• Journal of Science Education
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• v.43 no.1
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• pp.157-172
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• 2019

The purpose of this study is to analyze the influence of number of targets on common knowledge generation and brain activity during the common life science discovery task performance. In this study, 35 preliminary life science teachers participated. This study was intentionally made a block designed for EEG recording. EEGs were collected while subjects were performing common discovery tasks. The sLORETA method and the relative power spectrum analysis method were used to analyze the brain activity difference and the role of activated cortical and subcortical regions according to the degree of difficulty of common discovery task. As a result of the study, in the case of the Theta wave, the activity of the Theta wave was significantly decreased in the frontal lobe and increased in the occipital lobe when the difficult difficulty task was compared with the easy difficulty task. In the case of Alpha wave, the activity of Alpha decreased significantly in the frontal lobe when performing difficult task with difficulty. Beta wave activity decreased significantly in the frontal lobe, parietal lobe, and occipital lobe when performing difficult task. Finally, in the case of Gamma wave, activity of Gamma wave decreased in the frontal lobe and activity increased in the parietal lobe and temporal lobe when performing the difficult difficulty task compared to the task of easy difficulty. The level of difficulty of the commonality discovery task is determined by the cingulate gyrus, the cuneus, the lingual gyrus, the posterior cingulate, the precuneus, and the sub-gyral where it was shown to have an impact. Therefore, the difficulty of the commonality discovery task is the process of integrating the visual information extracted from the image and the location information, comparing the attributes of the objects, selecting the necessary information, visual work memory process of the selected information. It can be said to affect the process of perception.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.16 no.3
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• pp.105-119
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• 2021

The innovation cluster is formed by cooperation and networking among a number of actors, including companies, universities, research institutes, government and other supporting organizations, but the main subject of innovation in the venture ecosystem, which can be said to be the core of the innovation cluster, is the enterprise. Therefore, enterprises in innovation cluster can be seen as a major user of the innovation cluster policy. In order for the policy to be executed smoothly, policy acceptance is important. However, existing research on policy prioritization tends to be centered on policy providers, so it is necessary to check them from the perspective of policy users. Accordingly, this study conducted discussions from a two-way perspective to establish the correct policy direction through a balanced perspective between a policy provider-centered top-down perspective and a policy user's bottom-up perspective. First, the factors for activating the innovation cluster (three factors in the first level and 14 factors in the second level) were derived through prior research and expert interviews. After that, the importance of the factors for activating the innovation cluster was analyzed using AHP (Analytic Hierarchy Process) for the policy provider group and the user group in the Daedeok Innopolis, a representative case of innovation cluster policy. As a result of analyzing the importance of the innovation cluster activation factors from the perspectives of policy providers and users, some similarities were also seen, but overall differences in mutual perception were found. It was found that the policy provider group focused on innovation creation factors, while the policy user group viewed innovation creation, clusters, and industrial location factors from a more balanced perspective. This study is meaningful in that it deals with both perspectives in a balanced way by expanding the targets from the existing policy provider-centered research to policy users. In addition, practical contributions exist in the aspect of providing basic data so that policies can be carried out based on corporate needs in fostering innovation clusters.

• Journal of the Korean Geotechnical Society
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• v.22 no.6
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• pp.71-82
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• 2006

One of the most popular pre-reinforcement methods of tunnel heading in cohesionless soils would be the fore-polling of grouted pipes, known as RPUM (reinforced protective umbrella method) or UAM (umbrella arch method). This technique allows safe excavation even in poor ground conditions by creating longitudinal arch parallel to the tunnel axis as the tunnel advances. Some previous studies on the reinforcing effects have been performed using numerical methods and/or laboratory-based small scale model tests. The complexity of boundary conditions imposes difficulties in representing the tunnelling procedure in laboratory tests and theoretical approaches. Full-scale study to identify reinforcing effects of the tunnel heading has rarely been carried out so far. In this study, a large scale model testing for a tunnel in granular soils was performed. Reinforcing patterns considered are four cases, Non-Reinforced, Crown-Reinforced, Crown & Face-Reinforced, and Face-Reinforced. The behavior of ground and pipes as reinforcing member were fully measured as the surcharge pressure applied. The influences of reinforcing pattern, pipe length, and face reinforcement were investigated in terms of stress and displacement. It is revealed that only the Face-Reinforced has decreased sufficiently both vertical settlement in tunnel heading and horizontal displacement on the face. Vertical stresses along the tunnel axis were concentrated in tunnel heading from the test results, so the heading should be reinforced before tunnel advancing. Most of maximum axial forces and bending moments for Crown-reinforced were measured at 0.75D from the face. Also it should be recommended that the minimum length of the pipe is more than l.0D for crown reinforcement.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.

• Journal of Industrial Convergence
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• v.22 no.6
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• pp.99-106
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• 2024

The author thought about how to explain visual functions in an easy-to-understand way to customers visiting the optical shops and provide easy customer consultation, and attempted to evaluate the usability and value of the educational webtoon for patient consultation by applying it to the optical shops's visitors. Survey study was conducted targeting 152 customers who visited optical shops A in Incheon from January to December 2023. In this study, consultation was conducted using educational webtoons to help the general public understand concepts that are difficult to understand, such as binocular vision function, the concept of heterophoria, prism lenses, and binocular balance. The areas of 'understanding', 'interest', 'usability', 'necessity', and 'expression of expertise' felt by the visitors who received counseling were scored and evaluated, and differences according to counseling method were evaluated using an independent sample t-test. Statistical verification was performed. When the optometrist only explained verbally, the score distribution was relatively low: 1.96 points for understanding, 2.06 points for interest, 2.96 points for usability, 4.20 points for necessity, and 3.19 points for expertise. When the optometrist provided explanations along with the book, understanding was 4.14 points, interest was 3.28 points, usability was 3.60 points, necessity was 4.17 points, and expertise was 3.55 points. When the optometrist explained with a webtoon, understanding was 4.57 points, interest was 4.96 points, usability was 4.18 points, necessity was 4.65 points, and expertise was 3.15 points. When explanations were given only verbally, all items showed the lowest scores, whereas consultations using webtoons showed 4 points or more (excellent) in all items except the 'expression of expertise' item. It is evaluated that actively using webtoons in various consultation situations that occur in optical shops will help increase customer interest and concentration.

• Journal of the Korean Geographical Society
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• v.38 no.3
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• pp.426-443
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• 2003

Electronic Commerce (EC) has been at the center of discussion as a symbol of the integration of unprecedentedly developed Information and Communication Technologies (ICTs) and traditional commerce. In spite of much attention to EC, the research from a spatial perspective has not proliferated yet. EC was regarded to have aspatial characteristics based on the expectation for a global expansion of business activities in a digital economy. This paper attempts to figure out the spatial characteristics of public Business-to-Business electronic marketplaces (public B2B e-MPs), as one of the most evolving forms of B2B EC, regardless of the low proportion in B2B EC at present. Many of the firms operating public B2B e-MPs in Korea were located in Seoul, especially in Gangnam-gu. The analysis of three spatial indices showed their extreme spatial concentration. The analysis on the location factors of Public B2B e-MP firms in Korea demonstrated that location factors of public B2B e-MP firms were differentiated by regional groups: Gangnam-gu, Seoul except Gangnam-gu, and the provinces. It was againt an initial extreme expectation that the firms relevant to B2B EC will not care about physical locations because they mainly do businesses in electronic space. The differences between those in Gangnam-gu and in the provinces were strikingly prominent. Such differentiated location factors by region were closely related to the different attributes of the public B2B e-MPs by region. In conclusion, public B2B e-MPs are not irrelevant to physical space and physical proximity, at least at a current stage. Customized spatial strategies are required for successful online businesses.

• Journal of The Korean Association For Science Education
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• v.37 no.5
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• pp.859-877
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• 2017

The purpose of this study is to probe secondary science teachers' perception on scientific models and modeling. A total of 50 experienced science teachers were surveyed with 10 open-ended questions about several aspects of models and modeling: definition, examples, purpose, multiplicity, changeability, design/construction, evaluation and beliefs in the use of models and modeling as a teaching tool. The analysis of the data shows the following results: 1) understanding of models and modeling held by a majority of experienced secondary science teachers was far from that of experts as they concentrated on a model's superficial, representative, and visual functions, 2) when it comes to their view toward the use of a model, a model does not remain in the stage of 'doing science' but in the stage of being a subsidiary teaching tool for the teacher's explaining and the students' understanding of scientific concepts, 3) the subjects they majored in made meaningful differences in their contextual understanding of models and modeling, 4) though most of the teachers acknowledged the importance of teaching about models and modeling, even a lot of them showed a negative position toward the opinion that they are willing to apply modeling to their classes. Implications of the results were discussed in terms of intervention in order to enhance secondary science teachers' understanding and pedagogical content knowledge of models and modeling.

• Cartoon and Animation Studies
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• s.9
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• pp.127-142
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• 2005

Not only in Korea but throughout the entire world millions of people are in contact with images. Images have become a medium through which to transmit anything from simple visualizations of moving images to knowledge and information. The age of the internet has arisen thanks to scientific development, and the internet generation's acquisition of information is continuously becoming faster. The spectators, ufo must choose amongst the excessive amount of available information, are changing along with it just as quickly. The method of visual transmission has changed to match the demands of the fast-changing pace of the new generation. In order to receive an instantaneous selection amongst much information, the primary requisite is attracting one's attention, and then presenting a corresponding feeling of satisfaction. The early stages of film arose from the desire to capture one's actual situation as it realty is. Unsatisfied with the still picture, people developed the motion picture. Research has succeeded in reproducing 3-dimensional images more realistic than the actual image we perceive as a result of the difference in visual perspective of both eyes and their response to rays of light From color film to 3-dimensional pictures, people enjoy the magnificent results of this. All fields within the category of film are continuously studying the human desire to pursue their visual side, namely the pursuit of visual images with a maximum sense of reality. The images that millions of people around the world see now are flat. The screen's depth and optical illusions effectively give a sense of reality while conveying information. However, although the flat screen is able to create a sense of depth using the different visual perspective of each eye for the realization of a cubic effect, there are limitations. Entering the 21s1 century, there is a quickly-arising branch within the field of image media which seeks to overcome these limitations Although 3-dimensional images began in films, entering the latter half of the 20th century, due to development of 3-dimensional images using the mediums of the animation field, cellular phones, advertisement screens, television etc., without restriction is designated as 'image.'. With research having started around 1900 and continuing for over 100 years, we are now able to witness the popularization of 3-dimensional films happening before our very eyes. Within our own country, we can frequently see them at amusement parks and museums. In the future, through the popularization of HDTV etc., there is a good outlook for practical use of 3-dimensional images in televisions with advanced picture qualify as well as in other areas. Together with the international current, research on 3-dimensional films has been activated in Korea and is rising as a main current in the film industry. Within this context, the contents and understanding of 3-dimensional images must keep in step with the pace of technical advancements. In order to accelerate of development of film contents to keep in pace with technical developments, this dissertation presents the techniques and technical aspects of future developments, and shows the need to prepare in advance to make the field grow- and thereby avoid having a lack of experts and being conquered by other nations in the field - rather than only advancing the technical aspects and importing the contents. This dissertation aims to stimulate interest and continual research by progressive-thinking people related to the film industry. Part II looks into the definition and types of 3-dimensional motion pictures, the terminology, the fundamentals of image formation, current market fluctuations, and looks into 3-dimensional techniques which can be borrowed and introduced in 3-dimensional animations. Part III concerns 3-dimensional animated films. It analyzes 3-dimensional production techniques while using the introduction of specific animation techniques in the 2004 production Lee Sun Shin and Nelson - Naval Heroes 3-dimensional animation produced in 2004 by Clay & Puppet Stop-Motion Animation & Computer Graphic. Original Korean title: 해전영웅 이순신과 넬슨. as an example, and it also looks into how current film techniques used in animations can be applied in 3-dimensional films. Additionally, the actual stages of the various fields of 3-dimensional animations are presented. Given the current direction and advancement of 3-dimensional films making use of animations and the possible realization of this field, the author plans to weigh the development of this yet unexploited new market Not looking at the current progress of the field, but rather the direction of the hypothetical types of animation techniques, the author predicts the marketability and possibility of development of each area.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.217-253
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• 2020

This study analyzes the principles of the 'Earthly Paradise' (仙境, the realm of immortals), 'Virtuous Concordance of Yin and Yang' (陰陽合德), and the 'Reordering Works of Heaven and Earth' (天地公事) while combining them with Joseon art. Therefore, this study aims to discover the context wherein the concept of Taiji in 'Daesoon Truth,' deeply penetrates into Joseon art. Doing so reveals how 'Daesoon Thought' is embedded in the lives and customs of the Korean people. In addition, this study follows a review of the sentiments and intellectual traditions of the Korean people based on 'Daesoon Thought' and creative works. Moreover, 'Daesoon Thought' brings all of this to the forefront in academics and art at the cosmological level. The purpose of this research is to vividly reveal the core of 'Daesoon Thought' as a visual image. Through this, the combination of 'Daesoon Thought' and Joseon art will secure both data and reality at the same time. As part of this, this study deals with the world of 'Daesoon Thought' as a cosmological Taiji principle. This concept is revealed in Joseon art, which is analyzed and examined from the viewpoint of art philosophy. First, as a way to make use of 'Daesoon Thought,' 'Daesoon Truth' was developed and directly applied to Joseon art. In this way, reflections on Korean life within 'Daesoon Thought' can be revealed. In this regard, the selection of Joseon art used in this study highlights creative works that have been deeply ingrained into people's lives. For example, as 'Daesoon Thought' appears to focus on the genre painting, folk painting, and landscape painting of the Joseon Dynasty, attention is given to verifying these cases. This study analyzes 'Daesoon Thought,' which borrows from Joseon art, from the perspective of art philosophy. Accordingly, attempts are made to find examples of the 'Virtuous Concordance of Yin and Yang' and Tai-Ji in Joseon art which became a basis by which 'Daesoon Thought' was communicated to people. In addition, appreciating 'Daesoon Thought' in Joseon art is an opportunity to vividly examine not only the Joseon art style but also the life, consciousness, and mental world of the Korean people. As part of this, Chapter 2 made several findings related to the formation of 'Daesoon Thought.' In Chapter 3, the structures of the ideas of 'Earthly Paradise' and 'Virtuous Concordance of Yin and Yang' were likewise found to have support. And 'The Reordering Works of Heaven and Earth' and Tai-Ji were found in depictions of metaphysical laws. To this end, the laws of 'The Reordering Works of Heaven and Earth' and the structure of Tai-Ji were combined. In chapter 4, we analyzed the 'Daesoon Thought' in the life and work of the Korean people at the level of the convergence of 'Daeesoon Thought' and Joseon art. The analysis of works provides a glimpse into the precise identity of 'Daesoon Thought' as observable in Joseon art, as doing so is useful for generating empirical data. For example, works such as Tai-Jido, Ssanggeum Daemu, Jusachaebujeokdo, Hwajogi Myeonghwabundo, and Gyeongdodo are objects that inspired descriptions of 'Earthly Paradise', 'Virtuous Concordance of Yin and Yang,' and 'The Reordering Works of Heaven and Earth.' As a result, Tai-Ji which appears in 'Daesoon Thought', proved the status of people in Joseon art. Given all of these statements, the Tai-Ji idea pursued by Daesoon Thought is a providence that follows change as all things are mutually created. In other words, it was derived that Tai-Ji ideology sits profoundly in the lives of the Korean people and responds mutually to the providence that converges with 'Mutual Beneficence.'

• Journal of Popular Narrative
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• v.26 no.3
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• pp.45-86
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• 2020

In this article, the "modernization of the tradition" constructed on the cultural politics and the way in which it appropriated in the korean theatre in the 1970s were analyzed. It is trying to reveal its implications. It is also a work to critically review the aspects of self-censorship in the korean theatre in the 70s. To that end, we looked at the theatre company Minye Theatre, which preoccupied the traditional discussions in the 1970s by creating national dramas. Until now, the evaluation of the theatre company Minye Theatre in the 1970s has focused on the achievement on the directing of Heo Gyu, who promoted the succession and transformation of tradition. However, the traditional ideology constructed in the state-led cultural politics in the 70s and the way in which it was operated cannot be evaluated only in terms of artistic achievement. The ideology of tradition is selected according to the selective criteria of the subject to appropriate tradition. What's important is that certain objects are excluded, discarded, re-elected, re-interpreted and re-recognized in the selection process of selected traditional ideology. This is the situation in the '70s, when tradition was constantly re-recognized amid differences between the decadent and the disorder that were then designated as non-cultural, and led to a new way of appropriate. The nation-led traditional discussion of the '70s legalized the tradition with stable values, one of the its way was the national literary and artistic support. Under the banner of modernization of tradition, theatre company Minye preoccupied the discussions on the tradition and presented folk drama as a new theatre. As an alternative to the crisis of korean theatre at the time, the Minye chose the method of inheriting and transforming tradition. It is noteworthy that Heo Gyu, the representative director of the theatre company Minye, recognized the succession and transformation of traditional performance as both a calling and an experiment. For Heo Gyu, tradition was accepted as an irresistible stable value and an unquestionable calling, and as a result, his performance, filled with excessive traditional practices, became overambitious, especially when it failed to reflect the present-here reality, the repeated use of traditional expression tools resulted in skilled craftsmanship, not artistic creation. The traditional ideology of the 70s unfolds in a new aspect of appropriation in the 80s. In 1986, Son Jin-Cheok, Kim Seong-nyeo, and Yoon Mun-sik, who were key members of the theatre company Minye Theatre, left the theatre to create the theatre company Michu, and secured popularity through Madangnori(popular folk yard theatre). Son Jin-Cheok's Madangnori is overbearing through satire and humor. It gained popularity by criticizing and mocking state power. On the other hand, not only the form of traditional performance, but also the university-centered Madanggeuk movement, which appropriated on the spirit of resistance from the people to its traditional values, has rapidly grown. In the field of traditional discussions of the 70s, Madanggeuk was self-born through appropriation in which the spirit of resistance of the people is used as a traditional value. Madanggeuk as well as Michu that achieved the popularization of Madangnori cannot be discussed solely by the artistic achievement of the modernization of tradition. Critics of korean theatre in response to state-led traditional discussions in the 70s was focused only on the qualitative achievement of performing arts based on artistry. I am very sorry for that. As a result, the popular resistance of the Madanggeuk and the Madangnori were established in the 'difference' with the traditions of the theatre company Minye Theatre. Theatre company Minye Theatre was an opportunity for the modernization of tradition, but the fact that it did not continuously produce significant differences. This is the meaning and limitation of the "tradition" of the theatre company Minye Theatre in the history of korean theatre in the 1970s.