• Korean Security Journal
• /
• no.25
• /
• pp.131-146
• /
• 2010

Purpose of this research about reduction the scholastic systematic triangular position of the security guard martial art which repeats a development is insufficient with demand of the while society to recognize and for the philosophic value research of security guard martial art composition principle puts out with the one method and from the reporter to search the aesthetics which appears does. In order to attain the goal of the research which sees the literature which relates with an security guard martial art widly, was an investigation and observed the aesthetics from concept and martial art of aesthetics and this the technical free use ability from actual site of the technical find which leads the practice voluntary repetition practice of security guard martial art with character and the body guard aesthetic integral part experience possibly did, there being will be able to acquire an aesthetic inspiration, confirmed. So the security guard martial art follows the composition principle of maximization central attitude and shock point breath control and mental intensive etc. of reinforcement of direction shock of relativity redundancy mental moral culture body agreement characteristic force and relaxation force and is completed and will be able to embody an aesthetic value with aesthetic elements of technical polishing process inside goes about reduction.

• The Journal of Korean Academy of Prosthodontics
• /
• v.31 no.3
• /
• pp.394-410
• /
• 1993

This study was accomplished for appreciation of the mandibular moments according to antero- posterior movement of pivot placed on the lower natural dentition. For this study, 20 subjects(male, $21\sim30$ yrs., average age 24) in the category of normal occlusion were selected, and the intraoral Vitallium clutches were cast and fabricated for each subjects. A 2-dimension PSD(Position Sensitive Detector, Hamamatsu Photonics Co., Japan) was attached to maxillary clutch in a mode of three dimensional control and LED (Light Emit Diode, Hamamatsu Photonics Co., Japan) was set up on mandibular clutch. Both clutches were set into oral cavity of each subjects and adjusted. Then the subjects were allowed to intercuspated with maximal bite force while the pivoting ball in the mid-line moving from anterior toward posterior position. The displacement scales were recorded by CCD camera(Sony, CCD-TR-705) and VCR, The conclusions were as follows : 1. When the subject was allowed to bite the metal pivoting ball in the midline of lower dentition with maximal bite force voluntarily while moving from lower central incisor to canine, 1st premolar, End premolar, 1st molar and 2nd molar. The lever actions on the pivot were revealed in all subjects. The equilibrium of moment were revealed on the pivots of 1st premolar(14 subjects), End premolar(4 subjects), and canine(2 subjects) areas. 2. The changes of loading on the TMJ according to antero-posterior positional changes of metal pivoting ball were able to recognize as follow. Compression on the TMJ was increased when the pivot moves anteriorly from the equilibrium point, and tension on the TMJ was increased when posteriorly. 3. 13 subjects were recognized their habitual chewing sides(Rights, Left8), and 7 subjects were not. During maximal biting, mandible was displaced toward their habitual chewing sides on the metal pivoting ball in the frontal plane. 4. In cephalometric analysis, the average genial angle of 20 subjects was $116.75^{\circ}$ and the average mandibular body length was 79.77mm. The equilibrium points of mandibular moment were positioned more posteriorly in the subjects having larger Genial angle than in the smaller(p<0.05). Relationships among the angle between FH plane and occlusal plane, the angle between occlusal plane and mandibular plane , and mandibular body length were not significant(p>0.05).

• Archives of design research
• /
• v.19 no.5 s.67
• /
• pp.31-42
• /
• 2006

Design, to all of us living in the 21st century, is not just an action that revs up the production and consumption as an added value of an industry, but it is recognized as a broader social and cultural action in practice. The purpose of this study is to broaden the role of design as a principal body producing culture, and to proclaim that design itself has to have self-sufficiency as culture. The study starts from a hypothesis that the action of design should be at the core of cultural industry. The study includes studying the documents on and analyzing the current status and case studies of cultural industry and design policies for macro view. Comparative research and analysis of how designers from three countries, Korea, United States and England, perceive policies is a microscopic part of this study. The methods for this study include survey for quantitative research in Korea, United States and England, and intensive interviews for qualitative research to explain past facts and the current situation of design policies. The survey compares design professionals of three countries, and the intensive interviews are done with manager level design professionals who are both decision makers and policy makers. On order to prove the appropriateness of the survey structure, three pilot studies and a pre-test were carried out. As shown in the verification of the subject of study, if, in the cultural industry which was considered to be the blossom of 20th century, the blind running without intervention of reason still keeps its former state and is unable to go beyond history, we will not be able to enter the age of mentality and fall behind. The value of design that we shall judge depends on the dialectic of 'past' and 'present' regarding the principle of enlightenment, and it will open up a new philosophy, a new civilization and a new world.

• The Korean Journal of Rehabilitation Nursing
• /
• v.6 no.1
• /
• pp.79-89
• /
• 2003

Purpose: This research with one group pre-post design was carried out to test the practical feasibility to administrate the Music Movement program developed for the stroke patients. Subjects: 12 stroke survivors at "J" Public Health Center in Seoul. were participated in. The average age was 68 years old, the ratio of sex was almost 5.8:4.2, the duration of was almost over 1 year. Method: Music Movement program was conducted for 2 hours ${\times}$ 1day ${\times}$ 6 weeks. The contents of Music Movement program were consisted of the preparatory activities, main activities and the wrap up activities. The preparatory activities are ice braking, greeting, explanation of the aims of music movement program, and introduction of stroke disease and ROM exercise. The main activities are the body motions with singing and playing musical instruments. The wrap up activities are stretching and joints and discussion of home activities. Data Collection: The outcome variables are muscle strength, finger pinch power, ROMs, flexibility, depression, and life satisfaction. Depression was measured by CES-D(Kim, I. J., 1999), life satisfaction by ladder scale(McDowell & Newell, 1996), and ADL state(Holbrook & Skilbeck, 1983). Data Analysis: SPSS/PC 10.0 for Window was used. Wilcoxon Signed Ranks Test was used to analyze outcome measures. The level of statistical significance was set at p<.05. Results: This program was effective to decrease the depression level of subjects(p<.05). The muscle strength, hand grip power, ROMs, life satisfaction, and rehabilitation state of the subjects were slightly increased but no significant differences were found between the pre and post test. Additionally every patient replied that they were very satisfied and expressed their appreciation for this program very much. Of course they strongly want to continue to participate in and meet the peer group again. Conclusion: Considering these results, the practical feasibility of Music Movement program can be supported. Therefore, this Music Movement program can be examined with the quasi-experimental design with control group and ongoing reviews. After that, this program would be applied in public health centers, medical institutes, and welfare centers for the rehabilitation of stroke patients.

• Journal of Technologic Dentistry
• /
• v.18 no.1
• /
• pp.95-115
• /
• 1996

The esthetic factor for the esthetic prosthesis were studied on 300 persons. The praaticipants were 150 students registered under the Deparment of Dental Laboratoy Technology, Jisan Junior College at the present day of June, 1995 and their mothers. The results were as follows; 1. The number of persons with 28 teeth in their oralcatity was highest(P<0.01). They complained that they have only 28 teeth bacaues of the loss(deficiency) fo teeth due to their impacted teeth and dental caries. 2. The presons with feelings of dissatisfaction were large in number(P<0.01). They were dissatisfied with an abnormal tooth form(33.5%), tooth position(31.7%), tooth color(31.1%), and tooth size(3.7%) in order(P<0.01). 3. In their facial form, the most numerous were men with square form and women with ovoid form(P<0.01). Among the whloe number fo facial forms it appeared to decresae in the order of ovoied(41.8%), square(32.7%), square+tapered(20.5%), and tapered form(5%)(P<0.01). In a profile form, the most numerous were men with A form and women with B. Among the whole participants the most numerous were persons with B form and persons with A and C form were next in oder of numbers(P<0.01). 4. In discoloration of teeth, the most numerous were persons who have no discoloration. 5. In the esthetic recovery of anterior prosthesis the color matching of proximal teeth was not correct, but the outline of proximal teeth was to be reproduced correctly. 6. In the diastema of teeth, the number of persons who have no diastema was higher than that of persons who have a disatema(P<0.01) Among the persons who have diastema the most numerous were persons who have a diastema, and next were 2, 4, 3 and 5 diastemas in order. 7. In a meeting point of the midline of the body and the tooth the number of person hanving a meeting point was higher than that of persons who did not fit each other(P<0.01). The bias direction of midline teeth appeared to be affected by chewing direction, prosthesis location, and posterior location. 8. The length and width of teeth in the tooth size were suitable(P<0.01). The number of persons who have central teeth longer than lateral teeth was high(P<0.0). 9. In the results of smile analysis, the line form connected with incisal edge of upper canine were parallel(P<0.01). When smile the location fo upper lips should be in accord with the central area of teeth(P<0.01) and lower lip should be atteched to the edge of anterior teeth in order to be esthetic. 10. Among the number of upper teeth we can see the most numerous were 8 teeth and next were 10, 6 and 12 in order.

• Journal of the Korean Society of Food Science and Nutrition
• /
• v.13 no.3
• /
• pp.319-325
• /
• 1984

This experiment aims to observe the nutritive value of blood sausages by manufacturing three kinds of them in order to utilize various by-products of swine when it is processed. In attempt to do so, five different diets were made: one control diet and four diets in which three kinds of blood sausages(blood sausage-1 was made with sausage meat 10%, fat 40%, blood 20%, skin 20% and liver 2%. blood sausage-2 was made with ham meat 30%, fat 20%, blood 20%, liver 2% and skin 20%. blood sausage-3 was made with smoked ham patch 30%, fat 20%, blood 20%, liver 2% and skin 20%) and mixed sausage(sausage meat 20%, fat 10% and fish meat 35%) were mixed with control diet at the rates of 10% respectively. These diets were fed to growing male and female albino rats for 6 weeks. The results obtained through this study are summarized as follows. In body weight gain of male rats, blood sausage-1 and 2 groups were significantly higher than mixed sausage group during the experimental period, and in that of female rats, control group and blood sausage-1 group were similar, but the other groups were lower than control group. Food intake was different in each group every week, but the amount of that was similar to each one throughout all experimental period. Food efficiency ratio and protein efficiency ratio in male were similar in each group, but slightly different in female during the feeding period. Liver weights of male in mixed sausage group and blood sausage-3 group were lower than those in control group and blood sausage-2 group, but liver weight of female in blood sausage-2 group was lower than that in control group. And all groups were similar in liver weight per 100 g of body weight. Mixed sausage group and blood sausage-1 group were lower than control group in kidney weight of male, and blood sausage-1 group was lower than control group in kidney weight of female. Kidney weight per 100 g of body weight of male showed that blood sausage-1 group was lower than the other groups. Spleen weight was similar in all groups. Hematocrit and hemoglobin contents in blood, total protein, albumin, albumin/globulin ratio, total lipid and total cholesterol contents in serum were showed almost similar in all groups.

• The Research Journal of the Costume Culture
• /
• v.3 no.2
• /
• pp.241-260
• /
• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• Journal of Science of Art and Design
• /
• v.10
• /
• pp.183-218
• /
• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Asia pacific journal of information systems
• /
• v.20 no.1
• /
• pp.127-140
• /
• 2010

The benefit that a consumer derives from the use of a good often depends on the number of other consumers purchasing the same goods or other compatible items. This property, which is known as network externality, is significant in many IT related industries. Over the past few decades, network externalities have been recognized in the context of physical networks such as the telephone and railroad industries. Today, as many products are provided as a form of system that consists of compatible components, the appreciation of network externality is becoming increasingly important. Network externalities have been extensively studied among economists who have been seeking to explain new phenomena resulting from rapid advancements in ICT (Information and Communication Technology). As a result of these efforts, a new body of theories for 'New Economy' has been proposed. The theoretical bottom-line argument of such theories is that technologies subject to network effects exhibit multiple equilibriums and will finally lock into a monopoly with one standard cornering the entire market. They emphasize that such "tippiness" is a typical characteristic in such networked markets, describing that multiple incompatible technologies rarely coexist and that the switch to a single, leading standard occurs suddenly. Moreover, it is argued that this standardization process is path dependent, and the ultimate outcome is unpredictable. With incomplete information about other actors' preferences, there can be excess inertia, as consumers only moderately favor the change, and hence are themselves insufficiently motivated to start the bandwagon rolling, but would get on it once it did start to roll. This startup problem can prevent the adoption of any standard at all, even if it is preferred by everyone. Conversely, excess momentum is another possible outcome, for example, if a sponsoring firm uses low prices during early periods of diffusion. The aim of this paper is to analyze the dynamics of the adoption process in markets exhibiting network effects by focusing on two factors; switching and agent heterogeneity. Switching is an important factor that should be considered in analyzing the adoption process. An agent's switching invokes switching by other adopters, which brings about a positive feedback process that can significantly complicate the adoption process. Agent heterogeneity also plays a important role in shaping the early development of the adoption process, which has a significant impact on the later development of the process. The effects of these two factors are analyzed by developing an agent-based simulation model. ABM is a computer-based simulation methodology that can offer many advantages over traditional analytical approaches. The model is designed such that agents have diverse preferences regarding technology and are allowed to switch their previous choice. The simulation results showed that the adoption processes in a market exhibiting networks effects are significantly affected by the distribution of agents and the occurrence of switching. In particular, it is found that both weak heterogeneity and strong network effects cause agents to start to switch early and this plays a role of expediting the emergence of 'lock-in.' When network effects are strong, agents are easily affected by changes in early market shares. This causes agents to switch earlier and in turn speeds up the market's tipping. The same effect is found in the case of highly homogeneous agents. When agents are highly homogeneous, the market starts to tip toward one technology rapidly, and its choice is not always consistent with the populations' initial inclination. Increased volatility and faster lock-in increase the possibility that the market will reach an unexpected outcome. The primary contribution of this study is the elucidation of the role of parameters characterizing the market in the development of the lock-in process, and identification of conditions where such unexpected outcomes happen.

• Korean Journal of Heritage: History & Science
• /
• v.47 no.2
• /
• pp.114-131
• /
• 2014

The Portrait of Yang Zhuxi(楊竹西小像) at the Palace Museum in Beijing holds important significance as one of the rare portraits from Yuan Period and as a painting with a definite year of creation in 1363. It is also noteworthy in that it is the only remaining work of Wang Yi(王繹), who was one of the critical portrait painters during the second half of Yuan Period and the author of Xiexiang Mijue(寫像秘訣), the first book on the portrait theories, that it was created in conjunction with Ni Zan(倪瓚), one of the utmost landscape painters of the times, and that it was an early case of landscape and figure painting-format portraits. The figure in Portrait of Yang Zhuxi was originally known as Yang Wu(楊瑀), a high official during Yuan Period, but it was a misunderstanding on the part of Li Rihua(李日華), a literary figure from Ming Dynasty. The actual model was Yang Qian(楊謙), a reclusive literary figure in the Songjiang(松江) region. Yang Qian is estimated as one of the central figures with a high reputation in the literary community of Jiangnan those days. Portrait of Yang Zhuxi was depicted by borrowing the icon of such hermits as Su Shih(蘇軾), which seems like a proper choice to express Yang Zhuxi, a reclusive literary figure. Furthermore, the rocks and pine trees described by Ni Zan reinforced the significance of the portrait through their traditional symbolism of man of virtue and man of letters, respectively. Portrait of Yang Zhuxi used the Baimiao Manner(白描法), thus being differentiated from other portraits from the same period. Even though there is no coloring in the painting, it boasts more excellent realism than colored portraits. It expressed the body with the graceful and controlled Li Gonglin(李公麟) and Zhao Mengfu(趙孟?) style Baimiao Manner, raising its dignity further. In terms of functions, Portrait of Yang Zhuxi is strongly characterized by the appreciative function unlike other portraits focused on the ceremonial function. Being created to be viewed and appreciated by the model himself and his friends, the portrait was very significant to promote their friendship. However, there was a great intention to reflect the emotions of the model himself and his friends in the painting beyond the simple appreciation level.