• Journal of the Korean Society of Costume
• /
• v.43
• /
• pp.53-68
• /
• 1999

Water allows us to have artistic experiences of searching for the source of hints and techniques by bring about the emergence of the new representation new themes and new forms of arts. The water that holds a great deal of hidden meaning shape the image. This study attempted to investigate what mental relationship the concept of water had the mental phenomenon of water in hea-sang-kun-sun-do in terms of the event of contemporary fashion in the present-day age. This means the stream of thought to grope a new paradign of multi-cultruism that claims the coexistence of East and West civilizations in the contemporary civilization. The meaning of water is developed fabrics connected with the water and the water emerge the issue in contemporary fashion. And the concept of water as the meaning concept is used as the tool to represent a certain issue in silhouette and fabrics not only the introduction as substantial water into fashion giving the fashion designer's emotion to shape and representing the fashion designer's aesthetic needs by emphasizing with the designer.

• Science of Emotion and Sensibility
• /
• v.25 no.2
• /
• pp.11-22
• /
• 2022

As social beings, we need to understand others' actions as quickly and accurately as possible. Action understanding can occur at many levels. We sometimes grasp others' intentions unintentionally. Other times, however, we have to expend effort to draw inferences about their goals. In the context of joint action, the joint Simon effect demonstrates that actors are influenced by the unintended representation of a co-actor's actions. This effect has been described as quasi-automatic, but it is unclear if the effect is automatic enough to be immune to cognitive load. Thus, we asked participants to complete a joint Simon task with or without a concurrent working memory task. One group of participants maintained a single digit in their mind during working memory load blocks (low-load group), while the other group maintained five digits (high-load group). As a result, the low-load group showed a joint Simon effect both during no-load and low-load blocks. In contrast, the high-load group had no joint Simon effect during either no-load or high-load blocks. These results suggest that the joint Simon effect is not an automatic phenomenon given that it requires cognitive resources. Actors in a joint task may represent a co-actor's actions in their task set, but only when cognitive resources are available.

• Journal of Fashion Business
• /
• v.7 no.1
• /
• pp.84-100
• /
• 2003

The purpose of this study is to analyze the meanings of signs represented in contemporary fashion based on the Peirce's trisection theory in order to present various types of sign representation that satisfies aesthetic value and characteristics of the age of information and image. Types of signs represented in contemporary fashion can be summarized into letters, numbers, codes, pictures, logos, characters and emblems. The meanings of signs were analyzed based on the Peirce's trisection theory, resulting in representation of play, brandsymbol, eroticism and suggestion. The play was categorized into infantile and parodic. The former inspires unexpected interest and laughter from contemporary people in the age of disorder through humorous characters, cartoons and illustrations. The latter inspires laughter by parodying things and it's intention is to release the isolation of people and their relative poverty through pictures for which techniques of parody and surrealism were used. Most of the brandsymbols represented by logos, used for textile and clothing design as well as accessories are optimal signs that construct brand images. Eroticism means emotion, impulses, senses of value and sexual attraction. A desire to represent sexual attraction is an expression of eroticism and self-expression to adjust in a changing society. Suggestion tends to pursue the image of harmony with nature in a world which is pressed by material civilization. Humans represent illuminating messages through direct slogans by characters, natural objects and motives of social phenomenon in pursuit of the benefits of abundant material civilization in the structure of a highly advanced scientific civilization and industrial society.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.39 no.2
• /
• pp.233-246
• /
• 2015

Focus on Digital Fashion Image, the conceptual framework for the thesis is established from Virtuality in Digital Art. Formative characteristics and aesthetic characteristics were studied by classifying the Digital Fashion Image applied and expressed by digital media and technology. A detective research method was used for a case study. A literature study for case-by-case data was analyzed with focus on the works expressing fashion that utilized digital media and technology since the 2000s. Through this study, the Digital revolution has created the socio-cultural impact of a Virtual representation to implement technology and fashion culture that finds ways to take advantage of the image shown in a Digital Fashion Media by understanding Virtuality. The results are as follows. First, it was a re-formation of the fashion culture through the experience of virtuality with mental zone parameters between the media 'Mediation Code'. Reflect the reality of the virtual environment as represented by a cultural image of fashion brands and fashion that reset the team relationship and formed a Homo Ludens cultural code. Second, 'Interactive Exchange' acts on the exchange interaction between the method of digital technology, the human and the machine as well as the technical interoperability of network elements and techniques. This exchange is applied to fashion images that express emotion. Forming personalized fashion items and the user interactively storage that expresses the interactive exchange to forward the identity of the emotional fashion by a change in the message delivery system fashion. Third, the emphasis on intuitive artistic expression 'Synesthesia Immersion' induces a sense of immersion and excitement through the fusion of the interconnected. Enhance a visual image in fashion sensory representation and maximize a tactile and visual virtual reality involvement.

• The Journal of the Korea Contents Association
• /
• v.9 no.11
• /
• pp.1-9
• /
• 2009

In virtual environments, such as computer game and animation, we need to enhance naturalness of crowd simulation. So, we propose a method to generate dynamically moving crowd patterns by applying emotional factors to the individual characters of a crowd in the determination of their behavior. The proposed method mimics human behavior and controls each character in a group to decide its own path according to its individual status. And it is able to generate various moving patterns as a result of letting the individuals go to another group depending upon their conditions. In this paper, some temperament and feeling factors are defined and determination rules for calculating the emotional status are also proposed. Moreover we use a fuzzy theory for accurate representation of the ambiguous expressions such as feeling bad, feeling good and so on. Our experiments show that the suggested method can simulate virtual crowd in more natural and diverse ways.

• Science of Emotion and Sensibility
• /
• v.24 no.3
• /
• pp.71-80
• /
• 2021

Previous studies using facial expressions have revealed valence and arousal as two core dimensions of affective space. However, it remains unknown if the two dimensional structure is consistent across ages. This study investigated affective dimensions using six facial expressions (angry, disgusted, fearful, happy, neutral, and sad) at three ages (young, middle-aged, and old). Several studies previously required participants to directly rate subjective similarity between facial expression pairs. In this study, we collected indirect measures by asking participants to decide if a pair of two stimuli conveyed the same emotions. Multidimensional scaling showed that "angry-disgusted" and "sad-disgusted" pairs are similar at all three ages. In addition, "angry-sad," "angry-neutral," "neutral-sad," and "disgusted-fearful" pairs were similar at old age. When two faces in a pair reflect the same emotion, "sad" was the most inaccurate in old age, suggesting that the ability to recognize "sad" decreases with old age. This study suggested that the general two-core dimension structure is robust across all age groups with the exception of specific emotions.

• Journal of the Korea Furniture Society
• /
• v.25 no.4
• /
• pp.288-296
• /
• 2014

The approach of using the structure of the Joseon Dynasty Zen tradition we design a piece of table for outdoor camping is a necessity in modern culture as continuing to develop this research. Analyzing outdoor and camping equipment according to the time change, we focus on the study table for outdoor camping can apply the structure of the elbow. Outdoor supply is also overlaid with the change, while changing in the picnic and camping camp sensibility that was taking advantage of the individuality of each of the general camp. However, it is a surface camp that Korean culture is not to build up the camp culture that has been fixed camp culture of the world in the only development, following the camp trend of European and American. In an attempt to adhere to the trend of Korea currently camped, camping outdoor products that apply the beauty of Korea with a combination of new modern representation tradition and our culture has designed research. I have designed the camp outdoor table based on the contents mentioned above. For the design of this time, it is now possible to use appropriately in accordance with the outdoor environment conditions that are designed to upright seat sharing table in the market tables for camping and to be divided into the seat and upright.

• Journal of Engineering Education Research
• /
• v.18 no.6
• /
• pp.88-97
• /
• 2015

This is paper aims to figure out the way movies and engineering have communicated and the right direction for better communication between them. Engineering no longer should be treated as playing a key role when it comes to film making. Engineering is essential in making films look real. It means that movies gain credibility from utilizing engineering, which all other types of arts also seek after. Films can be resonated better through mutual communication with engineering. The paper takes a close look at emotional aspects to figure out what the new direction of communication between movies and engineering is. People's lives shown in films and the material world that engineering represents are mingled to attain the emotional oneness between the two. This can be easily observed in Japanese movies where robots and humans have a close relationship or recent films whose theme is emotional exchange among humans and robots. This kind of contact leads us to explore newly found humans' position that was brought about in the wake of development in engineering and existential conditions that humans need to have accordingly. Artificial intelligence and neurology sectors that the engineering field is today earnestly working on are in line with it. Therefore, this article seeks to find out the meaning and value of communication between movies and engineering when establishing the fresh mankind model based on emotions and pursuit of diversity.

• Journal of architectural history
• /
• v.13 no.3
• /
• pp.37-50
• /
• 2004

Presentation is the way of revealing regionality that is hidden into the inner world. The expression of regionality has to be based on the origin and at the same time created newness as always suitable for the present through combination of 'familiarity' and 'unfamiliarity'. Regionality that has been maintained even under the application modern trends, spirits, technologies and materials should be now disclosed. Creating new forms that reflect regionality is possible only when a keen sense(emotion) always focusing on the essence of the earth works together with foresight(imaginative power) clarifying global pattern changes, under high tensions between both of them. Kim Su-Keun succeeded in reinterpreting traditional spaces, but failed in communicating patterns of life, ultimately revealing stiffness with no tension and no creativity. Kim Jung-Up could not draw out a whole meaning of relations among traditional fragments or relations between them and the present. He only borrowed such fragments from the view of formative art. For 'disclosed abstract', 'familiarity' and 'unfamiliarity' are repeated circularly and cope with pattern changes, continuously creating new forms and showing unity as a complete calmness(rest). In "YangDuk Catholic Church" by Kim Su-Keun provides a simultaneous reactivation of various images through continuous cross-weaving rather than being inclined to either the earth or the world. Based on the technique of 'disclosed abstract', "YangDuk Catholic Church" created a new form and space never seen before.

• Proceedings of the Korea Contents Association Conference
• /
• 2013.05a
• /
• pp.321-322
• /
• 2013

This study attempted to anyone so that you can experience the dance, the dance activities were considering the personal characteristics of the elementary school program that combines dance movements and theatrical representation by presenting a model of the program. May appear in physical activity and changes in emotion recognition focused on elementary school students by applying to the program, the result of applying the participants through a program of dance activities, according to the mutual recognition of body motion expressed through the body, and how to communicate the meaning of the expressions in various ways positive thinking, voluntary participation, and interpersonal relationships and was able to deliver, and have self-confidence and self-esteem for physical activity and altered consciousness.