• Science of Emotion and Sensibility
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• v.8 no.4
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• pp.415-422
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• 2005

The purpose of the present study was to investigate the differences of nonlinear characteristics of electroencephalogram (EEG) depending on different sensitivities of behavioral activation system (BAS) and behavioral inhibition system (BIS) of young and elderly groups. The EEGs from Fpl and Fp2 electrodes were recorded during resting condition. The young and elderly groups consisted of 19 and 31 healthy right-handed volunteers, respectively. We estimated 1/f scaling exponent which reflects the nonlinear dynamical complexity of EEG. As results, we found the differences of 1/f scaling exponent between young ant elderly BAS sensitive groups. The 1/f scaling exponent of young BAS sensitive group showed significantly higher values than those of elderly BAS sensitive group at the left prefrontal area (Fpl). The young BAS sensitive group had also a tendency to higher 1/f scaling exponent at the right prefrontal area (Fp2). Decrease of the 1/f scaling exponent indicates the increase of complexity and the decrease of the amount of information related to the statistical distribution. Therefore, the elderly BAS sensitive group has higher complexity than young BAS sensitive group, though they were all classified as BAS sensitive group by BAS/BIS scale. Our results suggest the possibility of correlation between BAS sensitivity an4 age.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.12 s.138
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• pp.1596-1604
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• 2004

Quality Function Deployment(QFD) is a product development tool which ensures that the voice of the customer needs is heard and translated into products. To develop a sensible brassiere for middle-aged women QFD was adopted. In this study the applicability and usefulness of QFD was examined through the engineering design process for a sensible brassiere for middle-aged women. The customer needs for the wear comfort of brassiere was made by one-on-one survey of 100 women who aged 30-40. The customer competitive assessment was generated by wearing tests of 10 commercial brassieres. The subjective assessment was conducted in the enviornmental chamber that was controlled at $28{\pm}1^{\circ}C,\;65{\pm}3\%RH.$ As a results, we developed twenty-one customer needs and corresponding HOWs for the wear comfort of brassiere. The Customer Competitive Assessment was generated by wearing tests of commercial brassiere. The subjective measurement scale and dimension for the evaluation of sensible brassiere were extracted from factor analysis. Four factors were fitting, aesthetic property, pressure sensation, displacement of brassiere due to movement. The most critical design parameter was wire-related property and second one was stretchability of main material of brassiere. Also, wearing comfort of brassiere was affected by the interaction of initial stretchability of wing and support of strap. Engineering design process, QFD was applicable to the development of technical and aesthetic brassieres.

• Archives of design research
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• v.18 no.1 s.59
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• pp.91-104
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• 2005

In the past, the design education focused on the technique and skill to satisfy the production and consumption activities of a corporation based on beauty and practicality in the industrial age. Now, it's time to switchover to a life-quality enhancing education by harmonizing and meeting the public's physical and mental needs because design education is a character education which enhances the quality of life by uplifting people's aesthetic sense. This paper has emphasized on the importance of public education of design through the theoretical investigation on social environmental changes caused by the emergence of information society,,education problems, public education, and the necessity of design education. The reason why this study should be done has been suggested by investigating the necessity of this research and bringing up the issue. Furthermore, the current status and problems of public education on design have been analyzed. Then, based on the result, the development direction of design education has been suggested. This study can be concluded as follows: First, the design education should change from its vertical structure to a horizontal one. It should be widely spread to the public, getting off from its privatization for a certain group. Second, designers and the public should correct their way of thinking about design. The ordinary people as well as the designers should cultivate their capability to find and take care of design related issues in their everyday lives. Third, all people should be the subject of design education for the public. As a part of cultural education on the public's aesthetic sense, design education should be reborn as a field of study in which a sound public culture can be developed by the integration of human life and culture, exceeding the limit of school curriculum.

• Science of Emotion and Sensibility
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• v.16 no.1
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• pp.29-42
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• 2013

In this paper, we analyze the effect of the depth perception, volume perception and visual discomfort according to the change of the quality of the depth image and the depth of the major object. For the analysis, a 2D image was converted to eighteen 3D images using depth images generated based on the different depth position of a major object and background, which were represented in three detail levels. The subjective test was carried out using eighteen 3D images so that the degrees of the depth perception, volume perception and visual discomfort recognized by the subjects were investigated according to the change in the depth position of the major object and the quality of depth map. The absolute depth position of a major object and the relative depth difference between background and the major object were adjusted in three levels, respectively. The details of the depth map was also represented in three levels. Experimental results showed that the quality of the depth image differently affected the depth perception, volume perception and visual discomfort according to the absolute and relative depth position of the major object. In the case of the cardboard depth image, it severely damaged the volume perception regardless of the depth position of the major object. Especially, the depth perception was also more severely deteriorated by the cardboard depth image as the major object was located inside the screen than outside the screen. Furthermore, the subjects did not felt the difference of the depth perception, volume perception and visual comport from the 3D images generated by the detail depth map and by the rough depth map. As a result, it was analyzed that the excessively detail depth map was not necessary for enhancement of the stereoscopic perception in the 2D-to-3D conversion.

• Journal of the Korean Society of Floral Art and Design
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• no.44
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• pp.33-51
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• 2021

This thesis analyzes the formal characteristics of Dutch flower still life from the 17th century to the early 18th century and looks into the relevance with the Dutch art market from a macro perspective. The 17th Flower Still Life is to represent social hierarchy in that as the imported exotic, recherch items, the flowers were classified in the terms of their rarity and expensiveness. For this intriguing research, the subject is circumscribed to a vase of flowers, which is the quintessence of In the form of various Dutch Flower Still Life. Dutch society in the early 17th century was centered on the civilian class engaged in trade and commerce, which allowed them to purchase art works to show off their wealth, economic benefits and satisfaction of aesthetic tastes. Among them, the popularity of flower still life was related to the concentrated demand for rare flowers from the new continent. Accordingly, exact depiction and sense of the three dimensional manner were highly regarded in the early flower still life. For the tastes of the wealthy citizens who succeeded in business, the identity of flowers and the actual screen were considered as important. However, after the mid 17th century, economic growth in the Netherlands put an end, and the art market was also on a downward path. The demand class of flower still life has gotten farther away from the spirit of businessmen and has changed into city aristocrats who were stable rentiers. Their tastes laid emphasis on subjective sensibility, which meant that aristocratic, asymmetric, and dramatic chiaroscuro were preferred rather than being realistic. Furthermore, in the 18th century illusionistic realism was abandoned as an expression method of the planar characteristics and a new era in the floral still life was ushered with the reinforcement of decorative effect. From this perspective, it is not an exaggeration to say that romanticism, which is thought of as the beginning of Contemporary Art, originated from the aesthetic taste of Dutch civic culture.