• (The) Research of the performance art and culture
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• no.32
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• pp.333-370
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• 2016

This study examines self-reflexive scenes of Changgeuk [창극; Korean classical opera] Seopyenje [서편제]. This show deals with Pansori [판소리; a kind of Korean folk play] and its singers. The uniqueness of this show is that although it is a new creative work of Changgeuk, the traditional Pansori music is used intactly. These characteristics are related to some self-reflexive scenes in the show: the narcissistic reference of Pansori makes to seem that this show inherits a artistry of Pansori; a play within a play and a role-play reinforce a reality on the action and characters of outer play; an intertextuality, bringing the narrative and music of Pansori Simcheong-ga [심청가] in this show, it makes audiences spontaneously discover a connection between the cited original text and the hypertext. Namely, the self-reflexivity of Changgeuk Seopyenje doesn't destroy an illusion, but rather it presents a kind of conservative self-reflexivity which uncovers a part of tricks for the illusion in order to create new illusion.

• The Journal of the Korea Contents Association
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• v.12 no.2
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• pp.116-126
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• 2012

As a film maker, Lee Chang Dong stands out from most Korean film makers who work within the trappings of genre films. To be sure, Lee has also used the trappings of genre films, such as noire and melodrama, but primarily as a tool to communicate with film audience. In his most recent film "Poetry", Lee seems to have even stripped even the minimal trappings of genre film. Lee commands the audience to self-reflect and work towards their own conclusions by denying them the illusory identification on screen. In this way, Lee's works are counter cinema. Lee achieves a distancing effect using such filmic apparatuses as hand-held camera, fantasy, mise en abyme, and returned gaze. Through these filmic apparatuses, Lee exposes the re-presentation of text and compels his audience to see the historical and political contexts of the text. In this study, I make the case that Lee Chang Dong's film making is an act of repetition compulsion that cultivates ethical reflection, through symbolization of the invisible realities.

• 정보화사회
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• s.13
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• pp.32-35
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• 1988

정보통신회선 사용제도가 대폭적으로 개선되었다. 그동안 협회가 “민간 VAN활성화 방안의 연구”, “전기통신 관계법령 정비에 관한 워크샾”. “공중전기통신사업 개정안에 대한 공청회” 등의 활동을 통해 회원사들의 요구사항을 수렴. 집약하여 체신부로 하여금 현행의 불합리한 회선사용의 제한을 완화토록 누차에 걸쳐 촉구한 결과 이번 개선조치를 얻어냈다. 이번 조치는 지난 1일 협회 법제분과위원회 석상에서 정부당국자에 의해 최초로 발표되어 회의참석자(회원사 임직원) 모두로부터 전폭적인 환영을 받았다. 특히 이제까지 그룹 VAN에만 허용하던 정보의 교환행위를 중소기업 대상 전산망 서비스분야까지 확대 허용한 점, 다중화 장치 접속 허용, 긴밀관계자 인정범위 확대 등의 내용은 업계측을 크게 고무하고 정보통신사업의 활성화를 촉진하는 획기적인 조치라는 것이 중평이다. 아울러 중소기업기본법 제2조의 기중에 관련한 확대허용 조치는 자칫 대규모 VAN업체에 대한 영세 S/W 업체들의 자본적, 기술적 예속을 가속화시킬 가능성을 잉태하고 있어 이들에 대한 육성.지원대책을 서둘러야 할 때임을 암시하고 있다. 이번 조치에 따라 체신부는 ‘89.1.1일자 시행을 목표로 공중통신사업자로 하여금 다중화장치 접속기준을 제정토록 지침을 하달한 것으로 알려졌다. 한편, 정부는 국내 정보통신사업 육성방안에 대한 연구.검토와 함께 전기통신관련법령의 전면적인 개편을 추진키 위해 이미 전문연구기관단체 등에 연구용역을 주는 등 본격적인 준비작업에 들어갔다.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.130-146
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• 2017

This study focuses on the Mise-en-abyme theories of Lucien $D{\ddot{a}}llenbach$, and presents research methodology to analyze the modern cinema costume in a new view. Inherent aesthetic values of the costume code shown in the film are as follows. First, esthetics value shown is the analogic code through the maximization of factual realism by directing target. Mise-en-abyme placed in this film plays the role of costume codes, and highlights the subject by presenting specifically targeted realistic icons to maximize the realism of the movie. Second, Mise-en-abyme is deployed to the explicit text through costumes code is placed as Displaced code arrangements. In other words, each of the characters is a signifier. Symbolizing a historical era is the device that represents a self-reflective signifier. Third, paradoxically reflected by the overlapped expansion of virtual reality and the self-referential characteristics and are subject to reflect the thinking of the author. Costumes code placed in Mise-en-abyme is expressed in costumes positioned to maximize the realism in the film as described above, and implies narratives and self-reflective mediating tools that symbolism can be seen that the paradoxical metaphor for the reality and the future. In addition, through the metaphor of visual narrative is allegorical representation Mise-en-abyme with ambiguity, and it is a concrete text that can be realized in a variety of creative storytelling methods and image delivery methods of modern fashion. This study confirmed that this costumes to take the point of view of emotional $Mise-en-sc{\grave{e}}ne$ in the process of completing the film's themes and cinematic devices by identifying the roles and aesthetic value of code costumes as the core subjects that make up the narrative of the film.

• The Journal of the Korea Contents Association
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• v.12 no.2
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• pp.163-172
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• 2012

The hero is in the TV drama's long. TV drama Heroes historical blip on the public's desire to delegate to the body and its functions as an intensive, which have a specific period drama that soars like a hero's welcome and it is the communication between the viewer a sense of contemporary popular devices that can be separated. This study today, the various cultural areas which are becoming popular in Japan's historical hero 'Yoshitune' a heroic drama, the hero's narrative research stories In the analysis occupies an important place in the Joseph Campbell's 17 steps of heroic narrative, based on analysis achetype and adaptation. Campbell, 11 of the 17 stage dramas to apply different levels, and the omission of two steps, and shows a variation of the four stages, in order to relaunch the popular culture as the content selection and a constant strain was able to find out that you need.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2001.05a
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• pp.516-519
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• 2001

To diagnose a patient's blood vessel disease, apoplexy, hypertension, arteriosclerosis, the blood velocity is very important. Determining the blood velocity methods using ultrasound are Continuous Doppler System and Pulse Doppler System. In using the Pulse Doppler System, we can obtain the position of blood velocity. But it is more complex hardware than Continuous Doppler System and it has low SNR(signal-noise ratio). So in this study, to obtain a believable information we use the Continuous Pulse Doppler System. Thus system have analog part and digital part. In analog part is composed of ultrasound generating part, the amplifying part to amplify the received signal from ultrasound sensor, the demodulation part to detect blood velocity and the filtering part to remove the noise. In digital part is composed of the A/D conversion part, digital signal processing part, and the communication part to communicate the PC. In this study to implement efficient ultrasound blood velocity measurement system, we can get the patient's blood velocity information in realtime. Thus, It is a useful in the accurate diagnosis with C.T(computered tomography), M.R.I(magnetic resonance imaging).

• Journal of Digital Convergence
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• v.13 no.3
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• pp.263-270
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• 2015

The development of technology has always been influencing the worldview of the time, and this has been embodied through artistic media and contents throughout history. This paper begins with an overview on how the notion of movement in art has developed with the juxtaposition of materiality and immateriality or the conversion between the two by rethinking Kinetic Art which was popularized in the mid-twentieth century in America and Europe. Then, this is compared with New Media Art which employs advanced digital media techniques to generate virtual images. New Media Art requires some kinds of physical mechanisms and space for the embodiment of virtual images to some extent. The coexistence of material and immaterial aspects of New Media art is investigated through the contextualization with certain aspects of Kinetic Art.

• Journal of the Korea Society of Computer and Information
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• v.26 no.6
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• pp.145-154
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• 2021

While welcoming the distributing of the powers of the Ministry of Education, which is currently being promoted, to the city and provincial offices of education, I am very concerned that this will expand and amplify the powers concentrated in one central institution to 17 local institutions closer to the field. Until now, the Ministry of Education and the Office of Education have served as co-cause providers as important reasons for hindering school education. The transfer of the authority of the Ministry of Education is highly likely to be deformed as soon as it results in the quantitative reduction of the functions and roles of the existing Ministry of Education and the quantitative expansion of the roles and functions of the city and provincial offices of education. In the reality that no legal device for school autonomy has been established, it is highly likely that emphasizing the principle of school autonomy in our educational climate, which is deeply rooted in the vertical bureaucratic administrative culture, will end with a simple measure or stop at the level of imitation. Therefore, a more stable device is needed to check the authority of the city and provincial office of education and the superintendent of education to take over the authority of the Ministry of Education. This is also a system that is still required even when school autonomy becomes legal. Therefore, it is necessary to revitalize the independent education committee, establish a local education committee in the city and province education office, and activate the resident participation system (resident proposal system, resident voting system, resident litigation system, resident audit request system).

• Journal of Korean Philosophical Society
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• v.130
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• pp.23-45
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• 2014

It can be said that Scheler's theory of perception is the theory of drive-conditioned perception, in more detail the theory of drive-motoric conditions of perception. Scheler tells us that Immanuel Kant and Ernst Mach were mistaken in their assumption that sensations are purely receptive and primary in all experience. He claims that sensations are not primary but subsequent to a subliminal attention of vital drives(called 'Vor-Liebe und Vor-Interesse' by him). And because sense perception cannot take place without a vital energy of drives that account for the ongoing activity of perception, no object can be perceived unless it stimulates movement in an organism which exercises a count-movement against objects and thereby resisting objects. According to Scheler, an order of foundation such as the preexistence of images prior to perception; the priority of perception with regard to functions of senses; the priority of sense functions with regard to sensations has to be kept in mind. And it has to be kept in mind that the essence of life is pre-empirical, is pure becoming(Werden) and unbecoming(Entwerden), a process in which its two empirical sides are not yet separated. Then it is easy to see that perception is conditioned by vital drives. The drive-conditioned theory of perception is also supported by the fact that the motility of an organism determines its sensory apparatus, an organism has an alphabet of senses that can serve as signs of luring and noticing objects that are meaningful for its drive-motoric behavior. For example a lizard remains undisturbed by a gun shot but runs away from the slightest noise in the grass.

• Cartoon and Animation Studies
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• s.42
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• pp.177-194
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• 2016

This study investigated an evolutionary process of In-game Animation and researched on the action of realization establishing virtual reality. In-game Animation, functioning as contents to visualize games, is responsible for conveying information to achieve goals of games. In-game Animation which is affected by graphic technology was initiated with setting up indicators by dot and line. Followed by the development of technology, In-game Animation has pursued realization, after passing through processes of iconography, materialization, and dimensionalization. The realization of In-game Animation does not simply imitate the real world but creates meaning of reality by establishing space with various factors such as characters and background along with the story, under the premise of virtuality. The realization of In-game Animation is very important to provide the experience of immersion, as it forms a sense of presence through such visual tactility. The process to create meaning of reality provides gamers with experiences, and leads them to expand senses through visual perception and finally absorb the virtuality as reality. Therefore, the image of In-game Animation does not simply imitate the real world but creates meaning of reality by establishing space with various factors such as characters and background along with the story, under the premise of virtuality. The realization of In-game Animation is not limited to blindly portray a realistic image. In addition, the process of realization pursued by In-game Animation is an action to immerse in the game rather than a mere product of technological development.