• Journal of architectural history
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• v.24 no.1
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• pp.17-28
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• 2015

This study aims to research the Kisho Kurokawa's architectural concepts and expressions that are comprised of various and complex theories system for Korean's globalization of architecture. Kurokawa's architectural concepts are composed by Metabolism, Metamorphosis and Symbiosis. And intermediate zone, ambiguity, multivalence are theories that work as media in changing process levels to three main concepts and these are used as media of Metamorphosis which embody Symbiosis. Metabolism include concepts of Metamorphosis and Symbiosis. Symbiosis is comprise of concepts of Metabolism and Metamorphosis, and is a ultimate goal of these three main concepts. Metamorphosis works as a medium in changing process levels from Metabolism to Symbiosis. The architectural expressions are embodied according to these main three concepts and theories of media in changing process levels. And these architectural expressions are analyzed by three elements as follows: form, material & color, structure & technique.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.1
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• pp.827-836
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• 2015

This study aims to research the Kisho Kurokawa's architectural concepts, that are comprised of complex theories system, for globalization of Korea. Kurokawa's architectural concepts are composed by Metabolism, Metamorphosis and Symbiosis. And intermediate zone, ambiguity, multivalence are theories that work as media in changing process levels to three main concepts and these are used as media of Metamorphosis which embody Symbiosis. Metabolism include concepts of Metamorphosis and Symbiosis. Symbiosis is comprise of concepts of Metabolism and Metamorphosis, and is a ultimate goal of these three main concepts. Metamorphosis works as a medium in changing process levels from Metabolism to Symbiosis.

• Transactions of Materials Processing
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• v.28 no.2
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• pp.83-88
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• 2019

This paper introduces a new concept - on-line FE model, as applied to metal rolling. The new technology allows for completion of process simulation within a tiny fraction of a second without loss of high-level prediction accuracy inherent to FEM. The three steps of an on-line FE model design namely, process metamorphosis, mesh design, and process variable design, are described in detail. The procedure is demonstrated step by step through designing actual on-line models for the prediction of the dog-bone profile in edge rolling. The validity and prediction accuracy of the on-line FE models are analyzed and discussed.

• Journal of Digital Contents Society
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• v.8 no.4
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• pp.563-571
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• 2007

The meaning of 'Metamorphosis' is transformation or disguise. It also means the process of modification from 'Image A' to 'Image B'. 'Metamorphosis' which has derived from many race's myth shows the various field of 'Literature', 'Music' and 'Art'. Through the development of cinematography, the still image in 'Film' and 'Animation' could be combined with time and the process of 'Metamorphosis' has been observed. Specially individual and fantastic forms in animation have created by many animators, because every factor of individual image in animation could be transformed and modified. And 'Metamorphosis' shows the sector of metaphor which is based on narration and the functional scene conversion in animation. 'Metamorphosis' which includes magical and fantastic character also provides the hilarious effect and the special film language to us.

• Journal of Korean Elementary Science Education
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• v.24 no.2
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• pp.130-137
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• 2005

Elementary preservice teachers' understanding about the insect molt and metamorphosis was examined. Data were collected through the paper-pencil test of 448 junior students at a National University of Education. The instrument used was developed by Son(2003) and modified for the test. The results are as follows: First, Only 3.1$\%$ of students had a scientific concept on the molt periods in the insect life cycle. Students had an alternative conception that molt occurs either only in the larval period (29.9$\%$) or only in the period from pupa to adult (22.3$\%$). The percentage of the students thinking that molt occurs in the period from larva to pupa was low. Second, 98$\%$ of students stated that molt has to do with the larval growth, but 39.1$\%$ of students had an alternative conception that molt occurs after the larval growth at each instar. 25.1$\%$ had a conception that molt is related with the larval growth, but did not show any further understanding. Third, most students understood the correct meaning of metamorphosis. 34..2$\%$ of students had an alternative conception that metamorphosis occurs only in the period changing from pupa to adult, and only a few thought that it occurs in the period from larva to pupa. 24.8$\%$ of students had a scientific concept on the periods in which metamorphosis occurs. Fourth, some students understood the hatching process as molt in the sense that the egg shell is taken off (21.0$\%$), and as metamorphosis in terms of the appearance change from egg to larva (25.0$\%$). Fifth, 35.5$\%$ of students selected bees as an insect of incomplete metamorphosis, and 35.3$\%$ responded 'I have no idea', showing that they had poor understanding about the insect life cycle.

• Transactions of Materials Processing
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• v.28 no.2
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• pp.89-97
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• 2019

In this paper, we examine the application of a new concept - on-line FE model in various metal rolling processes. This technology allows for completion of process simulation within a tiny fraction of a second without losing the high level of prediction accuracy inherent to FEM. The procedure is systematically demonstrated through the design of actual on-line models for the prediction of the width spread in horizontal rolling of the slab using a dog bone profile and horizontal rolling of the strip with a strip profile. The validity and the prediction accuracy of the on-line FE models were analyzed and discussed.

• International Journal of Contents
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• v.3 no.4
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• pp.15-21
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• 2007

Image morphing deals with the metamorphosis of one image into another. The field morphing depends on the manual work for most of the process, where a user has to designate the control lines. It takes time and requires skills to have fine quality results. It is an object of this paper to propose a method capable of realizing the semi-automation of field morphing using adaptive vertex correspondence based on image segmentation. The adaptive vertex correspondence process efficiently generates a pair of control lines by adaptively selecting reference partial contours based on the number of vertices that are included in the partial contour of the source morphing object and in the partial contour of the destination morphing object, in the pair of the partial contour designated by external control points through user input. The proposed method generates visually fluid morphs and warps with an easy-to-use interface. According to the proposed method, a user can shorten the time to set control lines and even an unskilled user can obtain natural morphing results as he or she designates a small number of external control points.

• The Korean Journal of Zoology
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• v.18 no.2
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• pp.51-60
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• 1975

The present study was performed histologically and histochemically to observe the cutaneous mucous glands in the frog, Rana nigromaculata during metamorphosis. The cutaneous thssues including dermal plicae in the dorsal portions of the frog tadpoles at each metamorphosis stage were fixed in 10% buffered formalin at$4^{\circ}C$, embedded in paraffin wax, sectioned 4 $\mu$m thickness and stained with periodic acid-Schiff(PAS) and alcian blue (AB) at both pH 2.5 and pH 1.0. The results of observation were as follows: 1. The developments of cutaneous mucous glands of the frog tadpole were begun with appearance of gland cell nest in the dermis at metamorphosis XV stage and significant numerical increases could be seen at metamorphosis XX, XXIII and XXIV stages. 2. This cutaneous mucous gland of the frog tadpole could be divided into two types; A-type glands showed strong positivities to both PAS and AB at pH 2.5 in the gland body cells and to PAS in the gland neck cells, and B-type glands at AB pH 2.5 in the gland body cells. 3. In the A-type mucous glands, the reactivities of the glandular epithelial cells to both PAS and AB stain could be first seen at the metamorphosis XIX stage of frog tadpole. The reactivities of the glandular epithelial cells to both PAS and AB pH 2.5 were gradually increased according to the process of metamorphosis after XX stage of metamorphosis. 4. The B-type mucous glands were first seen at the XX stage and the reactivity of the glandular epithelial cells to AB at pH 2.5 was gradually increased according to the process of metamorphosis after XX stage. 5. The A-type and the B-type mucous glands were in the ratio of 99 : 1, 7 : 3 and 5.5 : 4.5 for each of metamorphosis XX, XXI-XXII and XXIII-XXV stages. 6. The remarkable development of the cutaneous mucous glands of the frog tadpoles might be needed to maintain water and electrolyte balances according to the change of way from aquatic life to amphibious.

• The Journal of the Korea Contents Association
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• v.15 no.6
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• pp.168-178
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• 2015

This article analysis the aesthetics of metal-body of (1989) and its metamorphosis of dehumanization through visual desires expressed by body images. This paper suggests theoretical analysis based on aesthetic views to understand the underlying meanings. The research categorizes three types of images; surreal image, grotesque image and eros image from the metamorphosis of dehumanization and transformation throughout the film. As the surreal image, the metamorphic process of transformation, demolition, derangement, illusion, and human desire continues to reflect the evil side of a human in everyday life. It also visualizes the images of exaggeration through weakness and bizarre side of metal-body. The grotesque image of body metamorphosis displays and symbolizes double-sides of bizarre and weak side of human in the everyday environment when malformation reaches its peak when Tetsuo finally shows his transforming figure. Finally, the eros image is analogized as a man's inner self and self-destruction in surreal world and a grotesque figure when overwhelming desire of transforming into rebirth of a perfect metal-body, Tetsuo. The surreal image, grotesque image, and eros image portraits human desires inner and outer-self into visualized image and that represents the means of excessive desire for dreaming of world domination with merging non-organic medium of metal and organic body to create a perfect body-image.

• Journal of the Korean Home Economics Association
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• v.50 no.7
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• pp.67-79
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• 2012

This study analyzed the characteristics of morphing in fashion design through the documentaries on morphing and fashion. The characteristics of morphing in fine art, media, and design area were categorized as reversible metamorphosis, sequential dissolve and blurring of interpolation boundaries. The results were as follow in fashion design. Reversible metamorphosis showed an automatic silhouette transformation by remote control, the metamorphosis of folding method by wearer's own movements and the automatic silhouette transformation by the air pressurizing method. It represented the thoughts of omnipotence as in the feeling of the magical world, the human desire for control in life, the rationalization of magical thinking and imaginative power, the creation of a new dress space and the extension of dress function. Sequential dissolve showed juxtaposition in the same area by the time order, juxtaposition in virtual space through the computer graphics, the series of fashion photography by steel cut of the dress making process and the blending of digital film and fashion design. It represented the approach for the storytelling of fashion show, implication of creative fashion design process and the creation of organic forms and the feeling of fantasy through artificial technology. The blurring of interpolation boundary showed an overlay of different fabrics with transparent boundaries, an overlay of different patterns with transparent boundaries and the blending of fabrics through the visual mixing of color. It represented the obfuscation of the object, the connotation of the space order, the connotation of the extensive and various meanings and the integrative property of objects.