents but small assessments focus on attitudes of character education.

• Fashion & Textile Research Journal
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• v.25 no.5
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• pp.560-567
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• 2023

This study aims to rediscover the industrial value of a borderless service in the hyper-connected era by producing fashion content at the forefront of the cultural industry as XR content and contributing to developing fashion content for edutech. The research method employed design aesthetic theory, while the empirical proposal utilized scientific knowledge information to build a framework for 3D convergence content. The characteristics of fashion content exhibitions that apply the neumorphism technique are as follows: The first is a virtual space that produces clothing culture by type. Africa, where dyeing and crafts are developed, selects a product-oriented exhibition type; Asia, where weaving and textiles are excellent, selects a random movement type; and Europe, where the evolution of clothing design over time is evident, selects a guided movement type to create a three-dimensional fashion edutech. The goal was to produce content. The second is creative reproducibility, which combines a new fashion design that embraces the aura of the original with a trendy sense. The realistic folk costume style of the original allowed for its implementation in the AR exhibition space using historical traditional style techniques such as weaving and textiles. The third is building organic, modular content. By designing and then saving/editing/arranging the basic VP zone for each style, learners and instructors can freely edit the content for each fashion class topic and create various presentations to ensure that it functions as non-face-to-face edutech content around the world.

• Journal of Dental Rehabilitation and Applied Science
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• v.40 no.1
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• pp.24-30
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• 2024

Complicated crown fractures of maxillary anterior teeth caused by trauma in adolescence can cause functional and aesthetic problems. For crown fractures with pulp exposure, various restorative methods can be considered depending on the amount of remaining tooth structure. Direct resin restorations are the most traditional and effective method, but they are likely to discolor and break over time. Fixed prosthesis have a high possibility of re-restoration due to marginal disharmony due to tooth movement during the growth period, and restorations using post which are mainly performed for extensive crown fractures increase the risk of root perforation and root fracture. However, endocrown is an integrated structure that gains retention force from the pulp space, enabling effective reconstruction from a biomechanical perspective and providing advantages in restoring function and aesthetics. Therefore, endocrown can be considered as a restoration method for complicated crown fractures caused by trauma in adolescence.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.2
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• pp.105-113
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• 2015

The theory of landscape architecture applies environmental ethics in order to secure an ecological status. However, environmental ethics that focus on nature conservation excludes landscape architecture as artifacts. In the process, it is hard to identify what landscape architecture insists on as the middle position between humans and nature. Rather, landscape architecture pretends to be an 'agent of nature' and pushes the traditional moral values 'for people.' Therefore, the purpose of this study is to reestablish the anthropocentrism moral position of landscape architecture through critical analysis. Hargrove's weak anthropocentrism' of several environmental ethics branches accepts natural aesthetics(such as landscape architecture) as an ethical virtue. But environmental ethics makes landscape architecture a critical target. For that reason, this study looked into critical contents and objects that in a position to moral, aesthetic and landscape architecture. Critical details are as follows: First, nature is an absolute as an aesthetic and moral value, but landscape architecture is an imitation and takes a relaxed attitude about nature. Second, nature is full of aesthetic substance because it is self-creative, but landscape architecture is designed nature covered human flaws through imagination. Third, environmental management granting techniques in nature generate a moral nihilism. As an argument, environmental ethics overlooked the moral practices of landscape architecture beyond nature another moral aspect of creation and the imagination-and moral aspects of environmental management as 'care' because they rule out 'moral autonomy' and simplify what is considered 'good.' As a result, conservation cannot be the only virtue why the problem of nature in reality cannot be separated from human life. The moral position of landscape architecture based on a 'good life' is more appropriate under anthropocentrism than as a middle position.

• The Journal of Korean Philosophical History
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• no.32
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• pp.309-336
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• 2011

There were various linking points that connect Li xue(Neo-Confucianism) to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi and Yan Hui" 2. Esteem of "life and vitality". Scholars of Li xue in Song regarded the pleasure of acting up to "benevolence" as a beauty, and this benevolence originated in the "heaven and earth; the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe", thus the natural "life and vitality" of the "heaven and earth" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation". Originally the "serene contemplation" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In the same manner, the "pleasure" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point, the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li" or "Qi" that producing all things is "coming of itself", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition". Scholars of "Li xue" ordinarily valued much of "disposition of a sage", consequently this tendency influenced on aesthetics. "disposition" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing inquiry", "study the laws of nature by close access" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty. Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of Landscape painting.