• Science of Emotion and Sensibility
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• v.8 no.2
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• pp.161-167
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• 2005

The study is to examine how facial EMG responses change when children experience a positive emotion(happiness) and a negative emotion(fear). It is to prove that the positive emotion(happiness) could be distinguishable from the negative emotion(fear) by the EMG responses. Audiovisual film clips were used for evoking the positive emotion(happiness) and the negative emotion(fear). 47 children (11-13 years old, 23 boys and 24 girls) participated in the study Facial EMG (right corrugator and orbicularis oris) was measured while children were experiencing the positive or negative emotion. Emotional assessment scale was used for measuring children's psychological responses. It showed more than $85\%$ appropriateness and 3.15, 4.04 effectiveness (5 scale) for happiness and fear, respectively. Facial EMG responses were significantly different between a resting state and a emotional state both in happiness and in fear (p<001). Result suggests that each emotion was distinguishable by corrugator and orbicularis oris responses. Specifically, corrugator was more activated in the positive emotion(happiness) than in the negative emotion(fear), whereas orbicularis oris was more activated in the negative emotion(fear) than in the positive emotion(fear).

• Cartoon and Animation Studies
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• s.49
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• pp.143-167
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• 2017

The purpose of this study is to analyze the characteristics that appear when actual comedy movie is made into animation, from the singularities which arise from producing remake of existing media contents into animation. Animation and slapstick comedy movies possess a similarity in that they both evoke laughter from the viewer via exaggerated motion, expression and action. In the case of live action film, people must carry out the acting and there exists spatial limitations, whereas animation does not have such limits, which allows the comic animation to materialize spatial scene directing and acting which are different from that of live action comic films, despite the fact that they share elements of the same genre. Accordingly, this study performs comparative analysis of and which is based on the contents of the same event, from the English comedy TV program and the , the TV animation which is a remake animated version of the original series, to conduct comparative analysis the character acting and the scene directing in accordance with the live action movie and animation. The result of studying the point that makes it easy to create comic genre into animation and the advantages possessed by the media of animation, through analyzing two works that deal with the same character and the same event, were as follows. It was proven through the analysis that comedic directing with doubled composure and amusement is possible through the anticipation of exaggerated directing in the acting through expression and action, and diversity of the episodes with added imagination in the story, as well as the estrangement effect of the slapstick expression and etc.

• Journal of Intelligence and Information Systems
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• v.20 no.1
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• pp.1-14
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• 2014

Both researchers and practitioners are showing an increased interested in interactive exhibition services. Interactive exhibition services are designed to directly respond to visitor responses in real time, so as to fully engage visitors' interest and enhance their satisfaction. In order to install an effective interactive exhibition service, it is essential to adopt intelligent technologies that enable accurate estimation of a visitor's emotional state from responses to exhibited stimulus. Studies undertaken so far have attempted to estimate the human emotional state, most of them doing so by gauging either facial expressions or audio responses. However, the most recent research suggests that, a multimodal approach that uses people's multiple responses simultaneously may lead to better estimation. Given this context, we propose a new multimodal emotional state estimation model that uses various responses including facial expressions, gestures, and movements measured by the Microsoft Kinect Sensor. In order to effectively handle a large amount of sensory data, we propose to use stratified sampling-based MRA (multiple regression analysis) as our estimation method. To validate the usefulness of the proposed model, we collected 602,599 responses and emotional state data with 274 variables from 15 people. When we applied our model to the data set, we found that our model estimated the levels of valence and arousal in the 10~15% error range. Since our proposed model is simple and stable, we expect that it will be applied not only in intelligent exhibition services, but also in other areas such as e-learning and personalized advertising.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.262-269
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• 2008

This research, to find the cultural identity of taekwondo, presents the historical origin of taekwondo in lights of Choi-centric theory, kwan-centric theory, karate inflow theory, and successive traditional martial arts theory. Then it investigates taekwondo's inner identity as a Korean traditional martial art according to presence, popularity, and independence, three factors of identity suggested by Tak, S. S.(2000).As a result, it reached these conclusions: First, taekwondo was formed after going through fusion of Hong Hi Choi, karate income in period of cultural severance during Japanese occupation, the first kwan leaders and Korean traditional martial arts, process of disorder and cultural reproduction. Second, taekwondo has essentially inherited and developed Korean barehanded martial arts' movements that lay stress on foot skills, and this distinguishes it from hand-skill-based Japan's karate and China's Wushu Furthermore, trunk/groin protectors and headgears are blended remarkably with taeguk patterns and traditional Colors of Five Directions. All terms rendered into pure Korean words shows the essence of Korean localization. It is therefore concluded that Koreans should, along with trying to overcome exclusive nationalism as a country of origin, build a new paradigm of establishing an identity as a global martial art sport.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.4
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• pp.66-74
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• 2016

In what way is the urban landscape of North Korea used today, and what features do people prefer in the North Korean landscape? This study analyzed the characteristics of Pyongyang landscapes and their effects, based on an analysis of Western tourists motivation for tourism in North Korea and preferred enjoyment-seeking experiences. Using data from the tourist agency specializing in Western tourism in North Korea and a location based photo-sharing service, the study interprets the visual distinctiveness of Pyongyang landscape. The study concluded that widely known risk to travelers in North Korea is in fact an attraction, making people want to visit directly. However, this risk was mitigated in practical experience by the overall intermediation of the tourism agency and locals' conscious behavior to keep their distance from foreigners. Next, the scope of National ritual attributes was expanded to the locals' daily life as well as large-scale events such as mass games and military parades only if for national holidays. Also, the most preferred factors contributing to North Korean tourism were based on departure from routine through mobilization of the residents. This indicates the extension that the nature of North Korea as a theater state. The Pyongyang landscape represents a world politically isolated, people's congregated motion to display to the world, and people's lives hidden beneath a veil. These visualities fulfill the fantasy of Westerners regarding North Korea. Furthermore, these are superficial images that help create a basis to maintain the North Korea regime.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.57-67
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• 2012

This study draws the following conclusions about the nature garden culture with crane that is a dynamic landscaping factor introduced into nature garden by analyzing the literatures on cranes written and landscapes painted in Chosun Dynasty. First, crane symbolizes such Buddhist, Taoist and Confucius media as appearance of Buddha, desire for Taoist hermit world and long life, and a solitary's life of proud loneliness. It has been recorded that crane was raised from the Three Nations Era till the Japanese occupation and Confucius scholars in Chosun Dynasty opened shows concerning crane or formed literature groups enjoying poems of it, and often using crane as their denial of going into government service. Second, in order to introduce crane to nature garden, people caught wild crane and made a fence and some kind of pond for their growth. In addition, crane was strictly managed by appointed slaves and they trained crane for dancing and then tended to allow a crane to play on the yard in terms of abstract meaning or got two cranes free in consideration of their ecology. Third, for more appreciation of crane and the expression of some symbolism matching for it, both plum and pine, which mean a solitary's life and long life respectively, were planted in nature garden. And, Confucius scholars in Chosun Dynasty also enjoyed their refined tastes with appreciation, napping, reading and playing the harp, accompanied by crane. As aforementioned, Confucius scholars in Chosun Dynasty did not only draw the meaning symbolized by cranes and write poems about such symbolic meaning, but also positively introduce crane into nature garden as a dynamic landscaping factor, so that they enjoyed synesthetic senses including looks, motions and sounds of cranes for their refined tastes.

• (The) Research of the performance art and culture
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• no.33
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• pp.223-242
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• 2016

The Korean $taeg{\breve{u}}m$, a horizontal bamboo flute, is considered a representative wind instrument of Korean traditional music. Symbolized by its unique timbre and diverse techniques, this instrument transmits the beauty of Korea, and has become acknowledged even in international music scenes. Being a $taeg{\breve{u}}m$ player, composer, and ethnomusicology researcher, I have developed creative collaborations with musicians from Asian, electro-acoustic, jazz, and Western art music traditions developed outside my country of origin and tried to overcome musical boundaries through the 'intercultural performances' (after Turner 1988). Zooming in one collaboration, I detail the process of music creation and performance, collaborating with prominent Korean composer Kim $Taes{\breve{o}}ng$ (b.1967), who was commissioned by myself to write two compositions for the $taeg{\breve{u}}m$ and Western art music. The purpose is twofold: firstly, the modernization and appropriation of the Korean flute is briefly tracked down within the context of Western Art music. Secondly, a performance project is illustrated with the support of technical apparatuses such as DVD and CD recordings and delves further into the question of the 'cultural relativism' (Michael Tenzer, 2006: 7) through the interactive process. The performance-as-research, as a tool 'actualizing' (Richard Schechner 2003: 32) the hybridity, touches on critical domains in Ethnomusicology. The corresponding two parts discover, as Alan Merriam's(1964) 'tripartite model' suggests, the 'context' of Korean and Western cultures, the 'behaviour' of collaborating and performing and the 'sound' of improvised and composed productions in the course of music making.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.1
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• pp.267-274
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• 2021

The purpose of this study is to investigate differences in learning flow and teaching presence according to the lecturer's appearance and the lecturer's speech rate. For this experiment, 183 freshman students from Xingtai University in China were selected as subjects of the experiment, and a total of four types of lecture videos were developed to test the lecturer's appearance and their speech rates. Data was analyzed through multivariate analysis of variance. According to the results of the analysis, first, learning flow and teaching presence of groups who experienced the presence of the lecturer appeared were significantly higher than the groups who learned without the appearance of the lecturer. Second, the groups who learned from videos with a fast speech rate showed higher learning flow and teaching presence than the group who learned at a slow speech rate. Third, there were no significant differences in both learning flow and teaching presence according to the lecturer's appearance and speech rate. This result provides a theoretical and practical basis for developing customized videos according to learners' characteristics.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.303-311
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• 2019

is a film festival in conjunction with that shows about 50 works from 25 countries. It has become the only martial arts action film festival going on in Korea, with 32 feature films and 24 short films for a total of six days during the event from August 30 to September 6. has the slogan 'Muye, change the history of movies!' Through the movie, it sheds light on the value of life pursued by the martial arts spirit around Samjae, the core value of martial arts, and explores the aesthetic value of the most beautiful gesture that humans can make through the movement of martial arts centered on the space of dots, good and cotton. And through this film festival, I saw the potential to grow into a festival with the world. With this film festival, the identity of is established as a sustainable film festival, not as a single film festival, and image of martial arts action movies, which are part of genre movies, through the certainty of this image, differentiates itself from domestic and international film festivals, and does not stay in Northeast Asia or in Southeast Asia. Then, let's study the value of the future through the results of this film festival. In addition, we will study ways to increase the probability of growth as the best cultural and arts festival held along with the world's only international martial arts competition.

• Journal of The Korean Association For Science Education
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• v.29 no.4
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• pp.423-436
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• 2009

This study aims to develop an analytic framework that can be used to classify scientific models in science textbooks according to modes and attributes of representation and to investigate types of scientific models presented in the biology section of science textbooks for the $7^{th}$ to $10^{th}$ grades. The results showed that modes of representation of scientific models are related to the nature of sub-areas of biology sections. Generally, the iconic model and symbolic model were in dominant use, including drawings of organs and explanations of working of systems. However, the chapters on 'The Organization of Life' and 'The Continuity of Life' showed a relatively high frequency in use of the actual model. The theoretical model was presented in a part of 'The Continuity of Life', due to its highly abstract characteristics. Moreover, the gestural model and analogical model showed very low frequency. From the perspective of attributes of representation, frequency of the static model was very high, while one of the dynamic models was very low. Therefore, efforts to recognize the properties of scientific concepts more clearly and to develop diverse types of models that can represent the concepts adequately are required. Analysis of these types of scientific models can offer recognition of the usefulness and limitations of models in representing the concepts or phenomena, and can help us to design adequate models depicting particular properties of given concepts. Also, this type of analysis may motivate researchers to strive to reveal correct methods for and limits of using the scientific models that are presented in existing science textbooks, as well as to provide useful information to organize the science textbooks according to the revised $7^{th}$ national science curriculum.