• Fashion & Textile Research Journal
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• v.10 no.4
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• pp.566-571
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• 2008

Frictional sounds of 8 vapor permeable water repellent fabrics by sound generator were recorded and analyzed through FFT fast Fourier transform analysis. The frictional Sounds were quantified by calculating level pressure of total sound(LPT), the level range(${\Delta}L$) and the frequency difference(${\Delta}f$). Mechanical properties were measured by KES-FB. LPT values of specimens finished wet coating were higher than those of other kinds of finishing. ${\Delta}L$ values of specimens laminated were highest. Absolute values of ${\Delta}f$ were high in the cire finished and laminated specimens. Values for bending rigidity, shear stiffness and energy required for the compression of coated specimens increased compared with the cire finished and laminated specimens. Laminated specimens had high values of frictional coefficient and low values of surface roughness. Relationship between frictional sounds and mechanical properties analysed by use of correlation coefficients and stepwise regression. LPT showed significant correlation with elongation, tensile energy, geometrical roughness, weight and thickness. ${\Delta}L$ was highly correlated with tensile linearity, frictional coefficient, and ${\Delta}f$ with tensile linearity, weight and thickness. LPT were revealed to be explained by elongation and weight. ${\Delta}L$were predicted by tensile linearity, and ${\Delta}f$ by tensile linearity and thickness.

• Journal of Korean Association for Spatial Structures
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• v.16 no.2
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• pp.39-45
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• 2016

Membrane structure is a system that is stabilized by maintaining a tensile state of the membrane material that originally cannot resist the bending or pressure. Also, it is a system that allows the whole membrane structure to bear external loads caused by wind or precipitation such as snow, rain and etc. Tension relaxation phenomenon can transpire to the tension that is introduced to the fabric over time, due to the innate characteristics of the membrane material. Thus, it is important to accurately understand the size of the membrane tension after the completion of the structures, for maintenance and management purposes. The authors have proposed the principle of theoretically and indirectly measuring the tension by vibrating the membrane surface with sound waves exposures against the surface, which is compartmentalized by a rectangular boundary, and by measuring the natural frequency of the membrane surface that selectively resonates. The authors of this paper measured the tension of preexisting membrane structure for its maintenance by using the developed portable measurement equipment. Through analyzing the measurement data, the authors review the points that should be improved and the technical method for the new maintenance system of membrane tension.

• IE interfaces
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• v.18 no.2
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• pp.158-166
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• 2005

Human-error and mental stress caused by psychophysiological dissonance between people and artificial environments have become a social problem. And it is a common knowledge that comfort environment reduces human-error and mental stress. Comfort sensibility is related to complex interactions between fabric, climatic, physiological and psychological variables. Currently, comfort sensibility has been evaluated by many sensory tests. However, it is difficult to evaluate comfort sensibility because a concrete concept of comfort sensibility is hard to define. In this paper, we propose a model to evaluate the comfort sensibility using Fuzzy-weighted score on an individual's subjective state for the stimulus. To represent the degree of comfort sensibility level for the stimulus, we represent comfort sensibility using 2 dimensional sensibility vector model. And we use the fuzzy-weighted score that is a fuzzy version of the weighted checklist technique computerized for evaluating the subjects. As an example, this model is applied to 1/f fluctuation sound evaluation. The results show that this model can be effectively used to the quantitative evaluation of comfort sensibility for the stimulus.

• Composites Research
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• v.29 no.3
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• pp.117-124
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• 2016

The failure strength of composite single-lap joint repaired using scarf patch was investigated by test and finite element method. A total of 45 specimens were tested changing scarf ratio, stacking pattern, and defect size to study the failure strength and mode. Except for one case, all repaired specimens showed the equal or higher strength than the sound specimens and the effect of considered repair parameters was not remarkable. It was found through the failure mode inspection that the surface treatment for bonding was not enough in the case which failed at the lower load than the sound specimen. Three-dimensional finite element analysis was conducted to verify the test results. It was confirmed that the considered repair parameters do not significantly affect the stress distribution of the specimens. It was also observed that the applied tensile load is relieved passing through the overlapped region thickness of which is almost double. From this study, it is concluded that if the bonding procedure for adherends and patch including surface treatment for fabric layer is thoroughly followed, the strength of repaired single-lap joint can be restored up to the strength of sound one.

• Science of Emotion and Sensibility
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• v.5 no.2
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• pp.23-28
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• 2002

The purpose of this study was to classify apparel fabrics according to rustling rounds and to analyze their transformed colors and mechanical properties. The rustling sounds of apparel fabrics were recorded and then transformed into colors using Mori's color-transforming program. The specimens were clustered into five groups according to sound properties, and each group was named as ‘Silky’,‘Crispy’,‘Paper-like’,‘Worsted’, and ‘Flaxy’, respectively. The Silky consisted of smooth and soft silk fabrics had the lowest value of LPT, $\Delta$f, ARC , loudness(B) and sharpness(z). Their transformed colors showed lots of red portion and color counts. The Crispy with crepe fabrics showed relatively low loudness(z) and sharpness(B), but diverse colors and color counts were appeared. The Paper-like showed the highest value of LPT, $\Delta$f and loudness(z). The Worsted composed of wool and wool-Like fabrics showed high values of LPT, $\Delta$f, loudness(z) and sharpness(B). The transformed rotors of the Paper-like and Worsted showed the blue mostly but color counts were less than the others. The Flaxy with rugged flax fabric had the highest fluctuation strength, and their transformed colors showed diversity.

• The Journal of the Acoustical Society of Korea
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• v.28 no.8
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• pp.781-789
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• 2009

The absorption coefficients of the materials used in a 1:50 scale model multipurpose hall were measured based on ISO 354 and related laws. The shape and materials for the scale model were evaluated based on reflective surfaces, variable acoustic elements and sound-absorbing quality (125Hz-1kHz average) of seats. The measured average absorption coefficients of audience seats, audience and orchestra were 0.64, 0.74 and 0,45, respectively, which were simulated with the combination of wood, absorption materials and foam board. Various mounting methods for absorption curtain and banner were considered according to the installation methods. The average absorption coefficient was measured as 0.42, 0.47 and 0.45 in the conditions of Type A mounting, E mounting with 0.9 m backing air cavity, and Type G mounting which is suspended at the ceiling, respectively. It was confirmed that the absorption coefficient was increased at low frequency by backing air gap. The finishing material of stage house was an absorption material covered with thin fabric, which aimed average absorption coefficient of 0.68 by using fiber glass board. Each part of the real materials was compared with those of 1:50 scale model and it was found that the absorption characteristics of both cases were similar.

• Journal of Fashion Business
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• v.6 no.1
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• pp.137-154
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• 2002

It's not easy to renew old brand of over 50 years history to the tastes of new consumer of our time. Most of national brands that has a history of some 20 years in Korea have strove for continuation and growth of brand to no avails, which can be taken as a good example of current situation. For instance, C company, one of the National brand of US which has a history of 51 years, has made its position secure as a fashion group and based itself on a sound foundation by establishing new marketing strategy and completing successful brand renewal in the process of strategic M&A with Italian company. Those successful marketing strategies are as follows. 1) they regarded both market and consumer oriented marketing activity as company's highest priority strategy and put great emphasis upon concentration on target market and reestablishment of brand image of business casual wear. 2) Setting up and operating planning team composed of merchandizer alone in Milano, they set the direction of plan on the basis of concentrated research on potential item in market according to thorough market research done by buying office in Korea, branch office in Hong Kong and buyer in US prior to blueprint planning for season. 3) Great emphasis was placed on business which focused on intensive presentation of basic key item for apparel career women who are main consumer group in the midium-low prices market in US and on supplementation of size and color. they named this line 'collectibles' and helped their customer develop their own clothes plan without worrying about the change of color and fabric by supporting same fabric and color throughout the year and enabled them to add variation easily by supplementing new trend item. 4) Company set black as a main color that lots of apparel career women find easy to care and to express their own image and presented them with pebble which belongs to navy and beige and added fashion color such as wine and brown etc as season goes by. They constructed basic line in order for their customers to coordinate purchased item with new one or to add them to present collection, and to achieve efficient sale by setting up strategy which allows this cross coordination and changing pattern occasionally. 5) Though basic jacket for 99$, short slim skirt for 49$ are products within midium-low prices range, in the material planning stage aiming at production of item that has both resonable function appealing to consumer and is fashionable, synthetic material had to be used as a main source due to price competitiveness. Despite this situation, considering comfortable sense of fit and refined drape of silhouette that has no sign of cheap material, whole collectible line was divided into two items, which contributed to reduction of cost. In case of material that is composed of triacetate and polyester in 70 to 30 ratio, was used up to 4 million yard, which allowed drastic curtailment of cost accompanied by concentration. In case of 'collectibles' line, using Korean material mainly, C company chose to have their product sewed in Southeast Asian countries where transportation is well developed and both productivity and quality verified by operating global production system which aiming at cutdown of cost through outsourcing production from the country where labor cost is low and getting finished product. Polarization between present consumers telling us that consumers with the mind of middle classes in the past no longer exists between consumers who seek after only fine article of highest quality and wise consumers who are sensible enough to judge bubble on correlation between price and quality. To cope with this change in new consumer mind, apparel makes changing their policy so as to produce item that has reasonable quality and falls within affordable price range anywhere in the world. and they're striving to get out of difficult situation by operating global marketing strategy which stresses separation of planning, production and sale and sensibility of fashion shared worldwide. The marketing strategy of C company can be exemplified as a successful one.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.