• Journal of the Korea Institute of Information and Communication Engineering
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• v.15 no.5
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• pp.1053-1059
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• 2011

DMX512 protocol is a typical protocol which controls LED lighting system. It has a strong feature and can be used to a lot of lighting system. But LED control system with cable has a few problem because they have a lot of control cables. It is very difficult to set up the complex lighting. Furthermore if it is set up it is not easy to keep and recover the system from the out of order. So it is required Wireless Lighting Control System. This paper describes the proposal, design, and implementation of a novel method which can provide versatile light effects with the increased capability of the mobility and the number of universes for Wireless Lighting system. And then we implement experiment environment to control indoor lighting system controled by ZigBee and WLAN converter not having complicating control line. Data frames are transferred to DMX512 device by encapsulation and decapsulation to control color LED. In the same time give the method to solve the data bottleneck problem which can be comes out because of speed difference between Heterogeneous network and measure performance of control system.

• Journal of the Korea institute for structural maintenance and inspection
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• v.22 no.1
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• pp.190-198
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• 2018

In recent years, non-welded building hardware has been installed by bolt assembly is used. The non-welded building hardware method can reduce accidents caused by welding, and can be constructed by bolt assembly, which can reduce labor costs and shorten the construction period. However, there is a need for a method to compensate for the occurrence of buckling at the time of construction. The purpose of this study is to evaluate the behavior of joints between steel pipe and fastener and to evaluate the behavior of joints of non-welded and welded hardware frame. As a result, it was found that the foundation steel structure without welded joints was deformed to a rotation angle of member much larger than the allowable interlayer displacement angle 0.01 to 0.02 required according to the seismic load rating in the seismic load resistance system.

• Fire Science and Engineering
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• v.32 no.3
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• pp.51-59
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• 2018

Although a fire curtain plays an important role in preventing smoke from spreading to the auditorium in a theater fire, there has been insufficient research on fire curtains. In this study, to check the accuracy of numerical simulation, for previous experiments using a reduced scale model, a numerical simulation was carried out, and the results were compared with previous experimental data. The fire curtain effect was then predicted numerically. A Fire Dynamics Simulator (FDS) was used, and the natural exhaust vent sizes were set to ~10%, ~5%, and ~1% of the stage floor area. The smoke movement was visualized, and the mass flow rates and temperatures were measured and analyzed. In addition, the law of similarity was used to examine the influence of a fire curtain in a real scale theater fire. Without the fire curtain, the present numerical simulation results were in agreement with the previous experimental data within reasonable accuracy. Meanwhile, the fire curtain affects the mass flow rates through the natural exhaust vent and proscenium opening, as well as the start time of soot outflow to the auditorium. Overall, the present results can be used to develop a fire curtain system.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.156-168
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• 2022

This study was conducted to investigate the staging principle, the staging work and the trial performance of Shingeuk troupe Geukyesulyeonguhoe during the period of coterie system, focusing on Gogol work·Ham Daehoon translation·Hong Haeseong directing's (5Act). As a result, the first trial performance was based on a faithful full-scale description rather than an interpretive directing of play. It was a performance that focused on copying and implanting the external form of the performance stage of Shingeki troupe Tsukiji Little Theater. The general review of the time was summarized to the point that it was a relatively successful performance that exceeded expectations as a trial demonstration of amateur actors. However, in terms of the content of play and the form of performance, reservations and lack of contemporary(modern) interpretation caused the problem that the general audience was alienated. Therefore, it was difficult to achieve the effect of reflecting the reality of Chosun through , as Geukyesulyeonguhoe intended.

• Horticultural Science & Technology
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• v.31 no.4
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• pp.407-414
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• 2013

This study was carried out to understand the physiological characteristics of 'Manpungbae' (Pyrus pyrifolia Nakai) pears through the seasonal changes of pericarp structure and anatomical differences between bagging and non-bagging treatment, and also fruit quality and peel coloration characteristics at the harvest time. The pericarp at full bloom was consists of outer epidermis, hypodermis, parenchyma cell, and inner epidermis from the exterior. The cell layers from the outer epidermis to vascular bundle increased rapidly 7-10 layers to 18-26 layers from full bloom (FB) to 77 days after full bloom (DAFB) and did not change significantly until maturity. Thus, the cell division period of 'Manpungbae' pear was until 77 DAFB and during this period, the thickness from hypodermis to vascular bundle increased from $73.1{\mu}m$ to $195{\mu}m$ in this period. Stone cells were formed from seven to 21 DAFB and stone cell clusters were formed around 49 DAFB. The cork cell layer was formed between 49 and 77 DAFB. 'Manpungbae' fruit pericarp was consists of 4.5 layers of the cork cell layers and seven layers of hypodermis which has the tannin at harvest time (161 DAFB). Comparison of the fruit enlargement and fruit structure development by bagging or non-bagging showed that 'Manpungbae' fruits without bagging had more than three cork cell layer than those with bagging at maturity. The size of stone cell clusters were varied in two treatments. Fruit weight was higher in the non-bagging treatment but there was no difference in soluble solid contents (SSC) between two treatments. The weight of the 'Manpunbae' fruit was distributed from 301 g to more 900 g and the average fruit weight was 677.2 g at harvest time, and fruits in the range of 551-800 g accounted for 71.6% of total production. The SSC, acidity and SSC/acidity ratio was $10.2-12.1^{\circ}Brix$, 0.10-1.24% and 9.76-14.31 respectively, and the SSC was higher in bigger fruit which had a very higher positive correlation with a fruit weight. However, the fruit firmness tended to be lower with fruit size which had a very higher negative correlation with the fruit weight and SSC. The cork cell layer numbers between yellowish brown and green pericarp were not different significantly, in 3.8 and 3.5 respectively.

• (The) Research of the performance art and culture
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• no.32
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• pp.549-594
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• 2016

This research focuses on 'dramaturgical' performance among all the acts of a director who constructs an artistic structure. This is, specifically, the dramaturgical acts that a director comes to perform in the process of dramatizing a novel. This paper aims to suggest a new kind of approach for productive interaction between drama theory and practice, not only by documenting the process of creation but also by moulding theoretical basis on acts of a director. As you all know, creative acts in practice so far have rarely been considered as subject and purpose of academic study. Even some lucky plays and directors had to settle for fragmentary review. That's mainly because Korean theatrical circles confine the way of recording the whole process of drama in practice only to a piecemeal review of performance. As a result, there have been very few cases of observing comtemporary plays under the historical background of drama. In this regard, this paper desires to raise a question, 'is productive interaction between drama theory and creative practice possible?' and to find the answer. If what is described in this paper can have worth beyond a mere record of creative acts, it may establish theoretical grounds on interpreting the play stage of this era by reading, in the contexts of drama history, a director's dramaturgical performing acts to dramatize a novel. The researcher of this paper, as a director of a theater troupe like a human and artistic community, adapted "Crime and Punishment" by Dostoevsky into four plays. They are , , , , and completed in 2009, 2011, 2012, and 2014, respectively as an independent theatric work having no connections to each other in story. Not only because the four plays share the same novel as its origin but also because an identical system is applied to dramatization of the novel, it gives an opportunity to focus on and perceive the role of the director. During the process of dramatiztion, the director, the researcher of this paper, carried all the duties, such as selecting a text, approaching the text theoretically and academically, adapting it for drama, picking out appropriate episodes. This paper defines all these acts as dramaturgical performing acts. In this sense, this paper can also be seen as a documentary of 'acts' performed during the process of dramatization.

• Trans-
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• v.2
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• pp.191-210
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• 2017

The purpose of this study is verifying whether convergence does its role as a transfer medium in dance expression or not, finding the effect of convergence characteristics and confirming whether it would bring change and new creation in performance art or not. This study suggests that studies on convergence in dance are required in accordance with the trend of time. This study believes that convergence is a modern art expression method, which can maximize the artistic expression in dance work and it will play an important role in the advance of dance works. There are ongoing studies on convergence art genre by many creators; however, still academic study this matter is not sufficient. Therefore, it is believed that more studies on convergence genre from the viewpoint of human studies are required. Accordingly, this study took Blush, the dance art works of Wim Vandekeybus, as the subject of study because convergence is clearly visible in these works. It is possible to draw convergence from these works because the works attempt new creation and utilize image by accommodating other genre art in dance art. The convergence in these works maximizes the originality of choreography and expands the time and space of stage through various effects. In other words, it is possible to see that Wim Vandekeybus is doing new attempts in his dance works by experimental elements, which escaped from simple movement, and convergence appears in the works.

• Cross-Cultural Studies
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• v.44
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• pp.239-281
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• 2016

This article explores the fate of futurism not only by tracing the entire process from the birth and decline of Russian futurism in the early 20th century and the so-called "Korean futurism" in the early 21st century, but also by delving into how their characteristics were shaped. In the first chapter, we investigate four groups of Russian futurism - Ego-Futurism, Cubo-Futurism, Tsentrifuga, and the Mezzanine of poetry, which were born in the age of utopianism before the Revolution. In the opera Victory Over the Sun, which was the culmination of the Zaum project of Cubo-futurists, we can find the initial shortcomings at the levels of language (Kruchenykh), music (Matyushin) and decoration and costume design (Malevich). In the second chapter, we examine chronologically how the term 'futurism' appeared in Korean literature history. In Korea, the term 'futurism' was born following the naming and classification of critic Kwon Heok-Woong, not by the voluntary manifestation of experimental poets such as Hwang Byong-Seung, thus this specific situation provoked stormy polemics between critics for futurism and critics against futurism in the Korean literary world. These polemics on futurist poetics have led to considerations of the relation of criticism to poetry.

• Journal of the Korea Computer Graphics Society
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• v.25 no.3
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• pp.43-54
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• 2019

In this paper, we review the applicability of fog screen to implement 'Spatial Augmented Reality' which displays the image on the whole space of real space or in real space by separating display equipment and user, in contrast to the traditional Augmented Reality. Through three exhibitions and one performance, we confirmed t hat the fog screen, which can be passed through, is a suitable material for implementing the Spatial Augment ed Reality. We found that the hologram production was easier than before because of fog screen. Through the questionnaire survey conducted on performers along with the exhibition, we found that only about half of people know what a fog screen is, and about 10% of the total respondents saw the fog screen. In order to investigate the effect of fog screen on the surrounding space, we conducted an experiment to observe the change of humidity according to the time and distance in the Children's Culture Center of the Asian Culture Center. We found that the humidity within a radius of 5m around the fog screen could increase by 2~3%($6,400m^3$ standard). Thus we provided some safety requirement with fog screen when works made of materials vulnerable to moisture such as paint, paper, and wood are exhibited at the same time with fog screen in the exhibition hall.

• Cartoon and Animation Studies
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• s.44
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• pp.1-31
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• 2016

In this thesis, the movie with mise-en-scene established was compared with the peculiarity of the play that is the etymological source of the term to identify the peculiarity of mise-en-scene which was substituted into animation to find the peculiarity of mise-en-scene in animation. To emphasize the direct connection between the frame's visual peculiarity and the director's opinions, the mise-en-scene of director centered animation created under a restricted environment was reviewed. Mise-en-scene which started from movie critics theory does not simply mean the arrangement of images in a frame. Mise-en-scene emphasizes the exposure of the work's motive by the visual components. The animation's assuming the middle point of environmental share possessed by play and movie when schematizing the genre peculiarity of animation, play and movie was a noteworthy result. It can be said that the cause is that the animation's peculiarity yield different results depending on the making methods; we verified that this is a key factor in the analysis of animation's mise-en-scene. I emphasized that the peculiarity of animation mise-en-scene is in its making method and material and suggested identifying the work's making methods and analyzing the work's aesthetic results derived in this way. The russian animation which was perceived as peripheral arts was relatively free from the burden of censorship while receiving support from the Soviet as a media for propaganda. The russian animation's mise-en-scene which found the material for its works in the country's folklore was metaphorical, focused on new expression forms and achieved experimental elements. Russian animation pursues a unique aesthetic world through space expression based on the forms of opera or ballet and heavy motions formed static inbetweens.