• Science of Emotion and Sensibility
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• v.22 no.2
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• pp.37-48
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• 2019

Current research explores the effect of language on the perception of facial emotion as suggested by the psychological construction theory of emotion by using a psychophysical method. In this study, we hypothesize that the perception of facial expression may be influenced if the observer is shown an affective word before he/she judges an expression. Moreover, we suggest that his/her understanding of a facial emotion will be in line with the conceptual context that the word denotes. During the two experiments conducted for this project, a control stimulus or words representing either angry or happy emotions were briefly presented to participants before they were shown a target face. These target faces were randomly selected from seven faces that were gradually morphed to show neutral to angry (in Experiment 1) and neutral to happy (in Experiment 2) expressions. The participants were asked to perform a two-alternative forced choice (2AFC) task to judge the emotion of the target face (i.e., decide whether it is angry or neutral, or happy or neutral). The results of Experiment 1 (when compared with the control condition) showed that words denoting anger decreased the point of subjective equality (PSE) for judging the emotion of the target as anger, whereas words denoting happiness increased the PSE. Experiment 2, in which participants had to judge expressions on a scale from happy to neutral, produced a contrasting pattern of results. The outcomes of this study support the claim of the psychological construction theory of emotion that the perception of facial emotion is an active construction process that may be influenced by information (such as affective words) that provide conceptual context.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.6
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• pp.332-341
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• 2019

This study is a descriptive survey study to investigate the quality of sleep and to compare the factors relating quality of sleep in the young-old people and the old-old people. The subjects of the study were 200 elderly people who live in the G-region applying convenient expression method. Using a structured questionnaire, sociodemographic characteristics, lifestyle and health-related characteristics, depression, and quality of sleep were examined. We analyzed ${\chi}^2-test$, t-test, ANOVA(scheffe's test), Pearson's correlation coefficient and multiple regression using IBM SPSS WIN/21.0. The results of the study were as follows. The quality of sleep was significantly worse in the old-old people than in the young-old people. In young-old people, only depression (r=-.22, p=.038) showed a significant negative correlation with sleep quality. Old-old people was a significant negative correlation between sleep quality and depression (r=-.19, p=.045) and subjective health status (r=-.29, p=.002). In the young-old people, job, chronic illness, and economic level were significant influencing factors in the quality of sleep. In the old-old people, chronic disease, subjective health status, and smoking were significant influencing factors. The results of this study can be used as basic data for establishing tailored strategy for ages that can improve health of the elderly.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.131-138
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• 2019

The film enters the color film from black and white, and the screen image changes qualitatively. The color in the film not only has the reproduction function of the restoration object like the objective appearance, but also has the function of conveying different subjective emotions. It can express the color and can't express it. The artistic effect conveys the information content that the story itself can't convey, so the color of the film becomes an important part of the film language. The color in the film is presented on the screen in the form of single-screen color, scene color, full-color color tone, and various color chains designed according to different contradictions and conflicts. Because the film art and art means are assembled by montage, he colors in the picture also form a montage form. People call it "color montage". People's subjective nature of color criticism and acceptance of color language also depend on various local tones. The accurate expression of the relationship, the unique attribute of color determines that the color must enter the structural state in order to express its unique charm. The color of the film only has the real aesthetic value when it enters the level of "color structure". This paper studies the color of Chinese and Western films from the differences between the color thinking of Chinese and Western film directors and the cultural implication of Chinese and Western film colors. The western film director emphasizes the structure of color and pays attention to the use of tonal montage to convey the characters. Emotions reflect the characteristics of a subjective color. Beginning with the "fifth-generation" director of Chinese film, the new journey of film color language has been opened. In the process of blending love and scenery, the film style of "image-in-one" has been achieved.

• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.806-821
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• 2000

Each and everything named fashion together with clothes were limited in the boundary of women and men's wear has been slow and narrow in changing speed compared to women's, even there are some differences in accordance time. But maintaining the basic features, men's wear in the latter 20th century has undergone diverse change in the part of materials such as various synthetic fiber, glass, metal, artificial leather and the see-through fabric able to seeing the body wearing the clothes. Therefore, the aim and definition of this study is to present the systematic framework giving help to develop men's wear design newer and more various by considering moulding of materials which existing men's wear could not show up and by grasping material trend of men's clothes in 1990s. The results of the study were summarized as follows : (1) Material containing lustering is categorized as Velvet, Silk, Lustering materials by synthetic fiber and Lustering materials by additional substance. The Velvet generally acknowledged having something to feel womanly image shows the bisexual character coexisting feature of men and women after grafting with men'fashion. The Silk was endowed the role as means of pleasure to express beyond boundary of sex breaking the existing consciousness which men should wear male clothes, not considering differences between men and women. The lustering made by synthetic fiber expressed modern sensitivity aesthetically to the suit. The lustering materials made by additional substance is seen mixed masculine character with womanly character. (2) See-through materials are acknowledged as decadence beauty caused by expanding subjective awareness in beauty. (3) Materials by the sorts of Net is categorized as Lace, Knit The Lace expression seemed to emphases the human liberation of men and women and the humanity from liberation of subjecthood. The Knit can be felt both woman's image and man's image as bisexual image, not raising only one side sex. (4) Elastic materials offered the opportunity to approve exposure in a time when exposure of men's body was not granted ethically. (5) Leather was shown as indication of social status and inferiority and expression of collective resistance against sexual stagnation of men and women.

• Fashion & Textile Research Journal
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• v.16 no.1
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• pp.128-136
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• 2014

The virtual try-on technologies of the current level have limitations with material expression as well as some difficulties with commercialization. There are differences in simulation results and subjective evaluations perceived by consumers according to the types and physical characteristics of materials used in virtual try-on simulations. This study were to analyze the exterior clothing shapes and visual images from 3D virtual try-on simulations with materials whose drapability was differentiated and then test the accuracy of the expression of the drapability of the materials. The study carried out 3D virtual try-on simulations by selecting flared skirts as an item to best express differences in drapability along with five materials of different physical properties and offered some basic data for greater utilization of virtual try-on simulations by comparing and analyzing them with the exterior shapes and visual images of actual flared skirts. The analysis results of hemline shapes between actual and virtual try-on according to the types of materials showed no match among the quantitative items of exterior shapes factors. There were no significant differences in the visual images except for "soft" according to the simulation methods, which means that the items can serve as part of a scale for visual image comparison. It is necessary to reflect quantitative numbers regarding "drapability" proposed in the study simulation software and to continue to build a systematic database for virtual simulations by investigating and testing various materials.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.25 no.3
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• pp.101-118
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• 2014

Given the context of rapid developing ubiquitous computing environment, it is imperative for users to search and use images based on affective meanings. However, it has been difficult to index affective meanings of image since emotions of image are substantially subjective and highly abstract. In addition, utilizing low level features of image for indexing affective meanings of image has been limited for high level concepts of image. To facilitate the access points of affective meanings of image, this study aims to utilize user-provided responses of images. For a data set, emotional words are collected and cleaned from twenty participants with a set of fifteen images, three images for each of basic emotions, love, sad, fear, anger, and happy. A total of 399 unique emotion words are revealed and 1,093 times appeared in this data set. Through co-word analysis and network analysis of emotional words from users' responses, this study demonstrates expanded word sets for five basic emotions. The expanded word sets are characterized with adjective expression and action/behavior expression.

• Fashion & Textile Research Journal
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• v.10 no.6
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• pp.848-856
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• 2008

In today's world where a preference for prestigious brands prevails, it's essential to have creative design conceptions rather than try simple mimicking or following in order to be recognized for creative and objective design works. In that sense, the development of clothes design using construction lines offers a great approach towards the ideas of reinterpreting and creating new designs since it creates new forms by understanding lines as signs of conception and transforming them. That approach allows a designer to improve his or her imagination, creativity and expression in a freer and richer manner, think of many original ideas through diverse changing processes, and develop the skill to visualize the ideas by incorporating geometric forms of abstract lines into clothes. When approaching the conception of clothes design from the standpoint of construction lines, you need to adopt more specific and systematic design methods instead of vague imagination to introduce simple facts or theories to a new design process. That's one of the ways you can approach clothes design easily and enhance your conception skills. The process of clothes design according to the conception of construction lines is composed of the following stages; the preparation stage involves an understanding of the principles and the entire process of clothes design conception based on construction lines; the idea stage requires a designer to make free alterations of the given basic construction lines by moving and replacing the lines and sides in diverse ways; in the creation and expression stage, the designer uses the newly reconstructed construction lines to create clothes design; and in the evaluation stage, the designer makes a presentation of his or her subjective design works and has his or her works assessed and tested in an objective fashion. In today's modern society that demands new and original globalized design, the results of the study will help to invigorate the development of new fashion design in a more systematic and practical manner by suggesting a feasible and gradual educational program for the development of design based on the technique of construction lines.

• The Research Journal of the Costume Culture
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• v.30 no.2
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• pp.262-280
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• 2022

The purpose of this study is to analyze the organic forms, expressions, and characteristics of Alexander McQueen's fashion design and to present various materials for understanding and utilizing this organic design style. The criteria for organic design expressions and characteristics were classified through a literature review, and the organic design characteristics of Alexander McQueen's fashion were then analyzed. The results are as follows: First, the morphological characteristics of nature's forms are used as objects in Alexander McQueen's fashions to represent organic characteristics. Second, abstraction through the application of organic forms means creating an abstract representation of the object being represented. Abstracting organic forms occurs by partially modifying the structural features of the human body to show characteristics or by visualizing these characteristics within the surface of the natural object. Third, continuity through the expression of the formation process of organisms is characteristic of the expression of the gradual growth of organisms; this reinterpretation is based on the concept that the internal elements of natural objects affect their external forms. Fourth, the structure of using natural materials, as well as regional and cultural characteristics, is shown in the designs through use of the physical characteristics of expressions and materials that use natural elements. Fifth, symbolism through subjective thinking implies that the element of nature that an object expresses is the element that appears in nature; this includes created organisms along with environmental factors. These characteristics are best demonstrated in fashion designs that express themselves through creativity.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.121-130
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• 2006

Superimposition is a transforming technique that can facilitate the creation. Superimposition in previous studies, however, has only been fragmentary described as an expression technique, so the studies have not been conducted on the basis of its aesthetic value. The purpose of this study is to investigate how superimposition is applied and expressed in terms of forms of modern fashion based on multi-dimensional features of design processing. The codes of togetherness, ambivalence, sense of space and tension in dress were determined by using the expressional Superimposition. The forms of superimposition were limited to superimposition of clothing, superimposition of body and clothing and superimposition of body and Phenomenal body. This study found that superimposition has developed, in fashion forms/types, a new 'form' by overlapping various forms and thus provides a visual shock and a sense of mystery by using mismatched and arbitrary properties among the forms. Such a superimposition influences a methodology of fashion design through a designer's subjective tendencies, as well as influences a change in the view of the world. Also, a superimposition is expected to have a definite influence on new fashion trends.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.9_10
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• pp.1342-1351
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• 2007

Using a data set drawn from 1419 college students, this study analyzes what implications clothing or fashion has on self-expression or image management in Korean society and who are more likely to use fashion as a image management tool in the process of interacting with others. Employing Pierre Bourdieu's concept of capital, we discuss three theories concerning correspondence between class and fashion: the theory focusing on economic capital in emphasizing the correspondence; the theory focusing on cultural capital in emphasizing the correspondence and the theory emphasizing relationships between fashion and other factors rather than class. Based on the theoretical examination, we select independent variables that can be grouped into status/class variables, or economic capital variables(such as subjective status, income, father's education, father's occupation) and socio-cultural variables, or cultural capital variables(such as possession of cultural capital, desire for upward mobility). Upon regressing strategic use of fashion on independent variables, we find that both status/class variables and socio-cultural variables are statistically significant in explaining the strategic mobilization of fashion for one's image production or social success. It shows that class as a form of economic capital has important effects on the strategic use of fashion, and cultural capital also has effects independent of economic capital.