• Science of Emotion and Sensibility
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• v.14 no.2
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• pp.311-320
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• 2011

To quantitatively analyze the effects of color stimulation which is one of the major affecting factors on human emotion, we studied the relationship between color preference and the Electroencephalography (EEG) to 3 color stimuli; bright yellow red (BYR), deep green yellow (DGY), and vivid blue (VB). Physiological signal measured by EEG on the color stimulation was closely related with their well-known colorful images. The brain become more activated with decreasing the color temperature (BYR${\geq}$DGY>VB), and the right brain is more sensitive than the left. On the whole, the EEG values of the frequency bands are in order to beta ${\geq}$ theta and alpha > gamma. As decreasing the color temperature, beta wave increased (BYR${\geq}$DGY>VB), and alpha, beta and gamma waves increased with increasing the color temperature (BYR${\geq}$DGY>VB). The relationship between the color preference and EEG values showed EEG gets more activated at some frequency bands when the color preference becomes higher. In conclusion, the specific frequency band could be activating by a color stimuli which had showed higher the preference. It means that these color stimuli can apply for various industries such as beauty industry, interior design, fashion design, color therapy, and etc.

• 지역과문화
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• v.7 no.3
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• pp.81-108
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• 2020

This study aims to critically consider the local cultural policies of the government and local governments by village mural. Village murals, which began to be painted in the late 1990s, have been a nationwide cultural phenomenon for decades. In particular, it was consistently used as an important element of various local cultural policies implemented by the government and local governments. The government and local governments have been working on the project for two purposes: 'improving the residential environment' and 'activating tourism' but it has largely focused on 'activating tourism'. This study grasped the concrete status of major village murals across the country through field surveys, one of the case study methods. Also, through the analysis of official documents, the government and local governments operating in the village mural project were analyzed for the policy basis and administrative management plan. As a result of on-site surveys, most of the village murals across the country had problems such as uniform subject matter, low level representation, and poor follow-up management. This is partly based on the experiences and abilities of organizations and artists who participated in the village mural project, but fundamentally, it is due to the projects of the government and local governments that focused on short-term visual tourism rather than long-term improvement of the residential environment. It was confirmed that the projects of the government and local governments were carried out through vertical integration and that there were problems in the actual work, such as requiring specific topics, subject matter, designs and colors. As a result, the village murals 'objectify' the residents and 'romanticized' the place, resulting in a unified visual representation. Therefore, this study suggests that the administration and accounting should be strictly managed, but in actual work, the vertical integration structure should be eased by simplifying various documents and procedures, as well as rich cultural understanding of the target place, selection of various topics, and original subject matter and expressions.

• Restorative Dentistry and Endodontics
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• v.30 no.3
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• pp.178-183
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• 2005

This study was done to evaluate whether vital bleaching agents could influence on the translucency of the bovine enamel. The anterior bovine teeth that were extracted one day before and without any gross discoloration were obtained and then were preserved in physiologic saline. 6 mm cylindrical tooth specimens were fabricated with diamond puncher perpendicularly on labial surface of bovine tooth. After embedded in transparent acrylic resin with labial surface being exposed, they were cut to a thickness of 1.2 mm with low speed diamond saw (Isomat, Buehler Co., Lake Bluff, IL, USA). They were smoothly ground to 1 mm thickness of enamel with sandpaper. 24 specimens were randomly divided into 3 groups and control group respectively. Opalescence (10% carbamide peroxide, Ultradent, South Jordan, USA), Rembrandt (10% carbamide peroxide, DenMat, USA) and Opalescence F (15% carbamide peroxide with fluoride, Ultradent, USA) were applied on labial sides of the bovine enamel for 7 days (bleaching agents were reapplied every 24 hours) and the opposite surface was contacted to cotton that soaked in distilled water. The control group was soaked in distilled water. Three stimulus value X, Y and Z were evaluated with colorimeter (Color ' Color Differencerneter, Model TC-6FX, Tokyo Denshoku Co., Japan) on the labial surface of all specimen three times on white and black background plate before the bleaching agents were applied and on 3rd, 5th and 7th day after applied. The degree of translucency was normally assessed by measuring the inverse property, opacity (contrast ratio). 10% Opalescence, 15% Opalescence-F, and control group showed no significant variation in the translucency of bovine enamel, However Rembrandt decreased the translucency of it (p < 0.01).

• Journal of the East Asian Society of Dietary Life
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• v.14 no.1
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• pp.1-10
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• 2004

This study was conducted to investigate the dietary behavior and image and preference of Japanese foods. The Subjects were consisted of 570 university students(243 males and 327 females) in Daegu and Kyungbuk area, Korea. The students responses to the 10 questions about image of Japanese foods were also measured on 5 point Likert scale. Data were presented by using frequency, percentage, chi-square test and T-test. The results of this study were as follows: (1) On the eating habits, 'the whole family has breakfast together with same foods everyday'scored high as 42.3％ and 'foods put in a big platter by gathering everyday'as 35.8％. (2) About the eating customs, 53.5％ of the subjects responded that the seat was fixed at meal time, 56.4％ didn't start to eat before the patriarch started a meal and 30.9％ responded that the head of a family had more foods in number and quantity. (3) On the table manners, 13.4％ of the subjects were scolded about 'watching TV on eating', 11.5％ about 'making left-over foods', 8.0％ about 'misuse of spoon and chopsticks'. (4) The preferred ethnic foods by University students was in other of Korean, Chinese, Italian, Japanese and French foods. (5) Among subjects, 93.8％ had no experience of visiting Japan and 92.6％ wanted to visit Japan. Images on the Japanese foods were 'the price is too expensive' (mean 4.15) and 'the decoration is wonderful'(mean 4.05). But the subjects did not think Japanese foods as 'hot'(mean 2.21) and 'greasy'(mean 2.51). (6) The favorite Japanese food of subjects was Udon(mean 3.98), Sushi(mean 3.85) and Tempura(mean 3.69). So Udon turned out to be the most popular Japanese foods by university students in Daegu and Kyungbuk area, Korea. But they did not prefer Natto(mean 2.68), Ochazuke(mean 2.76), Okonomiyaki(mean 2.87) and Misosiru and did not eat. From the above results, Korean university students preferred Udon to Natto among Japanese traditional foods, and they estimated Japanese foods as 'too expensive'. Therefore, lowering the price and developing the cooking method for Korean taste were needed to increase the intake of Japanese traditional foods by Korean university students and.

• Cartoon and Animation Studies
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• s.39
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• pp.215-231
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• 2015

The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Archives of design research
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• v.16 no.4
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• pp.185-196
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• 2003

The demand for an environment-friendly transportation system, equipped with low energy consumption, and low-or zero-pollution has been on the increase since the beginning of the World Trade Organization era. Simultaneously, the consistent growth of high-speed tram technology, combined with market share, has sparked a fierce competition among technologically-advanced countries like France, Germany, and Japan in an effort to keep the lead in high-speed train technology via extensive Research and development(R＆D) expenses. These countries are leaders in the race to implement the next-generation transportation system, build intercontinental rail way networks and export the high-speed train as a major industry commodity. The need to develop our own(Korean) 'high-speed train' technology and its core system technology layouts including original technology serves a few objectives: They boost the national competitive edge; they develop an environmental friendly rail road system that can cope with globalization and minimize the social and economic losses created by the growing traffic-congested delivery costs, environment pollution, and public discomforts. In turn, the 'G7 Project-Development of High Speed Railway Technology' held between 1996 and 2002 for a six-year period was focused on designing a domestic train capable of traveling at a speed of 350km/h combined and led to the actual implementation of engineering and producing the '2000 high-speed train:' This paper summarizes and introduces one of the G7 Projects-specifically, the design segment achievement within the development of train system engineering technology. It is true that the design aspect of the Korean domestic railway system program as a whole was lacking when compared with the advanced railroad countries whose early phase of train design emphasized the design aspect. However, having allowed the active participation of expert designers in the early phase of train design in the current project has led to a new era of domestic train development and the implementation of a way to meet demand flexibly with newly designed trains. The idea of a high-speed train in Korea and its design concept is well-conceived: a faster, more pleasant, and silent based Korean high-speed train that facilitates a new travel culture. A Korean-type of high-speed train is acknowledged by passengers who travel in such trains. The Korean high-speed prototype train has been born, combining aerodynamic air-cushioned design, which is the embodiment of Korean original design of forehead of power car minimized aerodynamic resistance using a curved car body profile, and the improvement of the interior design with ergonomics and the accommodation of the vestibule area through the study of passenger behavior and social culture that is based on the general passenger car.

• Archives of design research
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• v.19 no.5 s.67
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• pp.119-128
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• 2006

The scale of visual expression has expanded from freeze frame to motion picture as media have developed. Moving pictures such as animation, movies, TV CM and GUI become formative elements whose movement is necessary compared to freeze frame as apparent movement phenomenon and unit structure such as short and scene appear. Therefore, of formative elements such as a shape, color, space, size and movement, movement is importantly distinguished in the moving image. The expression and form of image as a relationship between the signified and signifier explained by Saussure are accepted as a sign by mutual complement even though they limit the content. This makes it possible to infer that the formal feature of movement participates in the message content. To verify this, the result of moving picture visual perception experiment based on the gestalt grouping principle result shows that 70-80 percent of subjects think that 'movement' is the important grouping clue in perception. Movement affects the maintenance of the context of message content in the communication process when the meaning structure of moving picture is analyzed based on the structural feature. The identity can be maintained with if there is a movement with similar directive point even if the color and shape of people, things and background are changed. Second, the clarity of the content is elevated by a distinguished object as a figure by movement. Third, it acts as a knowledge representation which can predict similar movement process of next information processing. Forth, movement gives the content consistency even though more than two scenes have fast switch and complicated editing structure like cross-cutting. Movement becomes a clue which can make grouping information input by visual perception reaction. Also, it gives the order to the visual expression which can be used improperly by formation of structural frame of image message and has the effectiveness which elevates the clarity of signification. Moving picture has discourse with several mixed unit structures because it fundamentally contains time and the common and distinguished expression is needed by media-mix circumstances. Therefore, by the application of gestalt grouping principle to moving picture field, movement becomes the more distinguished than other formative elements and affects the formation of meaning structure. This study propose a viewpoint that develops structural formative beauty and new image expression in the media image field.

• Restorative Dentistry and Endodontics
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• v.33 no.4
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• pp.389-396
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• 2008

The purpose of this study was to evaluate the color stability of resin cements with accelerated test. Four dual curing resin cements: Panavia-F (KURARAY). Duolink (BISCO), Variolink-II (Ivoclar Vivadent), and RelyX Unicem (3M ESPE) and 1 self curing resin cement: Resiment CE (j. l. Blosser) were used in this study. In control group, Gradia Anterior (GC) composite resin and Tescera Dentin (Bisco) indirect composite were used. Ten disk shape specimens were made from each resin cement. The specimens were subjected to an accelerated aging process in a refrigerated bath circulator at 60$^{\circ}C$ for 15 and 30 days. Spectrophotometric analyses were made before and after 15 days and 30 days of accelerated aging time. The color characteristics ($L^*,\;a^*,\;b^*$) and the color difference (${\Delta}E^*$) of the specimens before and after immersion were measured and computed. Regardless of type of the resin cements, $L^*$ value was decreased and $a^*$ value was increased, but there were no significant difference. But $b^*$ value was increased significantly (p < 0.05). Tescera inlay showed least color change (p < 0.05), but Gradia showed notable color change after 15 days. After 30 days on accelerated aging, ${\Delta}E^*$ value was increased (Panavia-F < Variolink-II < Resiment CE < Duolink < Unicem) (p < 0.05). but there were no significant difference among Panavia-F, Variolink-II, and Resiment CE groups. After 30 days of accelerated aging, ${\Delta}E^*$ value of all resin cements were greater than 3.0 and could be perceived by the human eye.

• The Korean Journal of Archival Studies
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• no.14
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• pp.3-51
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• 2006

In this paper, I applied known theories of appraisal and re-appraisal to the Japanese Colonial Archives and the Colonial City Planing Archives in Korea. The purpose of this application to some of sample archives was to develop a useful and effective approach to appraise the archives which were not appraised before they were determined to be "permanent" archives by the Japanese colonial officials. The colonial archives have lost their context and "chain of custody." A large portion of their volume also disappeared. Only thirty thousands volumes survived. The appraisal theories and related issues applied to and tested on these archives are; "original natures" of archives defined by Sir. Hillary Jenkinson, Schellenburg's information value appraisal theory, the re-appraisal theory based on economy of preservation and prospect for use of the archives, function-based appraisal theory and documentation theory, the special nature of the archives as unique, old and rare colonial archives, the intrinsic value of the archives, especially the city planing maps and drawings, and finally, the determination of the city planing archives as permanent archives according to the contemporary and modern disposal authority. The colonial archives tested were not naturally self-proven authentic and trustworthy records as many other archives are. They lost their chain of custody and they do not guarantee the authenticity and sincerity of the producers. They need to be examined and reviewed critically before they are used as historical evidence or any material which documented the contemporary society. Rapport's re-appraisal theory simply does not fit into these rare historical archives. The colonial archives have intrinsic values. Though these archives represent some aspects of the colonial society, they can not document the colonial society since they are just survived remains or a little part of the whole archives created. The functions and the structure of the Government General of Korea(朝鮮總督府) were not fully studied yet and hardly can be used to determine the archival values of the archives created in some parts of the colonial apparatus. The actual appraisal methods proved to be effective in the case of colonial archives was Schellenburg's information value appraisal theory. The contextual and content information of the colonial archives were analysed and reconstructed. The appraisal works also resulted in full descriptions of the colonial archives which were never described before in terms of archival principles.