• KEPCO Journal on Electric Power and Energy
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• v.2 no.3
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• pp.391-395
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• 2016

In the last few decades, global electricity consumption has dramatically increased and has become drastically fluctuating and uncertain causing blackout. Due to the unexpected peak electricity demand, we need significant electricity supply. The solutions to these problems are smart grid system which is envisioned as future power system. Smart grid system can reduce electricity peak demand and induce effective electricity consumption through various price policies, demand response (DR) control methodologies, and state-of-the-art smart equipments in order to optimize electricity resource usage in an intelligent fashion. Demand response (DR) is one of the key technologies to enable smart grid. In this paper, we propose greedy technique for demand response smart grid system. The proposed scheme focuses on minimizing electricity bills, preventing system blackout and sacrificing user convenience.

• The Research Journal of the Costume Culture
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• v.31 no.6
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• pp.793-805
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• 2023

This study analyzes the body shapes of lower-body obese female adolescents and proposes a slacks pattern suitable for their body type. Lower-body obesity is a prevalent type of teenage obesity, and our proposals aim to improve consumer satisfaction in ready-to-wear clothes across this demographic. We first observe characteristics of obese lower bodies, noting significantly above-average thigh and hip circumference. These figures indicate a high degree of curvature in obese lower bodies, along with a large drop value. Leveraging this data, we develop a novel slacks pattern using 3D avatars in a virtual simulation system. The formulas for the main areas of the pattern are as follows: front waist girth W/4+0.75cm+0.5cm, back waist girth W/4+0.5cm-0.5cm, front hip girth H/4+1.25cm-0.5cm, back hip girth H/4+2cm+0.5cm, front crotch extension H/16+0.5cm, back crotch extension H/8+1cm. Results from appearance evaluations show that this pattern minimizes strain rate on the waist and hips, and its average score is significantly higher than that of an alternative pattern that was also evaluated. The minimized strain rate and high average score indicate that our pattern assigns a sufficient amount of space to the appropriate areas. Based on these results, we expect our research to inform slacks pattern development and production for obese consumers of all types.

• Journal of the Korea Convergence Society
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• v.12 no.3
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• pp.341-350
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• 2021

This study focused on the orientation of makeup education, considering the characteristics of the makeup sector. For this, the academic categories and properties of makeup in the theoretical areas of makeup education were analyzed. The practical fields of makeup techniques were divided into five different areas, and their characteristics and core competencies were analyzed. Then, the study results were verified through an in-depth interview. The results found the following: The academic categories of makeup are correlated with various fields such as art, technique, design, public health, science, medicine, and humanities. Analysis on the five different fields was mostly matched in practices. However, core competencies revealed a big difference in stage performances and fashion shows. Overall, basic beauty makeup, basic stage makeup, and basic media makeup techniques were found in terms of the core competencies. In particular, there was a high demand for hairstyling skills.

• The Research Journal of the Costume Culture
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• v.28 no.6
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• pp.771-786
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• 2020

This study aims to develop a life-friendly, wrap-one-piece style dance sports practice wear considering the physical characteristics of middle-aged, abdominally obese women. These types of practice wear allow people to enjoy exercise easily and to wear these garments as daily wear while meeting the requirements for dance sports wear. The three participants selected for this study were all women with five or more years of dance sports experience and were all average sized on Korea's abdominal obesity scale. In the first phase of the study, practice wear was created in a total of nine styles with three different styles of neckline depths for three different styles of dress skirt lengths. In the second phase of the study, the practice wear was created in 15 styles with five different styles of sleeve lengths for three different styles of waistline heights. After analyzing the design preferences of the participants, the fit preferences of the designs were evaluated and the final appearance was analyzed in order to suggest a pattern. The results of the subjects' first and second preference evaluations showed a preference for a 10 centimeter neckline depth, for high waistlines, and for elbow to wrist-length sleeves. The implementation of this research is expected to be extensive, as its results can be used as basic data for making lifestyle dance sports practice wear that covers the physical insecurities of middle-aged, abdominally obese women and enables them to enjoy their leisure time.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.26-39
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• 2012

This study intends to reconsider pleat, which was undermined as something too simple to express the details for women's costume, by focusing on the aesthetic value of plea in men's costumes in the west before the 20th century. Furthermore, based on the aesthetic value of the pleat, diverse studies on contemporary men's costumes shall help to attempt to set up a basis for the new mode of men's costume. The pleat, a component in the costume since the ancient times, had unique characteristics including functionality, a sense of volume, directing effect that is caused by line repetitions and formativeness that results through elasticity. First, the aesthetics of the pleat before the 20th century shows rhythmic sense through the repetition of the pleat line as shown in the drape type costume, and it also shows a sense of volume as the pleat is moved along the motion of the body. Second, it shows functionality as the expansion of space moves in accordance with the motion of body sets up an internal space of the costume that facilitates body motion. Third, the pleat extends two dimension space into three dimension space using its elasticity. It exaggerates specific parts of the costume while ignoring body shape in order to symbolize status and authority of men. Fourth, it unifies the costume by wrapping the body by using quadrangle cloths with drapers, and expanding the silhouette with the pleat artificially to conceal the physical character and personality of the wearer. The physical character of the wearer disappears into the space made by the pleat. The pleat reveals the voluptuous beauty within.

• Journal of Convergence for Information Technology
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• v.7 no.4
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• pp.121-127
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• 2017

In 2013, Baz Luhrmann's movie re-made Fitzgerald's novel, "The Great Gatsby". In Novel, readers keep trace of the plot with their imagination, but in Movie , movie director comes together to create visual and auditory elements of it. Daisy Buchanan is a fashion icon, wearing Prada, Chanel, and Tiffany's jewelry, which reproduce the costume of Jazz Age, and make viewers well understand that of Jazz Age. Symbols like "Ash Valley", "Green light", "East Egg", "West Egg" are presented more directly in movie. Roaring parties held in Gatsby's great mansion was made by computer graphic, and its enormous scale also reflects the mental chaos and the material affluence in those age. Additionally, actors excellent show highlights the theme of the novel. With the adaptation of novel, the film finally achieves more appealing art in front of the public. This thesis investigates these more logistically with the materials of internet.

• Journal of KIISE
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• v.43 no.10
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• pp.1131-1143
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• 2016

How can we effectively compress big graphs composed of billions of edges? By concentrating non-zeros in the adjacency matrix through vertex rearrangement, we can compress big graphs more efficiently. Also, we can boost the performance of several graph mining algorithms such as PageRank. SlashBurn is a state-of-the-art vertex rearrangement method. It processes real-world graphs effectively by utilizing the power-law characteristic of the real-world networks. However, the original SlashBurn algorithm displays a noticeable slowdown for large-scale graphs, and cannot be used at all when graphs are too large to fit in a single machine since it is designed to run on a single machine. In this paper, we propose a distributed SlashBurn algorithm to overcome these limitations. Distributed SlashBurn processes big graphs much faster than the original SlashBurn algorithm does. In addition, it scales up well by performing the large-scale vertex rearrangement process in a distributed fashion. In our experiments using real-world big graphs, the proposed distributed SlashBurn algorithm was found to run more than 45 times faster than the single machine counterpart, and process graphs that are 16 times bigger compared to the original method.

• (The)Study of the Eastern Classic
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• no.55
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• pp.223-264
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• 2014

Yeoncheon Hong Seok-joo(淵泉 洪奭周: 1774-1842) faithfully followed a policy of restoration of literary style of king Jeongjo. He was an young vassal after 1794 and influenced by Jeongjo because Yeoncheon was around the king. Furthermore, he had comparatively favorable working period as a vassal(仕宦期, 1795-1836) after death of Jeongjo(1800) while establishing his own academic viewpoint. Therefore, a study about art theory of Yeoncheon Hong Seok-joo is one about logical system to accept various desires for change of then while not getting rid of scope of Neo-Confucianism after Jeongjo. It is catched that exchange of Hong Seok-joo and Jeong Yak-yong was made relating to study of Sangseo. Hong Seok-joo and Jeong Yak-yong absorbed in study of Sangseo, which is come from putting importance on 6 scriptures (經) among studies of scriptures by both of them. Through this, they aimed to re-discover ideology of original Confucian studies as one for cultivating oneself and governing people (修己治人之學). Dasan and Yeoncheon have something in common that they were young vassals who were cultivated as a guarding power for Jeongjo centered on Gyujanggak. They were largely fit to view of literature(文體觀) of Jeongjo. Hong Seok-joo distinguished function of prose(文) and poetry(詩) into teaching moral(明敎) and moving people(感人) in the category of Mun-yi-jae-do(文以載道) based on thoughts of 'literature is linguistic device for Taoism '(道本文末)' which is a core concept of literature theory based on Neo-Confucianism. He gave a careful attention on instructional and social function in prose while on emotional understanding that puts importance on temper and the secrets of nature in poetry. Hong Seok-joo regarded moral impression and edification through this as a core of artistic creation based on Segyoseol(世敎說). Furthermore, expressions such as 'Heunggwangunwon(興觀群怨)' or 'Yeohangguyo(閭巷謳謠) which are mentioned as important elements in his artistic works put importance on actual existence of objective things in artistic activity and this is connected to an attitude to require description fit to fact. So, it is assumed that such expression style aimed for features of genre painting in painting arts. Understanding of the study of ancient documents by Yeoncheon developed from critical perspective. He criticized the study of ancient documents, saying it as first, Pasoijisul(破碎之術), second, Dotaekjisul(塗澤之術), third, Hoimojisul(毁侮之術). Jeong Yak-yong criticized ' theory on the Odes' from viewpoint of theory of Mun-yi-jae-do(文以載道) based on Neo-Confucianism. He stressed political and social function of Sipeon and general poetry in "the Odes" and reinterprets discourses about poetry of Zhu Xi based on his own opinion. He says that poems of national fashion do political and social criticism. The theory of national fashion by Jeong Yak-yong clearly discloses his thoughts that stress practical role of noblemen in the social and political context.

• Journal of Science of Art and Design
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• v.7
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• Cartoon and Animation Studies
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• s.37
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• pp.361-392
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• 2014

Regarding works that express objects realistically in painting, Gustave Courbet advocated realism in the mid-19th century, France, resisting the then academist style of painting, and works in realist style were produced in earnest by painters such as H. Daumier or Jean F. Millet, who went along with him. Later, realism has expanded into the realm of general literature, including fine art, which has had profound impacts on works of art and literary works. In comics, too, in the same historical context as a form of painting, realistic comics began to be produced by painters or cartoonists at the time. These realism comics are those dealing with stories based on facts, and in terms of contents, objective description and representation of the social realities of the times is one of the most important objectives, but it could not be concluded that in their visual aspect, that is, that of expressing the objects, they were realistic. In the meantime, a graphic novel was born, which was the intermediate form between comics and novels around the United States and Europe since the 1980s. Graphic novels appeared in forms and styles with strong literary and artistic values in the comics market in the U.S. which was full of the superhero genre (comics around heroes), and their major characteristics are very realistic expressions in terms of contents and visual aspect. They are complex and delicate and even have artistic, literary values as if readers read a fiction or literary work of which its narrative structures or pictures are produced with graphics. The characteristics of realistic expressions shown in graphic novels are very different from the previous works of comics. It is noteworthy that they began to be acknowledged as works of art like painting or illustration, thanks to their features of strongly individual auteurist painting style, a fairly high degree of completion of the works, and creative and experimental expression techniques or methods, instead of following the fashion of the times. In recent years, in South Korea, Hollywood blockbuster films have been released one after another and become box office hits, there are increasing interest and demand for the original graphic novels. Accordingly, many original graphic novels have been translated and started to be sold, and keeping pace with this global flow of fashion, some writers in Korea began to produce works of graphic novels. However, to look into the domestic works produced claiming to be graphic novels, there are various opinions on their format and authenticity. In this sense, this study focused on Ga-ya Kwon's Namhansanseong, one the representative works of Korean style graphic novels, and in particular, it attempted to analyze their characteristics and commonalities focusing on the visual aspect of realistic expressions of objects. It is expected that there would be an opportunity to seek for ways so that Korean style graphic novel can be further developed as a genre of comics, with competitiveness by looking back on the identity and present state of domestic graphic novels and developing and applying Korea's original subject matters differentiated from those of graphic novels in the U.S., Europe or Japan through this study. In addition, it is desired that they will be a new energizer for the stagnant domestic comics market.