• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.179-189
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• 2011

Gesture is one of the means for non-linguistic communication which can be expressed by human characters in animations. High drawing ability and profound knowledge about gestures are both required for animators to achieve efficient gesture expressions. However, diversified profound techniques are needed to master this knowledge which makes it very difficult for common animation drawers. In this paper, characteristics for each gesture are analyzed based on Laban Movement Analysis and gesture classification by making gesture packets. This research is of notable significance in providing animators with high efficient gesture expression techniques and developing automatic gesture-generating system.

• Journal of Korea Game Society
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• v.7 no.4
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• pp.33-42
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• 2007

Advanced technologies and techniques make it possible to express digital animation with higher quality. Characters in the virtual animation space are playing an important role in emphasizing the human audiences or interacting directly with them. The movement of characters gives them vital power, and shows their intentions and emotions. To analyze the emotion of character movements, the study develops basic movement sources based on Laban's property elements of movement such as time, space, and flow, and tries to find the relationship between their movements and the emotions they arouse by positioning them on Plutchik's emotional circle. We find that each element of 9 movements represent its own emotion consistently, and has influence on the intensity of emotions clearly.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.1379-1386
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• 2006

전자우편이나 문자 메세지를 이용할 때 겪는 불편함 중 하나는 상대방이나 기계에 정서 정보를 전달하기 어렵다는 점이다. 정서 정보를 메시지에 싣기 위해서는 컴퓨터나 디지털 기기가 정서를 인식하거나 사용자가 정서를 입력해야 한다. 기존의 정서 인식 방법은 생리적, 신체적 측정치를 이용하는 것인데, 이 경우 측정을 위한 별도의 장비가 필요하고 현재 자신의 정서 상태와 다른 정서를 표현할 수 없다는 단점이 있다. 특히 소형 모바일 기기를 이용할 때 다른 측정 장치를 사용하는 것은 더욱 어렵다. 이런 문제를 해결하기 위해 모바일 기기를 사용하는 환경에서 사용자가 원하는 정서를 기계에 입력하기 위해 동작을 이용하려는 연구가 진행되었다(Fargerberg, Stahl, & Hook, 2003). 본 연구에서는 Laban Movement Analysis에서 동작을 구성하는 다섯 요소 중 노력(effort)과 모양(shape) 요소를 재구성하여, 방향성 차원, 무게감 차원, 시간감 차원으로 동작을 구분하고 총 20개의 동작을 선정하였다. 또한 한덕웅과 강혜자(2000)가 수집한 834개 정서 어휘를 평정하여 동작을 통해 표현하고 전달되기 쉬운 정서 어휘 50개를 선택하였다. 최종 실험에서 참가자들은 20개의 동작에 대해 50개의 정서 어휘를 평정하고 데이터는 범주형 주성분분석을 이용하여 분석하였다. 분석 결과 Russell(1980)의 이차원 정서 구조 모형에서 각성 수준 차원은 동작의 무게감과 시간감 차원과 관련이 있는 것으로 나타났다. 강하고 빠른 동작일수록 각성 수준이 높은 정서가 나타났다. 또한 동작의 방향성 차원은 정서의 종류와 관련이 있는 것으로 드러났다. 직선 움직임은 높은 각성 수준의 부정적 정서와, 흔듦 움직임은 불안 및 초조와, 원형 움직임은 즐거운 정서와 관련이 있는 것으로 나타났다. 이는 동작을 통하여 정서 정보를 효과적으로 전달할 수 있음을 보여주었고, 동작과 정서를 연관 짓기 위해 방향성 차원과 무게감 차원 그리고 시간감 차원을 고려할 필요가 있음을 시사한다.

• The Journal of the Korea Contents Association
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• v.12 no.12
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• pp.146-155
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• 2012

This study made an attempt to apply and meaningful research of the analysis of the scene with the actual creative work about the contradictory structure and the love of duality appeared in the Shakespeare's "Romeo and Juliet". The researcher set up the meaning of versus (對) between the contradictory structure and the duality of love. So I analyzed the duality of love appeared on the creative performance named "Romiet & Julio zwei Versus". With the Laban's behavior analysis, the analyzing instruments were separated into four parts as the body, the effort, the space and the shape. As a result of the analyzing, the duality of love in the original work was the expression of the artist's pluralistic vision, and dramatic structure of homogeneity rather than the paradoxical contrast. After analyzing a creative work, the duality of love has been proven as an important factor with ultimately a new dimension of absolute balance.

• Cartoon and Animation Studies
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• s.40
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• pp.33-53
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• 2015

The movement of characters is one of the crucial elements to deliver their emotion flowing inside. Though it is the same movement, it may appear or be expressed differently according to the character's personality or emotion or the particular situation. The purpose of this study is to analyze not only the movement found superficially in an animation but also a character's internal emotion and attitude with Laban's movement analysis system, particularly effort, one of its analysis categories, and examine how effectively Laban's movement analysis often employed at the circles of dance can analyze movement in an animation. is about a monster that constantly makes efforts to realize its dream to be a scarer. Functional movement forms the most part, but expressive movement to show how a character thinks or feels also appears harmoniously. Characters' externally shown movement can express their internal emotion properly sometimes, but they also often move expressing their feelings in moderation. Therefore, this study analyzes the movement of characters found in the four scenes of with LMA's effort. According to the findings, at the scene where Michael enters the door leading to the human world following the scarer, the emotional state of Michael envious of the scarer is expressed with the Vision Drive giving the strong feel of dreaming. At the scene of the second game to choose the best scare team, it shows us the Spell Drive with its careful and light movement having clear intention to survive at the game. At the scene where there is a party held for the teams that have survived, it shows the Passion Drive of being eagerly expressing happy and delightful feelings without considering what is around. At the scene where Michael and Sullivan are pursued by people, the Action Drive was used to express movement that was heavy and strong and was getting faster gradually by focusing the feelings of the characters in haste into one place.

• CELLMED
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• v.4 no.3
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• pp.19.1-19.6
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• 2014

The most important reason mentioned for the early discontinuation of breast feeding and introduction of supplementary bottles is Perceived Insufficient Milk (PIM), which is relatively common in women. This is of public health concern because the use of breast milk substitutes increases the risk of morbidity and mortality among infants in developing countries and shortens birth intervals. Thus, a literary search in classical text for aetiopathogenesis, symptoms and treatment of PIM were appraised to implement in contemporary era. The classical Unani texts viz., Al Qanon fit Tib (Canon of Medicine), Al Hawi (Continens Liber), Zakheera Kharzam Shahi, Tarjuma Kamilus Sana, Tibbe Akbar, Akseer Azam, and Kitabul Kulliyat were reviewed. Further certain galactogogue herbs which are in use since antiquity such as fenugreek, cotton seeds, cumin, asparagus, black cumin etc were explored in different search engines on website for proven galactogogue activity. The causes of PIM are abnormal temperament of body or breast, anaemia, anxiety, depression, malnutrition etc. The principle treatment is treating the cause viz., the temperament is corrected by diet and drugs in abnormal temperament, elimination of humour is required in dominance of humour etc. The aforementioned drugs are proven scientifically for their galactogogue activity. The classical texts are having valuable information regarding PIM, which can be implemented in present era. Aforementioned Unani drugs are proven scientifically for with their galactogogue effect, however, clinical trials are scarce. Therefore, further randomized controlled clinical trials are recommended.

• Journal of KIISE:Computer Systems and Theory
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• v.35 no.8
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• pp.407-415
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• 2008

This paper presents novel segmentation and transition techniques for dancing motion synthesis. The segmentation method for dancing motions is based on Laban Movement Analysis (LMA). We assume a dance sequence as a set of small dancing motions. To segment a dancing motion is a subjective, psychological, and complex problem, so we extract the shape factor of LMA from a dance motion and observe shape's changes to find the boundaries of dance segments. We also introduce a transition method that meets constraints on the feet. This method that is based on a linear interpolation modifies the intermediate posture motion after analyzing footprint positions. The posture could be a key-frame between source motion and target motion on the transition. With the proposed techniques, it would be easy for multimedia applications to generate plausible dance motions.

• Cartoon and Animation Studies
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• s.34
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• pp.45-79
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• 2014

The purpose of this study is to propose divergence from standardization of animation acting through working on investigating gestures comprising most principal exaggeration acting elements in animation acting. For this purpose, this study utilizes animation 12 principles and Laban's effort theory. This study respectively analyzes 2D and 3D animation gesture expressions that are standards for comedy silent film and derive commonness and difference from them. In the next, this study explores the possibility of how animation can utilize acting of comedy silent film. Charles Chaplin and Buster Keaton used to be important elements referring to early animation acting, but as the recent animation technology gets advanced, they are not treated significantly any more. However, as 3D animation turns out to be chief concerns and the roles that acting, dynamics and performance play become gradually important, the necessity is on the rise that Charles Chaplin and Buster Keaton's gesture performances should more prudently be reinterpreted.

• Journal of Digital Convergence
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• v.14 no.4
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• pp.43-53
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• 2016

The purpose of this study is to examine the meaningfulness and the possibility of developing kinetic narrative educational contents based on English literature with convergent approaches. To accomplish the objective, this paper examines three areas of research such as kinetic education, English literature education, and total physical response-storytelling method. It introduces the following three stages of development procedure: 1) selecting and analyzing English literature, 2) designing a prototype including the story flow, the movement and the motion interaction design, and 3) constructing motion database using Laban movement analysis. Then, how to apply it to young learners is illustrated with 'the story of the three little pigs,' Finally, implication for the field of young learner English education and English literature is discussed.

• (The) Research of the performance art and culture
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• no.42
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• pp.147-181
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• 2021

Dalgubal drum dance is inherited in a recreated form by incorporating regional symbolism and the dance philosophy and artisticity of Young Hwangbo, the creator, based on the traditional drum dance of the Yeongnam region. This dance having popularity with the transformation of traditional Korean culture has been invited not only to Yeongnam region including Daegu but also to international various venues. This study explores what the movement characteristics of this Dalgubal drum dance are and the unique charm and symbolic meaning of this dance. Specific analysis was conducted through analyzing Dalgubal drum dance video film of the 89th Korean Myeongmujeon's by using Laban Movement Analysis as a research method. The special features of this dance resulted from the LMA analysis in terms of the four categories-Body, Effort, Shape, and Space-reveal simple yet cheerful personalities and strong yet patient characteristics of the people in Daegu. The harmony of drum sounds(music) and movements(dance) creates various characteristics of dances and reveals the beauty and excitement of unique Korean dance. In particular, drum play and its related dance movements create curved linear spatial pattern of arm movements, Spiral Shape in body posture, and diverse floor patterns occupying whole stage space. These movements show the three-dimensional spatial beauty and the artistic ideas for recreation of traditional drum dance, which considered with the spatial structure of the proscenium stage. In addition, the well-organized structure and harmonious movements of this dance show the traditional Korean philosophy, implying heaven, earth, and human being and the wholeness, and the harmony of yin and yang. The dance aims at communication between the audiences and dancers through sharing excitement and the aesthetic beauty of dance. This can be interpreted as a meaningful expression of traditional Korean philosophy developed with the unique value and characteristics of Korean dance.