• Proceedings of the Korea Water Resources Association Conference
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• 2008.05a
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• pp.40-48
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• 2008

The Waimea Basin is located on the northern tip of the South Island of New Zealand. It is a highly productive area with intense water use with multi-stakeholder interest in water. Irrigation from the underground aquifers here makes up the largest portion of used water; however the same aquifers are also the key urban and industrial sources of water. The Waimea/Wairoa Rivers are the main sources of recharge to the underlying aquifers and also feed the costal springs that highly valued by the community and iwi. Due to the location of the main rivers and springs close to the urban centre the water resource system here has high community and aesthetic values. Recent enhanced hydrological modelling work has shown the water resources in this area to be over allocated by 22% for a 1:10 year drought security for maintaining a minimalistic flow of 250 l/s in the lower Waimea River. The current irrigated land area is about 3700 hectares with an additional potential for irrigation of 1500 hectares. Further pressures are also coming on-line with significant population growth in the region. Recent droughts have resulted in significant water use cutbacks and the threat of seawater intrusion in the coastal margins. The Waimea Water Augmentation Committee (WWAC) initiated a three year stage 1 feasibility study in 2004/2005 into the viability of water storage in the upper parts of the catchment for enhancing water availability and its security of supply for consumptive, environmental, community and aesthetic benefits downstream. The project also sought to future proof water supply needs for the Waimea Plains and the surrounding areas for a 50 - 100 year planning horizon. The broad range stage 1 investigation programme has identified the Upper Lee Catchment as being suitable for a storage structure to provide the needs identified and also a possibility for some small scale hydro electricity generation as well. The stage 2 detailed feasibility investigations that are underway now (2007/2008), and to be completed in two years is to provide all details for progressing with the next stage of obtaining necessary permits for construction and commissioning a suitable dam.

• The Research Journal of the Costume Culture
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• v.17 no.1
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• pp.132-148
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• 2009

The objective of this article is to examine the possibility of 'story-telling' as united concept of causality and subjectivity through sequence combination, and the 'similarity' between object and image in fashion photographs making diversity of meanings. To analyze and investigate the research, as evidential data this paper used the photos of Steven Meisel from 2002 till 2007 Vogue published in Korea, U.S, and Italy, as well as other visual data like graphic collections, catalogs, art-related data and internet data. This research runs both theoretical and positive investigations to suggest the function of story-telling in the Process of opened-communicative roles of fashion photos. Thus this paper investigated Steven Meisel's storytelling in his fashion photos; short moment of event, continuity of time, compound of sequence, and complexity of viewpoint. This paper also studied the aesthetic characteristics of Steven Meisel's fashion photos as categories of overlapped meaning, arbitrariness of interpretation, exclusivity of message, and decoding. The research result suggests that clothing not only includes current age's value but also among social constitutions it includes multilateral characteristics. Ultimately this paper is also making meaning alive by cutting off the chain of 'firm' meanings of fashion photo. That seems like opening the opportunity for correctly understanding fashion's meaning which has the aspects of ambivalence of changing meanings and values by the motivation of context and text.

• Journal of the Korean Society of Costume
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• v.60 no.2
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• pp.35-50
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• 2010

In this dissertation, the analysis of the study of female customs from late Joseon Dynasty and their genre painting to research humors and its aesthetic senses in that certain era. The purpose of the genre paintings is to look at general populations in an objective point of view and endeavor better value of public life style to embody clear understandings of humanity. The artists such as Hong-Do Kim and Youn-Bok Shin expressed their arts based on reasonable reality with sarcastic but humorous and creative ways to criticize the society's problems with clear statements. Therefore, the formative characters are realism, exaggeration and coloring of the whole arts that represents as innovative and original genre of it's time. Hong-Do Kim and Youn-Bok Shin expressed the women in society as open minded with versatile and refined looks in their paintings as the reality was repressed and closed mind for women figures in late Joseon Dynasty. The female customs in the paintings has both suppression and expression in their dresses and exaggerated shapes of accessories and the use of color were also found. All of these elements has the aesthetic values of satirized eroticism, the hint of next evolution of the late Joseon Era under the conservative disposition of social characters and freedom of expression of playfulness. These elements were new developments and a step forward of female 'sex' and expression of satirized eroticism. The exaggerated and distorted forms and accessories demonstrates unbalanced and asymmetrical elements in humorous characters and they include spontaneity. Also, using the five traditional color schemes of Korean art displays humor in playfulness of an art with splendid and purity, duality of positiveness and artless, smart and elegance looks.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.47-64
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• 2014

A variety of traditional costumes have been developed in Asia due to different natural and cultural environments and they are still worn by people in many areas. Traditional costumes in Asia have been formed under the influence of various ideologies, as well as technology and social structure. Three Asian religions(Buddhism, Hinduism and Islam), which have undeniably strong influence on traditional Asian cultures, have great effects on the styles of traditional costume in each region of Asia. The purpose of this study is to compare the characteristics and aesthetic values of traditional Asian costumes. To do this, the author used images of traditional costumes, which were taken in person by the author, in each region of Asia as reference. Unlike the traditional costumes in the West, which expose the body shape, traditional Asian costumes have nonstructural features in construction, form and wearing rules. They are also decorated with religious symbols and other ornaments, which is different from functional and non-decorative modern clothes. Each traditional Asian costume has unique characteristics. The costume under the influence of Buddhism shows the beauty of concealment that features trans-spatiality and abundant silhouette. On the other hand, the Hindu costume shows the beauty of symbolization represented by very colorful and complex ornaments, while costume in the Islam regions shows the beauty of restraint with clothes that wrap up the body in accordance with its strict religious discipline. Asian religions also represent philosophy, culture as well as an ethnic group. They have influenced entire Asian cultures including the arts, aesthetics and social structure and decided the style of costumes.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.929-938
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• 2007

The purpose of this study was to explore the consumers' purchasing pattern and dissatisfaction with the quality of the jean pants. A total of 695 men and women completed the questionnaire. The questionnaire for the survey measured consumer's jean pants purchasing pattern and dissatisfaction for quality. The results of this study showed that men bought higher priced jeans. Women in their twenties purchased and worn jeans frequently and men and women in age 20s mainly bought jeans at wholesale stores or department stores; but, majority of subjects in their thirties bought jeans at discount stores. Consumer's dissatisfaction with the quality of jean pants was significantly different among the groups by age, gender or their pursuing buying benefit. The men and women in age 30s were dissatisfied with harshness of the denim fabric. The subjects, who highly concerned on the aesthetic value, were dissatisfied with the inconsistence color of the jean pants after washing. Men and women who valued the functional performance of jean pants, were dissatisfied with low sweat absorbancy of jean pants material. The results of this study showed that the consumer's buying pattern for jean pants were differentiated by their age and gender. These results imply that jean pants manufacturers should develop jean pants to meet the needs of their target market. The jean pants, which were manufactured for discount stores, should be made of fabrics with good sweat absorbancy and soft hand. The fashion jean pants, which were targeted for women seeking aesthetic values, should be improved to maintain color consistency of the fabric.

• Journal of Digital Convergence
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• v.15 no.8
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• pp.359-366
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• 2017

As the quality of life increases and the aesthetic value of the product is emphasized, it tend to consider the sensitivity of consumers in designing goods. The importance of storytelling is becoming more prominent as the purchasing factor of products shifted from the center of the product to emotional of products. In this paper, the purpose of developing emotional marketing craft design using storytelling is to understand the storytelling concept and analyze the case of craft design using storytelling. Craft is an easy-to-value or aesthetic value of the goods in the fields of design, diversity and originality can be pursued and has unlimited potential. Now, in addition to the semantic value of expressive values with a consumer sensibility needs requires the development of this research craft crafts design industry has established itself as a high value-added industry could do more to take advantage of the Foundation.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.9
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• pp.1308-1319
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• 2002

The purpose of this is to analyze the aesthetics characteristics of our modern sports fashion, and thereby, discuss them in the light of the overall mentality or the 20th century, and thus, present the conditions or sports fashion design meeting modem people's divers aesthetics values and desired. Modern sports fashion sues can be categorized into futurist sports style, erotic sports style and American sheet sports style. And the 20th century mentality characterized by changes of lifestyle, identity and aspiration has influenced the aesthetic features of such sports fashion sues, which can be summed up as follows; first, the futurist sports style applies the functional items and details of active sportswear to design, while heralding a positive and hopeful message of technology and future by using the material of hi-tech functions and senses. This sports style was affected much by shift from social status, attraction and wealth to demonstration of state-of-the-art science, pursuit of functionality in terms of shapes and materials, convenience through See combinations of sportswear items or design elements. Second, the erotic sports style based on minimalism attempted to express the erotic body beauty indirectly by exposing some parts of body or using the material pressed against the body. This sports style was closely related with the changes of sexual identity such as neutral sexualism, bi-sexualism and homo-sexualism. Lastly, the American street sports style was born from black Americarns' sports and dances. This spors style pursues “youth” beyond TPO concept As mass media and commercial sports developed, the young generation copied sports stars' uniforms or fashions to share honor, wealth and youth with them. In sort, the American sheet sports style was affected much by the so-called “heroism”. Such a changed object of aspiration influenced the aesthetic characteristics of American shot sports style directly.

• The Research Journal of the Costume Culture
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• v.14 no.4
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• pp.657-669
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• 2006

This study is to investigate the previous cases of plural eclecticism through the works of Vivienne Westwood, who contributed to the spread of innovative and eclectic English fashion out to the world as well as to review plurality and its phenomena since the 20th century more systematically. In terms of research methodology, the phenomena of plural eclecticism were examined from social and cultural perspectives, whereas bibliographic research and case study were performed for the phenomena of eclecticism in fashion. From the perspective of plural eclecticism, the results from analyzing the works of Vivienne Westwood by the divisions of temporal eclecticism, spatial eclecticism, and contingent eclecticism are described in the following. First, Vivienne Westwood emphasized historicism tendency of temporal eclecticism. Her efforts to try to modernize history went beyond ages and social classes including men's clothing, prostitutes' costumes, craft items, and dresses for royal family. Second, her spatial eclecticism was reflected on the first collection themes inspired by the American Indians or borrowed from the names of Voodoo in the Tropics. Finally, infra-fashion as an expression of contingent eclecticism of Vivienne Westwood's works can be interpreted as plural eclecticism which shows contingent eclecticism and historic eclecticism at the same time. This study aimed at proving preceding implications concerning recent plural eclecticism through the analysis of the works of Vivienne Westwood who tried a radical design of plural eclecticism in an effort to modernize the tradition of England in the circumstances where a number of trends and styles exist together, with their own uniqueness and values.

• The korean journal of orthodontics
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• v.45 no.1
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• pp.29-37
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• 2015

Objective: The coefficients of friction (COFs) of aesthetic ceramic and stainless steel brackets used in conjunction with stainless steel archwires were investigated using a modified linear tribometer and special computer software, and the effects of the bracket slot size (0.018 inches [in] or 0.022 in) and materials (ceramic or metal) on the COF were determined. Methods: Four types of ceramic (one with a stainless steel slot) and one conventional stainless steel bracket were tested with two types of archwire sizes: a $0.017{\times}0.025$-in wire in the 0.018-in slots and a $0.019{\times}0.025$-in wire in the 0.022-in slot brackets. For pairwise comparisons between the 0.018-in and 0.022-in slot sizes in the same bracket, an independent sample t-test was used. One-way and two-way analysis of variance (ANOVA) and Tukey's post-hoc test at the 95% confidence level (${\alpha}$ = 0.05) were also used for statistical analyses. Results: There were significant differences between the 0.022-in and 0.018-in slot sizes for the same brand of bracket. ANOVA also showed that both slot size and bracket slot material had significant effects on COF values (p < 0.001). The ceramic bracket with a 0.022-in stainless steel slot showed the lowest mean COF (${\mu}$ = 0.18), followed by the conventional stainless steel bracket with a 0.022-in slot (${\mu}$ = 0.21). The monocrystalline alumina ceramic bracket with a 0.018-in slot had the highest COF (${\mu}$ = 0.85). Conclusions: Brackets with stainless steel slots exhibit lower COFs than ceramic slot brackets. All brackets show lower COFs as the slot size increases.

• International Journal of Costume and Fashion
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• v.5 no.2
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• pp.68-77
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• 2005

In contemporary advertising market, one of main trends is to speak surrealistic visual language which provides 'enjoyable spectacles'. Specially, in the beginning of 21st century, there discovered more and more exhibitions and discourses about surrealism reinterpreted from the viewpoint of postmodernism. Surrealism as a creative style of expression based upon free association, has been a great inspiration for fashion ads for commercial communication as well as fashion design since its origin. However, there has been ignored the idea of analyzing surrealistic image expressed in fashion ads in spite of their flood. Accordingly, the purpose of this study is to grasp its cultural meaning through analyzing aesthetic characteristics of surrealistic image expressed in fashion ads. It will provide a better understanding of surrealistic image in fashion ads reflecting popular taste and preference directly as popular visual culture, focusing on post modern context. A case study of surrealistic fashion ads limits to TV or print commercials and digital ads as image ads stimulating visual expressions. The Results can be summarized as follows. Surrealism is an avant garde style which deconstructs the established meaning system as well as the existing formalistic order and then put them together in the frame of 'dream' and 'unconsciousness'. Defamiliarization questioning the whole edifice of representation can be adapted to. By means of paradox and metaphor, unfamiliar new visual world can be represented. The plastic characteristics of surrealistic image in fashion ads are founded as surrealistic styling of time and space, distortion of object by methods of automatism, depaysement, parody and trompe-l'oeil which bring about the deconstruction of gestalt. Aesthetic values of surrealistic fashion ads appear as dualistic representation, allegoric symbolism, fantastic romanticism. Ultimately they lead to marvelous. mysterious, humorous visual effects. Foster reinterpreted these effects of surrealism from Freud's 'Uncanny Concept'. 'Uncanny' means the phenomenon recurring to familiar being defamiliarized by repression. Surrealistic fashion ads strengthen this shocking effect more and more dramatically in company with our post modern needs for fantastic adventure and thrilling spectacle. It can be thought that surrealistic fashion ads reflects uncanny as an alternative which can relieve us of our stress and anxiety and which realize our potential desire in contemporary post industrial stage.