• International Journal of Advanced Culture Technology
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• 제10권2호
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• pp.148-153
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• 2022

This thesis investigates the meaning of a performer's energy taking into an account of the full bodily engagement as the flow of energy and/or psychophysical readiness focusing specifically on the significance of qualitative bodily transformation. In this contemporary era, the dominance of performer training and its approaches to acting/training has very frequently meant that how to play a character in a textual based approach by emphasizing on interpreting and impersonating the role as real as possible. In this sense, as a performer trainer, from my observation and research findings shows that it is common for the term energy is not to be motivated by what a performer's body needs within a specific moment in specific performance which they are working on. To address the problematic issues, this thesis begins by interrogating the practical meaning of transformation with addressing the principle and process of movement by means of the flow of energy on stage. For a performer, inhabiting/integrating his/her body and mind as oneness and/or unity means s/he sincerely encounter, confront, and therefore listen to his/her body in here and now. Because since the performer's physical appearance completely defined his/her psychological state, no one can play either the past or the future in the moment. In this manner, an appropriate use of energy synonymous with the flow of energy correspondence with the given time and space in which the performer's body informs and initiates movement as necessary action. To be precise, the performer's bodily movement either visible or invisible in a sense of training and rehearsal is perceived as attaining or achieving psychophysical involvement as the full body engagement which enable to make the event happen in the right moment. Here, this thesis argues that the significance of a performer's inner intensity reminds us of the necessity of qualitative transformation on which the performer could discover his/her own mode of awareness as well as a way his/her body function in the given circumstance. From this point of view, this research finding would advocates that the performer's body maintains in the field of energy flow where his/her conscious effort and/or mindfulness disappear. The performer's movement is a manifestation of the whole bodily engagement by means of being as real in that moment rather than representing reality.

• International Journal of Advanced Culture Technology
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• 제9권3호
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• pp.62-67
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• 2021

This thesis examines the term a performer's sincerity taking into consideration issues of the bodily engagement and specifically addressing the place of a performer's respiration. The main emphasis in this research will be on the tendency to a performer's anticipation in contrast to a state of being in the moment on stage. Exploring and reconsidering the process of training the performer's body reminds us the significance of rigorous training in an appropriate way(s) within which the performer's body enables to meet the principles of acting with the nature of theatre as his/her body is responding and subordinating to the moment on stage. Here, this thesis argues that we need to acknowledge that initiating any bodily movement has to understood and then inhabited by negating a performer's active willingness where the source of energy, breathing roots, then transfers through the entire body rather than the mere use of the external forms or muscles. To be precise, maintaining the internal energy through the moment informs how the performer interrogates where and what s/he is in a state of whole body engagement preventing the performer's self-doubt about what s/he is doing in the next moment(s). The process should be considered as a qualitative bodily shift gazing into his/her inner territory to reach behind a linguistic and/or an intellectual sense. The research finding suggests that a performer's art is to allow the animating respiration in order to facilitate and enliven his/her entire body as oneness which in turn moves his/her scene partner(s) as well as the spectator in the here and now.

• 한국태양에너지학회:학술대회논문집
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• 한국태양에너지학회 2008년도 추계학술발표대회 논문집
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• pp.196-201
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• 2008

The photovoltaic(PV) industry has been growing around the PV advanced countries such as Japan, Germany, Europe and USA. In recent years, China became a strong performer in the world PV market share, increasing solar cell production rapidly The global photovoltaic (PV) market grew by over 40% in 2007, with approximately 2.3GW of newly installed capacity. The global cumulative installed capacity has reached 9GW. The cumulative installed power of PV system in Korea tremendously increased to 74.7MW at the end of 2007. Up to Sep. 2008 The cumulative installed power of PV system in Korea is approximately 377MW. The value chain of photovoltaic in Korea is creating actively. Thus Korea is predicted to see 800MW of modules installed in 2010. Korea's renewable energy is also targeting to take 5% of the total energy consumption by 2011.

• 한국자동차공학회논문집
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• 제11권5호
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• pp.201-209
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• 2003

Virtual human models are widely used to save time and expense in vehicle safety studies. A human model is an essential tool to visualize and simulate a vehicle driver in virtual environments. This research is focused on creation and application of a human model fer virtual reality. The Korean anthropometric data published are selected to determine basic human model dimensions. These data are applied to GEBOD, a human body data generation program, which computes the body segment geometry, mass properties, joints locations and mechanical properties. The human model was constituted using MADYMO based on data from GEBOD. Frontal crash and bump passing test were simulated and the driver's motion data calculated were transmitted into the virtual environment. The human model was organized into scene graphs and its motion was visualized by virtual reality techniques including OpenGL Performer. The human model can be controlled by an arm master to test driver's behavior in the virtual environment.