• KSCE Journal of Civil and Environmental Engineering Research
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• v.33 no.1
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• pp.273-286
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• 2013

Recently, due to problems with subway and bus operations, a need has emerged for a solution such as the introduction of an Advanced Transit System. In several municipalities, systems have been introduced using light rail as AGT urban aesthetics construction. There is high inhibition and civil cases are delayed by more environmentally friendly and accessible remedies. For the purpose of this study, Changwon city would be transformed to have an environmentally friendly transportation system such as a tram with an overview. Features, advantages, and disadvantages are analyzed, and systems are established the existing public transport routes by transfer system. Changwon city's tram plan is first step in open in year 2018, and second step with the opening goal of the year 2021, and the total line length of 33.9 km, the station will be built in the 38 locations. and also in 2011 a feasibility study, evaluated a low economic as B/C to 0.88, but it evaluated the high value of the policy analysis as AHP to 0.502. However, introduction of a tram project that should precede the as following condition. The first step in Changwon city's tram plan would be as follows : The introduction of the tram system would demand traffic management along with a restructuring of the bus system, and the tram system would be selected for domestic realities. Secondly, the introduction of trams would comprehend the advanced traffic composition in accordance with the consensus of the citizenship, and a legal system should be established for the introduction of the trams.

• Cartoon and Animation Studies
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• s.37
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• pp.439-461
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• 2014

Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.

• Journal of Dental Rehabilitation and Applied Science
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• v.36 no.1
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• pp.41-47
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• 2020

Purpose: The purpose of this study was to evaluate the flexural strength and reliability of highly translucent colored zirconia for all ceramic restoration. Materials and Methods: Bar-shaped specimens (25 × 4 × 2.5 mm) were prepared from highly translucent monolithic zirconia. Three experimental groups were set up according to color (shade A0, A1, and A3). For each group, 20 specimens were prepared. Flexural strength was determined using a 3-point flexural test and results were analyzed with one-way ANOVA test. Weibull statistical analysis provided 2 parameter estimates: Weibull modulus and characteristic strength. X-ray diffraction (XRD) analysis was performed. Results: There was statistically significant difference between uncolored (Shade A0) and colored (shade A1 and A3) (P < 0.05), but there was no difference between colored groups (P > 0.05). The uncolored group had higher reliability compared with colored study groups. On x-ray diffraction analysis of each group, typical peaks of tetragonal phase appeared in all groups. Conclusion: Within the limitations of this in vitro study, coloring highly translucent zirconia had significant effect on flexural strength and reliability. Therefore, clinicians should be careful when using highly translucent colored zirconia to prevent breakage of veneering ceramic and enhance aesthetics.

• Journal of Science of Art and Design
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• v.10
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• pp.111-159
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• 2006

The study is to examine the concept, origin, developmental process, and characteristics of 'Kioonsangdong,' or 'lively energy' to look into whether 'Kioon' maybe interpreted by modern sense and sensitivity and be applied to contemporary creative activities, and to explore whether the ideality of 'Kioon' may be transferred into visualization in pictures. The article defines the scope of 'Ki' as 'Ki(energy)' of artistry and sees the Wei, Chin and the South & North dynasties as its derived point. In Chapter I, before the examination of 'Kioon,' 'the relationship of Ki and Oon,' and 'interrelationship of Kioon (energy) and Sangdong (liveliness) are investigated. It is impossible to define Kioon in a word due to its being abstract. Thus, although it does not seem to be unlimited, focusing on putting a variety of concepts of Kioonsangdong in order, it classifies the subject, from which such Kioon reveals itself, into 'its former self,' things of the object,' 'character,' and 'brush and Chinese ink.' Then, with selected representative works for each category, it examines how Kioonsangdong is reflected in the works. In addition, it comprehensively argues on Kioon through presenting the points of Kioon theories by many an art critic and artist from the Wei, Chin and the South & North dynasties to modem China. In Chapter II, the study analyzes the Kioon-reflected works that have been examined in Chapter 1 in the light of the Kioon theories of 'blanks,' 'styles of brushmanship,' and 'techniques of Chinese ink,' and by selecting and analyzing representative artists and works in each era, it investigates how Kioon had been transformed as times had changed. In Chapter III, which is the core of the study, is on contemporary interpretations of Kioon. I intend to interpret Kioon as scent. In other words, through replacing abstract Kioon with the olfactory sense, actually realizing and forming it, and then visualizing it onto my own work, I attempt to grope for contemporary interpretations of Kioon. That is to say, I explain how Kioon is transformed into scent on the grounds that the origins of Kioon may be detected in literature and aesthetics. Besides, the study looks into the process that 'the scent of the olfactory sense' turns into 'the scent of art,' which I assert by contemporary interpretations, and shows in details that it may be visualized in pictures presenting quotes. In Chapter IV, it analyzes Kioonsangdong expressed visually as the scent of art in my own work in terms of the three techniques of blanks, brushmanship, and Chinese ink.

• 대한공업교육학회지
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• v.35 no.2
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• pp.25-42
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• 2010

This research aims to understand how students of technical high schools view 'engineering' as well as to identify the main elements that contribute to the perception on 'engineering.' The research targets are 695 senior students of technical high schools nationwide. The researcher developed the measuring tool for the experiment by referencing the adjective value criteria utilized in the semantic difference method developed by Osgood (1957). There were a grand total of 30 criteria following the preliminary studies. The results of the research are as follows. Firstly, the average value of the overall perception of technical high school students on 'engineering' is 4.27 points. This value just exceeds the standard (4 points). Secondly, when examining the general tendency it can be noticed that there is a sense of stigma that although 'engineering' is significant and valuable it is a field that is overly difficult, complex and even dangerous. Thirdly, 6 main elements that influence the perception on 'engineering' were extracted as results of the factor analysis. The first element is practicality; the second element is emotions; the third element is aesthetics; the fourth is simplicity; the fifth is responsibility; and finally the sixth element is assertiveness. Fourthly, when comparing the average values of the perception on 'engineering' by region, it was seen that there existed a difference on the perception towards 'engineering' based on differing regions.

• Science of Emotion and Sensibility
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• v.21 no.3
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• pp.115-128
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• 2018

Tibetans who live in the Tibetan highlands, the Roof of the World, have their own unique lifestyle wherein they conform to its long history, natural environment, and their own form of clothing culture. In their costumes, the use of colors, patterns and designs express religious meaning and represent the hopes and heart of life, which respects nature. This study aims to analyze the colors used in Tibetan costumes and examine the meaning of these colors. In addition, this study intends to understand the specificity of Tibetan culture through a consideration of the symbolism of the colors of ethnic costumes. By examining the literature and conducting case studies, colors of Tibetan costumes were analyzed through the I.R.I HUE-TONE system. We analyzed 96 photographs of the costumes photographed during the Tibet ceremony costume, photographs seen at the Qinghai Tibet Culture Museum and photographs from the Internet museum. The results revealed the following: First, the most important element of the costumes is connected to the five colors of JangOsaek, which gives meaning to each color. Red, navy blue, yellow, white and green symbolize fire, the sky, earth, clouds or snow, and grasslands, respectively. Second, Tibetan costumes are characterized by bold color contrasts such as red and green, black and white, red and yellow, and yellow and purple to achieve an intense harmony of colors. Third, these fancy costumes express the unique aesthetics of the Tibetan people. The primary colors follow general emotions, but they can also include their own emotion.

• Cartoon and Animation Studies
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• s.21
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• pp.19-32
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• 2010

In this essay, Japanese independent animator Koji Yamamura's works were analyzed. As understood from etymology of 'anima', animation is the expression media in which creation of moving image is assumed to be essence. In the independent animation, possibility of animation to the essence shows by the most original and experimental method. And it contributes to diversification of the animation style. Yamamura keeps producing animation independently from the 1980's, and he designed and tried technique and theme of new ideas. Here, on Yamamura's early and after works, his animation method considered by analisis of experimental attempt in technique and theme. In the case of Yamamura, he variously experimented technique on his early works and it was made foundation. And, after , Yamamura searched by the method to harmonize form of animation with content treating drawing animation technique with allegorical theme. Especially, independent animation in Japan has developed growing spontaneously. Therefore the individual aesthetics of Japanese independent animators can be discovered indeed variously intheir creation activity and work. So the importance of independent animation is recognized by concretely analyzing the case of Japanese independent animator. In addition, the way used on the side of possibility of animation expression tries to be considered individual case.

• Journal of Distribution Research
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• v.10 no.2
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• pp.73-97
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• 2005

The importance of emotional factors like as product aesthetics, branding strategies and service quality is increasing in today's marketplace. At the point of fashion product purchases, emotional factor is mainly related to personal selling. Rasearches related to job aptitudity of fashion salesperson are necessary as their role becoming more serious. This study was designed (1) to determine factors of job aptitudity of fashion salesperson; and (2) to examine relations between job aptitudity of fashion salesperson and other variables: demographics, job statistics, fashion involvement fashion innovativeness, ongoing information searching and job satisfaction. As a result, job aptitudty of fashion salesperson was determined into six dimensions by factor analysis: product knowledge, professionalism, involvement to the present profession, marketing cooperator, customer orientation and self management. Marketing cooperator and product knowledge was relatively !ow compared to other aptitudity factors. This finding suggests that the special education programs including textile/fashion product knowledge and value of field information for fashion salesperson is needed to enhance the integrated fashion marketing. The job aptitudity of salesperson was correlated with fashion involvement, fashion innovativeness, ongoing information searching, and job satisfaction. The job aptitudity-related scales which showed significant relation to job aptitudity in this study could be used as the index to examine the job aptitudity of potential employees of fashion retail company.

• The Journal of Art Theory & Practice
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• no.10
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• pp.47-61
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• 2010

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does "art on the street" refer to "Street Art" such as street performance, happening, graffiti, or wall-painting, or does it refer to "Street Furniture" which is related to "City Design" or "Environmental Design"? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, " the street" is a metaphor of "environment." Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and "city beautification." Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliche, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to' embellish' the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.32 no.6A
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• pp.355-367
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• 2012

Many of old aqueduct bridges located in rural areas are in need of repair and redesign. They still occupy some portion of countryside landscaping. However, most of them were designed to fulfill their basic functions of carrying waters, which has not contributed to the landscape positively. Moreover, it is not rational to treat each design case of aqueduct bridges individually because they are relatively small in size and arranged continuously over a long path. Therefore, it is better to provide a design guideline to repair or to redesign old aqueduct bridges as a whole considering both structural safety and landscape. The main objective is to develop a framework to repair and redesign of old aqueduct bridges for safety improvement and better landscape. Specifically this paper will address the development of possible design alternatives for repair and redesign The development of design alternatives for redesign will follow general principle of bridge aesthetics and be represented according to structural system, flume shape, pier height, pier shape in terms of design parameters while minor repair includes paintings and other ornamentations. And the developed design alternatives will be reviewed with its landscape as a background to check the visual compatibility within the community context. It is expected that the proposed guideline will be utilized to develop a maintenance plan to revitalize old aqueduct bridges to improve overall landscape of rural areas.