• 지능정보연구
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• 제25권4호
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• pp.89-103
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• 2019

최근 추천시스템의 품질평가 관점에서 이에 대한 다양한 연구들이 진행되고 있다. 추천시스템은 기본적으로 사용자들에게 특정 아이템에 대한 개인화된 추천을 제공하는데 목적이 있으며, 대부분의 추천시스템은 항상 사용자 또는 아이템과 가장 관련 있는 아이템을 추천한다. 그리고 이러한 추천시스템의 성과는 전통적으로 다양한 예측정확도 등에 초점을 두어 왔다. 그러나, 추천시스템은 예측가능성 차원에서 정확해야 할 뿐만 아니라 사용자들에게 유용해야 한다. 특히 최근의 추천시스템에 대한 연구로서, 추천시스템의 평가기준에 속하는, 추천시스템에 대한 사용자 만족도(품질)는 추천시스템이 얼마나 정확하게 추천하느냐 뿐만 아니라 사용자의 의사결정에 얼마나 충분히 도움이 되는지와 관계가 깊다. 예를 들어, 특히 높은 수준의 세렌디티피한 추천은 사용자들이 뜻밖의 아이템이면서 흥미로운 아이템을 찾는데 도움이 된다. 여기서, 세렌디피티란 추천 아이템이 사용자에게 매력적인 동시에 뜻밖의(비기대성의) 아이템인 정도를 의미한다. 본 연구는 추천시스템의 성과를 나타내는 세렌디피티 지표를 추천시스템에 적용하여 추천시스템의 품질을 평가하는 것을 목표로 한다. 본 연구에서는 세렌디피티 지표는 관련성(매력)이 있는 동시에 뜻밖인(비기대성의) 아이템을 추천하는 정도로 정의하고, 이 세렌디피티 지표를 측정하기 위해, 추천시스템이 사용자들에게 예상치 못한 유용한 아이템을 찾을 수(또는 추천할 수) 있는 정도를 평가하였다. 본 연구의 주요 실증분석결과로는, 아이템기반 협력 필터링 기법이 사용자기반 협력 필터링 기법보다 더 높은 세렌디피티값을 가지며, 따라서, 추천시스템의 품질평가 차원에서 아이템기반 협력 필터링 기법은 사용자기반 협력 필터링 기법보다는 더 좋은 추천 품질을 갖고 있음을 보여 주었다.

• 패션비즈니스
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• 제19권5호
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• pp.48-62
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• 2015

The purpose of the study was to investigate how the Classification of the Joseon Dynasty's Beauty characteristics were expressed in a TV documentary focusing ona Re-mediation theory. The methods of study comprised of library research, Internet search, and using TV documentary program case studies. The work this Researcher makeup in the manufacture from the documentary in which the methods the Joseon. Dynasty expressed were selected. The literature, and preceding research, were referred to as a way to help organize the Joseon Dynasty's 'gi-saeng Hwang Jin-Hee', 'woman of royal family', and way of make-up of 'sadae-bu lady'. The TV documentary programs selected were 'MBC special' and '2 parts of channel A documentary special'. First, the improvisation of nature and simultaneity expressed in the Joseon Dynasty's usage of make-up is shown through the interview form reflecting the make-up tools and age direction of the scenes or expert. Second, the interactivity and reality are well seen through the row equivalent in which the model seems to directly use the dressing demonstration of the expert and cosmetics material. Third, the cultural expandability and unexpectedness show through the production of situations which are viewed from the explanation of the narration and letter subtitles and drama.

• Human Ecology Research
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• 제56권3호
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• pp.317-330
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• 2018

Objectives: This study explores the characteristics of family migration for North Korean defectors and classifies family migration by examining who initiated the migration and who followed. Method: We analyzed the family migration using detailed stories from fifty-five North Korean defectors who were interviewed between 2005 and 2011. Results: We found that 43 out of 55 cases were family migration and the remaining 12 cases were single person migration. We also found several characteristics typical of migration. First, family migration followed the process of step migration, which indicated a serial migration in numbers. Second, migration relied heavily on informal social networks. Finally, the process of earlier migration by North Koreans was incidental and unexpected; however, unexpectedness has diminished in recent migration. Looking at who initiated the migration, the most common type was 'mother-initiated' cases (14 cases) followed by 'child-initiated' cases (10 cases). The third most common type was 'mother-child accompanied' cases (7 cases). The migration process was various; however the most common type was when a married woman initiated the family migration process. This is most likely because married women have the responsibility to support families in the informal economy of North Korea. According to the range of family migrated, the most common type was 'nuclear-family only' cases (22 cases) followed by 'maternal extended family migration' cases (12 cases). Conclusions: The findings of this study provide information on the family dynamics of North Korean defectors.

• 한국의상디자인학회지
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• 제22권2호
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• pp.71-85
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• 2020

The purpose of this study was to study the beauty-coordination characteristics of Genderless fashion, which is emerging as a new trend by analyzing the trend in the latest collection and classify the resulting expression characteristics of make-up. Methods and scope of the study were based on collections published in the 2020 S/S season and 35 out of 84 designers with design elements were selected to analyze the garments most likely to be genderless. The characteristics of the expression of the genderless derived through this analysis were classified into compromise, androgyny, sensuality, exaggeration, enjoyment, and historicity. Compromise was the highest, and the lowest was for enjoyment of the classifications. The designer's work according to the characteristics of each expression shows that the pieces by Saint Laurent were the highest in compromise, sensuality, and historicity, and the pieces by Maison Margiela were the highest in androgyny while Balenciaga was the highest in exaggeration and enjoyment. Compromise represented a mixture of discord, such as incongruous bonding and coloring of heterogeneous materials, and androgyny led to the use of silhouettes and colors, with sensuality utilizing see-through material and incision lines allowing for physical exposure. Exaggeration intentionally destroyed the existing concept by breaking the overall balance of the human body through the enlargement of certain parts of the body, while enjoyment showed unexpectedness by destroying the line and sides of the garment. Lastly, historicity was analyzed for its retro design that transcends time and space with regional cultural and period characteristics.

• 한국의상디자인학회지
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• 제6권3호
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• pp.185-199
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• 2004

This study is intended to examine Honore Daurnier's realism formativeness, review it in connection with socio-cultural conditions, analyze costume designs by a style of realism formativeness, in order to find the value. For the study, the procedure included the review of Daurnier's works and world, together with realism formativeness. Then, Daurnier's realism formativeness applied to costume designs were categorized and found the features of each style. Finally, it sought the implication of realism formativeness in costume designs. Honore Daumier, a realist of France in the 19th century, has been reputed that he pursues plain reality with a satire, uses all the conditions of humans as his object, and observes the vanity, desire, and foolishness of humans to represent his own expression techniques as cold as a stone. Realism formativeness is characterized by adherence to observing reality and engagement in reality, an effort to represent the world as it is as what we sense it without diluting or omitting it, nor any deception. The following terms can be used to describe the three styles of intentional recreation, satire on reality, and real existence; For intentional recreation in costume may be featured by the avant-garde, the pursuit of autonomy, reconstruction, rediscovery, recombination, reinterpretation, neutralized representation (reality ＋ the abstract), transformation, distortion, shock, and unexpectedness, etc. For satire on reality in costume, satirical criticism and mockery in a coexistence of time and space, dualism due to the combination of the exterior and the interior, reality reflecting the actual reality, and irony are those words. Real existence in costume may be described with objectivity, ordinariness, correctness of representing a theme, impersonality excluding subjectivity, clearness, certainness, and preciseness, etc.

• 복식문화연구
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• 제24권6호
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• pp.903-919
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• 2016

This study aimed to contribute to the development of various female fashion designs by reviewing the genderless styles in androgynous trends that have loomed large in women's fashion, as well as through analyzing and organizing the changes in women's fashion that were required in a society in which various values coexist. A literature review was conducted to identify the genderless concepts, through which a total of 1,273 materials were selected from 10 brands of the S/S collections, during the period of 2006~2016. The results were as follows: first, without the juxtaposition of incongruous objects or images and a fixed type of color arrangements, the compromise shown in women's fashion were mostly expressed through various tones and diverse colors, and with the mixed use of heterogeneous patterns and materials. Second, the enjoyment of genderless styles was expressed with the unexpectedness that occur through symmetry/asymmetry and harmony/disharmony, as well as through the deviation from conventional notions regarding clothing structures. Third, the exaggeration expressed in women's clothing collections perfectly covered up a woman's body shape with the silhouette of exorbitantly expanded bulk and dimensions. These were done with extended lengths, expanded adornments, and modified clothing design types or structures. Fourth, the sensuality of genderless styles analyzed in women's fashion was expressed with mannish clothing that accentuates the beauty of the female body. Lastly, the historicity shown in genderless styles was expressed through clothing that represented traditional styles of the past, the symbolic meanings expressed in the clothes' colors and patterns, and the methods in which the decorative factors were utilized.

• 복식
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• 제50권3호
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• 복식
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• 제65권4호
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• pp.61-75
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• 2015

This research aims to analyze the prep-hop fashion, which is an original look created through the convergence of the hip-hop and preppy look, and identify the design characteristics of the prep-hop fashion. The style mixes the fashion of what was traditionally a lower-class look with the upper class. The design characteristics are as follows: First, the prep-hop fashion expresses slim, casual and sophisticated look with items and silhouettes. The items are categorized into jackets, shirts and pants. The prep-hop jackets provides a casual look to its wearer unlike the jackets of preppy or conservative looks. Slim suits show different meanings and features depending on the changes in the time and culture despite the continued use of the items. Second, the colors of the prep-hop fashion include overall basic colors used in the preppy look and hip-hop fashion. The aesthetic values of the colors express pleasant color images different from the conservative and resistant images expressed in the preppy and hip-hop style before the convergence, respectively. Third, the materials and patterns are expressed in a unique way to fulfill the emotional needs that are considered vital to contemporary fashion. The materials in the prep-hop fashion extend the ranges of usage by using the materials with unexpectedness broken out of general range of usage. While the use of the patterns is one of the methods to demonstrate that the prep-hop fashion is created by the convergence between hip-hop fashion and preppy look, the meaning concludes pleasantness and casualness different from the past. Fourth, the prep-hop fashion is mainly composed of hip-hop fashion accessories, which express the authenticity of the hip-hop fashion to protect the non-mainstream characteristics. The design characteristics of the prep-hop fashion pursue the individuality of the contemporary fashion, which lacks originality due to commercialization. The development of the prep-hop fashion, as a new form that combined contrasting genres and trends, is expected to develop more publicly.

• 자연과학논문집
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• 제8권2호
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• pp.237-255
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• 1996

패러디는 선행하는 친밀한 소재가 패러디스트에 의해 모방되면서 시작된다. 이 때 사용되는 기법은 모방, 유사, 변형, 과장, 아이러니, 파라독스등 다양하며 패러디스트의 의도와 능력에 따라 여러 가지 기법으로 풍자, 조롱, 경명, 의외성, 우스꽝스러움, 존경, 경외심 등과 또 이 모든것이 혼합된 어떤 효과를 주어 선행양식과 다른 비평적 거리가 있는 반복으로서 새롭게 창조 되는 것이다. 또한 패러디는 포스트모더니즘적 특징을 다분히 내포하고 있으므로 포스트모더니즘적 미의식이 팽배해진 화경에서 효과적인 표현양식으로 널리 사용되어지며 그 요구 또한 급증한다. 예술의 한 장르로서 복식에서도 패러디 기법은 역사적 입장으로서 과거를 비판적으로 재구성하여 새로운 복식을 창조하는 한 형식으로 널리 사용되고 있다.

• 한국지진공학회논문집
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• 제20권7_spc호
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• pp.443-451
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• 2016

A Gyeongju earthquake in the magnitude of 5.8 on the Richter scale (the moment magnitude of 5.4), which was recorded as the strongest earthquake in Korea, occurred in September 12, 2016. Compared with the 2011 Virginia earthquake, the moment magnitude was slightly smaller and its duration was 3 seconds, much shorter than 10 seconds of the Virginia earthquake, resulting in relatively minor damage. But the two earthquakes are quite similar in terms of the overall scale, unexpectedness, and social situation. The North Anna Nuclear Power Plant, which is a nuclear power plant located at 18 km away from the epicenter of the Virginia earthquake, had no damage to nuclear reactors because the reactors were automatically shut down as the design basis earthquake value was exceeded. Ground accelerations of the 2016 Gyeongju earthquake did not exceed the threshold value but the manual shutdown was carried out so that Wolsong Nuclear Power Site was not damaged. Damaged historic homestead house and masonry structures due to the Virginia earthquake have been repaired, reinforced, and rebuilt based on a long-term earthquake recovery project. Likewise, it will be necessary to carefully carry out an earthquake recovery planning program to improve overall seismic performance and to reconstruct the historic buildings and structures damaged as a result of the Gyeongju earthquake.