• 만화애니메이션 연구
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• 통권39호
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• pp.261-295
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• 2015

90년대 말에 등장한 사이버가수는 잠시 등장했다가 사라져 버렸고 2000년대 들어 몇 번의 시도는 있었지만 유의미한 성공사례를 보여주지 못하고 있다. 사이버가수는 대중음악계에서 아이돌 육성시스템의 등장과 IT산업의 기술발달에 힘입어 탄생하게 되었고 '아담'에서 시작해 보컬로이드 '시유'까지 개발되게 된다. 만화나 게임에 등장하는 일반적인 디지털캐릭터와 차별화되는 사이버가수는 음악을 매개로 하는 우상화의 대상이 될 수 있고 다수의 팬덤을 형성하는 특징을 가지고 있다. 따라서 실패를 거듭하고, 유행이 흘러간 컨텐츠로 간주될 수 있겠으나 보컬로이드 같은 새로운 매체를 활용해 지속적인 창작 시도를 하고 있어 진정한 사이버가수 탄생에 대한 기대가 존재한다고 볼 수 있다. 초창기 사이버가수는 인간의 외형만 닮아가려는 노력으로 진행되다가 사이아트와 시유에서 인간의 기능들을 닮아가는 것으로 진화되어 왔다. 본 논문은 과거 등장했다가 사라진 사이버가수가 단순히 실패사례로 끝나지 않고 나름의 인공생명체로 진화하려는 과정 속에서 기술을 발전시키고 기계이미지를 바라보는 대중의 인식변화를 조금씩 이끌었다는 점에서 의미 있는 시도였다고 본다. 더불어 그 진화의 방향성은 인간의 기능을 기계적으로 하나씩 획득하면서 인간과 상호 재미와 감정을 교류하면서 자신만의 외형과 기능을 갖춘 인공생명체로 진화하려는 모습을 갖추고 있다. 이런 논리를 뒷받침하기 위해 브루스 매즐리시의 인간과 기계의 공진화에 대한 연구를 참고했고 90년대 후반부터 등장했던 8개의 사이버가수들의 기획 및 디자인적인 캐릭터성과 가수로써 중요하게 평가되는 목소리(보컬)에 대한 발달과정을 브루스가 연구한 관점에서 사이버가수의 진화과정으로 분석했다. 기계는 인간과 함께 공진화하면서 진화해오고 있다. 사이버가수도 인간의 이데아적 욕망과 죽음에 대한 공포의 양가적 대상으로 인식되고 있지만 새로운 인공생명체가 되려는 개발노력은 지속되고 있다. 따라서 새로운 사이버생명체라면 시유 같은 스타일이 될 가능성이 높다. 왜냐하면 만화적 형태나 기계음 목소리가 인간이 실재 욕망하는 기표의 형태는 아닐 수 있으나 현시대의 대중이 원하는 욕망과 기술적 발달이 교차되는 지점에서 탄생할 수 있는 기표의 형태이기 때문이다.

• 인간행동과 음악연구
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• 제14권2호
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• pp.1-18
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• 2017

본 연구에서는 인공와우이식 난청인(N = 15)을 대상으로 말소리 운율변화에 따른 구어 이해와 음도 변별, 선율윤곽 확인(Melodic contour identification: MCI) 간 관련성을 살펴보았다. 말소리 운율 변화에 따른 구어이해를 살펴보기 위해 말소리 운율지각 검사를 시행하였고, 긍정적인 운율과 부정적인 운율 조건에 따른 의미 변화를 피검자에게 판단하게 하였다. 검사 시 긍정적인 의미(Positive meaning: PW)와 중립적인 의미(Neutral meaning: NW)를 갖는 낱말 및 낱말 조합 형태를 제시하고, 긍정적인 운율과 부정적인 운율 조건에 따른 의미 변화를 피검자에게 판단하게 하였다. 음도 변별 검사를 위해서는 단음도 변화 변별 과제와 3개 음으로 구성된 패턴에서의 음도 변별 과제가 실시되었다. MCI 검사는 기대 확률을 달리한 세부 검사 1, 2로 구성하여 시행하였다. 실시한 검사 간 관련성을 살펴본 결과, 말소리 운율지각 검사 결과는 보청기 착용으로도 청지각적 이득을 기대할 수 없었던 기간과 유의한 관련성을 보였다. PW와 NW 검사에서 운율 조건에 따라 유의한 수행 차를 보였지만, 단어조합 형태에 따른 통계적 유의성은 발견하지 못하였다. 말소리 운율지각 검사 결과는 MCI 1과 유의한 상관을 보인 반면(p < .01), 말지각 검사 수행력과는 유의한 관련성을 보이지 않았다. 이는 인공와우이식 후 시각적 단서 없이 말소리, 음소 지각이 가능해졌다 하더라도 미묘한 운율 변화에 따른 의미 지각의 제한은 계속될 수 있음을 시사한다. 또한 인공와우이식 후 선율윤곽 변화 확인은 음도 변별에 비해 제한을 보이며, 운율지각과 관련 있음을 확인할 수 있었다.

• 조형예술학연구
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• 제10권
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• 미술이론과 현장
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• 제5호
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• 복식
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• 제36권
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• pp.239-262
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• 1998

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.

• 대한간호학회지
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• 제26권4호
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• pp.833-852
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• 1996

Regular long term dance movement could be one of ways to induce improvement of psychophysiological variables, resulting in improvement of quality of life. However, there have been few studies to evaluate the effect of dance movement training on both physiological and psychological variables in the elderly. This study was focused to determine the effect of Korean traditional dance movement training on psychophysiological variables-body weight, body fat, lean body mass, muscle strength, muscle endurance, flexibility, agility, resting heart rate and blood pressure, depression and life satisfaction-in Korean elderly women. Thirty four subjects, aged between 65 and 75years who have normal cognition, sensory function, cerebellum function, cardiovascular function, participated in this study. Seventeen experimental group subjects were selected from E-elderly university in Kyung Gi province, and Seventeen control group subjects were selected from N-welfare facility in Seoul City. Seventeen experimental group subjects participated for 12weeks dance movement program. Korean traditional dance movement program was developed on the basis of Korean traditional dance and music by the author. The program consisted of approximately 50minutes of dance, 3times a week for 12weeks. During 50minutes workout, there were 15minutes of warm-up dancing, 25minutes of conditioning dance and 10minutes of cool-down dancing. The intensity for the conditioning phase was at between 60% and 65% of age-adjusted maximum heart rates. The body weight, body fat, lean body mass, muscle strength(grip strength, leg strength), muscle endurance, flexibility, agility, resting heart rate and blood pressure, depression and life satis-faction were measured prior to and following the experimental treatment. The participants in dance movement were interviewed focusing on subjective feeling following 12 week's regular dance movement. Data were analyzed with mean, standard deviation, percentage of change, X²-test, t-test, and ANCOVA test using SPSS PC/sup +/ program. Subjective feeling was categorized into cognitopsy-chological and physiological responses. Results were obtained as follows : 1) The body weight (F=15.52, p=.000), body fat (F=18.33, p=.000) and lean body mass (F=7.28, p=.011) of the experimental group were significantly lower than those of the control group following the dance movement training. 2) The leg strength (F=30.96, p=.000), muscle endurance (F=9.06, p=.005), agility(F=44.92, 000), flexibility(F=6.84, p=.014) of the experimental group were significantly higher than those of the control group following the dance movement training. There was no significant difference of grip strength(F=.43, p=.515) between experimental and control groups. 3) The heart rate(F=26.96, p=.000), systolic (F=10.40, p=.000) and diastolic(F=3.99, p=.005) blood pressure at rest of the experimental group were significantly lower than those of the control group following the dance movement training. 4) No significant difference of score of depression (F=3.49, p=.071) was observed between experimental and control groups. 5) Score of life satisfaction of experimental group was remarkably higher than that of control group following 12weeks of dance movement training (p<0.05). 6) Thematic responses about the dance movement following the training were positive. "I feel good" was the most frequent among cognitopsychological responses and "I feel lightness of body" was the most frequent among physiological responses. The results suggest that Korean traditional dance movement training can improve psychophysiological variables of Korean elderly.

• 한국보건간호학회지
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• 제14권1호
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• pp.12-25
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• 2000

The purpose of this study was to determine the effects of aerobic rhythmical exercise program on $VO_2$ max, leg strength, grip strength, flexibility, exercise self-efficacy and quality of life in elderly. This quai-experimental study was designed as a non-equivalent control group pretest-posttest study. 36 subjects, aged between 65 and 73 years who have normal cognition. sensory function and cerebellum function participated in this study. 19 experimental group subjects participated aerobic rhythmical exercise program. Aerobic rhythmical exercise program was developed on the basis of calisthenics, stretching, aerobic exercise, Korean traditional dance and music by the author. The program consisted of approximately 1 hours of exercise, 3 times a week for 9 weeks. During 1 hours workout, there were 15 minutes of warm-up dancing, 35 minutes of conditioning dance and 10 minutes of cool-down dancing. The intensity for the conditioning phase was between $40\%\;and\;60\%$ of age adiusted maximum heart rates. The $VO_2$ max, grip strength, leg strength, flexibility, exercise self-efficacy and quality of life were measured prior to and following the experimental treatment. Data were analyzed with $x^2-test$, t-test, mean, standard deviation. percentage of change and ANCOVA test using SAS program. Results were obtained as follows. 1. The $VO_2$ max of the experimental group were significantly lower than those of the control group following the aerobic rhythmical exercise program(F=7.76, p=0.008). 2. The grip strength of the experimental group were significantly lower than those of the control group following the aerobic rhythmical exercise program(F=4.61, p=0.039). 3. The leg strength of the experimental group were significantly lower than those of the control group following the aerobic rhythmical exercise program(F=9.29, p=0.000). 4. The was no significantly difference of flexibility between experimental and control group 5. The self-efficacy of the experimental group were significantly lower than those of the control group following the aerobic rhythmical exercise program(F=43.40, p=0.000). 6. The quality of life of the experimental group were significantly lower than those of the control group following the aerobic rhythmical exercise program(F=8.91. p=0.005). The results suggest that aerobic rhythmical exercise program can improve $VO_2$ max, grip strength. leg strength. exercise self-efficacy and quality of life elderly. Thus. aerobic rhythmical exercise program was a useful nursing intervention for elderly.

• 한국사회복지학
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• 제68권1호
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• pp.225-248
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• 2016

본 연구는 서울시립교향악단의 "우리동네 오케스트라 학습영향평가"를 위해 수집된 종단 자료를 사용하여 지역사회를 기반으로 운영하는 오케스트라 교육 활동이 빈곤아동의 발달에 미치는 효과와 그 효과를 촉진하는 오케스트라 교육 활동 요소를 살펴보고자 수행되었다. 이를 위해 빈곤 아동의 발달부분인 우울, 공격성, 공동체성, 대인관계와 오케스트라 교육 활동 효과를 촉진시키는 활동요소인 평가, 만족, 외부의 관심과 참여를 주요 변수로 구성하여 오케스트라 교육 활동과 빈곤아동발달에 관한 잠재성장 모형 분석을 실시하였다. 분석결과, 오케스트라 교육 활동 효과로 빈곤아동의 우울, 공격성, 대인관계에 의미 있는 긍정적 발달을 보였다. 또한 아동발달궤적의 조건모형에서 음악평가는 공동체성의 변화율에, 태도평가는 우울과 공격성, 공동체성의 초기치에 긍정적인 영향을 미쳤으며, 만족은 공동체성과 대인관계의 초기치에 긍정적 영향을 미치는 것으로 나타났다. 부모 관심과 참여는 공격성 초기치에 부정적 영향을, 지역사회 관심과 참여는 우울과 공격성 초기치에 긍정적 영향을 미치는 것으로 나타났다. 본 연구결과를 바탕으로 오케스트라 교육 활동에 참여하는 빈곤아동의 발달에 관한 이해를 돕고 사회복지사의 직접적인 개입의 실천적 근거를 제공하고, 사회복지계, 문화예술계, 교육계 등의 빈곤층 문화예술교육의 새로운 방안을 모색하여 빈곤아동 발달의 증진에 기여하고자 한다.

• 한국보육지원학회지
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• 제10권4호
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• pp.29-49
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• 2014

본 연구는 유아교사와 예비유아교사들을 대상으로 '숲교육'에 대한 교사의 지식 내용과 수준을 분석하여 그들의 현 지식수준을 파악하고, 이를 토대로 '숲교육' 활성화를 위한 교사교육의 방향성을 모색해보고자 하는 것에 목적이 있다. 이를 위해 B시에 소재한 유아교사 39명과 3, 4년제 유아교육과에 재학 중인 예비유아교사 60명, 총 99명을 대상으로 상위개념의 수, 내용요소에 따른 수, 종속 개념의 수, 특성, 위계, 밀도 등을 분석하였다. 연구결과 첫째, 유아교사와 예비유아교사 모두 '숲교육'에서 '자연(숲)'의 개념을 가장 중요하게 생각하고 있었다. 둘째, 유아교사의 '숲교육'에 대한 상위개념에서 종속개념은 '생명', 위계는 '치유'와 '생명', 특성화 점수는 '숲 체험'이 가장 높게 나타났으며, 밀도는 1.00에서 4.80의 범위로 나타났다. 셋째, 예비유아교사의 '숲교육'에 대한 상위개념에서 종속개념은 '자연(숲)', 위계는 생명과 자연(숲), 특성점수는 '자연(숲)'이 가장 높게 나타났으며, 밀도는 1.00에서 6.78의 범위로 나타났다. 이러한 결과에 기초하여 '숲교육'에 대한 교사의 지식과 지식수준의 문제점 진단 및 '숲교육' 활성화를 위한 교사교육의 방향성에 대해 논의하였다. 본 연구는 숲유치원의 올바른 정착을 위한 사전교육과 재교육에 기초자료를 제공하여, 숲교육이 올바르게 실천될 수 있도록 도움을 줄 것을 기대한다.

• 보건교육건강증진학회지
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• 제11권1호
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• pp.43-56
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• 1994

Although the officially confirmed incidence of the acquired immune deficiency syndrome(AIDS) has remained low thus far in Korea, the progression of the pandemic has been rapid, concerned about an eventual increase in transmission. Until a vaccine or cure is found, public information and education remain an important weapon against AIDS. For the year 2000, the current WHO projection is that there will be a cumulative total of 40 million HIV infections in man, woman and children, of which more than 90％ will be in the developing countries. The incerased mortality among adults and children has raised concerns that AIDS may become so devastaing as to reverse positive population growth rates and wipe out entire population. In order to plan for the rising incidence of patient with AIDS, an assessment of AIDS-related cognition and behavior, attitude of the recognized high-risk groups is necessary. Considering that undergraduates have sexuality active and more oriented toward sexual concerns than other ages. Adolescents today are more sexually involved than in the past: The media, including films, music, and television, reinforce sexual concerns by preseating images of highly sexual adolescents. Incidence of both petting and sexual intercourse in higher and occurs at earlier ages, they are important reservoir of AIDS infection. Hence, it has become important to emymerats and describe the knowledge, attitude and behavior of them, I want.. This information will eventually guide the direction of change in public policies and education programs to meet the challenges of AIDS. The objective of this study were to identity Knowledge, Attitude, Experience of Sex and AIDS in Korea. The data were collected by survey at Korean Federation for AIDS Affairs, INC. and J university, K junior college. After October in 1993, surveyed with 507 student during their's college days in Seoul. The questionnaire was designed to provide information on sex and AIDS-related knowledge and attitudes and experience. AIDS-related knowledge was measured by using 26 questions on mode of transmission and AIDS-related attitudes were measured by 7 questions, AIDS-related experience was measured by 5 questions. There were the main dependent variables in our study, In conclusion, students during their university day need to develop AIDS-preventive education programs. Clearly, the many AIDS-prevention educational effort need to be guided by well trained health agents. Financial supports from all sectors (i.e., public and private) of our society are required to achieve that end. Further researches on AIDS-related Knowledge and Attitude and behaviors of undergraduates are needed for the development of comprehensive AIDS prevention programs.