• 한국산학기술학회논문지
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• 제15권4호
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• pp.2349-2354
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• 2014

스마트폰 가입자의 지속적인 증가로 인하여 SMART강국으로 도약하고 있으며, 정부 및 대기업에서도 혁명적인 변화가 몰고 있다. 또한 국내뿐만 아니라 국외에서도 스마트폰, 태블릿 PC, 전자북등 다양한 스마트기기가 생산되고 있으며 발전하고 있다. Portable성과 편의성이 강조된 스마트 폰은 기존의 휴대폰처럼 단순 통화, SMS, MMS 기능만이 아닌 언제 어디서나 사람들과 의사소통, 다양한 콘텐츠 제공으로 인한 취미, 여가생활을 제공하고 있다. 하지만 사용자 측면에서 PC의 웹 페이지를 모바일 페이지에 적용하게 되면 화면의 사이즈, 멀티미디어 콘텐츠(SWF, WMF, AVI, MOV)가 정상적으로 재생이 되지 않아 사용자 측면에서 많은 불편을 주고 있다. 따라서 본 논문에서는 스마트기기 환경에서 이차원 바코드인 QR Code를 활용하여 효율적인 모바일 콘텐츠 생성프로그램을 연구하였다. 또한 기존의 획일적인 디자인만 꾸밀 수 있는 QR Code Generator와 달리 사용자 측면에서 독창적인 QR Code 생성 시스템을 구현하였다.

• Molecules and Cells
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• 제45권3호
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• pp.158-167
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• 2022

Ubiquitin (Ub) is post-translationally modified by Ub itself or Ub-like proteins, phosphorylation, and acetylation, among others, which elicits a variety of Ub topologies and cellular functions. However, N-terminal (Nt) modifications of Ub remain unknown, except the linear head-to-tail ubiquitylation via Nt-Met. Here, using the yeast Saccharomyces cerevisiae and an Nt-arginylated Ub-specific antibody, we found that the detectable level of Ub undergoes Nt-Met excision, Nt-deamination, and Nt-arginylation. The resulting Nt-arginylated Ub and its conjugated proteins are upregulated in the stationary-growth phase or by oxidative stress. We further proved the existence of Nt-arginylated Ub in vivo and identified Nt-arginylated Ub-protein conjugates using stable isotope labeling by amino acids in cell culture (SILAC)-based tandem mass spectrometry. In silico structural modeling of Nt-arginylated Ub predicted that Nt-Arg flexibly protrudes from the surface of the Ub, thereby most likely providing a docking site for the factors that recognize it. Collectively, these results reveal unprecedented Nt-arginylated Ub and the pathway by which it is produced, which greatly expands the known complexity of the Ub code.

• 한국의류학회지
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• 제33권10호
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• pp.1530-1540
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• 2009

Life expectancy has increased and people are more concerned with keeping their 'youth'. Appearance is a competitive edge and people are caught up in a baby face fad that has expanded into a culture and beauty trend. This study examined the definitions and phrenological characteristics of a baby face and the causes of the baby face fad in a review of the baby face as a "sociocultural and beauty cultural code" based on literature, journals, previous papers, and Internet materials. Anatomically speaking, a "baby face" refers to a face that keeps the features of a child's face without aging signs. The baby face fad gained momentum due to the influences of the digital culture, the encouragement of the mass media, changes to the social structure, dietary improvements, new living styles, and an evolving aesthetic sense. The results reveal the sociocultural backgrounds behind the "baby face fad" settling down as a part of culture in addition to the phrenological characteristics of a baby face. It is also estimated that the baby face fad could affect the beauty culture and trends as a social phenomena.

• 디자인학연구
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• 제17권3호
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• pp.71-80
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• 2004

문화산업디자인은 미래 산업의 선진화를 이룩할 수 있는 핵심적인 계기와 수단은 물론, 다양한 역량으로 발전되어 새로운 가치변화를 촉진시키며 기업과 국가의 경쟁력을 극대화시키는 주요 요인이다. 따라서 이에 대한 새로운 패러다임 변화를 이해하고 구조적 특성을 재 조망하는 것은 매우 중요한 의미를 지닌다. 그러므로 문화산업디자인 정책 및 전략수립, 진단지표의 체계구성과 평가에 필요한 객관적인 자료를 확보하기 위해서는 기본이 되는 분류체계 구축이 선행적으로 이뤄져야 한다. 본 연구의 문화산업디자인 분류체계(CIDC)는 크게 3영역으로 구분하였고 각각 중, 소, 세 분류의 계층적 구조와 레이어 기호로 표기하였다. CIDC는 이 분야의 기초적인 언더데이터로서의 역할을 담당할 뿐만 아니라 연관 디자인 분야 분류체계와 비교를 통한 차별성과 연계성을 검색할 수 있도록 구성하였다.

• 공학교육연구
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• 제10권2호
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• pp.106-117
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• 2007

Recently there has arisen an increasing world-wide emphasis on teaching ethics within the engineering curriculum. Much of the teaching has relied on the use of an American model emphasizing autonomy and professional identification. This paper argues that this model is inadequate when engineering is seen in a global perspective, because different cultural values are dominant throughout the world, some of which stand in sharp contrast to traditional Western values based on the primacy of the individual. A new global engineering ethics thus needs to be constructed which takes into account a variety of different cultural values and local circumstances, but which is able to serve as a uniting ethical foundation for engineers throughout the world. The paper suggests that the development of a global code of engineering ethics would be a fruitful way to pursue such a strategy.

• International Journal of Costume and Fashion
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• 제14권2호
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• pp.33-50
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• 2014

Investigations on the symbolic role, spiritual health benefits and efficacy of the clothing items of the Ga wolomo (chief priest) have received little attention. Highlighting the relevance of these clothes, this paper focuses on the chief priest's dress code for his appointment, confinement, ordination, ceremonial and daily life activities. Data were collected through content analysis, participant observation and interviews with people from selected Ga communities, such as La, Teshie and Ga Mashie. The findings revealed that the selection of the chief priest is confirmed with a special clothing item. His traditional clothes and adornment also have meanings, importance and symbolic interpretations; explained in their uses, colour and style. As the spiritual head, the role of the chief priest's costume is very distinguished and symbolic in executing his duties; protecting, strengthening faith, confidence and assurance during spiritual healing, and when solving pertinent problems in the community. The paper concludes by recommending further research and documentation on other aspects of the Ga clothing culture, such as hand items and hair styles from the pre-colonial period to the present.

• 복식
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• 제54권2호
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• 복식문화연구
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• 제18권4호
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• pp.626-639
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• 2010

The club culture is not something unified. Rather, it is a group of subcultures which share intertwined areas. And it keeps its own dress code, dance style, music genre along with series of authoritarian and unlawful rituals. For young adults, a club is a new cultural space to enjoy in reasonable price and they can express themselves without thinking much about others. A club creates its unique mass culture by producing continuously changing and experimental fashion styles. As the club culture’s influence becomes powerful, the club market was established and experimental fashion styles are wide spread among general public, young adults who try to express their unique characters and even fashion-leading industry. The study results are as follows. First, dance club and its derivative, rave is symbolic axles and the center of social activity. They are also defined as culture which is related to specific space that continues to present and change sound and style. Second, the definition of clubber in a dictionary is club member or a person who is united with others. Third, based upon clubbers' fashion styles in Hongdae and Kang-nam areas, there are 5 different images including sexy casual, lingerie, dynamic, chic style and feminine style. Fourth, based upon case study above, to take unique life style of fashionista that leads fashion with trendy fashion style into account, we suggested five designs which are unique, sensitive and trendy. Fifth, through analyzing clubber generation and design factors of clubbers' fashion style combined with various trend, unique brand was developed to meet the demands of clubbers who want differentiated images and leading styles.

• 복식문화연구
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• 제7권5호
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• pp.33-45
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• 1999

Examine the dress which the Emperor actually wore in Gun-ryung 42nd year of Ching dynasty, comparison of 《Cheong-hoi-jeon-do》 with the Emperors year-round dress in Gun-ryung the 41st year was made and summarize the result as follows. It was used almost similar to the code of 《Cheong-hoi-jeon-do》. Though the materials and colors were more diverse than those of the previous year, it seems that actual use of material was plain under the influence of mourning. All the materials for summer hat were rattans. And velvet was the material for the patrol hat, but actually used before they change to summer material after fur use was over according to the season, which can be said as more reasonable use than the code. Materials of coat were more diverse than the precious year and also they put on ko-hemp cloth which was not found in the previous year. This can be understood that they expressed their guilt-consciousness to the dead as dress material by wearing ko-hemp cloth during the summer after periiod of mourning was over. And they put on the ko-hemp, the Emperors ordinary dress, much longer time than the previous year and this seems to be coherent to the meaning of wearing ko-hemp cloth. They followed the Emperor\`s Jo-bok1 one for the Kae-bok which were not systematized and Jae-dae used Jo-dae2 as the Emperor\`s Jae-bok in 42nd year. This was the same as the Jae-bok code of the previous year. Jo-ju did not follow the code of 《Cheong-hoi-jeon-do》, but made a wide variety. For the belt, the same as 41st year, it marked the gem decoration style on the Jae-bok belt as a square type and mourning dress by using the round type. The Emperors dress in 41nd year showed one side of the patrol clothes by the patrol of San-dong. On the contrary, it was also the chance to see one side of funeral garments in 42nd year. In Gun-ryung 42nd year, the Emperor put on the funeral garments for hundred days. Accordingly even in parts, we can see that the Emperor wore two kinds of dress for hundred days, that is, color dress and white dress and white dress. While on duty, in other words, everyday dress was only blue color and also the same color for the belt and shoes. But didn\`t put on Jo-ju. When they were in mourning, they wore white dress and belt as a funeral garments, which were called Hyo-bok, Hyo-bok.

• Communications for Statistical Applications and Methods
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• 제19권5호
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• pp.731-741
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• 2012

The Korean film industry has grown fast since the 2000s in terms of entering the 50% market share level, the emergence of 10million box-office movies and export performance improvement; however, the earning rate of production and investment part has decreased and recorded a minus value since 2005. This article aims to find key the determinants for the success of Korean movies from 2001~2006, a period of high growth and success of the Korean film industry through a multiple regression analysis. This paper introduces new determinants such as the interaction effect of the director and lead actor as well as mass culture codes. Finally, the authors suggest some proposals to make the Korean Film Industry more profitable.