• Journal of the Optical Society of Korea
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• v.4 no.1
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• pp.25-29
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• 2000

Two different binocular cues are known for detecting motion in depth. One is disparity change in time and the other is inter-ocular velocity difference. Shioiri, Saisho and Yaguchi (1999) demon-strated that motion in depth can be seen based solely on inter-ocular velocity differences as well as on the disparity change in time. They used conditions in which either cue was minimized and measured performance based on motion in depth, finding better performance than chance level when either velocity cue or the disparity cue was almost isolated. However, there may have been influences from the cue minimized in each condition, since it was practically impossible to isolate perfectly either cue. I re-analyzed their data to examine whether the performance in the condition with disparity change and that in the condition with inter-ocular velocity difference were correlated. The result showed the correlation is very low and therefore, we can conclude that the visual system has two different mechanisms for motion in depth.

• Cross-Cultural Studies
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• v.27
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• pp.225-253
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• 2012

Mikhail Vrubel' has written three Hamlet paintings in his extraordinary tragic lifetime. The first watercolor painting , which he has written in 1883, remained unfinished. He could not complete the second version of , which he painted in oil in the next year, neither. Finally, he has completed the third version of in 1888. As is generally known, is not widely known Vrubel's work. This work is mainly mentioned from the point of view that it is the first literary hero whom Vrubel' has created in his literatureoriented art world, and it is a presage of the Demon, Vrubel's central hero's advent. In this paper, we analyzed Vrubel's three from a different angle, nothing but from the angle of Russian Hamletism. For this, in the second chapter, we've researched Vrubel's main artistic credo. In the next chapter, we've analyzed Vrubel's three in detail from the view of Russian Hamletism.

• SUVANNABHUMI
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• v.13 no.1
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• pp.89-110
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• 2021

The Ramayana is a very popular epic in Southeast Asia. It is the story of King Rama who must save his kidnapped wife, Sita. After Sita was abducted by the Demon King Ravana (Tosakanth) and taken to Lanka, Rama and his brother rescued her with the help of the monkey warriors, especially with the help of the Monkey King Hanuman. Along the way, the epic teaches Hindu life lessons. Today The Ramayana is told and retold through literature, theatre, orally, in movies, and is referenced in many other forms of popular culture. Nowadays, in Thailand, Ravana and Hanuman deconstruct the role of divine and become folk deities that also find their places in calendar art, advertising and stamps, etc. And in Vietnam, Ravana and Hanuman have become the two figures that can't be absent from Southern Vietnam Khmer ceremonies. In this article, our aim is to show how Ravana and Hanuman became symbols of popular culture (case studies in Thailand and Vietnam). The data provided in this article is drawn from field surveys with reliable reference resources.

• Journal of the Korean Society for Precision Engineering
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• v.13 no.10
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• pp.78-87
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• 1996

In this paper, a remeshing criterion has been suggested in order to order to automate the remeshing decision during finite element analysis of metal forming. In order to use for the remeshing decision, two of remeshing criteria have been investigated. One is the use of error estimates based on errors in stresses and strain rate of the finite element solution and the other is the use of geometric characterisreics of distorted elements. As a result, the strain rate error estimate in power norm based on the former is found to give more valuable information about remeshing decision than the ones based on the latter. Examples are given to demon- strate the usefulness of the suggested eroor estimate as a remeshing criterion.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1105-1117
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• 2010

This study traces out female identity and sexuality in George Du Maurier's novel, Trilby. The heroine's sexuality in this novel plays some interesting roles invoking both male gaze and male homosocial desire. There seems to have been lots of debates about female subjectivity and gender relations in the Victorian age. George Du Maurier tries to redefine female identity which had been divided into two aspects in the age: angel and demon. When he describes Trilby's identity, the fixed duality as fallen, demonic and autonomous women might have been considerably fluid. Rather than returning to the old boundaries of female subjectivity and identity through his heroine, he unwittingly describes the female role as an erotic organizer. As Du Maurier shows that Trilby's identity plays a conduit role for male homosocial desire, he created the tension between masculinity and femininity and revealed a changing relationship between female nature and male culture as well. Furthermore, when George Du Maurier in his novel opened a new possibility for an erotic organizer through his heroin, Trilby, he seems to have represented the more fluid female role in the patriarchal culture that asked only some fixed roles for women.

• Cross-Cultural Studies
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• v.52
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• pp.277-312
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• 2018

First-order cybernetics during the 1940s and 1950s aimed for control of an observed system, while second-order cybernetics during the mid-1970s aspired to address the mechanism of an observing system. The former pursues an objective, subjectless, approach to a system, whereas the latter prefers a subjective, personal approach to a system. Second-order observation must be noted since a human observer is a living system that has its unique cognition. Maturana and Varela place the autopoiesis of this biological system at the core of second-order cybernetics. They contend that an autpoietic system maintains, transforms and produces itself. Technoscientific recreation of biological autopoiesis opens up to a new step in cybernetics: what I describe as third-order cybernetics. The formation of technoscientific autopoiesis overlaps with the Fourth Industrial Revolution or what Erik Brynjolfsson and Andrew McAfee call the Second Machine Age. It leads to a radical shift from human centrism to posthumanity whereby humanity is mechanized, and machinery is biologized. In two versions of the novel Demon Seed, American novelist Dean Koontz explores the significance of technoscientific autopoiesis. The 1973 version dramatizes two kinds of observers: the technophobic human observer and the technology-friendly machine observer Proteus. As the story concludes, the former dominates the latter with the result that an anthropocentric position still works. The 1997 version, however, reveals the victory of the techno-friendly narrator Proteus over the anthropocentric narrator. Losing his narrational position, the technophobic human narrator of the story disappears. In the 1997 version, Proteus becomes the subject of desire in luring divorcee Susan. He longs to flaunt his male egomaniac. His achievement of male identity is a sign of technological autopoiesis characteristic of third-order cybernetics. To display self-producing capabilities integral to the autonomy of machinery, Koontz's novel demonstrates that Proteus manipulates Susan's egg to produce a human-machine mixture. Koontz's demon child, problematically enough, implicates the future of eugenics in an era of technological autopoiesis. Proteus creates a crossbreed of humanity and machinery to engineer a perfect body and mind. He fixes incurable or intractable diseases through genetic modifications. Proteus transfers a vast amount of digital information to his offspring's brain, which enables the demon child to achieve state-of-the-art intelligence. His technological editing of human genes and consciousness leads to digital standardization through unanimous spread of the best qualities of humanity. He gathers distinguished human genes and mental status much like collecting luxury brands. Accordingly, Proteus's child-making project ultimately moves towards technologically-controlled eugenics. Pointedly, it disturbs the classical ideal of liberal humanism celebrating a human being as the master of his or her nature.

• Cartoon and Animation Studies
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• s.25
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• pp.65-85
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• 2011

In this essay, Japanese animator Kihachiro Kawamoto's works will be analyzed. Kawamoto made Breaking of Branches is Forbidden in 1968 and was famous for puppet animation as The Demon(1972), Dojoji Temple(1976) and House of Flame(1979) used Japanese traditional elements in his works. The themes are the agony and despair of a human being, and the narrative is developed dramatically. This is possible through a variety of techniques in animation expression. For example of this are the movement of the puppets and the lighting. In the case of Kawamoto's works, above all, it can be said that the dramatic development depends on editing - the relation of each shot to the next shot. Therefore, this analysis will focus especially on the editing of The Demon, Dojoji Temple and House of Flame. Kawamoto's method of editing will be examed and the analysis will confirm that classical continuity edting by controling space and time has been used. Namely that the effect of editing enhances dramatic development of the narrative on Kawamoto's works. This study will also discuss the benefit of using cinematic methods of in animation. Eventhough it is not essential, Kawamoto chooses cinematic method editing. Through their use, he is able to absorb the audience in the traditional Japanese world which ordinarily could be too difficult to understand through puppet animation.

• The Journal of the Acoustical Society of Korea
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• v.42 no.3
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• pp.243-249
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• 2023

The occurrence of cavitation on the propeller is directly linked to the naval ship's survivability, and it is necessary to design a propeller shape that delays the cavitation inception. However, the propeller cavitation can occur under various operating conditions, thus it is important to identify whether the propeller cavitation exists during operation as well as in the design phase. To this end, it is necessary to use noise or vibration signals on board to monitor the cavitation inception. In this study, a hydrophone and an accelerometer were installed on the ship hull right above the propeller to compare the performance of analyzing cavitation inception between acoustic and vibration signals. Also, a high speed camera was used to visually observe the occurrence of cavitation through an observation window. The measured results showed that the spectral shapes between acoustic and vibration signals were different, but the level increases at each frequency band and the overall level of the frequency band from 1 kHz to 10 kHz showed a similar tendency. The Detection of Envelope Modulation On Noise (DEMON) analysis also showed similar results for both acoustic and vibration signals, confirming that both hydrophones and accelerometers can be utilized in the analysis of cavitation inception.

• Journal of the Korean Electrochemical Society
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• v.17 no.1
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• pp.18-25
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• 2014

A Pt nanoparticle-decorated multiwall carbon nanotube (Pt-MWNT) electrode was prepared on Nafion by a hot-pressing at relatively low temperature. This electrode exhibited an intricate entangled, nanoporous structure as a result of gathering highly anisotropic Pt-MWNTs. Individual Pt nanoparticles were confirmed to have a polycrystalline face-centered cubic structure with an average crystal size of around 3.5 nm. From the cyclic voltammograms for hydrogen redox reactions, the Pt-MWNT electrode was found to have a similar electrochemical behavior to polycrystalline Pt, and a specific electrochemical surface area of $2170cm^2mg^{-1}$. Upon exposure to hydrogen analyte, the Pt-MWNT/Nafion electrode demon-strated a very high sensitivity of $3.60{\mu}A\;ppm^{-1}$ and an excellent linear response over the concentration range of 100-1000 ppm. Moreover, this electrode was also evaluated in terms of response and recovery times, reproducibility, and long-term stability. Obtained results revealed good sensing performance in hydrogen detection.

• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.77-91
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• 1998

The present study collected and analyzed the Korean's folk-belief related to Koran traditional costume culture which are handed down from ancestor and are known to present Korean society as of 1990's. The purpose of the present study is to understand emotion and the view of Korean people, and to understand the social roles of the costumes in Koran traditional society more deeply and more comprehensively. The study was conducted by document analysis and interview. The results of the study are summerized as follows: Folk-belief related to spinning(gilssam), sericultural industry and weaving are mostly enduced from the hope for god quality of work and acquisition of good skill of weaving. There has been also a belief hat gilssam has a magic power to easy delivery and fecundity. Most Folk-belief of taboo related to clothing constraction proposed to people pay great care while they are sawing. Some ways of management of clothing has been related to the manners of which are associated with the differentiation between high and low level and predominance of men over women that was originated fro m confucianism. Socks(busun) and shoes are also considered to have magic power to prevent from exorcism and demon of ill health. This study suggests that folk-belief give us the wisdom a guideline and lessons for better life, high quality arts and techniques which are handed down from ancestors. Therefore, folk-beliefs having a great value, non-shaped treasures of traditional culture heritage should be collected as many as possible, recorded, and preserved.