• Proceedings of the ESK Conference
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• 1992.10a
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• pp.63-67
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• 1992

인간이 역사를 이루며 살아오면서 피복은 인간의 생활 수단으로서 빠뜨릴 수 없는 존재가 되었다. 사외 생활을 하면서 인간은 자신을 보호하고 남에게 자신의 이미지를 전달하고 자신의 욕구를 표출하면서 만족시키는데 있어 의복은 가장 중요한 역활을 하고 있고 인간 역시 그러한 것들을 의복에 의존하고 있는 것이다. 그러나 정상인을 위한 의복만 취급되어지는 시장에서 신체장애자들은 정상인보다도 더 세심하게 기능들이 고려된 의복이 필요함에도 불구하고 의복의 기능들을 생각하면서 의복을 선택할 수가 없다. 이러한 사앙들이 대두되면서 현대에 들어 신체 장애자 의복에 있어서 불편함을 없애고 보다 적합한 의복을 만들기 위한 연구가 진행되었다. 신체 장애자의 의복 연구는 Ward가 이 부분에 관심을 표명한 이후 임상 의사들에 의해 연구가 이루어지기 시작했다. 우리나라에서도 1976년 심성식의 한국 신체 장애자의 의복에 관한 연구를 기점으로 이 분야의 관심도가 높아지고 있으나 아직까지는 전반적으로 부족한 실정이다. 특히 위생적인 분야에서는 자료가 매우 부족하다. 이에 본 연구에서는 휠체어를 사용하는 하지 마비자의 체표 면을 떠서 기성복 패턴과 비교를 통해 보다 편안한 바지 패턴을 제시하고, 여름철에 많이 사용하는 직물로 바지를 제작하고 착용시킨후 인체 생리 반응을 분석하여 여름철에 쾌적한 바지를 알아 보았다. 이 연구를 통해 일반인과는 생활 자세가 다른 휠체어를 사용하는 하지 마비자와 일반인이 입는 기성복 바지를 착용 했을 때 생기는 불합리한 요소들을 고려하여 미적이고 기능적 및 위생적인 측면에서 신체 장애자에게 보다 적합한 바지를 제작하기 위한 기초 자료를 제공하고자 한다.값은 $f^{m}$ (p-1)-1 이다. (n=2m)이 많고 흡연 등의 만성 자극 요인이 있으며 술후 음성 호전에 걸리는 기간이 길어 보다 복합적인 측면에서 치료에 임하여야 할 것으로 사료된다. with such configuration.trap with 2.88[eV] deep of injected space charge from the chathode in the crystaline regions. The origin of ${\alpha}$$_2$ peak was regarded as the detrapping process of ions trapped with 0.9[eV] deep originated from impurity-ion remained in the specimen during production process of the material, in the crystalline regions. The origin of ${\beta}$ peak was concluded to be due to the depolarization process of "C=0"dipole with the activation energy of 0.75[eV] in the amorphous regions. The origin of ${\gamma}$ peak was responsible to the process combined with the depolarization of "CH$_3$", chain segment, with the activation

• The Journal of the Korea Contents Association
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• v.16 no.2
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• pp.332-343
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• 2016

With the advance of digital technology, new methods which acquire color information and combine it with various contents are emerging. Color has some effect on emotion while it gives some information as component of an image. In addition, change in emotion and sensation from color stimulus makes some change in cognition. This research investigate the effect of color overlay on cognition depending on emotional state. With this goal, subjects consisting of 10 men and 10 women solved some problems with color overlay of red, orange, and green after watching short video clips which intend to induce target emotion. Experimental results show that red color overlay under positive emotion significantly reduces the average score of solving problems, while green overlay under negative emotion significantly increases it. It is also analyzed that there is not statistically significant difference in cognitive function with color overlay while it is significantly better under positive emotion than negative emotion without color overlay.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.126-137
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• 2022

Whether an excellent animation film has vitality and charm largely depends on the aesthetic and emotional experience it brings to the audience, as well as the flexible use of the medium-long shot during the production of the animated film, especially the long take shot. It can then realize the real emotional communication between the animated film and the audience, stimulate the aesthetic experience, and achieve emotional resonance and sublimation. This thesis studies the characteristics and morphological divisions of moving long-shot composition and static composition and explores the diversified theories of animated emotional experience. Additionally, combined with the actual application analysis in the excellent animation feature "Prince Nezha's Triumph Against Dragon King", this thesis discussed the changes in the emotional experience created by the long take shots in the animation. This thesis finally summarized the relationship between the long shots in animation and the emotional experience of the animation creators, and how long shots stimulate viewers' aesthetic and emotional experience. In this way, it also provides a reference for future animation theory research, and finally creates animation works that bring high-quality emotional experience to the audience.

• Journal of the Korean Home Economics Association
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• v.47 no.3
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• pp.55-65
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• 2009

By definition, smart clothing describes a garment whose functionality is enhanced by technological advancements in order to ease one’'s lifestyle. To know user’'s understanding and needs, the research had consisted of brainstorming sessions, personal interviews, focus group meeting, and a series of content analyses. Ten of the interview subjects and focus group panel were found by contacting women aged 56-64 in the Ithaca community, NY. They were prompted with general questions on style choices for their lifestyles and age group and then presented with two examples of smart clothing to discuss and critique. Meanwhile, the other three interview subjects, located outside of the Ithaca community, were aged either above or below the targeted bracket. These subjects were interviewed as a method of comparison on multiple levels. Findings had shown that there was indeed a need for smart clothing amongst the increasingly populated demographic of older women: devices to help one’'s body temperature regulation and vision problem, and well-designed clothing. However, the functionalities must be carefully constructed and conveyed in order to be taken seriously by the mainstream consumer market. Once successfully designed, the smart clothing will ideally create a greater sense of autonomy for older women.

• Cartoon and Animation Studies
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• s.49
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• pp.399-423
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• 2017

When thinking about the essence of color, green is the image that is settled on the plant itself, and it is also the color shining by the sun. Physics tries to explain green of plants in the correlation of sun and moon, and the history of art contemplates how it is expressed on the canvas. The film attempts to represent a realistic green using camera or computer specific to the medium. Many color theorists who explore the essence of color do not trust the mechanical and reductive scientific colorism that began in Newton and seek a completely different way of exploring in psychology and aesthetics. Like Goethe, who opposed Newton, they do not distinguish the human as subject and the color as object, but focus on the internal grounds of the relationship between subject and color. The representation of color in film is a combination of physics and art. Film color can be expanded to the spiritual dimension beyond the previous emotional and aesthetic, even beyond the physical and mental domains.

• Archives of design research
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• v.18 no.3 s.61
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• pp.199-208
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• 2005

This study analysis if the concepts of kitsch and vernacular remains as cultural elements for product design. Because their function and aesthetic value have vivid possibilities for general product design fields. For the purpose, this study limits its range within post modernism, kitsch, and vernacular, and analyzes their relationships. Against functionalism, post modernism had cultural pluralisms to approach into popular styles, and some of them was amusing design. That post modernism designs stimulated human beings' emotion by decorations or some symbolic forms from specific objects is similar to the symbolism, regionalism, or pluralism of kitsch or vernacular. Kitsch is a free style that is not limited in any specific trends. It is a Meta culture that has influenced into various fields including design, so kitsch does not have a parallel position with a product or design. In product design, kitsch is the behavior and result of imitating existing objects' images. It could have amusement according to which objects are imitated. So if human beings feel amusement by kitsch, it could be same as the direction of post modernism. Kitsch is determined by design atmospheres. They cannot be specified abjectly, and can be different according to people. With symbolism and regionalism, kitsch and vernacular appeared according to people's needs. While kitsch is consumer's tastes-oriented, vernacular is cultural tradition-oriented. Kitsch has symbolism that specifies products' functions or design concepts, and it is a communication method between human being and products. Because vernacular is province-oriented, it has a lot of styles according to regional living environments and cultural differences. So vernacular design reflects continued traditional lifestyles. By restorative memory, regionalism, cultural pluralism, amusement, and symbolism, kitsch and vernacular could be understood the sub or parallel concepts of post modernism. They might be easily miss-understood mixed concepts that have western and national characters. But in kitsch and vernacular concept, modernizing pas by using the pluralism of post modernism should be considered positive. So, the range of the further study is also supposed to be focused on more widened fields to, to establish cultural identification in design.