• Journal of Science of Art and Design
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• v.5
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• pp.175-216
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• 2003

시각이 아닌 오감체계에 관계하는 때문에 현대미술은 외관만으로 이루어지지 않는다. 곧 예술 작품들은 하나의 장소를 관객에게 제공하여, 심리적, 물리적, 또는 예술이 존재여부에 관한 갖가지 질문들을 제기한다. 모든 예술 작품은 메시지를 담고 있다. 이러한 관점에서 개념 또는 아이디어에 우선하는 현대미술은 그들의 메시지를 전달하기 위해 우리의 사회적 배경과 보편성을 간과할 수 없다. 우리의 물체 인식은 결국 우리의 경험체계를 통해서 이루어진다고 간주하면, 현대미술의 새로운 형태는 보편적 특질들이 그 특질들 이상의 상태로 보여지도록 유도한다. 이러한 창조 행위의 시작은 현대인간의 문화 읽기이며 문화는 인간과 자연의 긴밀한 관계 속에서 이루어진다. 역사는 지나간 시간을 기록한 것이며, 이 또한 우리의 지식과 정보 체계에 속한다. 회화가 평면에 입체감을 표현하는 것과는 달리 조각은 자연 속, 즉 실재공간 속에 있는 모든 것을 표현하기 때문에 시각(visible) 이외에도 촉각(tangible)이 관여하게 된다. 조각의 특수성은 촉각(tangible)이 우선하는 것이다. 그러나 시각과 촉각은 매우 적극적으로 미학적 경험에 참여하는 감각으로 이들을 서로 분리하여 생각하기가 무척 힘들다. 왜냐하면 어떤 경험에 있어서 기억연합 또는 감각 연합에 의해 하나의 감각이 다른 여러 감각을 촉발하여 연쇄반응 혹은 '형태 Gestalt'를 이루기 때문이다. 대부분의 근대 조각 작품들은 조각대 위에 고정되어 있는 구상 형태를 지녔기 때문에 조각작품 자체가 지닌 외적 형태와 그 자체내의 공간이 더욱 중요한 역할을 하게 된다. 말하자면 미로의 비너스 조각은 대리석과 비너스 형태의 결합이다. 때문에 관객은 그 주변을 돌면서 우리 신체의 내적 공간과 시각에 의존하면서 그 작품의 중량감, 양감, 형태 등의 특질과 만나게 된다. 그러나 현대 추상조각과 개념조각은 이보다 좀 더 확장된 공간을 제시한다. 이것은 현대조각이 건축개념을 수용한 때문이며, 그것이 때로는 안 쪽에서 때로는 바깥 쪽에서 그 형태를 결정하며, 보고 듣고 느끼고 만져지고 왕래하는 등의 인식 영역인 관객의 오감체계에 직접적으로 관계하기 때문이다. 우리는 건축 공간에서, 시각 외에도 청각이나 촉각을 통해 지각한다. 대강 요약하자면 공간은 객관적 상태이기보다는 인식영역의 주관성을 통해 받아들여진 우리가 지나쳐온 것들이나 체험된 공간이다. 여기서 '받아들여지는' 일은 과거 경험들의 주체들, 언어와 문화에 의해서 이루어져야 한다. 건물, 즉 둘러싸고 있는 공간은 중앙이 아니다. 중앙은 바로 나, 둘러싸여진 나이다 나는 나의 동작에 따라 그 공간의 시스템을 변화시킬 수 있는 유동적인 중심이다 (이때의 나는 위치의 축을 변화시키는 것이 아니라, 그들을 탐색하는 것이다). 작품이 대형화되면서 이러한 건축공간개념이 현대 조각가들의 작품개념에 이용되었다고 본다. 현대미술에서 In situ작업과 특정한 장소를 위한 기획되어진 최근의 프로젝트 작업들은 대형화되어있으며, 건축에서처럼 특정한 장소를 만들어낸다. 로잘린드 크라우스(Rosalind Krauss)는 또한 '조각영역의 확장 (La sculpture dans le champ elargi)'에서 현대조각이 건축과 환경의 영역을 침범하고 있음을 지적한다. 그녀에 의하면, 1960년대 이후의 현대조각은 이러한 탈 귀속성과 조각의 자율성을 획득함으로써 조각은 건축물이 아니면서 건축물 주변에 위치하거나 풍경이 아니면서 풍경 안에 자리잡게 되었다. 이와 같이 현대의 대형조각 작품들 - 예를 들어 대형화된 미니별 조각이나 개념미술, 또는 대지예술 등 -은 풍경의 실재가 아니기 때문에 환경으로부터 구분된다고 언급하고 있다. 이들 조각은 더 이상 만져지는 실체이거나 점유하는 공간의 상징언어를 지닌 조각의 범주에 한정되지 않게 된다. 조각과 건축의 공간인식을 인체의 크기와 관련하여 보면, 메를로 퐁티(Merleau-Ponty)의 '지각의 현상학' 은 우리가 논하는 작품의 공간체계를 분석하는데 지침표가 되어준다. 메를로 퐁티가 말하는 지각은 정신에 의해서만 이루어지는 것이 아니며, 몸과 함께 이루어지는 현상이다. 지각은 우리가 부단히 눈을 움직이고 만지고 냄새를 맡고 주변을 돌아 다니면서 세계와의 직접적인 접촉을 통해 이루어 진다. 몸의 움직임을 통하여 나타나는 신체적 표현은 몸 자체가 원천적으로 지향적 활동의 주체로서 파악되는 한 이미 항상(恒常, constant) 의미 현상을 지니다. 우리의 지각이 움직이는 몸의 지향 활동을 통해 이루어진다는 것은 우리의 몸의 지향활동이 의식에 선행함을 의미한다. 몸의 움직임은 의식의 의도를 표현할 때에만 의미를 나타내는 기호가 되는 것이 아니라, 이미 그 자체가 살아있는 표현이다. 우리의 몸짓, 표정은 우리 의식이 의도하기 전에 이미 의미가 담겨있다. 몸은 그 자체가 기호(Signe)적이다. 결국. 메를로 퐁티에게서 세상(le monde entier)은 그 자신이 주체가 되어 인식한다, 그리고 이 인식 구조에는 우리의 몸이 구심점(le point centripete)이 된다. 만약 우리가 이러한 메를로 퐁티의 개념을 염두에 둔다면, 예술작품의 특성에 매우 중요한 역할을 하고 있는 재료와 크기를 이해할 수 있을 것이다.

• Journal of Oral Medicine and Pain
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• v.34 no.4
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• pp.387-395
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• 2009

Nerve growth factor (NGF) and sensory neuropeptides are involved in the process of nociception at peripheral nerve fibers and wide spread in central nervous system. The aims of this study were to investigate NGF and sensory neuropeptides (substance P [SP] and calcitonin gene-related peptide [CGRP]) levels in human plasma and saliva, and the associations between these sensory neuropeptides levels and chronic orofacial pain symptoms. NGF, SP, and CGRP levels in plasma and resting whole saliva samples collected from 67 orofacial pain patients (joint pain, dental or periodontal pain, mucosal pain) and 36 pain free control subjects were measured by enzyme immunoassay. The characteristic pain intensity of each subject was measured using the Graded Chronic Pain Scale and the flow rate of resting whole saliva was measured. Joint pain patients group showed significantly higher plasma NGF level compared to each of dental pain patients (p<0.01), mucosal pain patients (p<0.01), and control group (p<0.01). Plasma NGF level of dental pain patients group was significantly higher than that of control group (p<0.01). Saliva SP level of dental pain patients group (p<0.05) and saliva CGRP level of mucosal pain group (p<0.05) were significantly higher than that of control group. Plasma and saliva SP levels of joint pain patients was significantly associated with pain intensity (plasma: standardized coefficient=0.599, p<0.01, saliva: standardized coefficient=0.504, p=0.05). In dental pain patients group, plasma SP (standardized coefficient=0.559, p<0.01), saliva SP (standardized coefficient=0.520, p<0.01) and saliva CGRP (standardized coefficient=0.599, p<0.01) levels were significantly associated with age. In mucosal pain patients group, plasma SP (standardized coefficient=0.495, p<0.05), saliva SP (standardized coefficient=0.500, p<0.05), and saliva CGRP (standardized coefficient=0.717, p<0.01) levels were significantly associated with age. NGF and neuropeptides may play a role in the maintenance of various orofacial pain symptoms. The examination of those levels in plasma and saliva helps understanding the mechanism of orofacial pain, and furthermore, can be applied to the diagnosis and therapy of orofacial pain.

• Archives of design research
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• v.15 no.4
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• pp.47-56
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• 2002

The purpose of this study is to clarify how modern formative art reflects surrealism and propose a Art Make-up expressed based on the trend. The study also aims at demonstrating the part that the Make-up based on surrealism is also an artistic being keeping pace with the trend of art. For the purpose, the study reviewed related theoretical backgrounds and works as manufactured. Based on these theoretical backgrounds, the author anufactured works of his own, realizing the combination between theoretical and practical aspects. Those works were motivated from existing surrealistic paintings or otherwise made surrealistically through creation by the author for himself. The works included , (Work 2-MAGRITTE's Expression>, , , and . Results of the study, which were obtained through manufacturing the works, can be described as follows. First, senses of modern formation and line were emerged by applying the materials and images frequently shown in surrealistic paintings to human bodies. Second, characteristics of the Art Make-up for artistic image were revealed, not limited to colors, expressions, subjects, techniques and materials. Third, an unlimited, interesting expression of the Make-up using a variety of materials became possible by applying extremely subjective, surrealistic paintings and images in various ways. This paper proposed that the Make-up should be a artistic image itself, not as a secondary means for an obvious expression of personal beauty which has been maintained since the ancient times. The researcher tried to put the Art Make-up into our daily life by making creative works which viewed and psychologically enjoyed by people and by proposing the works as sort of image theme to the spectators.

• Physical Therapy Korea
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• v.3 no.2
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• pp.95-105
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• 1996

Type I, II, III are regarded as "true" joint receptors, type IV is considered a class of pain receptor. Type I, II and III mechanoreceptors, via static and dynamic input, signal joint position, intraarticular pressure changes, and the direction, amplitude, and velocity of joint movements. Type I mechanoreceptor subserve both static and dynamic physiologic functions. Type I are found primarily in the stratum fibrosum of the joint capsule and ligaments. Type I receptors have a low threshold for activation and are allow to adapt to changes altering their firing frequency. Type II receptors have a low threshold for activation. These dynamic receptors respond to joint movement. Type II receptors are thus termed rapidly adapting. Type II joint receptors are located at the junction of the synovial membrane and fibrosum of the joint capsule and intraarticular and extraarticular fat pads. Type III receptors have been found in collateral ligaments of the joints of the extremities. Morphologically similar to Golgi tendon organ. These dynamic receptors have a high threshold to stimulation and are slowly adating. Type IV receptors possess free nerve ending that have been found in joint capsule and fat pads. They are not normally active, but respond to extreme mechanical deformation of the joint as well as to direct chemical or mechanical irritation. Small amplitude oscillatory and distraction movements(joint mobilization) techniques are used to stimulate the mechanoreceptors that may inhibit the transmission of nociceptors stimuli at the spinal cord or brain stem levels.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.1 s.139
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• pp.35-45
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• 2005

The purpose of this study was to evaluate thermal properties of soccer wear with different materials and designs. As a beginning step, the questionnaire survey about the actual condition of soccer wears was conducted. with the results of the questinnaire, two soccer wears with new material and design that were improved in tactile sensations, absorption and ventilation were developed. We evaluated thermal and subjective responses of subjects wearing Korea national soccer team uniform in 1998 World Cup (Uniform 98), soccer wear with new material and same design(New II) and with new material and new design(New I). New I was made with mesh in armhole for improving ventilation. Rectal temperature, skin temperature, clothing microclimate, and heart rate were measured in climatic chamber test(twelve times) and field test(eighteen times). The results were as follows. 1. As the results of the climatic chamber test, rectal temperature was lower in New I and New II than Uniform98, and mean skin temperature was lower in New I than Uniform 98 and New II. Heart rate was lower in New I than New II, and total body weight loss and local sweating were not significantly different by soccer wears. 2. As the results of the field test, rectal temperature was lower in New I than Uniform98 and New II. Mean skin temperature was lower in New II than Uniform98 and New I. Clothing microclimate temperature was lower in New II than Uniform98 and New 1, and clothing microclimate humidity was lower in New I, New II than Uniform 98. Heart rate was lower in New I than Uniform 98, New II and total body weight loss and local sweating were lower in New I, New II than Uniform 98. In conclusion, New I using new design using mesh in armhole and new material using sweat absorbent finishing was excellent from the point of view of physical responses, ventilation and sweat absorption.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.5
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• pp.582-590
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• 2004

The purpose of this study was to evaluate thermal properties of Taekwondo wears with three different materials. As a begging step, the questionnaire survey about the actual condition of Taekwondo wears was conducted. With the results of the questionnaire, cotton/nylon(70/30) blended fabric(CN) that was newly woven with sweat absorbent finishing and cotton/spandex(95/5) blended fabric with flexibility property were developed. The same designed 3 Taekwondo wears with 3 different materials which were two different materials(CN and CS) and a current material(cotton/PET, CP) were made. Four young males volunteered for this study, they kicked and punched as Taekwondo action for 20 minutes. Mean skin temperature was the highest in CS(33.1${\pm}$0.8$^{\circ}C$) and the lowest in CP(32.7${\pm}$0.6$^{\circ}C$). Increasing degree of rectal temperature didn't show any significant difference. Clothing microclimate temperature on the thigh was higher in CS(32.8${\pm}$17.4$^{\circ}C$) than in CN(29.4${\pm}$1.1$^{\circ}C$) and CP(29.4${\pm}$1.0$^{\circ}C$). Clothing microclimate temperature on the back and humidity on the thigh didn't show any significant differences. Clothing microclimate humidity on the back was higher in CP(65${\pm}$20%RH) than in CS(61${\pm}$17％RH). Heart rate, total body weight loss, and local sweating were not significantly different by materials. Most subject responded more hot in CN than in others, but there were no significant differences at the subjective sensation of thermal humidity. They answered more comfortable in CN than in others. Tectile sensations were the best in CN and the worst in CS. From those results, first of all, it is necessary to be weighted on Taekwondo wears made of CN in the aspects of the dignity of military arts uniform. Secondly, CS was required to be lighted and enhanced for the subjective sensation. Third, CP weaved honey comb was asked more various design to eliminate sweat high competition power within the scope of the dignity of military arts uniform.

• The Journal of Korean Academy of Orthopedic Manual Physical Therapy
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• v.2 no.1
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• pp.9-19
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• 1996

Type I, II, III are regarded as "true" joint receptors, type IV is considered a class of pain receptor. Type I, II and III mechanoreceptors, via static and dynamic input, signal joint position, intraarticular pressure changes, and the direction, amplitude, and velocity of joint movements. Type I mechanoreceptor subserve both static and dynamic physiologic functions. Type I are found primarily in the stratum fibrosum of the joint capsule and ligaments. Type I receptors have a low threshold for activation and are allow to adapt to changes altering their firing frequency. Type II receptors have a low threshold for activation. These dynamic receptors respond to joint movement. Type II receptors are thus termed rapidly adapting. Type II joint receptors are located at the junction of the synovial membrane and fibrosum of the joint capsule and intraarticular and extraarticular fat pads. Type III receptors have been found in collateral ligaments of the joints of the extremities. Morphologically similar to Golgi tendon organ. These dynamic receptors have a high threshold to stimulation and are slowly adating. Type IV receptors possess free nerve ending that have been found in joint capsule and fat pads. They are not normally active, but respond to extreme mechanical deformation of the joint as well as to direct chemical or mechanical irritation. Small amplitude oscillatory and distraction movements(joint mobilization) techniques are used to stimulate the mechanoreceptors that may inhibit the transmission of nociceptors stimuli at the spinal cord or brain stem levels.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.207-220
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• 2021

Recent advances in new media for sensory experiences keep expanding visual expression methods in installation art such as projection mapping and virtual reality. Artists can create and develop visual expression techniques based on such new media. Projection mapping is a new medium that continues to add various possibilities to visual expression in media art. Under the projection mapping environment, artists can recompose the object or space with the digital content by projecting video onto three-dimensional surfaces in the space. This paper focuses on the process where visual expression with the projection mapping technology leads to viewers' sensory experience. To this end, "reproducibility," "dissemination," "virtuality," and "interactivity" of media were analyzed to describe the meaning and *definition of visual expression. Artworks are considered as an example to study visual expression techniques such as "repetition and overlap," "simulacrum and metaphor," and "displacement and conversion." I applied the analysis and created Domino, a projection mapping artwork, which helps the research on visual expression techniques that can lead to sensory experience the extensibility of visual expression.

• The Korean Journal of Physiology
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• v.1 no.1
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• pp.7-22
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• 1967

인간(人間)의 감각(感覺), 운동(運動), 사고등(思考等)에 직접관여(直接關與)하는 체성신경원(體性神經元)이 인체내(人體內)에 있어서 단일세포동물(單一細胞動物)과 비체성신경원(非體性神經元)과 같이 각종(各種)의 자극(刺戟)에 직접응(直接應)하므로써 기능적(機能的) 활동(活動)을 개시(開始)한다는 한연(漢然)한 예상하(豫想下)에서 말초(末梢)에서는 혹종(或種)의 통소(痛素)를, 중추(中樞)에서는 어떤 묘(妙)한 화학적(化學約)인 흥분전달물질(興奮傳達物質)을 탐구(探求)하고 있으며 말초(末梢)의 통흥분시발(痛興奮始發)과 대뇌피질(大腦皮質)의 기능발생(機能發生)같은 중요(重要)한 제기전(諸機轉)이 해명(解明)될 가능성(可能性)조차 보이지 않는 것이 체성신경생리학(體性神經生理學)의 현상(現狀)이다. 저자(著者)는 생태분리(生態分離)한 단일신경섬유실험(單一神經纖維實驗)과 임상적연구(臨床的硏究)로서 인체내(人體內)의 체성신경섬유(體性神經纖維)와 그 구심성종말(求心性終末)은 최종(最終) 공통기계적자극(共通機械的刺戟)을 받는 점(點)을 입증(立證)하고 뇌피질내(腦皮質內)의 입사(入射)에 의(依)한 Synapse 전달(傳達)이 기계적(機械的)인 점(點)과 모세혈관확대(毛細血管擴大)에 의(依)한 Glial Satellite 부(部)의 기계적전달(機械的傳達)과 Spine Koph 에서는 입사(入射) 없이도 Massage에 의(依)하여 초발탈분극(初發脫分極)이 발생(發生)될 필연성(必然性)을 지적(指摘)하는 동시(同時)에 저자(著者)가 부르는 ${\ulcorner}$체성신경계(體性神經系)의 기계적생리학(機械的生理學)${\lrcorner}$에 의(依)하면 난간(難間)에 속(屬)하는 대다수(大多數)의 신경현상(神經現象)과 정신현상(精神現象)이 구체적(具體的)이며 합리적(合理的)이요 또 실용적(實用的)으로 해명(解明)됨을 실례(實例)를 들어서 예시(例示)한다. 본연구(本硏究)는 습수만예(拾數萬例)의 단일신경섬유관찰(單一神經纖維觀察)과 수백예(數百例)의 임상적연구(臨床的硏究)와 최근고도(最近高度)로 발달(發達)된 기술(技術)에 의(依)한 징소생리학적(徵少生理學的) 제연구업속(諸硏究業續)과 전자현미경적형태학성과(電子顯徵鏡的形態學成果)를 종합(綜合)하므로써 성립(成立)된 것이요 하등(何等)적 무리(無理)한 억측(憶測)을 내포(內包)하지 않음을 확신(確信)한다.

• Fashion & Textile Research Journal
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• v.1 no.2
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• pp.173-181
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• 1999

The purpose of this study was to investigate actual sleeping environments in Ondol rooms depending on the season. The experiment was performed on five healthy women. The bedroom environments using Ondol were measured in five cases (three apartments and two houses). The environments in bedroom, bedding temperature, skin temperature and thermal sensation were measured continuously through the seven days for each season in real life. This data of sleeping environments were analyzed in the view of seasonal variations and housing types. Annual average bedroom temperatures: $26.2{\sim}31.0^{\circ}C$ in apartments, $15.7{\sim}33.6^{\circ}C$ in houses. Annual average bedroom humidity: 48.3~82.1% RH in apartments, 64.9~87.0% RH in houses. During sleeping, temperatures of contact surfaces like sheets and under quilts ranged between $30.5^{\circ}C$ and $34.1^{\circ}C$ regardless of season or housing type. Annual average rectal temperature was $36.8^{\circ}C$ with no significant difference in season or housing type. In the point of thermal sensation, neutral temperature of the bedroom was $25.9^{\circ}C$ in apartments and $20.3^{\circ}C$ in houses. It was concluded that in spite of thermal environmental variations according to the seasons, skin, bedding and bedroom temperatures in apartments were better and more stable than those of houses. It is regarded that while houses are brick structured, apartments are steel-frame structured. Due to better insulation and air tightness, apartments were affected less from outdoor temperature and maintained higher room temperature than houses.