• Proceedings of the Korea Society of Design Studies Conference
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• 2001.10a
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• pp.38.1-38
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• 2001

• The Journal of Dong Guk Oriental Medicine
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• v.4
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• pp.189-209
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• 1995

The purpose of this study is to understand a term of 'Jangbu theory 臟腑論' in 'Dong-Eui-Su-Se-Bo-Won 東醫壽世保元'. The conclusion would be summerized as follows. 1. 'Jangbu theory 臟腑論' of 'Sa-Sang medicine 四象醫學' is based on 'Sa-Sang structure 四象構造'. 2. 'Mind 心' of 'Sa-Sang medicine 四象醫學' is recognised as the Lord of body. 3. 'four-Jang 四臟' and 'four-Bu 四腑' constitute 'Sa-Sang structure 四象構造' which is based on the deviation of 'vital energy 氣', and 'four-Jang 四臟' plays a loading role. 4. 'Sacho 四焦' explains the whole function of human body including one's heart's desire, physical constitution and the visceral physiology. 5. 'ear-eye-nose-mouth 耳目口鼻' is connected with 'the profound secrets of nature 天機' and also has a close relation with creation of 'spirit-vital energy-blood-essence 神氣血精' and spiritual fuction. 6. 'SaHae theory 四海論' of 'Dong Mu 東武' is philosophical concept set on the basis of 'nature 天性' and 'life 人命'. 7. 'spirit-vital energy-blood-essence 神機血精' doesn't have the relation of mutual transformation. It's creation and consumption lies on 'the power of ear-eye-nose-mouth 耳目口鼻之力'. 8. 'Sa-Sang medicine 四象醫學' expands its theory centering on the deviation of 'vital energy 氣' and the transversal circulation of 'SaHae 四海' According to the above result, 'Jangbu theory 臟腑論' in 'Dong-Eui-Su-Se-Bo-Won 東醫壽世保元' should be understood on the basis of 'Sacho 四焦' and 'SaHae 四海' according to 'Sa-Sang structure 四象構造', accompanying philosophical thinking focused on human and society, the centural concept of 'Jangbu theory 臟腑論' could be said as 'Mind 心' to be the Lord of body.

• Fashion & Textile Research Journal
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• v.7 no.5
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• pp.527-534
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• 2005

The purpose of this research is to study face images according to color of make-up was made by computer graphic simulation. The various facial images can be helpful for choosing suitable make-up color planning. In order to find out the differences of face images by make-up color, three different foundations and seven eye-shadows, six lips were applied on the round face model. Make-up Image Scale was used the scale of seven point modified the S-D method. Data were analyzed by Varimax perpendicular rotation method, Duncan's Multiple Range Test, Three-way ANOVA. As the result of make-up image perception analysis, a factor structure was divided into mildness, modernness, elegance, unique. The factor of mildness, modernness, unique affected on the foundation color. Foundation color was found out to be influential variable to distinguish color perception abilities. Also, the foundation, eye-shadow, lip color were influenced interactively on the perception of elegance factor. Pink color was important color, influenced on the mildness factor. Gray and purple color were influenced on the modernness factor. Mildness factor was perceived as the most bright foundation but unique factor was perceived as the most dark foundation. Then, the foundation, eye-shadow, lip color were influenced interactively on the perception of facial images. The results can be effectively applied to today's marketing and color design management which is focused on the product's emotional image in customer's mind.

• Korean Journal of Child Studies
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• v.29 no.1
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• pp.103-113
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• 2008

This study examined the difference in children's performance between two types of task by the number of protagonists and children's implicit understanding of false-belief. The implicit measure by eye gaze was contrasted with children's explicit answers to the experimenter's question about where the protagonist would look for an object. Results showed there was no difference according to the task type by number of protagonists. On false-belief, 2- and 3-year-olds showed low performance compared with 4-year-olds on explicit responses. On implicit responses, 3- and 4-year-olds out-performed 2-year-olds. These results suggest that implicit understanding precedes explicit understanding.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.48-61
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• 2008

This study aimed to examine emo fashion, a very recent music-related fashion trend spreading fast amongst youths, and understand emo ideas and methods of expression for a greater understanding of contemporary youth sub-cultures and fashion trends. Documentary research, positive research and in-depth interviews were used throughout the study. 4 Korean emo bands and 4 U.S. emo bands were selected based on music chart rankings, and a total of 37 photographs from the bands' Internet websites were selected, and their clothes shown in the photographs were examined. 5 Korean emo band musicians were subjects of in-depth interviews, and they were asked about their emo culture, music, fashion, ideas and styles, and photographs were taken of the subjects and evaluated, too. Lastly, Korean and U.S. emo kids were studied through photographs, and comparatively analyzed. Both Korean and U.S. emo musicians wore slim silhouettes, skinny jeans, t-shirts, sneakers, black, studded belts and plastic-framed glasses. Korean fashion expressed a less depressive atmosphere with color and other details compared to the United States, and did not prefer dark black eye make-up, which United States emo style appeared to express frequently. Korean musicians' emo fashion was closer to other youth fashions, whereas U.S. emo fashion included more formal styles such as ruffled shirts and pin-striped vests. Korean emo kids wore clothes not much different from most Korean youths, but U.S. emo kids wore a lot of eye make-up and black t-shirts with graphic or skull prints, and had more geometrical hair styles, as if cut at home. The reasons for such differences were found to be a longer emo music and culture history in the United States leading to more elaborate fashion expressions and a difference in the states of mind, such as Korea pursuing to express love, and the United States pursuing loneliness.

• Korean Journal of Child Studies
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• v.11 no.1
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• pp.29-44
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• 1990

The present study investigated the concept of Buddha in 9- 12- year-old children who were in the concrete operational stage. The concept of Buddha was investigated in the following dimensions:form, competence and role of Buddha, feelings toward Buddha, and prayer to Buddha. Questionaire data were gathered from 143 children attending the Bulkwang Sunday School Statistical analysis was by Chi square. The children perceived Buddha as (1) a statue or a monk living in their mind and in heaven; and (2) unrestricted and superhuman but different from the creator, keeping an eye on them all the time and everywhere. The role of Buddha was perceived as one of giving blessing with good things to those who pray. The children had diverse feelings of awe, thankfulness, fear and anger toward Buddha. Most of the children were confident that Buddha would respond to their prayers but a few showed some doubt. Children in the concrete operational stage were less credulous than those in the pre-operational stage. More than half of the childen reported that they experience the fulfilment of their prayers. The children had deep faith in attaining Buddhahood.

• Annual Conference of KIPS
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• 2011.04a
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• pp.40-42
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• 2011

Smart hand-held devices like iPhone, iPad, Andriod and other mobile-OS machines are becoming a well known part of our daily lives. Utilization of these devices has gone beyond the expectations of their inventors. Evolution of Apple's iOS from a mobile phone Operating System to a wholesome platform for Portable Gaming is an adequate proof. Using these smart devices people are downloading applications from numerous online App Stores. Utilizing remote storage facilities and confining themselves to computing power far below than an entry level laptop, netbooks have emerged. Google's idea of Chrome OS coupled with Google's AppEngine is an eye-opener for researchers and developers. Keeping all these industry-proven innovations in mind we are proposing a Context-Driven Cloud-Oriented Application Architecture for smart devices. This architecture enables our smart devices to behave smarter by utilizing very less of local resources.

• Sijohaknonchong
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• v.30
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• pp.9-20
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• 2009

The purpose of this study is to consider factors such as one's sight of viewing afar, expressional principles, and basic aesthetic category, which are treated importantly by the poets of the Joseon Dynasty era in appreciating nature. 'Afar' of the viewing afar is actual distance and aesthetic distance at the same time. Viewing afar is to find geographical features, depth, and details of a mountain, seeing the whole nature at a high place. Also, it can make possible escape from the external limitation of nature and get mental superiority and enhancement. Ultimately, viewing afar is to find out everlasting change of the nature and reason of natural creation. One's sight in viewing afar makes an appreciator's mind empty and calm, and it makes chance to harmonize human with nature. Viewing afar is to unite human nature to naturality beyond realistic value, idea, and artificiality. The mind from viewing afar has peacefulness and it is a state of serenity without any secular atmosphere. Viewing afar is an eye for beauty to leap toward an endless free state from narrow sight about objects. It rejects modification and technics in achieving an world of harmony. It means that objects should not be restrained by human's recognition. There are three expressions, which are high, horizontal, and transcendental viewing afar. The aesthetic category and beauty of peaceful mental state are realized by the expressions. The peaceful mental state makes peaceful mind from realistic conflicts and makes us experience a profound reason of nature.

• Journal of Institute of Control, Robotics and Systems
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• v.12 no.2
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• pp.119-129
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• 2006

Art psychotherapy is widely accepted as an effective tool for diagnosis and treatment of psychological disorders. Important factors for art psychotherapy diagnosis, based on the projection theory that the world of the inner mind appears in drawings, include main color and imbalance of a drawing. This paper develops a system for a machine to determine the main color and the imbalance of a drawing by color recognition and edge detection. Our proposed color recognition procedure adopts NBS(National Bureau of Standards) distance between colors in HVC(Hue, Value, Chroma) color space which is most similar to the human eye's color perception. Our edge detection procedure applies blurring, clustering and transformation to a standard color in a series. Our system considers the numbers of pixels and clusters for each color as a criterion for main color and the frequency of edge coordinates for each region for imbalance. The proposed machine procedure, verified through case studies, can help overcome the subjectivity, ambiguity and uncertainty in human decision involved in art psychotherapy.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.2
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• pp.117-133
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• 1996

The etymological meaning of 'the Picturesque' is "after the manner of painters." It had begun to be used from the end of Classical era and become popular in Romantic era. The concept of the Picturesque in the Classical era is an allusion to the Classical paintings, history paintings or ideal landscapes. As the idea of these paintings was the Beautiful Nature, the most crucial of the Classical Picturesque were that a painting should represent some significant human action; that all the parts of this painting should contribute to the whole; that verbal commentaries were needed. The influence of the Picturesque on the garden design can be summarized as the invention of 'the Landscape Garden.' In the Landscape Garden, human action was central and formal and painterly techiniques were used to highlight human action. The subjectivization of concept of of the beauty resulted in the cult of the Picturesque. In the controversy by Price and Knight, the Picturesque and its influence on the garden design was contended variously. Price criticized the monotonous gardens of Brown's and named "roughness, sudden varitation and irregularity" as the three hallmarks of the Picturesque. Knight contended " that the Picturesque consisted only in a manner of viewing things with an eye and mind educated in the principles of painting" and "that gardens should reproduce as fully as possible the qualities that made the pictures of Rosa or Hobbema delightful."