• Journal of Sasang Constitutional Medicine
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• v.12 no.1
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• pp.48-62
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• 2000

Creativity is the most important characteristic and ability in the 21st century. Recently leading people in Korean society are aware of the significance of the enhancement of the creativity. However, Korean students are less likely to take initiative or depart from standard ways of thinking or doing things, because Korean Confucius culture puts an emphasis on collectivism. An individual has an obligation to conform in order to avoid conflict and maintain social harmony. The rule of respecting parents and teachers leads to a lack of self-expression and entails silence. Brainstorming technique developed by American Osbron, who originated the group brainstorming in 1953, is the most popular creative thinking method for the students. Brainstorming technique has two principles : ideation can be more productive if criticism is concurrently excluded; The more ideas the better. In doing BS, each panel should consist of chairperson, an assistant chairperson, recorder, and 10 others including 2-3 females. However there are several problems in doing group BS, such as production blocking, uniformity thinking, evaluation apprehension, and social loafing. This study was undertaken to investigate the proper way of forming Brainstorming groups with Korean students according to the Sasang Constitutional Medicine originated by Korean Lee Je-ma in 1894. Human beings are classified in four group in Sasang Constitutional Medicine : Taeyang-In, Teaum-In, Soyang-In and Soum-In. Two Yang-Ins are more self-expressive : Taeyang-In has very unique ides and thoughts; Soyang-In is very humorous and like to present his/her ideas. On the other hand, two Um-Ins are passive and are not likely to speak out their ideas in group. Therefore, in this investigation firstly, the brainstorming group was formed with two Yang-Ins (Taeyang-In and Soyang-In) and two Um-Ins(Taeum-In and Soum-In) separately and secondly, Yang-Ins and Um-Ins were mixed. And the first method was compared with the second method in terms of the degree of participation of the group members and finally the better grouping method to produce more and better ideas was discussed and suggested for the educational system.

• Trans-
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• v.1
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• pp.45-66
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• 2016

The study uses the image technique of the movie (analysis) since there are limited analyses and data of the dance film's (cinematic) grammar. The films are limited to the Wim Vandekeybus's Blush. From the analysis of the one film, films are directed using basic movie grammars. Although the films are of the same genre, it differs from the method of using image techniques as well as the director's personal art preference. The cinematic grammars enhance the effect of the movement and it emphasizes the objectives to deliver the audience true meaning of the films. Dance film is not a simple word combination of dance and film to record new type of art; dance is used for the movie's artistic and aesthetic enhancement. To find out dance is the language and important expressive tool of the dance film, at the same time cinematic grammar enhances effect of dance and objective of the film, the study uses image technique analysis. These are the results of dance film analysis by using image techniques. Firstly, Dance film can transcend time and space. Secondly, The creative director could emphasize some part that the audience should focus on to clearly deliver the intention of the choreographer. Lastly, To popularize the dance genre. If the dance film produces with more diversified stories than the resent, it will be a part of a cultural industry and could create profits. Dance film might lose the sense of realism, which is the main characteristic of the stage art; however it could feel the beauty of the film through the mise en scene.

• Journal of Korea Entertainment Industry Association
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• v.10 no.4
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• pp.77-92
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• 2016

In this study, the relationship of images and sounds of the animations "Dots" and "Loops" which Norman McLaren animated with his Animated sound technique when he worked at Guggenheim museum at New York, are analyzed through the audiovisual analysis theory by Michel Chion, and through the theory of synchronism/asynchronism and parallelism/counterpoint by Siegfried Kracauer. For the results of the analysis, there are a few difference between "Dots" and "Loops" regarding the aspect of sound arrangement and expressive aspect of abstract animation. However, there are being of two main elements of sound, composing with monophony sound, making musical structure with sound effects, and the emphasizing of parallelism with synchronization bewteen images and sounds in common with both "Dots" and "Loops". In "Dots" and "Loops", there are close correlations between pitch of sound and arrangement/shape of image, between loudness of sound and size of image, and between length of sound and length/shape of image. The image and sound of "Dots" and "Loops" have equal relationship each other, rather than subordinate relationship according as image become sound and the sound become new image with the animated sound technique. "Dots" and "Loops" show tendency of minimal art and music video. Since these two films, and remind about the new approach to sound creation in today's animation production.

• Journal of KIISE:Software and Applications
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• v.37 no.4
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• pp.323-339
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• 2010

The complexity of embedded systems and the effort to develop them has been rising in proportion with their importance. Also, the heterogeneity of the hardware and software parts in embedded systems makes it more challenging to develop. Errors caused by hardware/software interfaces, especially, account for up to 13 percent of failures with an increasing trend. Therefore, verifying the interface between hardware and software in embedded system is one of the most important research areas. However, current approaches such as co-simulation method and model checking have explicit limitations. In this paper, we propose the synthesizable interface co-verification framework for hardware/software co-design. Firstly, we introduce the separate interface specifications for the heterogeneous components to describe hardware design and software design. Our specifications are expressive enough to describe both. We also provide the transformation rules from the software specification to the hardware specification so that the whole system can be described from the software view. Secondly, we address the solution of verifying the interface of the software and hardware design by adopting and extending existing verification-techniques and extending them. In hardware interface verification, we exploit the model checking technique and provide more efficient verification by closing the hardware design from the assumption of the software behavior which is ensured by software verification step. Lastly, we generate the interface codes such as device APIs, device driver, and device controller from the specification so that verified hardware and software codes can be synthesized without extra efforts.

• SUVANNABHUMI
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• v.1 no.2
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• pp.21-41
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• 2009

The Art of the Buddha's Life which depicts the life and before-life of Buddha flourished in Sanci and Bharhut in the ancient India and in Gandhara during the Kushan period. More than one hundred scenes from Buddha's life were represented in the form of relief sculpture or wall painting. They are found in Gandhara and Mathura during the Kushan period, Amaravati and Nagarjunakonda during the Satavahana period, in Mathura and Sarnath during the Gupta period, and during the Pala Period. They unfolded in various forms and styles according to the text(Buddhist scripture), layout, and expressive technique. In Mathura, where the Evolution of the Buddha image was made about the same time as in Gandhara during the Kushan period, the Buddha's life was presented in a number of scenes related to the sacred sites; in four or eight scenes. In the case of the Eight Great Events of the Buddha's Life, the four scenes out of eight were different from those that were represented in Sarnath during the Gupta period, manifesting a transitional period. The Gupta period is widely known as the time when the classic artistic style was established. The art of Buddha's Life was produced only in Sarnath during this period, and it was the time when the Eight Great Events of the Buddha's Life was established as iconography, providing a model for those of the Pala period. Also, it was the time when the single image of Buddha was produced such as the 'Buddha delivering his first sermon,' 'Buddha's Enlightenment,' and 'Buddha's Death,' thus showing the emergence of the single Buddha image from the narrative Buddha's life image. In this paper, a general introduction of the relief sculpture of the Buddha's life from Sarnath during the Gupta period was given. The art of Buddha's life gave great influences on that of China, Korea, Japan and Southeast Asia, and can be emphasized as an important subject in understanding the development of the Buddhist art in East Asia. A further study will be made on the art of Buddha's Life of Southeast Asia in the future, which will enhance the understanding of the art of Buddha's Life in East Asia as a whole.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.69-81
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• 2014

Herman $F{\ddot{u}}rst\;P{\ddot{u}}ckler-Muskau$ is one of important figures in German landscape architecture who designed both Muskau Park and Branitz Park and published garden book Andeutungen ${\ddot{u}}ber$ Landschaftgartenerei (Hints on Landscape Gardening) in 1834. He was a German nobleman who governed Muskau estates while working as both a writer and a landscape gardener. German landscape gardening was grounded on Romanticism, which was represented in diverse ways such as the reconciliation between man and nature, the liberation of reason, and the pursuit of liberty. The intellectuals came to have an interest on landscape gardening since the garden carried the cultural connotation such as the idealized epitome of nature. This study is to investigate how his idea of landscape gardening had been developed through his personal life and social background and to find out his landscape gardening theory and its unique gardening techniques. Finally, the inventive aspect of his garden theory and contemporary significances in practices were discussed. $P{\ddot{u}}cklers^{\prime}$ personal experience and social background provide us to understand the idea of garden. First, there was a mixture between reality and fantasy in his garden theory. It was due to the influence of Romanticism and literary garden. Second, his gardening mentality and technique were influenced by the late 18th century English garden practices, which emphasized the expressive aspects. Third, $P{\ddot{u}}cklers^{\prime}$ inner disposition and personal experience were represented in his garden design. Fourth, the intention of creating landscape garden for the local people might be a self realization of his contradictory characters between falling nobleman and liberal social leader. The significant value of $P{\ddot{u}}ckler^{\prime}s$ garden idea might be closely related in the dual nature of humanistic garden tradition and garden practice for social agenda. Therefore, his garden idea pursued of the comprehensive landscape strategies toward ideal communities and ethical spirits while concerning ecological, social, economic sustainable development of the region. Furthermore, his landscape gardening aims at the total landscape encompassing garden to region as well as the Gesamtkunst combing the beautiful with the useful. $P{\ddot{u}}ckler^{\prime}s$ holistic attitude gives us fresh insights and new directions to contemporary landscape theory and practice.