• Human Ecology Research
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• v.52 no.1
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• pp.33-42
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• 2014

The purpose of this study is to analyze the internal meanings of dolls and dolls' images expressed in modern fashion show. Dolls are used as sacred object, decoration object, playing object, personified object or cherished object. The expression types of doll image in modern fashion are as following; substitutes of multi-ego, object of sexual desire, objectified creature, and medium of transcending fantasy. First, dolls image as substitutes of multi-ego had been expressed in magical expression, disgusting mask, transparent mannequin, expressionless, horror, conflict, loss of identity, exaggeration or escapism. Second, as object of sexual desire, dolls image are expressed as naked baby, ambiguous expression, naked body, voluminous body, emphasized specific bodypart, heavy makeup or wax doll of sexy actresses. Third, as objectified creature, dolls are human body in passive form. Human bodies are disassembled and reassembled as dolls. Such dolls reflect serious reality. They wrap up human like product and objectify it. Fourth, dolls image expressed as medium of transcending fantasy recollects youth age or expresses imagination on ambiguous virtual reality. Like this, dolls have value as creatures in various fields of modern fashion. Dolls contribute a lot in creating important inspiration. Dolls also expose internal mentality and represent ego. Externally, dolls express human shape becoming more and more materialized and objectified by advancing scientific technology in digital capitalistic society.

• Journal of the Korea Furniture Society
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• v.20 no.4
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• pp.388-403
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• 2009

Nature is suiting to the objective of oneself, structurally safe and functional. It continues to transform itself into various forms and has aesthetic beauty. By analyzing how nature's organic property has been expressed in different cases of furniture design, which has objective purpose, this research presents designing pathway to induce nature's organic oder into the furniture design. Simile expression type clearly shows its form through exposing the natural material that it is made out of. Visually, esthetic beauty can be emphasized and mentally it can provide pleasantness. Metaphorical expression type only hints the original material that was used to reproduce. Under the same condition it can have subjective perception and it needs to be used suitably at the right place and time. Abstract expression type it might be hard to recognize the original material visually since it went through many transformation in expression, however it can stage extreme and mysterious atmosphere. Furniture designs employing these three types can have functionality as well as decorative and serve variety of change in the existing uniformed interior space, and it can also satisfy individual's need with practicality and provide aesthetic beauty.

• Journal of Korea Multimedia Society
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• v.14 no.2
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• pp.282-287
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• 2011

The attribute grammar is a grammar for static semantic rules to overcome the difficulties of type checking. But this attribute grammar is difficult to write and understand by its additional rules. A grammar would be preferable if it has simple and small size of an attribute grammar. This paper shows how to decrease the size of an attribute grammar for an expression using LH method. This approach considers the types of an expression. That is, the construction of a semantic relation between the types of the expression can make it possible that an attribute grammar be written with its simpler and smaller size.

• Journal of the Korean Home Economics Association
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• v.47 no.8
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• pp.25-35
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• 2009

This study analyzed expression types and characteristics of modern fashion designs using body parts. The research was conducted based on a literature review and empirical research of fashion magazines published in Korea and other countries from 2001 to 2008. Four fashion statements predominated. Most frequently, body parts presented in modern fashion design, included realistic expressions, simplification, anatomic expression and a mixture with other patterns and logos. A body part, such as an eye, a lip, a hand or a chest was characteristically located in an unfamiliar position, as part of modern fashion design using body parts. Other parts and surrealistic images were shown with accessories utilizing body shapes. Second, amusing images were emphasized with humorous expressions, including simplification of body parts, childish decorations, fairy tale illusions and cartoon factors. Third, erotic images were presented with a more realistic expression of a partial image of a female body part, such as a lip or a tongue. Fourth, the use of facial images of celebrities in modern fashion design showed the phase of the times and the characteristic utilization of pop art as an image.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.13-28
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• 2012

This study examines history of Korean peony patterns and characteristics of peony patterns on the fabric. It is classified according to expression methods, and it analyzes the characteristics of 71 kinds of peony woven on 66 Korean fabrics. First, it was observed that 38 of the 66 studied fabrics (57.6%) were relics from the 17th century, and from this it can be deduced that the peony patterns began to appear regularly around the latter half of the 16th century and were used habitually in the 17th century. Second, 71 kinds on 66 fabrics can be divided into Real Type, Design Type, and Abstraction Type according to expression methods. Among these types, 49 kinds of them are Real Types (69.0%), forming the greatest part and 19 kinds belonging to the Design Type (26.8%), and lastly, 3 kinds were under the Abstraction Type (4.2%). In particular, peony patterns of Design Types and Abstraction Types from the 17th century and from the 19th century to the 20th century were more prevalent, compared with those before the 16th century or the 18th century. Third, Real Types shown on the Korean fabrics are subdivided into 9 types, and the Real Type A among them, which describes to be as real as possible, is 12 kinds, the largest number of them. Therefore, real and natural pattern of peony is the favorite type in Korea, while rather emphasized pattern of peony is the more preferred pattern in China. And also Design Types are subdivided into 6 types again; There are 6 kinds of design type A, the largest part of Design Types. Patterns of Design Type A are most similar to real peony flowers, but more simplified than the Real Type A. This result also contrasted with the trend in China, where the Design Type C, expressed petals in detail was the favored pattern. Fourth, 9 kinds of unique types are found in Korean fabrics, especially Real Type M has not been shown on Chinese fabrics. Real type M, consisting of two parts, inner and outer, where two curve lines between two parts appear as antennas of a butterfly.

• The Korean Journal of Physiology and Pharmacology
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• v.7 no.2
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• pp.79-84
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• 2003

We have previously reported that expression of the somatostatin receptor subtypes, sst1-5, is differentially regulated by growth hormone (GH)-releasing hormone (GHRH) and forskolin (FSK), in vitro. GHRH binds to membrane receptors selectively located on pituitary somatotropes, activates adenylyl cyclase (AC) and increases sst1 and sst2 and decreases sst5 mRNA levels, without significantly altering the expression of sst3 and sst4. In contrast FSK directly activates AC in all pituitary cell types and increases sst1 and sst2 mRNA levels and decreases sst3, sst4 and sst5 expression. Two explanations could account for these differential effects: 1) GHRH inhibits sst3 and sst4 expression in somatotropes, but this inhibitory effect is masked by expression of these receptors in unresponsive pituitary cell types, and 2) FSK inhibits sst3 and sst4 expression levels in pituitary cell types other than somatotropes. To differentiate between these two possibilities, somatotropes were sequentially labeled with monkey anti-rat GH antiserum, biotinylated goat anti-human IgG, and streptavidin-PE and subsequently purified by fluorescent-activated cell sorting (FACS). The resultant cell population consisted of 95% somatotropes, as determined by GH immunohistochemistry using a primary GH antiserum different from that used for FACS sorting. Purified somatotropes were cultured for 3 days and treated for 4 h with vehicle, GHRH (10 nM) or FSK ($10{\mu}M$). Total RNA was isolated by column extraction and specific receptor mRNA levels were determined by semi-quantitative multiplex RT-PCR. Under basal conditions, the relative expression levels of the various somatostatin receptor subtypes were sst2＞sst5＞sst3=sst1＞ sst4. GHRH treatment increased sst1 and sst2 mRNA levels and decreased sst3, sst4 and sst5 mRNA levels in purified somatotropes, comparable to the effects of FSK on purified somatotropes and mixed pituitary cell cultures. Taken together, these results demonstrate that GHRH acutely modulates the expression of all somatostatin receptor subtypes within GH-producing cells and its actions are likely mediated by activation of AC.

• Genomics & Informatics
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• v.10 no.4
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• pp.234-238
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• 2012

Genetic epidemiology studies have established that the natural variation of gene expression profiles is heritable and has genetic bases. A number of proximal and remote DNA variations, known as expression quantitative trait loci (eQTLs), that are associated with the expression phenotypes have been identified, first in Epstein-Barr virus-transformed lymphoblastoid cell lines and later expanded to other cell and tissue types. Integration of the eQTL information and the network analysis of transcription modules may lead to a better understanding of gene expression regulation. As these network modules have relevance to biological or disease pathways, these findings may be useful in predicting disease susceptibility.

• The Journal of Korea Robotics Society
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• v.18 no.2
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• pp.203-215
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• 2023

Social robots, which are mainly used by individuals, emphasize the importance of human-robot relationships (HRR) more compared to other types of robots. Emotional expression in robots is one of the key factors that imbue HRR with value; emotions are mainly expressed through the face. However, because of cultural and preference differences, the desired robot facial expressions differ subtly depending on the user. It was expected that a robot facial expression customization tool may mitigate such difficulties and consequently improve HRR. To prove this, we created a robot facial expression customization tool and a prototype robot. We implemented a suitable emotion engine for generating robot facial expressions in a dynamic human-robot interaction setting. We conducted experiments and the users agreed that the availability of a customized version of the robot has a more positive effect on HRR than a predefined version of the robot. Moreover, we suggest recommendations for future improvements of the customization process of robot facial expression.

• Human Ecology Research
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• v.52 no.1
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• pp.21-31
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• 2014

The purpose of this study was to analyze the types and meanings of calligraphy presented in modern fashion design. Calligraphy refers to beautiful handwriting or fine penmanship in the West, and handwriting with brushstrokes in the East. The expression patterns being used at present can be divided into three categories. Legible calligraphy is focused on readability more than embellishment. Decorative calligraphy places its importance on decoration at the expense of practicality. The third type, harmonious calligraphy, pursues decorativeness and legibility at the same time. Each of these types of calligraphy is expressed in modern fashion with its own purpose: calligraphy for conveying emotional messages, calligraphy as a special brand image, and calligraphy as an expression of formativeness. The first, calligraphy for conveying emotional messages, is used with characters that are familiar to the public. Calligraphy of this type delivers messages confined emotionally to the conscious world, harmonizing calligraphy with words, or expressing readability filled with purity and delight. Second, calligraphy as a special brand image refers to transmitting a distinctive brand image from other companies through employment of a design motive or pattern by expressing the brand logos or names of designers. Third, calligraphy as a expression of formativeness has the function of shaping expressions as motives or patterns, avoiding meanings of words or phrases. It can be represented by the abbreviation or modification of words, or arranging words in different shapes, harmonizing the words with the clothing construction and atmosphere of the other images.

• Fashion & Textile Research Journal
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• v.16 no.2
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• pp.196-207
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• 2014

This study considers expression types and aesthetic characteristics by analyzing Animal sculptures by Billie Achilleos in art collaboration with Louis Vuitton. The conclusions of this study are as follows. First, As for expressin type shown in the art collaboration, it is reflected the historical and cultural value peculiar to a country symbolized through animals. As the aesthetic characteristics of symbolism, it reflects historical identity of country by using an image of a symbolic animal representing a state. Second, as the type shown in physical characteristics of animals by utilizing items in Louis Vuitton directly, it is organically expressed a literal type by directly integrating a form having been designed as a commodity itself into the characteristically physical part of an animal. As the aesthetic characteristics according to this is naturality, the motive of the work having borrowed shapes of diverse animals or insects can be said to have been naturally reflected in the primitive natural beauty. Third, through the deconstruction and recombination of a Louis Vuitton item. the amusement of the aesthetic characteristics was expressed in a type having the structurally embodied dynamic movement of an animal, and is expressing visual fun. Fourth, it uses expression type emphasized a specific part of an animal by decorating accessories in Louis Vuitton partly. The aesthetic characteristics is Ornament, the value of craft decoration is being shown by using colorful visual effects by using materials with the colorful textures and patterns of fabrics or mixing embroidery or beads, and belt decoration.