• Journal of Information Processing Systems
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• v.10 no.1
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• pp.103-118
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• 2014

Over the last couple of years, traditional VANET (Vehicular Ad Hoc NETwork) evolved into VANET-based clouds. From the VANET standpoint, applications became richer by virtue of the boom in automotive telematics and infotainment technologies. Nevertheless, the research community and industries are concerned about the under-utilization of rich computation, communication, and storage resources in middle and high-end vehicles. This phenomenon became the driving force for the birth of VANET-based clouds. In this paper, we envision a novel application layer of VANET-based clouds based on the cooperation of the moving cars on the road, called CaaS (Cooperation as a Service). CaaS is divided into TIaaS (Traffic Information as a Service), WaaS (Warning as a Service), and IfaaS (Infotainment as a Service). Note, however, that this work focuses only on TIaaS and WaaS. TIaaS provides vehicular nodes, more precisely subscribers, with the fine-grained traffic information constructed by CDM (Cloud Decision Module) as a result of the cooperation of the vehicles on the roads in the form of mobility vectors. On the other hand, WaaS provides subscribers with potential warning messages in case of hazard situations on the road. Communication between the cloud infrastructure and the vehicles is done through GTs (Gateway Terminals), whereas GTs are physically realized through RSUs (Road-Side Units) and vehicles with 4G Internet access. These GTs forward the coarse-grained cooperation from vehicles to cloud and fine-grained traffic information and warnings from cloud to vehicles (subscribers) in a secure, privacy-aware fashion. In our proposed scheme, privacy is conditionally preserved wherein the location and the identity of the cooperators are preserved by leveraging the modified location-based encryption and, in case of any dispute, the node is subject to revocation. To the best of our knowledge, our proposed scheme is the first effort to offshore the extended traffic view construction function and warning messages dissemination function to the cloud.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.7
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• pp.1093-1104
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• 2002

In this study, the diffusion phenomenon of casual Hanbok which started in the mid 1990s and has been widely spread ever since with innovative features in design, materials, etc., was reviewed. Through the interviews of 45 People who have worn casual Hanbok the advantages and disadvantages of casual Hanbok related to its innovative characteristics were recorded and analyzed. Through the questionnaires distributed to 482 adults living in Seoul, Busan, and Darjeon, the factors related to the adoption of casual Hanbok were examined. The following are the results from the empirical study. First the adoption of contemporary casual Hanbok is due to the consumers′ positive response to the excellence of casual Hanbok′s various innovative characteristics. What the consumers perceived as innovative characteristics of casual Hanbok in the survey results validated the findings of the depth interview, identifying seven subcategories of the innovative characteristics of casual Hanbok; aesthetics, positive training effect on body and mind, difficulty in we, practicality, psychological attachment for "Our Clothes", economic efficiency, and symbolic compatibility. And consumers who think highly of such spiritual and identity values as national consciousness, nature affiliation, and community consciousness, had high evaluation to casual Hanbok However, consumers′ prejudice against Hanbok that Hanbok is for old people, uncomfortable, and not suitable to modern life, tuned out to have a negative influence on the adoption. From these results, it can be concluded that casual Hanbok of the late 1990s is a fashion with innovative characteristics, different from the one in the l980s worn by the demonstrators of popular movements and democratic movements, and it emerged as a new symbol with the characteristics of cultural movement like community consciousness and nature affiliation.

• Journal of Powder Materials
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• v.25 no.6
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• pp.475-481
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• 2018

Selective laser melting (SLM), a type of additive manufacturing (AM) technology, leads a global manufacturing trend by enabling the design of geometrically complex products with topology optimization for optimized performance. Using this method, three-dimensional (3D) computer-aided design (CAD) data components can be built up directly in a layer-by-layer fashion using a high-energy laser beam for the selective melting and rapid solidification of thin layers of metallic powders. Although there are considerable expectations that this novel process will overcome many traditional manufacturing process limits, some issues still exist in applying the SLM process to diverse metallic materials, particularly regarding the formation of porosity. This is a major processing-induced phenomenon, and frequently observed in almost all SLM-processed metallic components. In this study, we investigate the mechanical anisotropy of SLM-produced 316L stainless steel based on microstructural factors and highly-oriented porosity. Tensile tests are performed to investigate the microstructure and porosity effects on mechanical anisotropy in terms of both strength and ductility.

• Journal of Global Scholars of Marketing Science
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• v.20 no.1
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• pp.27-34
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• 2010

During the past 10 years, sales of luxury goods increased significantly to more than US$ 130 billion in 2007. In this industry, more than half of the revenue comes from Asia where the average income has risen significantly, and the demand for luxury products is forecast to grow rapidly. Purchasing luxury brands appears to be an intriguing social phenomenon that is profitable for companies in this region. As a newly developed country, Korea is one of the most attractive luxury markets in Asia. Currently, a total of 120 luxury fashion brands have entered the Korean market, primarily in luxury districts in Seoul where the competition is fierce. The purposes of this study are to: (1) identify antecedents of attitude toward luxury brands, (2) examine the effect of attitudes toward luxury brands on customer equity, (3) determine the impact of attitudes toward luxury brands on customer lifetime value, and (4) investigate the influence of customer equity on customer life time value. Previous studies have examined materialism, social need, experiential need, need for uniqueness, conformity, and fashion involvement as antecedents of attitude toward luxury brands. Richins and Dowson (1992) suggested that that materialism influences consumption behavior relative to quantity of goods purchased. Nueno and Quelch (1998) reported that the ownership of luxury brands conveys information related to the owner's social status, communicates an image of success and prestige, and is a determinant of purchase behavior. Experiential need is recognized as an important aspect of consumption, especially for new products developed to meet consumer demand. Since luxury goods, by definition are relatively scarce, ownership of these types of products may fulfill consumers' need for uniqueness. In this study, value equity, relationship equity, and brand equity are examined as drivers of customer equity. The sample (n = 114) was undergraduate and graduate students at two private women's universities in Seoul, Korea. Data collection was conducted using a self-administered questionnaire survey in March, 2009. Data analysis included descriptive statistics, factor analysis, reliability analysis, and regression analysis using SPSS 15.0 software. Data analysis resulted in a number of conclusions. First, experiential need and fashion involvement positively influence participants' attitude toward luxury brands. Second, attitude toward luxury brands positively influences brand equity, followed by value equity and relationship equity. However, there is no significant relationship between attitude toward luxury brand and customer lifetime value. Finally, relationship equity positively influences customer lifetime value. In conclusion, young consumers are an important potential consumer group that tries different brands to discover the ones most suitable for them. Luxury marketers that use effective marketing strategies to attract and engender loyalty among this potentially lucrative consumer group may increase customer equity and lifetime value.

• Journal of Intelligence and Information Systems
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• v.29 no.4
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• pp.271-286
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• 2023

The global COVID-19 pandemic has transformed face masks from situational accessories to indispensable items in daily life, prompting a shift in public perception and behavior. While the relaxation of mandatory mask-wearing regulations is underway, a significant number of individuals continue to embrace face masks, turning them into a form of personal expression and identity. This phenomenon has given rise to the Fashion Mask industry, characterized by unique designs and colors, experiencing rapid growth in the market. However, existing research on masks is predominantly focused on their efficacy in preventing infection or exploring attitudes during the pandemic, leaving a gap in understanding consumer preferences for mask design. We address this gap by investigating consumer perceptions and preferences for two prevalent mask designs-horizontal fold flat masks and vertical fold flat masks. Through a comprehensive approach involving surveys and eye-tracking experiments, we aim to unravel the subtle differences in how consumers perceive these designs. Our research questions focus on determining which design is more appealing and exploring the reasons behind any observed differences. The study's findings reveal a clear preference for vertical fold flat masks, which are not only preferred but also perceived as unique, sophisticated, three-dimensional, and lively. The eye-tracking analysis provides insights into the visual attention patterns associated with mask designs, highlighting the pivotal role of the fold line in influencing these patterns. This research contributes to the evolving understanding of masks as a fashion statement and provides valuable insights for manufacturers and marketers in the Fashion Mask industry. The results have implications beyond the pandemic, emphasizing the importance of design elements in sustaining consumer interest in face masks.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.27-42
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• 2004

Music videos provide for many others images, alluring the audience to fall in another emotional world, while the sexual images shown in them suggest new images of man and woman. Today, men's images are being interpreted from various viewpoints. As interests in men's fashion are visualized through music video clothing, not only juveniles who want to be identified with the music video images but also adults try to imitate them, and proceed to wear the clothing, obliterating the boundary between 'reality' and 'illusion' and creating new images of men. This study is aimed at reviewing the male images shown in the music videos, particular their clothing, produced between 2000 and 2002. The results of this study could be summarized as follows : 1. Since beginning of the human history, men's image has been characterized by patriarchal system, capitalism, bourgeois class which emerged after industrial revolution and other man-dominant socio-cultural phenomena, such male image are shown in the music video as conservative and dominant image. 2. However, due to the post-modern culture, the power began to be decentralized. while feminism and men's liberation movement gain strength. As a result, women or heterosexuals began to regard men as sexual objects, and such a phenomenon is featured as sexual, bisexual or decadent images in the music videos. 3. On the threshold of the 21st century, music videos have begun to creatively describe men's life, their social conflicts, dreams and hopes and death and thereby. feature men's such images as being destroyed in view of existentialism. The numerous creative men's images interpreted in this way are featured in many music video works only to create playful, cyborg or demonic images using the senses. After all, men's images are featured in the music video costumes in diverse ways ranging from the conventional images to acquiescent images. In addition, various male images are combined with the characteristics of the music videos to be re-created anew. The young men in the our modern age tend to imitate or apply such images to create their own images or individualistic styles. All in all, men's image can be fixed no longer but diversified and fragmented in the new age.

• Cartoon and Animation Studies
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• s.42
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• pp.195-212
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• 2016

An interest in 'ordinary things' has been increased because public things become issues as the influence of mass media including mass production has been increased in the 1950s. And this phenomenon drew an art style of pop art in the world of art. Media art means that the fine arts are expressed by means of media such as TV and monitors because media has been developed in the modern society. It started emerging through the artists such as Nam June Paik, Bill Viola, and others in the 1960s. Recently, it can be easily accessible not only at the art museum but also in everyday life such as cafe, park, fashion show, performance, and etc. This study analyzed that how many different techniques of pop art were borrowed by especially Nam June Paik media art and how they influenced it. Accordingly, this study respectively analyzed expressive techniques and characteristics of both pop art and Nam June Paik's media art and then searched for their similarities based on the analysis. Both Nam June Paik's media art and pop art extended media by using various ordinary things in everyday life neglected previously as a material. Next, the characteristic of pop art shown in Nam June Paik's media art is participation with audience. While the arts in the past were high-level culture that only certain people could understand and enjoy, pop art or Nam June Paik's media art is an art trend that has led the popularity of fine arts and audience participation in order to let diverse classes enjoy without any specific knowledge.

• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.7 no.2
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• pp.209-222
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• 1997

Authors surveyed the ground water near the waste disposed from a fiberglass production factory to confirm the presence of glassfiber in the water and to determine the effect of sampling conditions and storage on the recovery of fibrous materials in the ground water. Sample was collected at every 4 hours for 48 hours consecutively. After finishing the 48 hours sample, water sampling was done from each tap after repeated turning on and off the water for 30 seconds at each time. Sample was collected in the two 1.5 liter polyethylene bottle after vigorously shaking the bottle with the same water several times with the flowing tap water. At each paired sample, one bottle was stored stand still at room temperature, and the other sample was filtered immediately after sampling. Water was filtered on the Mixed Cellulose Ester filter with negative pressure. Each sample was divided into upper and lower layer. The other bottle was stored at room temperature standstill for 7 days and filtered in the same fashion as the other pair of sample did. Each MCE filter was divided into 4 pieces and one piece was treated with acetone to make it transparent. Each prepared sample was observed by two researchers under the light and polarizing microscopy, scanning electron microscopy and energy dispersive X-ra microanalysis. Fibers were classified by the morphology and polarizing pattern under the polarizing microscope, and count was done. 1. There was a significant fluctuation in number of the fibers, but there was no specific demonstrable pattern. 2. Non-polarizing fibers frequently disappeared after 7 days's storage. But cluster of fibers were found at the wall of the same container by scratching technique. 3. Polarizing fibers were usually found in between the filter and the manicure pasted area. Possible explanations for this phenomenon will be that either these fibers are very light or have electronic polarity. Hence, these fibers are not able to be attached on the surface of slide glass. 4. Under the scanning electron microscopic examination, the fibers which are not refractive under the light microscopy were identified as glassfiber. Other fibers which is refractive under the polarizing microscopy were identified as magnesium silicate fibers. It is strongly suggested that development of standardized method of sample collection and measurement of fibrous material in the water is needed.

• Journal of the Korean Home Economics Association
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• v.46 no.9
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• pp.99-112
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• 2008

The increasing rate of obesity in school aged children has become a conspicuous social phenomenon in Korea. This has been linked to greater economic growth, increasingly westernized dietary habits, and a consumer driven society. Given that obesity can lead to social exclusion or unfavorable attention by other students in a school setting, the design of plus-size garments have become important for effective appearance management skills. This research aimed to establish a somatotype database for obese school boys, aged 10 to 12, in order to develop a sizing system for plus-size upper garments. In order to measure somatotype of average and obese school boys, five categories were recorded; height, obesity, length of trunk, thickness of neck and chest. For obese boys, subcutaneous fat thickness and position of B.P/shoulder point factors were recorded. Obesity factor was subdivided into overall and specific ones, and while the deviation of obese body types was severe compared to the average type. Obese body type showed significantly higher measurements in width, girth, thickness. This is linked to the fact that the frequency ratio of obesity increases with age. Stature and chest were chosen as control dimensions for boys' wear. As crosstabulation of stature(5cm interval) and chest girth(2, 3 and 4cm), and stature(5cm interval)/chest girth(3cm interval) sizing system showed, the most effective cover ratio and adaptability to the data distribution $25{\sim}75$ quartile. Based on the findings, 10 sizes were formulated for average body type, while 18 sizes were formulated for obese type, whose size cover ratios were 48% and 62.9%, respectively. The primary ranges of stature were $145cm{\sim}150cm$, while those of chest girth were $79{\sim}82cm$. Each size was declared as "chest-somatotype{A(average)/O(obesity)-stature". This study proposed a plus-size upper garment sizing systems for obese boys, accompanied with reference measurements for suit, casual wear and underwear. The finding showed that the two systems were totally separate and not overlapping, meaning that plus-size sizing system is essential for obese school boys. The obesity type system had more size and wider range specs.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.56-69
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• 2013

This study studies the fabrics from excavated 17th century tombs of Mrs. Min from Yeoheung family(1586~1656), Yeo-on Kim(1596~1665) and Won-rip Choi(1618~1690) and attempts to clarify the relationship between the fashion trend in fabrics of those times and the background behind it by viewing and examining the proportion of twill fabrics to the total silk fabrics and the characteristics of its weave and patterns. Looking into fabrics from the above tombs, twill fabrics accounted for 10.4%(13 pieces) 19.3%(16 pieces) and 9.2%(9 pieces) of total silk fabrics in each of the respective tombs. This forms a remarkable contrast with the fact that there was only one piece of twill silk fabrics(0.5%) and not any from the 16th century tombs of Mrs. Yoon from Papyeong family (0.5%) and Soo-ryoon Sim(0%). In particular, the percentage of hwamun-neung(patterned twill fabrics) in each of the tombs is 8.0%(10 pieces), 13.3%(11 pieces), 9.2%(9 pieces), which is much higher than that of non-patterned one. This is common to the twill fabrics from above three 17th century tombs. Patterns of hwamun-neung(patterned twill), simplified small flower patterns or geometrical figures, from the three excavated tombs are mostly arranged sporadically with blank space. It is supposed that these figurative characteristics reflected the aesthetic sense of the gentry at that time which valued simplicity and moderation for their Confucian standard. This phenomenon of increased use and production of twill fabrics in the 17th century resulted from different factors such as wars like Japanese Invasion of Korea(1592~1598), economic difficulty, government regulations against the production of high-class fabrics, development of weaving skill and its fixation, changes of fabric production environments, and changes of aesthetic sense preferring naive and moderate things to showy ones. As for the weaving characteristics of twill fabrics from the three 17th century tombs 3 leaf warp-faced twill was often used for the ground texture and 4 leaf warp-faced one was occasionally used. For pattern texture 6 leaf weft-faced twill was frequently used, 4 leaf weft-faced twill and 3 leaf weft-faced twill were used at times, and floating one was occasionally used as well.