• 한국정보과학회논문지:데이타베이스
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• 제30권2호
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• pp.109-124
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• 2003

대부분의 상용 관계 DBMS(Database Management System)에서는 사용자 편의성을 위하여 SQL과 함께 그래픽 질의어를 제공하고 있으나, 객체 DBMS의 경우에는 그래픽 질의어에 관한 연구와 개발이 미흡한 실정이다. 그래픽 질의어에서는 복잡한 질의 조건을 간결하고도 직관적인 방법으로 표현하는 것이 중요한 이슈이다. 특히, 객체 DBMS는 관계 DBMS 보다 복잡한 데이타 모델과 객체 질의어를 제공하므로 그래픽 객체 질의어를 설계하고 구현할 때 간결성과 직관성을 유지하는 것이 더욱 중요하다. 본 논문에서는 인터넷 환경에서 원격지 객체 데이타베이스에 접근하여 자료를 검색하고 관리하는 그래픽 객체 질의어인 GOQL(Graphical Object Query Language)을 제안한다. GOQL은 그래픽 관계 질의어에서 다루지 않은 집합값 속성과 한정어 및 메소드를 포함한 길이가 2 이상인 경로를 간단한 그래픽 요소들로 시각화함으로써 간결성과 직관성을 높인다. 그리고 대표적인 객체 질의어인 XSQL(1,2)에서 사용하는 경로는 GOQL에서 제공하는 간단한 시각적 도구로 표현할 수 있음을 보인다. 또한, 논문에서는 GOQL의 그래픽 질의어를 텍스트 객체 질의어로 변환하는 알고리즘을 제안하고, 실제로 인터넷 환경에서 동작하도록 구현한 결과를 소개한다.

• 한국의류학회지
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• 제36권7호
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• pp.727-740
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• 2012

This study is for the enhancement and utilization of future graphic design for T-shirts and deals with the expression styles and features of T-shirt graphic designs that appear in modern fashion. A literature examination about graphic design and T-shirts was performed for the research method and the analysis followed 378 pieces of graphic design featured in four major international collections for females from 2001S/S to 2011S/S. The research results from the expression type of T-shirt graphic design in the modern fashion are as follows. Expression in graphic figure accounts for the largest portion of 40.8% that includes illustration or cartoon characters, personal figure or part of the physical body, object in daily life or landscape pictures, animals and plants, and others. Expression given in text with typography or logo accounted for 27.5%, expression combined with letter/text, graphics and geometric figures accounted for 24.3%, geometrical expression accounted for 7.4%; most of which are given in print. Characteristics found in modern fashion graphic design are as follows. First, role of sort of public relations marketing was accompanied with utilization of brand logo or symbol. Second, visual play was shown in a sense of humor with diverse graphic figures and playful texts, witty layout with graphic motives, and a free design formation. Third, it denoted a front burner issue delivering the message for various current events or arguments via the way of texts, slogans, and symbolic pictures. Fourth, it depicted artistry through the self-expressive creation of the designer.

• 복식
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• 제60권9호
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• pp.1-15
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• 2010

Fashion designer Jean Paul Gaultier incorporated his own boundless and unique artistic Into his design of dance costumes, presenting an unobstructed imaginary world that was filled with freedom, which is no less than one would expect from the one-time enfant t${\'{e}}$rrible of Paris fashion. This creativity of Gaultier was made possible only through the fantastic partnership he formed with the French modern dancer, R${\'{e}}$gine Chopinot. Gaultier and Chopinot shared a deep-rooted sympathy that enabled their own artistic worlds to fully mingle and cross over, resulting in a doubled synergy of their talent and their fame. This study analyzed 11 dancing costumes created through the collaborated efforts of those two enfants t${\'{e}}$rribles, one from the fashion industry and the other from the world of dance. The following are the results of my analysis. Gaultier's dance costumes served as a artistic venue for experimenting with a number of creative inspirations lurking in his mind, which were sometimes expressed in pr${\^{e}}$t-${\`{a}}$-porter collections. Instead of the decorative and expressive features of conventional dance costumes, his was the revival of the dancer's persona as a human being, ablaze with individuality and uniqueness. He pointed out that there is no good in the distorted turturro's fixed point of view, and the great joy of an opposing way of thinking that overturned the established. Leotard material was used as a second skin by transforming it into various styles and delivering his message. In addition, obscene and sexual expressions were delivered in a direct narrative. His eccentric ideas provided entertainment while showing his oppositional way of thinking. In the dance, the effect of the costumes was doubled by the use of cumbersome and exaggerated accessories, which is generally forbidden in modern dance.

• 한국콘텐츠학회논문지
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• 제21권9호
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• pp.105-116
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• 2021

하브루타 교육은 짝을 지어 대화하고 토론하고 논쟁하는 방식의 질문 중심 교육이며, 특히 명화 하브루타는 명화에 대한 질문과 답변을 통해 그림의 감상 능력을 증진하고 표현력을 풍부하게 하기 위한 목적으로 시행되고 있다. 본 연구에서는 동양화를 대상으로 한 명화 하브루타를 지원하기 위해, 최신 딥러닝 기술을 활용하여 동양화 등장인물의 성별 관점에서 질문을 자동으로 생성하는 방안을 제시한다. 구체적으로 본 연구에서는 사전학습모델인 VGG16을 바탕으로 동양화 인물 중심의 미세조정을 수행하여 동양화의 인물 분석을 효과적으로 수행할 수 있는 모델을 제안한다. 또한 질문의 유형을 명화 하브루타에서 사용되는 사실 질문, 상상 질문, 그리고 적용 질문의 3가지 유형으로 분류하고, 각 질문을 등장인물에 따라 세분화하여 총 9가지의 질문 패턴을 도출하였다. 제안 방법론의 활용 가능성을 확인하기 위해 실제 동양화의 등장인물 300건을 분석한 실험을 수행하였으며, 실험 결과 제안 방법론에 따른 성별 분류 모델이 기존 모델에 비해 높은 정확도를 나타냄을 확인하였다.

• 한국의상디자인학회지
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• 제21권1호
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• pp.163-180
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• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.

• 한국의상디자인학회지
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• 제23권3호
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• pp.23-42
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• 2021

The purpose of this study is to analyze the characteristics of the Chinese Miao people's Batik patterns and provide data in the field of fashion design for the utilization of the traditional patterns. This study investigated and analyzed the regional characteristics of Batik dyeing, which was listed on China's national intangible cultural heritage list; Danzhai, Anshun, Huangping, and Gonghyeon. The expressive characteristics were classified into four categories: symbolism, abstraction, decorativeness, and playfulness. The results are as follows. First, symbolism can be classified into the origins of the Miao, symbols of faith, history of migration, and the symbols of status with Batik patterns from different regions, seemingly involving various symbolic implications. Due to the absence of letters, Miao people expressed their emotions and history in the design patterns. A series of developments in recent years has led to incorporating the temperament of the Miao people, history of migration, expression of emotions, and ideal hopes in Batik dyed design patterns and the symbolic functions have been significantly emphasized. Second, the decorativeness is mainly characterized by repeated patterns of the Miao Batik dyeing design. The overall patterns demonstrate design features characterized by regularization and simplification, along with a sense of rhythm with the unique arrangement of patterns. Third, the abstractness of the Batik dyeing design patterns is often found in plant and animal patterns, properly delivering new designs created by Miao women by extracting and rearranging various elements, including dots, lines, and faces shown in natural images. Fourth, playfulness is expressed by the transformation and distortion of Miao Batik patterns, and were created by applying patterns or other elements to original forms to express animal or plant patterns in a playful way.

• 영미문화
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• 제14권1호
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• pp.73-94
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• 2014

Accounts from therapeutic culture seem often to associate the selfish, or at least self-centered quest for self-fulfillment with individual choice or satisfaction, self-expression, expressive individualism, and emotionalism. These associations point to the downside of therapy as they present it as constituting a culture of narcissism, selfishness, or irresponsibility. While some of these characterizations contain useful insights, they overlook what are maybe some of the most important features of a therapeutic outlook. This paper aims to reveal that the therapeutic imperative is not so much geared towards the realization of self-fulfillment, as it is the promotion of self-limitation. Therapeutic culture tends to posit the self in a fragile and feeble form and insist that the management of life requires the continuous intervention of therapeutic expertise. Because of this, the elevated concern with the self is underpinned by anxiety, pain, suffering, and survival, rather than seen as a positive vision of realizing the human potential. Therapeutic culture has in this way helped to construct a diminished sense of self by which one is seen as suffering from an emotional deficit and vulnerability. This paper demonstrates this downside of therapeutic culture concerning self-limitation and the sense of a diminished self by examining popular "misery memoirs." Misery memoirs are widely consumed by the general public, therefore tend to be treated by contemporary therapeutic culture as a gospel on the therapeutic ideal for self-fulfillment and self-discovery. This is, despite the existence of hidden evidence to the contrary, because of their redemptive, happy endings that show individuals overcoming difficult trials such as child abuse, incestuous rape, and domestic violence. Individual self-fulfillment and self-discovery in such stories are not achieved through the active agency of the subject but through the passive endurance of pathological symptoms and with the aid of expertise and outside support. Therefore, such stories put victims in the limited position.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• 제33권2호
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• pp.35-40
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• 2022

Objectives: Restricted and repetitive behaviors (RRBs) are a core symptom in the diagnosis of autism spectrum disorder (ASD). The complexity of behavioral patterns has called for the creation of phenotypically homogeneous subgroups among individuals with ASD. The purpose of this study was 1) to investigate the different types of RRBs and 2) to explore whether subgroups created by RRBs would show unique levels of functioning in toddlers and young children with ASD. Methods: A total of 313 children with ASD, aged 12-42 months were included in the analysis. The Autism Diagnostic Interview-Revised was used to obtain information on the different types of RRBs by grouping 15 items into six categories. The Vineland Adaptive Behaviors Scale, a parent-reported questionnaire, was used to measure adaptive functioning. A portion of the children were analyzed separately for verbal-related RRBs based on their expressive language level. Two-step cluster analysis using RRB groups as features was used to create subgroups. Analysis of covariance while covarying for age and language was performed to explore the clinical characteristics of each cluster group. Results: Sensory-related RRBs were the most prevalent, followed by circumscribed interests, interest in objects, resistance to change, and repetitive body movements. A subset of the children was analyzed separately to explore verbal-related RRBs. Four cluster groups were created based on reported RRBs, with multiple RRBs demonstrating significant delays in adaptive functioning. Conclusion: Heterogeneity of RRBs emerges at a young age. The different patterns of RRBs can be used as valuable information to determine developmental trajectories with better implications for treatment approaches.

• 복식문화연구
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• 제30권3호
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• pp.455-476
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• 2022

The aim of this study was to develop Jiangxi Nuo masks using 3D digital fashion design technology and suggest various ways to utilize traditional culture based on the characteristics of Nuo masks, a traditional Chinese artifact of intangible cultural significance. The researchers conducted a literature review to gather information about Nuo culture and masks that could represent Jiangxi. Features of the masks were analyzed and classified. The result are as follows. First, the symbolic characteristics of Jiangxi's Nuo masks can be divided into those based on their origin and history, the user's social status, and the notions of primitive beliefs of the chosen people, such as naturism and totemism. Second, Nuo masks' splendid decorations convey meanings such as luck, the bixie, longevity, wealth, and peace in the family. Third, playfulness in mask-making is about dismantling the original form of the mask, re-creating it through application. Fourth, the masks express primitiveness mostly by conserving the wood's original color or material. The initial masks carved to represent images of figures aptly deliver the primitive forms and images of Nuo culture. In this study, Nuo masks were developed and produced using the 3D digital technology CLO 3D by adopting the expressive characteristics and applying design methods such as asymmetricity, exaggeration, and modification. The results of this study demonstrate the possibility of creating diverse as well as economical designs through the reduction of production.

• 만화애니메이션 연구
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• 통권45호
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• pp.259-282
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• 2016

다큐멘터리는 영화에서 텔레비전, 그리고 다양한 디지털 미디어를 거치며 새로운 장르 형식으로 재탄생되고 있으며, 웹다큐멘터리는 그 대표적 사례라 할 수 있다. 웹다큐멘터리는 제작자와 이용자에 의해 구성되는 다큐멘터리로, 이용자의 상호작용이 절대적인 새로운 유형의 텍스트이다. 이 연구에서는 <석탄 끝으로의 여행(Journey to the End of Coal)>과 <프리즌 밸리(Prison Valley)> 등 두 편의 웹 다큐멘터리에 대한 분석을 통해 웹다큐멘터리가 웹이 표현매체로서 지닌 특징들을 어떻게 활용하여 이용자로 하여금 현실을 체험하도록 유도하고 있는지 살펴보았다. 웹다큐멘터리는 이용자의 상호작용을 허용하는 이중적, 공간적 구조라는 특징을 지니고 있으며, 백과사전적 특징과 같은 특징을 기반으로 이용자에게 현실에 대한 다양한 정보와 지식에 직접 대면토록 한다. 또한 웹다큐멘터리는 이용자에게 다큐멘터리를 진행시키고 텍스트를 확장하는 역할을 부여함으로써 현실을 탐구해가는 주체로서의 의식을 자극하는 형식을 띠고 있다. 이 과정에서 웹다큐멘터리의 이용자는 다큐멘터리가 제안하는 현실을 비판적으로 성찰하고 그 이면의 의미를 포착할 수 있는 가능성을 갖는다. 이러한 특징들은 웹다큐멘터리를 현실을 추구하는 방식은 물론 그것이 지닌 의미에 있어서 전통적인 다큐멘터리와 차별화된 텍스트로 만들어주는 것이다. 이 때문에 웹다큐멘터리 현상의 혁신적인 지위는 분명해지며, 웹다큐멘터리에 대한 논의의 필요성이 제기된다고 하겠다. 웹다큐멘터리는 단순히 새로운 미디어 기술 현상을 넘어 전통적인 다큐멘터리에 대한 근본적인 도전이라는 의미를 갖는다.