• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.99-105
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• 2023

This thesis discusses a performer's unpredictability and immediacy as a prerequisite quality and/or ability to facilitate his/her professional identity as a doer on stage. To examine the key principles and approaches, this research focuses on addressing a specific aspect of the performer's transformative experience from those, directors, and practitioners' concepts that inform and enhance the performer's passive readiness on stage. To be precise, this research attempt to interrogate and articulate the place and role of a performer's internal readiness and/or that of inner looking. The performer's inner intensity as seed of action signifies that his/her body is being in a state of listening to every tiny moment with his/her heightened awareness which in turn lead the performer's body to meet the demands of theatre, the whole-body engagement. Here, this thesis argues that the key principles of acting/training underlies the importance of a performer's ethical attitude and at the same time his/her responsibility for what the performer's choices and experiences within the performative involvement, that is, a process of preparation, are not technical matter but rather, the concepts, and/or approaches from those theatre artists' practical assumptions highlight a process of thorough encountering and/or listening to his/her body. Inhabiting and/or obtaining the principles through the performer's body means being free from his/her unnecessary trait(s) which in turn initiate and then move the whole body according to what is happening in the series of moment(s) on stage. What is more, such an appropriate psychophysical order reminds us of the significance of the nature of human/performer's body, namely, to being in a state of one's 'own' body as oneness. From this perspective, this thesis further argues that the performer's body necessarily need to be affected and/or triggered in a sense of responding to the given circumstance where the performer is working on in the here and now.

• Journal of Korean Academy of Nursing
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• v.28 no.2
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• pp.414-430
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• 1998

The main purpose of this study was to provide understanding of the meaning of post menopausal womens' lived body changing experience. The methodological approach was guided by Van Manen's hermeneutic phenomenological methodology : inquiring and investigating experience as it was lived rather than as conceptualized : reflecting and analyzing the essential themes which characterize the phenomenon : and describing the phenomenon through the art of writing and rewriting. Multiple strategies for data collecting were used ; in depth face-to-face interview ; analysis of womens' writings : artistic work : and analysis of examples of phenomenon in art, literature, and drama. Although the experience was different for all of the women interviewed, essential themes of experience emerged ; Drifting through the years (solitude, in the twilight of life, loneliness, change of taste, forgetfulness, the sense of missing something), A walking weather forecast, Standing on the threshold of losing ki energy, Lately taking care of my body, Seized with fear all of a sudden, Keenly feeling the preciousness of life, Preferring comfortableness to prettiness, Wanting to recall my past years, A strong impulse to rechallenge life, Becoming more fond of friends. Findings from the artistic and creative inquiry further validated the interview findings and the meaning discovered. The study illuminated meaning and simultaneously validated the phenomenological research process. Essential themes for understanding women's experience, implications for education, research, and practice, direction and need for continuing inquiry were identified.

• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.102-110
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• 2008

In choreography, the relationship between body and space is fundamental. Not only in the performing arts, it is an essential part in space design as well. In this sense, the comparison study between performing arts and space design will have various helpful aspects from which a creative design can be derived. This thesis aims to study spatial characteristics and expression methods in the choreography of performing arts that is dance in this case. The general background study of the relationship between body movement and space design in the modem art and architecture was explained in advance. And then its application in choreography was studied. Two case choreographers were selected: Merce Cunningham and Frederic Flamand. They have unique ways of designing and choreographing the relationship between body movements and stage spaces. This thesis attempts to find the differences as well as common characteristics between the two choreographers in terms of how they relate bodily movements and emotions into the given space.

• International journal of advanced smart convergence
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• v.7 no.2
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• pp.135-142
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• 2018

Virtual reality (VR) technology has been increasingly more frequently used day by day in industries, entertainment and performances due to the development of AR and MR technologies. Performance arts also actively utilize $360^{\circ}$ VR technology due to the free expression of stage settings and auditoriums. However, technologies for systems in which performers wear VR devices firsthand rather than being in the sandpoint of bystanders while audiences wear VR head mounted displays(HMDs) to see performance stages have been rarely studied yet. This study investigated the technical possibilities of possible methods of expression that will enable performers to appear on the stage wearing VR devices. Since VR can maximize the sense of immersion with its closed HMD structure unlike augmented reality (AR), VR was judged to be suitable for studies centered on the mental interactions in the inner side of humans. Among them, to implement shamanistic expression methods with the phantoms of the body and soul, a motion capture technology linked with VR display devices and real-time cameras was realized on the stage. In this process, the importance of body ownership experienced by the performers (participants), reactions when they lost it, and the mental phenomena of the desire to possess the subjects of gaze could be seen. In addition, high possibility of development of this technology hereafter could be expected because this technology includes the technical openness that enables the audience to appear on the stage firsthand to become performers.

• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.263-274
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• 2003

This study analyzes how social environment influenced underclothes and characteristic which underclothes have is associated with the outer garment and the underclothes in the Middle Ages. As a result, 1 can get the next conclusion First, throughout the Middle Ages, body was involved with the sense of same and sin influenced by the religious austerity. This mentality was applied to the underclothes. As underclothes are not generally revealed, it is recognized to be not important but inefficient. Second, in the late Middle Ages, as the outer garment reveal the body line, the underclothes are affected by it. So men's and women's distinction in the outer garment is applied to the underclothes. In the second quarter of the 14C, class distinction and sexual attraction certainly present on the outer garment but are not applied to the underclothes. The conceptions that underclothes might express the spirit of the changing times, in sympathy with the outer garment, did not enter the medieval mind. Third, the function to protect the body is emphasized the underclothing in the Middle Ages, whereas it was important to identify rank sign in the history of underclothes. Throughout the Middle Ages the underclothing of both sexes is emphasized utilitarian in (unction rather than class distinction and sexual attraction. But women exposed their body line in thin chemise to represent sexual attraction in the late Middle Ages.

• Fashion & Textile Research Journal
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• v.10 no.6
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• pp.827-835
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• 2008

The purpose of this paper is to clarify the aesthetic characteristics of splatter films' make-up. Splatter films are one of horror movies that consist of gore and excessive violence. These represent the cruelty with the victims' physical damages made by special effect make-up. Splatter make-up is classified into the trickle of blood, the cutting of body, and the exposure of the inner parts of body, and changes a fake into a fact with reality. The aesthetic characteristics of splatter make-up were shown in the uncanny, the abjection and the irony. The uncanny which is strange and displeasure feeling is presented by the fragmentation of body, and the living of nonliving thing. The abjection means humble image, and the concept of border or ambiguity. The former is expressed by the matters of body's secretion and excretion. The latter is shown by the use of blood(the life and death) and corpses(the human and inhuman), and animatronics(the human and instruments). The irony which is a sense of humor caused by conflict between external appearance and reality. This is represented by comics induced by discord between excessive violence and make-up tricks, and the brutality and the weakness.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.7 no.8
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• pp.1805-1824
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• 2013

Recently, the use of wireless body area networks (WBAN) has been increasing rapidly in medical healthcare applications. WBANs consist of smart nodes that can be used to sense and transmit vital data such as heart rate, temperature and ECG from a human body to a medical centre. WBANs depend on limited resources such as energy and bandwidth. In order to utilise these resources efficiently, a very well organized medium access control (MAC) protocol must be considered. In this paper, a new, adaptive and energy-efficient MAC protocol, entitled isMAC, is proposed for WBANs. The proposed MAC is based on multi-channel communication and aims to prolong the network lifetime by effectively employing (i) a collision prevention mechanism, (ii) a coordinator node (WCN) selection algorithm and (iii) a transmission power adjustment approach. The isMAC protocol has been developed and modelled, by using OPNET Modeler simulation software. It is based on a networking scenario that requires especially high data rates such as ECG, for performance evaluation purposes. Packet delay, network throughput and energy consumption have been chosen as performance metrics. The comparison between the simulation results of isMAC and classical IEEE 802.15.4 (ZigBee) protocol shows that isMAC significantly outperforms IEEE 802.15.4 in terms of packet delay, throughput and energy consumption.

• Journal of Korea Game Society
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• v.20 no.5
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• pp.31-40
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• 2020

The effects of two different types of haptic feedback(one-hand versus two-hand haptic feedback) on interactivity and body ownership were investigated in the virtual reality setting through an experiment. Using within-subject design, participants performed the task of hitting and destroying a ball-shaped object in virtual reality for both, one-hand and two-hand haptic feedback conditions. The results showed that participants tended to report a higher level of interactivity when using two-hand haptic feedback, whereas there was no difference between the two conditions in a sense of body ownership.

• The Research Journal of the Costume Culture
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• v.4 no.1
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• pp.93-109
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• 1996

Madeleine Vionnet, a representative designer of the 1920′s, who made prefectly organized clothes with unique formativeness was the first to express fabric in a modern method and was called "The architect of fashion". This is because she developed a three dimensional design by expressing cloth-she rejected corset, should pad, etc-into elegant curved lines that do not stick to the body. By granting meaning to the beauty of the body and its movement in her own unique ways, she emphasized the formativeness in her work and gave shape to creative artistry. Expecially with the "Bias-Cut" she could express the lines of the body more flexibly and could make geometrical styles like the diamond shape dress or the triangle dress more effectively. Using the "Tired Bias cut" and "Handkerchief point" she let the skirt hemline dangle irregularly in geometrical forms, thus showing modern formative sense which forms a three dimensional solidness along the movement of the human body. Thus far, analyzed how the contemporary trend of art was reflected in her designs by studying her work; also investigated through her artistic characteristics and pattern method. Also be tried to find out what can be learned through her artistic view and superb formativeness as a designer.

• Journal of the Korea Institute of Military Science and Technology
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• v.15 no.4
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• pp.374-380
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• 2012

In guided missile systems, reducing terminal-position error is the primary objective of the inertial navigation system. As a seeker is used to sense and track a target, the critical function of the inertial navigation system is to provide the seeker with accurate missile attitude information and help the seeker to keep tracking a target continuously. As inertial sensor body and missile body alignment errors are taken into account, it is desirable to minimize the alignment errors between the missile seeker and the attitude of inertial navigation system. Among the alignment errors, this paper addresses the methods of measuring and compensating misalignment between inertial sensor body and housing frame and shows test results of several experiments.