• 전기의세계
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• v.28 no.8
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• pp.66-71
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• 1979

This paper describes electrical analysis of the information processing of the nervous system. A general-purpose electrical neuronal model for simulating the electrical activity in a single nerve cell and in small groups of nerve cell has constructed. This model consists of two basic electronic modules to represent respectively a "cell body" and an "axon (with synapses)", together with various related appurtenances. The primary advantages of this method are; holistic view, actual physical representation of various electrical activities in a single nerve cell, display of the activity of all nerve cells flexibility with respect to network parameters. Moreover, this model can effectively help push forward our general ability to explore and conceptualize the electrical activity of interconnected networks of nerve cell behaving in concert. Also, this electronic module technique is the best of various means for this task of realistic representation of aggregates of neurons.gregates of neurons.

• Korean Institute of Interior Design Journal
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• no.17
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• pp.37-44
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• 1998

Chair is one of objects which are closely connected with human body and is a symbol which represents human essence and culture. Symbolism embodies the meaning of expression through transfering the immaterial structure to tangible form. Therefore chair embodies the essential internal desires of human by means of its symbolic representation. In order to understand the essential human desires included in the symbolism of chair it is necessary to consider these desires with respect to cultural and historical context. in this study four essential internal desires of human are investigated through the symbolic representation of chair that is the desires on human psychological comfort authority freedom and eroticism. The purpose of this study is to emphasize the necessity of the design approach based on the understanding of essential internal desires of human which is pursued from the object by user.

• Archives of design research
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• v.15 no.4
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• pp.169-176
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• 2002

All kinds of artwork, including multimedia and digital image that has been subliminated into an af mediating two numbers 0 and 1 in recent age, are self-sufficient and autonomous in themselves. Nevertheless, each of those artworks can be realized as a real entity only if its appreciator is capable enough to explore some potential meaning out of it through his or her own perceptual work. According to Mikel Dufrenne, an artwork is composed of three existential tiers: "le sensible" or the sensible material; "fe representation" or the subject(le sujet), and "1′expression." Dufrenne contends that our esthetic perception can be realized by way of three steps that are comparable to those three tiers: perception of the presence of the body("le sensible"), contemplative perception by way of imagination("le representation"), and reflective perception ("1′expression") as a result of dialectics of sense and sensibility. This paper argues on the aesthetic perception with regard to digital image expressed by two numbers 0 and 1, putting focus on the epistemological role of sensibility(감) that explores "1′expression" a la Dufrenne.

• Journal of Korea Multimedia Society
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• v.21 no.12
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• pp.1473-1480
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• 2018

The extraction and recognition of human motion characteristics need to combine biometrics to determine and judge human behavior in the movement and distinguish individual identities. The so-called biometric technology, the specific operation is the use of the body's inherent biological characteristics of individual identity authentication, the most noteworthy feature is the invariance and uniqueness. In the past, the behavior recognition technology based on the single characteristic was too restrictive, in this paper, we proposed a mixed feature which combined global silhouette feature and local optical flow feature, and this combined representation was used for human action recognition. And we will use the KTH database to train and test the recognition system. Experiments have been very desirable results.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.70-80
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify transfiguration in fashion design. In order to inquire tile formative style and aesthetic values expressed in transfiguration in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century. The results of the study are as follows. Transfiguration signifies absence of body which questions the three dimensional construction of the body in more conventional clothing system. Transfiguration is expressed in non-figural forms which implies metaphorical plasticity and abstract extensity. Transfiguration in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body. Ultimately, this phase also betrays the correspondence between signifiant and $signifi\acute{e}$ in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in transfiguration in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.2
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• pp.138-150
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• 2013

This study investigates changes in body size (as well as fit) before/after wear, according to the breast and brassiere type. To offer producers basic data on how to develop excellent brassieres, we accordingly conducted preliminary research on 183 20's women. The research revealed that breast-related size and fit change by about 10%; however, the upper length and inner length of breasts decreases. The fit of domed ones is the best and the fit of the elongated ones is the worst; subsequently, a closer representation of the ideal breast leads to a better fit to wear.

• The Research Journal of the Costume Culture
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• v.7 no.1
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• pp.128-140
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• 1999

The Psychology of putting on clothes has close relation with sexuality, and eroticism is important in clothing. Present article aims to understand eroticism correctly and to make it evaluated as an art in modern fashion and as an aesthetic to express woman\`s beauty. Modern eroticism in fashion may be divided into direct, indirect and symbolic expression made. The result are as follow: First, direct made, a representation of desire into direct, indirect and symbolic expression of body or physical curve with tight garment. Second, indirect made, a see-though technique using association, represents sexual appeal by imagination on body area hidden by clothes made of see-through material. And third symbolic made express sexual libido by representing body area or clothes which symbolizing woman\`s sexuality using materials like fur or silk. Eroticism in modern clothing, therefore, should be understood as a beauty that is expressed by human artistic desire. Further studies are needed to explain the characteristics of eroticism in every culture because human nature is apt to from diverse kind of cultures.

• The Research Journal of the Costume Culture
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• v.32 no.3
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• pp.398-418
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• 2024

This study aims to examine how the body and clothing of Jesus Christ are represented in the Russian Transfiguration of Christ icons of the 15th and 16th centuries and why it is considered to have established a distinct Russian iconography free from Byzantine influence. The study analyzes the Russian icons comparing them with their Byzantine prototypes to identify the distinctive 'Russianness' of the representation. The research methods comprise a qualitative analysis of the literature on Russian Orthodoxy, Russian icons, Christian theology, and Christ's clothing and an empirical analysis of the icons. The scope of the study is limited to Russian icons from the 15th and 16th centuries and Byzantine icons from the 9th century onwards. The study found that, compared to Byzantine icons, the Russian icons exhibit a more elongated body, darker facial features, and lighter clothing. A statistical analysis using the Mann-Whitney U test further revealed that the Russian icons feature a stiffer, simpler form, more opaque material, and more defined clothing boundaries. These stylistic differences suggest that the 'Russianness' in the expression of Christ's body and clothing in the Transfiguration of Christ icons derives from creativity, abstractness, and tradition. Rather than a simple recreation of the historical Christ or adherence to the Byzantine tradition, the Russian iconographic representation emphasizes Christ's transfiguration into a luminous form, as described in the Bible, accentuating his divine nature over his human aspects.

• The Research Journal of the Costume Culture
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• v.22 no.1
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• pp.1-15
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• 2014

Entering the twentieth century, corsets began to disappear with the tendency of concentrating on slim bodies and youth. As corsets proceeded to be discarded, they began to be internalized as a means of controlling the body; 'muscular corset' takes hold. However, the internalized corset increasingly appears to be externalized again in contemporary fashion. This study investigates how natural body is reconstructed as socio-cultural image drawing on the relationship between the signifier and signified of corset. As for the research methodology this study conducts literature survey to investigate the internalization of corset. This study proceeds to examine the subjects of fashion collections from 1980 to 2010 and samples the outfits which represent the externalization of corset through case analysis. Through the discussion of the study, the relationship of signifier and signified in the externalization of corset is argued as follows: first, by maintaining signifier and signified of the traditional corset as underwear, aggressive eroticism of corset has been observed, second, by perceiving corset as the agency of the body, fetishism of corset dissociates the function of sexual object from corset while distorting the relationship of signifier and signified, third, through embodying the notion of muscular corset literally, the ironical representation of corset as a torturing device of female body deconstructs the traditional relation of signifier and signified of corset.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.13-25
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• 2004

The purpose of this study was to show the analysis system and the expression which is applied to fashion illustration by three major components in visual sign, metaphor and metonymy. The results of this study were as follows : Firstly, metaphor in qualisign of syntactics was revealed as a color such as realistic description, a pattern such as clothing of figure. etc. Metonymy was revealed as a social and cultural background color, a concept pattern. etc. In sinsign of syntactics. metaphor was revealed as a human body, non-human body and metamorphosis human body and metonymy as a human body and non-human body. In legisign of syntactics, the metaphor by perspective was used for a fantasy of space. and the metonymy was revealed as a color perspective representation, etc. The degree of change of texture was revealed as a metaphor and metonymy of gradation. And conventional custom sign was almost revealed in metaphor. Secondly, semantics showed about fashion image as juxtaposition of two similar objects in metaphor and as real description and simplification in metonymy Alternative fashion image in semantics was presented as a object related to fashion image. Conventional symbolic sign was presented as a role to clarify a fashion message in metaphor. Thirdly, the metaphorical and metonymical expression in pragmatics were usually presented as drawing and painting.