• Journal of Nutrition and Health
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• v.56 no.2
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• pp.203-216
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• 2023

Purpose: This study examines the weight control behavior depending on university students' motives of using social media. Methods: The participants were 447 university students in the Jeonbuk area. Collected data were analyzed using factor analysis, cluster analysis, analysis of variance, and χ² tests with SPSS v. 26.0. Considering the motives of using social media, we investigated the usage of social media, dietary behavior related to social media, and weight control behavior. Results: Using the K-clustering method, the motives to use social media were categorized into three clusters: cluster 1 was the interest-centered group, cluster 2 was the multipurpose information-seeking group, and cluster 3 was the relationship-centered group. Among the various social media sites, YouTube (86.8%), Instagram (76.1%), and Facebook (61.1%) were the most visited by the subjects. The dietary behavior related to social media in cluster 2 was significantly higher than clusters 1 and 3 (p < 0.001). Clusters 1 and 2 showed a significantly higher dissatisfaction with one's weight (p < 0.05) and consequent interest in weight control than cluster 3 (p < 0.001). Cluster 2 used weight control-related information from social media significantly more than other clusters (p < 0.05). Weight control experiences in cluster 1 and 2 were significantly higher than in cluster 3 (p < 0.001). Conclusion: Differences in dietary behavior related to social media and weight control behavior were observed between cluster types of motivation to use social media. Based on the usage motives of university students and their behaviors, we propose that educational programs should be conducted for weight control using social media.

• Journal of Nutrition and Health
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• v.42 no.6
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• pp.536-546
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• 2009

This study was done to investigate the effect of stress on appetite and eating habits, and other health-related behaviors. The subjects of this study consisted of 188 males and 224 females in Ulsan area. The results were as follows: When stressed, 56% (n = 231) of the subjects experienced a change in appetite and of these, 32% (n = 132) experienced an increased appetite. Stress-induced eating may be one factor contributing to the development of obesity. There was a gender-specific response to stress in which women are more likely to use food to deal with stress, whereas men are more likely to use alcohol consumption or smoking. It was found that types of stressors were individual (52.9%), social (50.7%), family relations (34.5%), work demands (34.2%) and physical environment (32.3%). Stress-induced symptoms of the subjects were anxiety (38.3%), headache (36.7%) and neck or shoulder aches (36.2%), and females experienced those symptoms more than males. Those older than 50 years had a higher eating habit score and lower stress score compared with younger subjects. There were significant differences between sex, age, occupation, family type, BMI, exercise, sleeping hours and eating habits or stress level. This study may be helpful in advancing findings in this area to better provide health professionals with appropriate counseling tools to improve the health of all individuals.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.351-378
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• 2006

With the development of media, the methods for the documentation of intangible cultural heritage have been also developed and diversified. As well as the previous analogue ways of documentation, the have been recently applying new multi-media technologies focusing on digital pictures, sound sources, movies, etc. Among the new technologies, the documentation of intangible cultural heritage using the method of 'Motion Capture' has proved itself prominent especially in the fields that require three-dimensional documentation such as dances and performances. Motion Capture refers to the documentation technology which records the signals of the time varing positions derived from the sensors equipped on the surface of an object. It converts the signals from the sensors into digital data which can be plotted as points on the virtual coordinates of the computer and records the movement of the points during a certain period of time, as the object moves. It produces scientific data for the preservation of intangible cultural heritage, by displaying digital data which represents the virtual motion of a holder of an intangible cultural heritage. National Research Institute of Cultural Properties (NRICP) has been working on for the development of new documentation method for the Important Intangible Cultural Heritage designated by Korean government. This is to be done using 'motion capture' equipments which are also widely used for the computer graphics in movie or game industries. This project is designed to apply the motion capture technology for 3 years- from 2005 to 2007 - for 11 performances from 7 traditional dances of which body gestures have considerable values among the Important Intangible Cultural Heritage performances. This is to be supported by lottery funds. In 2005, the first year of the project, accumulated were data of single dances, such as Seungmu (monk's dance), Salpuri(a solo dance for spiritual cleansing dance), Taepyeongmu (dance of peace), which are relatively easy in terms of performing skills. In 2006, group dances, such as Jinju Geommu (Jinju sword dance), Seungjeonmu (dance for victory), Cheoyongmu (dance of Lord Cheoyong), etc., will be documented. In the last year of the project, 2007, education programme for comparative studies, analysis and transmission of intangible cultural heritage and three-dimensional contents for public service will be devised, based on the accumulated data, as well as the documentation of Hakyeonhwadae Habseolmu (crane dance combined with the lotus blossom dance). By describing the processes and results of motion capture documentation of Salpuri dance (Lee Mae-bang), Taepyeongmu (Kang seon-young) and Seungmu (Lee Mae-bang, Lee Ae-ju and Jung Jae-man) conducted in 2005, this report introduces a new approach for the documentation of intangible cultural heritage. During the first year of the project, two questions have been raised. First, how can we capture motions of a holder (dancer) without cutoffs during quite a long performance? After many times of tests, the motion capture system proved itself stable with continuous results. Second, how can we reproduce the accurate motion without the re-targeting process? The project re-created the most accurate motion of the dancer's gestures, applying the new technology to drew out the shape of the dancers's body digital data before the motion capture process for the first time in Korea. The accurate three-dimensional body models for four holders obtained by the body scanning enhanced the accuracy of the motion capture of the dance.

• Cartoon and Animation Studies
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• s.49
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• pp.611-631
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• 2017

At first there was practice, then festivals and theory followed. Compared to the animation production, which is older then the medium film itself, festivals and theory in this area started with a delay. While animation programs where shown in film festivals like Cannes since the mid 1940s, the first animation festival in Annecy, France was founded in 1960, followed by several short-lived events in Romania, Italy and Tokyo and finally in 1972 by the second oldest festival up to date, Animafest Zagreb. Animation theory evolved in the late 1980s in the Anglo-American area with associations like the Society for Animation Studies, following its 'big sister' film studies. Expanding ever since as a research area, European animation studies in e.g. France, German speaking countries, Poland or Croatia have been catching up in recent years by organizing theoretical conferences and publications. A vivid synergy between practice, festivals and theory has always been a key factor for establishing a platform for the art form and culture of animation. However, in the past few years a trend could be observed towards a more intense interaction between animation festivals and theory. Animation festivals are hosting theoretical and scientific symposia or conferences, which are open for artist positions and insights into the industry. At the beginning of the lecture a short reflection of the concept of Animafest Scanner itself is followed by an introduction of the Symposium Expanded Animation at the media festival Ars Electronica Linz. The talk will subsequently focus on the multilayered academic symposia at the Festival of Animated Film ITFS and the International Conference on Animation, Effects, VR, Games and Transmedia in Stuttgart. These case studies will reveal the blurring boundaries between art, science, theory and industry as well as the specificities of the interplay between artists, practitioners, scholars, curators and festival visitors in different formats.