• 패션비즈니스
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• 제28권1호
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• pp.36-50
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• 2024

This study aims to explore the potential of integrating traditional Indian motifs into modern textile design that appeals to the MZ generation. The objective is to create patterns that reflect the rich cultural tapestry of India while aligning with contemporary sensibilities. To achieve this, the design process includes a comprehensive literature review on the historical background, symbolism, and structure of Indian textiles and a survey to determine if the developed design suits the preferences of the MZ generation. Digital design tools such as TexPro, Photoshop, and Illustrator were used to create the designs based on the theme 'Cosmic Dream,' with sub-themes inspired by nature and Indian symbolism. 'Blooming Cosmos' focused on the structural beauty of the lotus, combined with paisley and rangoli patterns, for a vintage yet modern appeal. 'Cosmos in Blossom' is drawn from the rangoli technique of using varied materials, resulting in a romantic pastel-themed pattern that aligns with the 2023 Youth Trend. 'Cosmic Peacock' presented a lively ethnic pattern by merging simplified lotus motifs with India's national bird, peacock along with a paisley backdrop. A questionnaire was conducted to check the MZ consumer responses, and the most preferred design was the peacock and rangoli mixed design, ground colored in cream. These findings indicate the potential of the developed ethnic designs to be used for various purposes. By combining traditional motifs of India with modern elements, this study proposes ethnic textile designs that are suitable for MZ generation consumers.

• Journal of Smart Tourism
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• 제4권2호
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• pp.5-14
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• 2024

This study explores the transformative potential of machine learning (ML) and ML-driven data analytics in the hospitality industry. It provides a comprehensive overview of this emerging method, from explaining ML's origins to introducing the evolution of ML-driven data analytics in the hospitality industry. The present study emphasizes the shift embodied in ML, moving from explicit programming towards a self-learning, adaptive approach refined over time through big data. Meanwhile, social media analytics has progressed from simplistic metrics deriving nuanced qualitative insights into consumer behavior as an industry-specific example. Additionally, this study explores innovative applications of these innovative technologies in the hospitality sector, whether in demand forecasting, personalized marketing, predictive maintenance, etc. The study also emphasizes the integration of ML and social media analytics, discussing the implications like enhanced customer personalization, real-time decision-making capabilities, optimized marketing campaigns, and improved fraud detection. In conclusion, ML-driven hospitality data analytics have become indispensable in the strategic and operation machinery of contemporary hospitality businesses. It projects these technologies' continued significance in propelling data-centric advancements across the industry.

• 조형예술학연구
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• 제7권
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• 항공우주정책ㆍ법학회지
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• 제25권2호
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• pp.163-199
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• 2010

최근 수년간 항공 마일리지의 이용제한 문제가 여러 차례 사회적 이슈로 부각돼 왔다. 그 이유는 무엇보다 마일리지의 법적 성격에 대한 항공사와 소비자의 견해가 다르다는 점에 있다고 볼 수 있다. 항공사는 마일리지를 항공운송서비스나 제휴사의 재화 또는 서비스이용에 대한 보상으로 여긴다. 이와 달리 소비자는 굳이 다른 경쟁 항공사들을 포기하고 특정항공사를 계속 이용한 것에 대한 경제적 인센티브 또는 구매금액에 포함된 것으로 유상으로 취득한 채권적 청구권으로 생각한다. 이에 이 글은 항공사의 마일리지 이용약관에 대한 공정거래위원회의 불공정성 심사를 계기로 마일리지 회원계약의 유상성 및 마일리지의 법적 성격을 살펴보았다. 항공운송업의 영업적 특성과 마일리지의 경쟁적 회계적 성격을 종합적으로 고려해볼 때 마일리지는 일정한 대가관계에 기초하여 취득한 것으로서 마일리지 회원계약은 유상계약으로 판단된다. 기업회계기준이 마일리지를 선수 수익으로 인식하여 부채로 계상하도록 하고 점, 제휴마일리지 제도를 통하여 막대한 수익을 얻는 점 등을 고려할 때에 '마일리지회원계약'을 무상계약이라고 보는 것은 무리가 따른다고 할 수 있으며, 판례나 조정례에서 살피는 것과 같이 마일리지 회원계약을 유상 쌍무계약으로 보는 것이 타당하다. 그러므로 소비자는 항공사에 대해 마일리지라는 조건부 채권을 가진 채권자이며, 반대로 마일리지 채무자에게는 마일리지 이용을 단순히 인용 허용하는 소극적 의무만이 아니라 마일리지 이용에 하자가 있을 경우에 이를 치유해야 할 적극적 의무가 있다고 보아야 할 것이다. 따라서 이러한 채무자가 의무를 위반하는 경우에 채무자는 그로 인해 발생하는 손해에 대해 배상책임을 부담하며, 조건부 법률행위에서 조건의 성취를 약관변경을 통해 제한하는 것은 고객에게 부당하게 불리한 약관조항인 동시에 계약상대방의 권리실현 조건의 성취를 방해하는 것으로 소비자의 권리를 침해하는 반신의행위(민법 제150조)에 해당할 수 있다고 보았다. 또한 이러한 약관은 약관규제법 제6조 제2항 제1호 '고객에게 부당하게 불리한 조항'으로 공정성을 잃은 것으로 추정되어 무효가 될 수 있음을 살펴보았다.

• 생태와환경
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• 제55권3호
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• pp.185-200
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• 2022

수환경 내 다양한 유해물질의 위해성에 대한 관심은 환경 매체 내 물질의 농도뿐만 아니라 복잡한 먹이단계를 통한 어류 체내의 축적과 어류를 통한 인체 위해성으로 이어진다. 국내의 경우 2016년 이후 생활에서 사용되고 있는 화학제품(생활화학제품) 기인 위해 우려물질의 관리를 위한 등록과 평가 등에 관한 법률 개정과 함께 이들 물질의 환경 배출이 주목받게 됨에 따라 수생태계 내 잔류여부에 대한 조사도 수행되기 시작했다. 최근에는 이러한 물질의 관리를 위한 생태계 내 분포 조사 및 배출 계수 산정을 위한 연구사업이 수행되고 있는데 해당 연구 사업에서는 세정제, 접착제, 염색제, 방향제 등을 비롯한 화장품이나 세제 등에 포함되는 성분과 살균·소독제를 대상으로 영양단계 내 축적과 전달을 이해하기 위한 물질의 축적과 확대를 포함한다. 본 논문은 최근 발표된 생활화학제품기인 유해물질의 수환경 유입 및 분포에 대한 연구 결과를 정리하고 그 과학적 의미를 제시하며 또한 국내외 수행되고 있는 수환경 모니터링 기법에 대한 연구의 예를 바탕으로 현재 유해화학물질의 수환경 내 잔류 농도 및 분포, 생태계 모니터링을 위한 연구의 방향을 제안하고자 한다. 특히 어류를 대상으로 하는 조사에서 국내 수역에 서식하는 주요 어류조사 및 이를 바탕으로 한 대상 어류 선정의 필요성과 인체 위해성 연구의 필요성 등 시기적으로 요구되는 연구를 위한 영양단계 해석과 생물확대계수 연구의 방향을 소개하며 향후 국내에서 수행되고 있는 생물상 모니터링과 화학물질 연구에 대한 제언을 포함한다.

• 감성과학
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• 제8권1호
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• pp.17-28
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• 2005

컴퓨터 기반 기술이 제품에 응용되어 제품의 본질이 변해감에 따라 제품의 외관보다는 제품을 쉽고 효과적으로 사용할 수 있게 하는 사용성이 제품 성공의 매우 중요한 요인이 되었다. 하지만 지금까지의 사용성에 대한 개념이나 연구들은 주로 사용자의 수행도로 직결되는 객관적인 측면만이 강조되었다. 이제 사용자들은 제품의 기능 수행도 측면뿐만 아니라 제품을 사용하면서 느끼는 감성적인 만족까지 가져다주기를 원하고 있다. 지금까지 인간의 감성에 대한 연구는 감성공학분야에서 많이 진행되었지만 기존의 감성공학관련 연구들을 살펴보면 대부분 제품의 외관과 인간의 감성에 관련된 것이 많다. 하지만 제품을 사용하면서 표출되는 인간의 감성에 관련된 연구는 아직 많이 이루어지고 있지 않는 실정이다. 이에 본 연구에서는 사용자들이 제품을 사용하면서 느끼는 감성의 변화를 조사하여 제품의 사용성이 인간의 감성에 어떤 영향을 미치는지에 대하여 밝혀 보고자 한다. 금번 연구에서는 모바일 폰을 대상으로 제품의 사용성과 인간의 감성연구를 위한 conceptual framework을 제시하였다. 또한 제품의 외관에서 느끼는 인간의 감성이 아니라 제품을 사용하는 도중에 표출되는 감성을 파악하기 위한 감성어휘를 추출하였다. 감성어휘는 다양한 문헌연구를 통한 기존의 감성어휘 조사, 웹사이트에서 사용자들이 남긴 제품 사용후기를 통한 수집 , 소리내어 생각하기(link aloud)를 활용한 실험을 통한 수집 등의 방법을 이용하여 추출한 후 웹 서베이를 통해 적합성을 검증하였다. 본 연구를 통해 추출된 감성어휘는 제품을 사용하면서 표출되는 인간의 감성 측정자료로 활용할 수 있고, conceptual framework은 사용자의 감성을 고려한 인터페이스 개발을 위한 기본 골격을 제공할 수 있으리라 기대한다.많은 심장외과 의사들이 로봇을 이용하여 작은 창상을 통해 최소 침습적 심장수술이 가능하리라 본다. 수술로봇을 이용한 심장수술의 이점을 분석하기 위해서는 잘 계획된 연구와 긴밀한 장기간의 관찰이 필요할 것으로 판단된다.하다고 생각된다.X>$2.46\pm0.56$개의 동맥을 획득하여, 좌전하행지 329곳, 대각지 123곳, 변연둔각지 285곳, 그리고 우관상동맥 191곳 등 총 928곳에 문합하여, 환자당 평균 $2.86\pm0.78$개의 문합률을 보였다. 수술 후 사망은 1예($0.3\%$)였다. 수술 후 뇌경색은 없었으며 주요 합병증으로는 종격동염 6예($1.8\%$), 신부전증 4예($1.2\%$), 심근경색이 3예($0.9\%$), 그리고 출혈로 인한 재수술이 3예($0.9\%$) 있었다. 총 혈관 개존율은 $99.3\%$ (581/585)였고, 좌내흉동맥, 요골동맥, 우내흉동맥 및 우위대망동맥의 개존율은 각각 $100\%$(207/207), $99.2\%$(238/240), $98.5\%$(133/135) 및 $100\%$ (313)였다. 각각 두 개의 요골동맥과 우내흉동맥에서 부분협착이나 경쟁혈류가 관찰되었다. 결론: 동맥 도관만을 이용한 Off pump CABG를 시행하여 감염의 위험성을 증가시키지 않으면서 영구적인 신경학적 합병증을 일으키지 않았고 좋은 혈관 개존율을 보여주었다. 따라서 동맥 도관을 이용한 Off pump CABG는 관상동맥의 협착의 정도에 따라 효율적으로 시행 시 좋은 임상결과를 얻을 수 있을 것으로 생각된다.였다.

• 패션비즈니스
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• 제8권3호
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• pp.59-69
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• 2004

This thesis has an intention to examine how much Bobos, which has appeared as a new ruling class in the age of digital information economy, has had an influence on the fashion design and which aspect Bobos fashion assumes specifically. The existence of Bobos in Korea and its cultural disposition are examined. To do so, questionnaire survey has been performed for 400 persons. According to the result, it is shown that they control themselves thoroughly through exercise and have much interest in their health; for example, they prefer organic agricultural products and nonpolluting foods. They also consume goods reasonably, emphasizing on their own individuality, rather than purchase high-price articles for no good reason, and enjoy their life while seeking for success in the society. Such a disposition is almost same as that in the U.S, showing a small difference in the occupation or origins. It is examined which aspect Bobos fashion design, a new trend, assumes in more detail. Bobos seeks for a thing that is not cheap, has a recognized brand, and is not behind the fashion. They like the nature friendly, classical, and not vulgar thing. design should be casual and practical, and the quality of the material should be good. Especially, an individual disposition is emphasized in Bobos fashion, in which they disregard a brand and try to be the subject of a trend, by creating a fashion by themselves, to express their originality freely. Bobos fashion the first style it harmonizes the appear things not to be matching with each other and depending on pursuing the mix & match. The second style of Bobos fashion nature is friendship and fight. The hazard which it does like that the fact that it attempts is the composition characteristic of idea. The namely design is an utility cheap assuredly with high-class characteristic of subject matter is not a recognize cheap. The third style of Bobos fashion is expressed in nostalgic about the art. Of course Bobos style is not a possibility fashion as main stream of doing still today, but the effect of Bobos is magnified gradually from cultural, social, economic area. It analyzes style is a tendency where trend of the consumer is gradually converted marketing. This paper is meaningful in the sense that Bobos class, which has not been examined yet systematically, and the fashion are connected closely, and the fashion trend in the next is examined.

• 디자인학연구
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• 제16권4호
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• pp.413-422
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• 2003

20세기 초 영, 독일의 미술과 공예협회인 독일 베르크분트(Deutcher Werkbund)로부터 산업제품을 위한 디자인 표준화의 제기와 기능주의의 새로운 미를 적용하려는 노력은 시작되었다. 같은 맥락에서 1919년 독일의 바우하우스(Bauhaus)에 의해 굿디자인은 기술과 예술의 혼합에 의해 이루어진다는 현대적 개념의 디자인이 그 뒤를 이었다. 1950-1955년, 뉴욕 MOMA(Museum of Modem Art)에 의해 행해진 소비자 교육프로그램인 굿디자인(Good Design) 전시회에 의해 그 용어는 현대적으로 사용되었으며, 굿디자인의 임무는 모던디자인을 일반대중에게 인식시키는 것이었다. 20세기 후반 이후 많은 전문가들은 각기 독특한 입장에서 굿디자인을 다양하게 정의하기 시작하였다. 그 정의는 디자이너, 기술자, 생산자, 비즈니스맨, 소비자들에게 이르기까지 각 영역의 특성에 맞게 해석되어 적용될 수 있었기 때문이었다. 디자인 학자인 람스(Rams)와 노만(Norman)은 물리적, 심리적인 관점으로부터 굿디자인을 해석하고 있으며, 기능, 미, 테크놀로지, 등에 관련해 구체적으로 굿디자인의 표준과 올바른 접근방향을 언급하고 있다. 따라서 본 연구는 굿디자인의 역사적 고찰과 정의 및 람스와 노만의 주장을 비교와 분석을 통해 굿디자인의 세부적인 기준과 정의의 관계를 정립하였으며, 최종적으로 그들이 주장하는 물리적, 심리적으로 접근한 사용자 중심의 디자인이 굿디자인임을 찾고자 하였다.

• 복식
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• 제64권7호
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.

• 유통과학연구
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• 제9권4호
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• pp.15-27
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• 2011

Although a huge number of academic researchers have paid considerable attention to exploring both the degree to which store image influences retailer brand customers and how to develop store personality, they have overlooked the contemporary retail context in which retailers have developed many different types of retailer brands, that is, price-oriented or quality-oriented retailer brands. Rather than focusing on the latter, much literature has looked at the former. Accordingly, even though there are many articles related to store image, a few authors have shown their interest in identifying the extent to which store personality affects customers purchasing retailer brands at lower prices. As a result, their efforts have been to illustrate the relationship between store image and consumer behaviours buying retailer brands. In that multiple retailers over the world such as E-Mart, Lotte-Mart, Tesco Korea and Tesco UK have actively introduced not only the quality-focused retailer brands that quality is better than, or equal to national brands, and prices are slightly higher than, or equal to them, but also price-focused retailer brands, academicians should make an effort to investigate how store image affects customers purchasing a quality-oriented retailer brand, comparing with previous research results. That is why the authors illustrate the extent to which store personality components influence retailer brand customers, including particularly quality-oriented retailer brand customers through an empirical research. By adopting a questionnaire method as a research technique to illuminate the relationship between store image components and retailer brand customers, research validity increases and further, data gathered through a field survey are analysed through a few statistic analysis methods, in order to minimise statistical deviations. Compared with the prior research concentrated on price-focused retailer brands, the authors have significantly shed light on customer behaviours purchasing retailer brand products with higher quality. When it comes to store personality components, the research suggests the following five items: merchandise attributes, services, physical facilities, promotions, and institutional image, considering the subcomponents mentioned by the previous research. Proposing the conceptual research model which those elements are differently hypothesised, according to retailer brand types: PR (Price-oriented Retailer brand) and QR (Quality-oriented Retailer brand), the research is proceeded. Through empirical research, the authors found that amongst the five items, only promotion influenced retailer brand customers in the Korean retailing marketplace, unlike other countries explored by many researchers, such as UK. Although much literature emphasises that those elements are closely related to retailer brand buying proneness, it is completely not fit to the Korean market. Also, research findings provide new insights into the degree of store image effects on retailer brand customers for academiciansand practitioners. Whether the retailer brand development program that a retailer has carried simultaneously both price-focused and quality-focused retailer brand types is practically profitable should be explored in the future.