• Proceedings of the Korea Institute of Fire Science and Engineering Conference
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• 2011.11a
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• pp.490-493
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• 2011

공연과 스포츠 문화의 발전으로 한정된 구역에 불특정 다수의 사람들이 모이는 일이 빈번하게 일어나고 있다. 이에 비례하여 불특정 다수의 압사사고 역시 자주 일어나고 있다. 이러한 압사사고는 인도, 일본, 독일 등 세계 곳곳에서 일어나며, 국내에서도 자주 발생하는 압사사고는 단순히 안전불감증 문제로만 치부되어 특별한 과학적 해석이 행해지지 않는 문제점을 가지고 있다. 이러한 압사사고는 보행자의 심리와 물리적 충돌에 의한 힘에 의하여 일어나는 특징을 가지고 있다. 따라서 본 연구에서는 집합행동심리를 고려한 이산요소법을 활용하여 과밀상태하의 병목구간에서의 보행자 피난 유동 해석 연구를 진행한다. 연구의 변수로는 출구의 폭, 출구 각도 그리고 보행자의 혼란정도를 나타내는 Panic Factor가 선택되었다.

• Proceedings of the Korean Society of Propulsion Engineers Conference
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• 1998.04a
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• pp.2-2
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• 1998

현대우주항공(주)가 미국의 AlliedSignal사와 함께 국제 공동 개발중인 10MW급의 ASE120 엔진은 항공용 엔진을 산업용으로 개조한 개조형 엔진으로서 희박 예혼합 예기화(Lean Premix prevaporization) 방식의 연소기를 쓰고 있다. 이 연소기는 연소에 관여하는 공기량을 부하에 따라 가감하여 일정 공연비를 유지하는 air staging법을 사용하고 있으며 이로써 연소화염온도를 일정치로 조절하여 연소중 생성되는 유해가스의 양을 목표치 이하로 제어한다. 연소화염온도 설계치는 2912$^{\circ}$F이며 배기가스 발생량은 NOx, CO모두 궁극적으로 10ppmv 이하를 목표로 하고 있다. 이러한 건식 저 배기가스(Dry Low Emission) 연소기가 그 역할을 다하기 위하여는 양호한 혼합기를 확보하는 것이 선결 문제이다. 본 연구소에서는 두 개의 혼합기(mixing can)가 180$^{\circ}$ 간격으로 환형 연소기(annular type)에 접선 방향으로 설치되어 대칭을 이루고 있고 혼합기의 혼합성능을 측정하기 위하여 제작된 시험장치에는 하나의 혼합기만을 쓰고 있다.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.185-190
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• 2019

Historically, the representation of the colonial period has responded closely to the policies and political conditions of the time. The Korean blockbuster , which links the genealogy of Manchuria Western, adopts a safe nationalism frame, upgrading the genre's narrative typology to colorful action and spectacle, including the Japanese army, the Liberation Army, the good and evil, and the confusion of identity. On the other hand, , which deals with the friendship of the poet and the warrior, treats the mental and internal struggles implied by the power of poetry, without resorting to familiar nationalism and heroism. is a thorough genre of rules. If the visual and sensual pleasures of imaginative resilience beyond the bounds of the law are provided within the Rules, inevitably seeks resistance within the colonial empire's legal system. Political, diplomatic, and economic conflicts between Japan and Korea, which have been continuing until recently, reaffirm the framework of nationalism on the screen.

• (The) Research of the performance art and culture
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• no.39
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• pp.415-455
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• 2019

This paper aimed to clarify the identity and category of the Jeong Jeongnyeol-je Chunhyangga from the perspective of the pansori transfer, while revealing the trajectory of Jeong Jeong-ryeol-je Chunhyangga, which remains in the modern pansori. Jeong Jeong-ryeol's Chunhyangga pansori part has been handed out to date, and except for the love song section, the pansori section, which corresponds to the love-separate-suffering-reunion paragraph, is almost complete. In the case of "Lee Doryeong enters Dongheon," "Hwangneungmyo song," and "The royal secret inspector visits Chunhyang's house to console her", there is a difference in pansori rhythm compared to Chunhyangga, which is currently held. "Why Yi Doryeong came to Chunhyang's House" is used in the form of an Aniri in the current Chunhyangga and "Chunhyang is treated as a virtuous woman in Namwon" is the only one included in Park Rokju's Changbon. "The royal secret inspector gathers people of Namwon to give a feast" is a new part that is not found in Chunhyangga, which is now being held, and can be seen as the Changgeuk sori of pursuing theatrical fun. On the other hand, this paper confirmed that the period between 1936 and 1937, when the Joseon Traditional Vocal Music Group actively performed Changgeuk and the record companies released a series of Changgeuk records, such as and , was an important time for the re-establishment of the Jeong Jeong-ryeol-je Chunhyangga, and that the Chunhyangga of those who had learned it before 1936-1937 was different from those who had learned it after that period. The preceding group includes Park Rok-ju, Kim Yeo-ran and Kim So-hee, while the latter group includes Kim Yeon-soo, Jung Kwang-soo, Park Dong-jin, Jung Kwang-soo and Kang Do-geun. In addition, except for Kim So-hee, these two groups are divided by the time they have learned Jeong Jeong-ryeol-je, whether they inherit the Jeong Jeong-ryeol-je from beginning to end, and by the gender of male and female singers. In teaching his pupils, Jeong Jeong-ryeol chose to use the "old-fashioned pansori" teaching method with impromptu plate-making in mind and the "modern pansori" teaching method with stereotyped sounds in mind. As a result, there were two aspects of Jeong Jeongryeol-je Chunhyangga's succession: a female singer-centered succession, which was held as learned from beginning to end, and a male singer-centered succession, which was held differently depending on the pansori schools or versions.

• Journal of Digital Contents Society
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• v.18 no.1
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• pp.123-132
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• 2017

The physical display technology is the ultimate display technology that human beings aspire, and the world makes use of laser, plasma and reflector plate. Besides, technology development of binocular stereoscopic display has been actively progressed, but there is a limitation to the intact physical representation such as influence of optical ambient light and brightness. In this paper, the display technology using physical deformation different from the existing optical display is approached as a cultural and emotional perspective. The purpose of this paper is to develop the multivariate display technology that can create 3D realistic stereoscopic images through projecting dynamic images on physically diversified screen by overcoming the limitations of 2D planar digital signage and study how to apply them to video, exhibition and performance.

• Transactions of the Korean Society of Automotive Engineers
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• v.12 no.1
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• pp.74-82
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• 2004

Planar laser-induced fluorescence(PLIF) has been widely used to obtain two dimensional fuel distribution. Acetone PLIF is chosen because fluorescence signal from acetone as a fluorescent tracer is less sensitive to oxygen quenching than other dopants. Acetone PLIF is applied to measure quantitative air excess ratio distribution in an engine fueled with LPG. Acetone is excited by KrF excimer laser (248nm) and its fluorescence image is acquired by ICCD camera with a cut-off filter to suppress Mie scattering from the laser light. For the purpose of quantifying PLIF signal, an image processing method including the correction of laser sheet beam profile is suggested. Raw images are divided by each intensity of laser energy and profile of laser sheet beam. Inhomogeneous fluorescence images scaled with the reference data, which is taken by a calibration process, are converted to air excess ratio distribution. This investigation shows instantaneous quantitative measurement of planar air excess ratio distribution for gaseous fuel.

• Journal of the Korean Society of Propulsion Engineers
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• v.3 no.1
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• pp.9-14
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• 1999

The effect of operating condition was studied experimently on the characteristics of twin sprays ejected from two airblast atomizers, within the range of the mass air-fuel ratio 1.36∼3.54. Water and nitrogen gas were used as test fluids for the experiments. Spray characteristics of liquid spray were measured with measurement of mass distribution and instantaneous image of the spray cone. Experimental results show that the maximum specify of the distribution were lowered but distributed over the larger area when the ROA ratio increased, Center of mass position did not change with increasing water mass flow, Increase of the nozzle distance has an small effect on mass distribution of interaction area but distributed over the larger area. It was also conformed that the effect of interaction near central point of collision decreased with the increase of the ROA ratio on interaction area from comparison using superposition method

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.27-40
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• 2021

This study aims to propose and apply a song analysis method for musical songs and acting. Prior to rehearsing a musical on stage, students and actors practice diverse exercises ranging from singing, acting and dancing. Among them, singing a musical song requires the actor not only to learn the pitch, beat and melody of the music but also to express the story and scene of the character in combination. Previous studies on analysis focused on research from the perspective of individual elements of singing, acting, and dancing rather than the proposal of comprehensive analysis methods. It is time for comprehensive analysis methods to be developed to practice musical songs and demonstrate them on stage. This study selected "Epiphany" sung by Todd from the musical Sweeney Todd(1979) as the subject of analysis. The song was analyzed in five stages: synopsis, music analysis, lyrics analysis, Uta Hagen's The Six Steps analysis, and Michael Chekhov's Psychological Gesture analysis. Through proposing and applying this step-by-step analysis method, this study verifies the usefulness of musical song analysis for practising both musical theory and practical skills at the same time and provides a base for future studies.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.103-116
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• 2020

This paper starts with the recognition of the problem of the need for a link between text-centered acting and body-centered acting. This study is focused on Brecht's theory of acting to overcome loss of presence by repetition which have been discussed many times by not only actors, but also acting educators. Brecht's acting theory has already been mentioned by many researchers as an alternative to conventional actor training. However, not many studies have been conducted on practical applicable methods. The purpose of this study is to provide the basis for the actual practice of Brecht acting and possibility that his acting theory can serve as a link between text and body-centered acting theory. As a research method, we first conduct theoretical considerations on the concepts and limitations of text-centered representational acting and body-centered post-drama acting. Then distinguish between text and body-centered acting tools among Brecht's epic theatre, to summarize the terms and concepts he uses and to identify the existing effects he reaches while acting. Finally, this paper proposes an teaching model that transforms and develops Brecht's acting theory through the writer's teaching experience. However, there are limitations in generalizing its effectiveness because this study is based on the writer's experience. We hope that further research will help the diversity of acting education by developing in-depth insights on Brecht acting theory and various models of acting teaching methods.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.157-166
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• 2021

The purpose of this study is to understand the characteristics of contemporary vocalization and songs in order to learn various vocal methods in musical vocal classes and apply them to students. Musical vocalization methods change and evolve according to the demands of the times. Today, the characteristics of contemporary musicals cannot be limited to anyone genre, and the genre of music as well as the style of work are derived from several genres and coexist. 'The Girl in 14G,' the subject of this study, is a song that appeared in the album of Kristin Chenoweth, a famous American musical actress who uses various vocal techniques. Jeanine Tesori composed this song with various vocal techniques such as Classical, Jazz, Belting, and Mixed Voice to express New York's representative music genres of Broadway Musical, Metropolitan Opera and East Village Jazz. The development of the song consists of a difficult process in which one actor has to act across three different characters in three musical styles and singing methods. Singing 'The Girl in 14G' requires a lot of effort and practice as it is necessary to acquire various vocal techniques, which makes it a good text for students and actors in the educational perspective. As a result, this study confirmed that this song is a representative piece with a solid musical and dramatic composition and is a good example that shows the convergence characteristics of contemporary musical vocal techniques.