• Journal of the Korean Society of Radiology
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• v.12 no.3
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• pp.409-415
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• 2018

The development of smart devices has brought about significant changes in daily life and one of the most significant changes is the virtual reality zone. Virtual reality is a technology that creates the illusion that a 3D high-resolution image has already been created using a display device just like it does in itself. Unrealized subjects are forced to rely on audiovisual materials, resulting in a decline in the concentration of practices and the quality of classes. It used virtual reality to develop effective teaching materials for radiology students. In order to produce a video clip bridge using virtual reality, a radiology clinic was selected to conduct two exposures from July to September 2017. The video was produced taking into account the radiology and work flow chart and filming was carried out in two separate locations : in the computerized tomography unit and in the LINAC room. Prior to filming the scenario and the filming route were checked in advance to facilitate editing of the video. Modeling and mapping was performed in a PC environment using the Window XP operating system. Using two leading virtual reality camera Gopro Hero, CC pixels were produced using a 4K UHD, Adobe, followed by an 8 megapixel resolution of $3,840{\times}2,160/4,096{\times}2,160$. Total regeneration time was performed in about 5 minutes during the production of using virtual reality to prevent vomiting and dizziness. Currently developed virtual reality radiation and educational contents are being used to secure the market and extend the promotion process to be used by various institutions. The researchers will investigate the satisfaction level of radiation and educational contents using virtual reality and carry out supplementary tasks depending on the results.

• Cartoon and Animation Studies
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• s.50
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• pp.75-99
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• 2018

Makoto Shinkai, an animated film maker in Japan, has been featured as a one-person production system and as a 'writer of light', but his 2016 release of "Your Name" was a departure from the elements that characterize his existing works. At the same time, by the combination of the traditional musubi(むすび) story, ending these, it was a big hit due to its rich narratives and attraction of open interpretation possibility. As it can be guessed from the title of this work, this work shows the encounter between the Japanese ancient language and the modern language in relation to the 'name', and presents the image that the role of the name(language) is repeatedly emphasized with various variations in events for the perfect 'encounter'. In this work, the interpretations of $Signifi\acute{e}$ for characters and objects are extended and reserved as a metaphorical role of the similarity, depending on the meaning of the subject which they touch. The relationship between words and objects analyzed through the structure of Signifiant and $Signifi\acute{e}$ is an epoch-making ideological discovery of modern times revealed through F. Saussure. Focusing on "the difference" between being this and that from the notion of Saussure, Derrida dismissed logocentrism, rationalism that fully obeyed the order of Logos. Likewise, dismissing the center, or dismissing the owner had emerged after the exclusive and closed principle of metaphysics in the west was dismissed. Derrida's definition of 'deconstruction' is a philosophical strategy that starts with the insight on the nature of language. 'Dissemination,' a metaphor that he used as a methodological concept to read texts acts as interpretation and practice (or play), but does not pursue an ultimate interpretation. His 'undecidability' does not start with infinity, but ends with infinity. The researcher testifies himself and identifies that we can't be an interpreter of the world because we, as a human are not the subject of language but a user. Derrida also interpreted the world of things composed of Signifiant and $Signifi\acute{e}$ as open texts. In this respect, this study aimed to read Makoto's works telling about the meeting of a thing and a thing with name as a guide, based on Derrida's frame of 'deconstruction' and 'dissemination.' This study intends to re-consider which relationship the Signifiant and $Signifi\acute{e}$ have with human beings who live in modern times, examine the relationship between words and objects presented in this work through Jacques Derrida's destruction and dissemination concepts, and recognize that we are merely a part of Signifiant and $Signifi\acute{e}$. Just as Taki and Mitsuha confirm the existence by asking each other, we are in the world of things, expecting musubi that a world of names calls me.

• Journal of architectural history
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• v.14 no.1 s.41
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• pp.89-105
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• 2005

The central aim of this thesis is to see if the structure of Palsangjeon(捌相殿) in Pubjoo Temple(法住寺), a five sto wooden pagoda in Chosen(朝鮮) Dynasty, was handed down from the ancient and middle ages. This study was performed through an analysis of Gilt-Bronze Pagoda built in Koryo(高麗) period. In other words, it is aimed at analyzing which lineage the structure of Palsangjeonbelongs to as a wooden pagoda. In analyzing the structure of Palsangjeon, I attempted to find out its source from the remains of Koryo period prior to the Chosen Dynasty. Examples are the Gilt-Bronze Pagoda, built during the Koryo period. I have also examined its relationship with other existing wooden pagodas and remains. The analysis of Palsangjeon, a five story wooden pagoda in Chosen Dynasty, focuses on the following: First, I explored the possibilities of whether the structure of Palsangjeon was newly invented in Chosen Dynasty, or if it had been derived from the wooden pagodas in the Koryo period. Secondly, I tried to find out if the stable vertical planes, with a great successive diminution ratio, were derived from the middle age, i.e. Koryo period. The results of the study of Palsangjeon through Gilt-Bronze Pagoda analysis are as follows: 1. The structure of Gilt-Bronze Pagoda, a wooden pagoda from the Koryo period, is roughly classified into the accumulation type, using pipe pillars, and the one story type using whole pillars. In the accumulation type, stories are connected in either a flat format or an intervening format. The Gilt-Bronze Pagoda is mainly composed of pipe pillars, with some whole pillars. However, the central pillar was omitted in the building structure. Generally, the upper and lower stories are connected by pipe pillars in a crutch format. All the pillars, whether they are pipe pillars or whole pillars, used Naiten(內轉) technology. The Eave supporter has the Haang type(下昻) and the Muhaang type(無下昻). In most cases, high balustrades are furnished, but few tables of high balustrades have been found. The slanting roof formats have been handed down from Paekche(百濟), Silla(新羅), or Koryo(高麗). However, the structure of the octagon is assumed to be derived from Koguryo(高句麗). The structure of the Gilt-Bronze Pagoda from the Koryo period is mainly composed of accumulated flat squares, with some spire types. intervening format, the structure of Palsangjeon used whole pillars in a half story format in which upper level side pillars are installed on the lower level tie beam. From the Bronze Pagoda from the Koryo period, we can assume that the half story format of wooden pagodas that has stable vertical planes with a great successive diminution ratio was created during the mid-Koryo period at the latest and had been idly developed by the time of the Chosen Dynasty. 3. The whole pillars in Palsangjeon are also found in Gilt-Bronze Pagodas from the Koryo period. Hence, all of the pillars in Palsangjeon seem to have been handed down from the ancient construction technology. They were also used in the construction of wooden pagodas from the Koryo period. Therefore, it is assumed that Palsangjeon was constructed using the construction technology of the Chosen Dynasty that had been developed from the wooden pagoda construction technology of the Koryo period. The stable vertical planes with a great successive diminution ratio in Palsangjeon are derived from ancient Korean wooden pagodas, which have developed into indigenous Korean wooden pagodas with fairly stable vertical planes and a great design, in the half story format of Koryo and Chosen Dynasty. Therefore, it is assumed that the structure of Palsangjeon has a systematic relationship with traditional Korean wooden pagodas and is one of the indigenous Korean wooden pagoda structures. 4. In China, the intervening format has been mainly used between stories in multi-story architecture since the ancient days. At the same time, the flat format as also used in ancient and middle ages. However, the flat format was replaced by whole pillars during the Ming(明) and Manchu(淸) Dynasties, in favor of simple and compact construction. The half-story format, in which upper level side pillars are installed on tie beams, has been found in some cases, but it doesn't seem to have been the primary construction technology. Few traces of the half-story format have been found in multi-story architecture in Japan, and it has not been used as a general construction format. By contrast, the half-story format, which seems to have been derived from the Koryo period, was used as a general construction format in multi-story architecture of the Chosen Dynasty. The construction technology of multi-story architecture is related to that of multi-story wooden pagodas, but they have different production technologies. It seems that the structure of Palsangjeon did not just adopt the construction technology of multi-story architecture in the Chosen Dynasty, but it was developed from wooden pagodas in the Koryo period, including the Gilt-Bronze Pagoda. 5. Since the ancient days, most Chinese and Japanese wooden pagodas have adopted an accumulation type of structure using pipe pillars, with accumulated pointed towers. On the other hand, though most Korean wooden pagodas have also adopted an accumulation type of structure from the ancientdays, one story type using whole pillars was created in the Koryo and Chosen Dynasties. The wooden pagoda structure of Palsangjeon, with stable vertical planes in a half story format, is a unique Korean construction technology, different from the construction technologies of Chinese and Japanese wooden pagodas. This thesis clearly determined the structural characteristics of Palsangjeon. However, various remains have yet to be analyzed in depth, to establish an accurate construction technology system. In the beginning of this thesis, I had difficulty in precisely interpreting the internal structure of the Gilt-Bronze Pagoda from its appearance. However, in the process of study, the more serious problem was that there are few remains or ruins of multi-story architecture in ancient and the middle ages of Korea. Therefore, it is urgent to discover various remains in the future. This thesis succeeded in determining the structural characteristics of Palsangjeon. However, it fell short of clarifying the structural lineage of the stable vertical planes, although they show indigenous Korean architectural taste, representing the unique national emotion, and the construction format of multi-story wooden pagodas in Korea. I hope this is clarified in the future research.

• Journal of the Korean Society of Costume
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• v.1
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• pp.119-129
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• 1977

It is significant for developing the future for us to know our present age. In order to preserve our Korean costume as a fola clothes retaining our distinguished independent characterisitics and to help design the tomorrow of our Korean costume playing a role as a racial to develop the world clothing culture, a survey was conducted to investigate modern people's conscious-ness and wearing practumes of Korean costume by questionaire and interviewing methods. The results of the survey were analyzed as follows: (1) At present, Korean costumes were purchased as customtailored(64.0%) and as ready-made(17.8%) and most of them were not made at individual homes. The laundry and ironing of them were carried out at laundry shops(68.8%). Considering our present economic, social and cultural aspects, sowing, laundryand ironing will not be carried out at homes again in the future and ready made costumes seen to be produced in a large scale in the future. Garment makers and laundry shop operators should be trained how to make our Korean costumes retain our traditional beauty in the course of their production and laundry and the makers of ready-made costumes must make research how to efficiently produce ideal ready-made costumes by adopting the synchro system in their wrk odisivion. (2) The age group wearing Korean costumes most frequently was the aged people over 60 (their wearing rate; 45%-50%) and the group wearing them most frequently next io the aged people over 60, was housewives(their wearing rate; 15%-20%). Excludign aged people and housewives, other respondentsdid not wear Korean costumes very frequently. Men's wearing rate was lower their wearing rate was the younger their ages were and the less their monthly incomes were. Korean costumes were used for holiday and festival(60%), wedding and funeral ceremonies (52%), visiting and working(22%), casual wear(12.8%) and home wear(9.2%). The use of Korean costumes as casual and home wears, was lower than the use for holday, festival, visiting and working, Under our present circumstances in which our Korean people use both Western style clothes and Korean costumer, our Korean costume has lostits position as a basic and necessary requiement in Korean people's daily life and become a ceremonical and fancy costume. It is natural that the times and life change everything in our daily life. Our costume has to be made as good ceremonial and fancy clothes satisfying modern sensibility according to its new role. In order for us to get close with our clothes, a keen study must be carried out to cleat the color, material, style, function and harmony of the Korean costume matching the of the times. (3) The 47.8% of the respondents answered that they were proud of our Korean costume as our folk clothes, 47.6% replied that thought them just common and 1.1% responded that they were ashamed of it. Most of them were affirmative in feeling pride with our Korean costume. (4) Considering the functional aspect of Korean costumes, their strong points were symetric beauty, rhythmical beauty, unity feeling, harmonical beauty and detailed decorations. Their common shortcomings were lack of individuality and inadequateness for active life. The shortcomings of woman costumes were suppressing breast, making resperation difficult and in adequnteness in summer time. The main reason not to wear our Korean costumes, was due to the fact that they are incomvenient for active life. As a measure to eliminate such shortcomings, 1) the suspension system of skirt to remove the suppression of breast should be generally adopted. 2) they should be simplified in their structure to make them convenient for active life and adepuate in wearing them in hot weather in an extent to which the traditional beauty of the costume may not be lostand 3) a new technique must be explored for showing individuality by wearing method and new arrangment of colors and decorations. (5) The reasons desiring to wear Korean costumes were classifide as follows: A. Korean costumes are our traditional clothes(43.4%). B. Korean costumes are noble and beautiful(26.8%). C. They are accustomed to wear Korean costumes by habit(19.5%). D. Korean costumes are necessary for attending ceremoneis(9.5%). E. Miscellaneous reasons(0.8%). Classifying these reasons into age groups, the high age group over 40 wore them because they were easy to wear by habit and the low age group of 10-30 never thought that they were east to wear by habit. Considering that even those who were accustomed to wear Korean costumes showed a low wearing rate and that the young generation were accustomed to wear Western style clothes rather than Korean costumes, the wearing rate of Korean costumes will be reduced in the future if such trend continues. It is urgent for us to make our best efforts in order to enhance the interest of young generation in Korean costumes and not to make them lose the strong points of Korean costume in the future. (6) Conicering the plan of the respondents on what kind of clothes they were going to wear in the future, among the age group over 50, those who wanted to wear only Korean costumes were 24.8%(men) and 35.1%(women), those who wanted to wear 49.7%(men) and 47.4(women), those who wanted to wear chiefly Western style clothes were 20.7% (men) and 14.4%(women) and those who wanted to wear only Western style clothes, were 2.4% (men) and 2.1%(women). This shows that the general tendency to wear only or chiefly Korean costumes is more prevalent than that to wear only Western style. Among the age group under 50, the tendency to wear Western style clothes was conspicuous and most of the respondent answered that they would wear chiefly Western style clothes and Korean costumes occasionally. Only 5.4% of the respondent answered that they would wear only Western style clothes and this shows that meny respondents still wonted to wear Korean costumes. Those who wanted their descendants to wear what they desire, were 50.1%(men) and 68.8% (women) and those who wanted their descendants to wear Koran costumes occasionally, were 85.8%(men) and 86.3%(women). This shows that most of respondents wanted their descendants to wear Korean costumes. In order to realize, it is necessory for us to make ourdescendants recognize the preciousness of our traditional culture and modify our Korean costumes according to their taste so that they may like wearing them.