• Cartoon and Animation Studies
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• s.39
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• pp.261-295
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• 2015

Cyber singer appeared in the late 1990s has disappeared briefly appeared. although a few attempts in the 2000s, it did not show significant successes. cyber singer was born thanks to the technical development of the IT industry and the emergence of an idol training system in the music industry. It was developed by Vocaloid 'Seeyou' starting from 'Adam'. cyber singer that differenatiated typical digital characters in a cartoon or game may be subject to idolize to the music as a medium. They also feature forming a plurality of fandom. therefore, such attempts and repeated failures, this could be considered a fashion, but it flew content creation and ongoing attempts to take advantage of the new media, such as Vocaloid can see that there are expectations for a true Cyber-born singer. Early-Cyber singer is made only resemble human appearance, but 'Sciart' and 'Seeyou' has been evolving to becoming more like the human capabilities. in this paper, stylized cyber singer had disappeared in the past in the process of developing the technology to evolve into own artificial life does not end in failure cases, gradually led to a change in public perceptions of the image look looking machine was an attempt in that sense. With the direction of the evolution of the mechanical function to obtain a human, fun and human exchanges and mutual feelings. And it is equipped with an artificial life form that evolved with it only in appearance and function. in order to support this logic, I refer to the study of the coevolution of man and machine at every Bruce Mazlish. And, I have analyzed the evolution of cyber singer Bruce research from the perspective of the development process since the late 1990s, the planning of the eight singers who have appeared and design of the cyber character and important voices to be evaluated as a singer (vocal). The machine has been evolving coevolution with humans. cyber singer ambivalent development targets are recognized, but strive to become the new artificial creatures of horror idea of human desire and death continues. therefore, the new Cyber-organisms are likely to be the same style as 'Seeyou'. because, cartoon forms and whirring voice may not be in the form of a signifier is the real human desires, but this is because the contemporary public's desire to be desired and the technical development of this type can be created at the point where the cross-signifier.

• (The) Research of the performance art and culture
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• no.42
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• pp.107-146
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• 2021

This article examined the current status of performance activities in the theaters in Ulsan during the Japanese colonial period, and examined the characteristics and social roles of performance culture at that time.,The cultural space during the Japanese colonial period can be divided into theater space and semi-theater space.,The theater spaces in Ulsan include Daejeonggwan, Sangbanggwan, and Ulsan Theater. The semi-theater spaces include Ulsan Youth Center, Ulsan Youth Alliance Hall, Barrack Youth Hall, Eonyang Youth Alliance Hall, Eonyang Christian Hall, Eonyang Christian Hall, Eonyang Inn, Eonyang Public Inn, Eonyang Public Normal School, Seosaeng School, Ulsan Public Aid Auditorium, Night school.,These spaces not only held events or performances for a specific purpose, but also played a role as public spaces producing local discourse. The theater was a complex cultural space where performances are performed along with movie performances, and artists and audiences meet.,Furthermore, the theater provided a special experience of producing and consuming various issues such as colonial modernization, modern city formation, and the emergence of new popular culture beyond the meaning of stage space.,The theaters in Ulsan also functioned as a space to represent the foreign culture acceptance, leisure activities, the performance and viewing of cultural contents, and the artistic skills of local artists in accordance with the purpose of establishing local theaters.,It was a base space for local discourse production and enjoyment activities by holding political rallies, meetings, lecture activities, and various conferences.,Political rallies were also concerts, enlightenment activities were also accompanied by film screenings, and music performances were associated with dance performances and charity gatherings.,In particular, Ulsan Theater, which is the first theater in Ulsan, and the role of the public hall, held a lecture, debate, and oratory for public enlightenment along with performances such as musical drama, children's song contest, fairy tale contest, small-sized play performance,, It was widely used as a large-scale rallying place, and served as a public hall, such as a place to visit outside theaters. Thus, the theater and semi-theater space in Ulsan during the Japanese colonial period improved the cultural level of the region, fulfilling the aesthetic needs of the local people and faithfully fulfilling the social role as a public sphere leading the public opinion and agenda.,And it was also positioned as an alternative public area of ​​modern society and also played a role as a public institution.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.

• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.156-171
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• 2014

The purpose of this exploratory study is to examine if the application of smart technology(ST) would assist adjustment to the nursing home facilities in the elderly. Since there is not much previous research on this subject, we generated survey questionnaires on our own. Data were collected from the survey of 127 employees at 6 nursing homes including geriatric care workers, social workers and nurses who provide direct as well as indirect care services. Results showed that the utilization of ST would benefit the areas of family relationship support, health support, leisure support, and physical environment adjustment. As for physical environment adjustment, study participants reported that ST would help elders familiarize employees and find directions for specific space the most. As for health support, ST would be best utilized as a security sensor and program alarm system. As for support for family relationship, ST was expected to be utilized as looking at family pictures and playing with self pictures/videos. As for leisure support, ST was expected to assist elders to listen to music and watch movies/TV. These results were different according to the characteristics of the participants and the smartifacts. These results of the study will show the direction for more in-depth studies on application of smart technology for the elderly in the future.

• Journal of the Korean Society for information Management
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• v.21 no.4 s.54
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• pp.109-131
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• 2004

As there are diverse delivery media and forms of information resources, their management schemes are diverse as well. In library community, cataloguing. rules for describing information resources such as AACR and KCR have been developed. The efforts to automate management of information resources based on these rules resulted in the development of MARC. However, MARC records are restricted in describing the information resources and MARC has various and distinct characteristics of the structural rigidity, which does not support the representation of extended semantic structures that exist among bibliographic entities. Therefore, since the data model for MARC is single-layer data model, it is not appropriate for describing information resources represented by multi-layer data model which can be used to set up the relationships among various objects in digital libraries. In this paper, we propose an a metadata model for digital libraries based on the IFLA FRBR basic model which supports multi-layer data model and a representation scheme based on XML Schema to manage the metadata about old books, old documents, resource related to music, conferences and seminars.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.8
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• pp.195-204
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• 2020

The purpose of this study was to explore factors associated with smartphone dependence among adults in their 20s. The data were derived from the 2017 Survey on Smartphone Over-dependence conducted by the Ministry of Science and ICT and the National Information Society Agency. There were 3,684 participants. The data were analyzed by frequency, percentage, mean, standard deviation, independent t-test, Pearson's correlation coefficient, and weighted hierarchical multiple regression analysis. For the results, factors related with higher smartphone dependence of participants were duration (β=.18, p=.000) and frequency (β=.04, p=.000) of usage, gaming (β=.15, p=.000), watching videos (β=.09, p=.000), mobile shopping (β=.05, p=.000), working (β=.05, p=.010), e-mailing (β=.13, p=.000), and sports betting (β=.07, p=.000). Music (β=-.07, p=.000) and adult content (β=-.07, p=.000) significantly reduced their smartphone dependence. SNS (Social Networking Services) (β=.01, p=.358) and instant messengers (β=-.02, p=.330) were not factors related to smartphone dependence. However, instant messengers were the most used by participants and had a strong correlation with working (r=.55, p=.000). This study shows that smartphone usage patterns related with smartphone dependence among adults in their 20s are different from those of children and adolescents. These results could be used to more deeply understand smartphone dependence among adults in their 20s and plan early detection and prevention and care of dependence.

• Journal of the Korean Society for information Management
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• v.33 no.2
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• pp.77-102
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• 2016

The effective searching for performing arts contents can be achieved by providing various access points and searching methods based on specialized metadata. The purpose of this study is to develop a faceted navigation interface which user could effectively and efficiently retrieve performing arts contents even if the users do not know accurate descriptive information about them. Therefore, the study, first, investigated search access points and navigation items providing by other the performing arts retrieval systems and to analyze information seeking behaviors of university students who major in music, dance and theater. And then, the study proposed the 36 facets with the 9 main facet categories suitable for performing arts and also proposed 27 descriptive elements suitable for performing arts contents. Finally, the study developed the performing arts contents retrieval system based faceted navigation interface with 3,360 experimental data and conducted an in-depth interview in terms of usability, serendipity, and efficiency. The applying the faceted navigations for searching performing arts contents will help users access and utilize them in the retrieval system and moreover satisfy user demands.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 2006.05a
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• pp.49-56
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• 2006

최근 제조업을 보완하는 새로운 성장동력으로 서비스산업의 중요성이 부각되고 있다. 특히 무선 인터넷과 통신 기술의 발전은 신 서비스 창출의 기회를 마련해주는 동시에 서비스 시스템을 복잡하게 변화시키고 있다. 그러나 기존의 서비스 개발은 정성적인 판단과 직관에 의지하고 있으며, 서비스 개발 방법론은 개념적이고 추상적인 수준에서 제공되고 있다는 한계를 가진다. 이는 모바일 비즈니스(mobile business)와 같은 복잡한 서비스 시스템의 변화에 능동적으로 대처하지 못하고 있어, 모바일 비즈니스를 위한 실질적이고 체계적인 신 서비스 개발의 방법론의 필요성을 증가시킨다. 본 연구에서는 morphology 분석을 통해 모바일 비즈니스를 위한 체계적인 신서비스 개발 방법론을 제안한다. 특히 새로운 무선 통신 환경아래에서 급격한 변화를 맞고 있는 음악 산업을 대상으로 제안된 방법론의 활용 사례를 제시할 것이다. 제안된 방법론은 크게 4 단계로 구성된다. 첫째, 제공되는 서비스 시스템을 체계화하기 위해 morphology의 dimension들을 정의한다. 각 차원은 서비스 시스템의 하위 시스템이며, 이는 기존의 문헌조사와 연구를 통해 정의된다. 둘째, 각 차원별로 morphology의 shape를 정의한다. 셋째, 각 차원의 shape를 조합하여 과거의 서비스 시스템을 표현하고, morphology의 dimension과 shape를 확장한다. 넷째, morphology의 확장된 dimension과 shape를 조합하여 새로운 서비스를 구성한다. 제안된 접근법은 크게 두 가지 측면에서 강점을 가진다. 첫째, 신 서비스 아이디어의 획득을 용이하게 할 수 있다. morphology분석은 체계적인 설계 방법론을 창의적인 생각을 돕는 도구로 의미가 있다. 둘째, 체계적인 신 서비스의 개발을 가능하게 한다. morphology접근법은 M-비즈니스와 같은 복잡한 서비스 시스템을 구조적으로 분석하고, 개발할 수 있는 기틀이 된다.킹 대상을 도출할 때까지 추가적인 분석과정을 반복한다. 제안한 방법을 통하여 조직은 기술적 생산 가능성 외에도 다양한 조직 운영 관점에서 적절한 벤치마킹 대상을 선정할 수 있으며, 이에 따른 목표를 수립할 수 있을 것으로 기대한다. 또한 더 나아가 global efficiency 관점에서 효율적 조직이 되기 위하여 단계적인 벤치마킹 대상 선정과 이에 따른 목표를 수립하는데도 유용하리라 판단된다.$1.20{\pm}0.37L$, 72시간에 $1.33{\pm}0.33L$로 유의한 차이를 보였으므로(F=6.153, P=0.004), 술 후 폐환기능 회복에 효과가 있다. 4) 실험군과 대조군의 수술 후 노력성 폐활량은 수술 후 72시간에서 실험군이 $1.90{\pm}0.61L$, 대조군이 $1.51{\pm}0.38L$로 유의한 차이를 보였다(t=2.620, P=0.013). 5) 실험군과 대조군의 수술 후 일초 노력성 호기량은 수술 후 24시간에서 $1.33{\pm}0.56L,\;1.00{\ge}0.28L$로 유의한 차이를 보였고(t=2.530, P=0.017), 술 후 72시간에서 $1.72{\pm}0.65L,\;1.33{\pm}0.3L$로 유의한 차이를 보였다(t=2.540, P=0.016). 6) 대상자의 술 후 폐환기능에 영향을 미치는 요인은 성별로 나타났다. 이에 따른 폐환기능의 차이를 보면, 실험군의 술 후 노력성 폐활량이 48시간에 남자($1.78{\pm}0.61L$)가 여자($1.27{\pm}0.45L$)보다 더 높게 나타났으며 (t=2.170, P=0.042), 72시간에도 역시 남자($2.16{\pm}0.56L$)가 여자($1.50{\pm}0.47L$)보다 더 높았다(t=2.910, P=0.008). 술 후 일초 노

• Cartoon and Animation Studies
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• s.35
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• pp.155-180
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• 2014

The roles of the characters of 3D animation Toystory3, which was released in 2010 and achieved worldwide success, can be classified into typical, simple and easy-to-understand roles such as hero, villain, princess, and assistant. However, the process, in which each character's role is finally recognized by the audience, is embodied in a very colorful and exquisite manner and makes the curiosity of the audience continue effectively. The stream of the diverse role changes of the characters of Toystory3 is represented through "visual rhythm of the lighting design" and such rhythm can be confirmed most clearly in the digital colorscript stage. This researcher analyzed the characters' role changes in the work based on Propp's folktale character analysis theory, and extracted the core scenes that lead to inference, doubt, performance, reinforcement by character in order to grasp how the audience gasps major characters' role changes. The visual differences of the lighting design, which the four core scenes of each character show, were represented in graph and analyzed, and the results showed that the changes that one character has constituted rhythmical, visual contrast gradually and the rhythms of each independent character achieve visual contrast and harmony each other like the voice part of polyphony. This researcher calls this "the visual counterpoint of character's changing" and derives the conclusion that a dual visual counterpoint is hidden in the character production of the full-length animation Toystory3. Along with this, this researcher proposes the production of full-length animation that actively utilizes constructive aesthetics.

• Journal of Preventive Medicine and Public Health
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• v.6 no.1
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• pp.43-49
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• 1973

In this study noise source in a ward at four general hospitals in Seoul area has been investigated and analysed. The degree of reaction against noise by 171 randomly has also been examined. The results of the study have shown that the source of noise is the speakers of wired broadcasting or from visiting guests in two hospitals located in residential area. The patients at the two other hospitals located at commercial site have been suffered more from traffic noise. However, because of their separated living at hospital from their ordinary houselife, sixty one percent of the inpatients have wished a music sound of around 60 dB (A). After having considered the results of the investigation and wishes of the inpatients, following suggestions have been made: 1. Reduce the number of guests or their length of stay. 2. Wired broadcasting system should be substitued by wireless one, or if it's unavoidable, it should be used in office rooms only. 3. Since the stops and starts of vehicles induce much noise, Seoul City Government be requested to prepare an appropriate administrative measure for the vehicles around hospital area and it should prevent the establishment of new hospitals along high way site. 4. By using earphone, inpatients can choose a wireless channel according to each individual's taste. This through the masking effect, would cover up the noise source. 5. Rooms along the streets should be utilized as offices, otherwise double windows should be set up for inpatient's wards.