• Sleep Medicine and Psychophysiology
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• v.8 no.2
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• pp.107-112
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• 2001

Introduction: Narcolepsy, a sleep disorder characterized by excessive daytime sleepiness and cataplexy, is known to be closely associated with the human leukocyte antigen (HLA) DQB1*0602. Several studies have suggested that HLA-DQB1*0602 is strongly linked with narcolepsy-cataplexy. However, no studies have yet been made on whether HLA DQB1*0602 is associated with Korean patients with narcolepsy. This study was designed to investigate the frequency of HLA-DQB1*0602 of Korean patients with narcolepsy. Methods: Twenty patients were selected (mean age: $28.2{\pm}3.0$, 11 men and 9 women). The patients were confirmed to have narcolepsy by the overnight polysomnography and multiple sleep latency test (MSLT) in addition to their clinical history and symptoms at St. Vincent's Hospital and Korea University Hospital Sleep Disorders Clinic. Any subjects co-morbid with other hypersomnic sleep disorders such as sleep apnea or periodic limb movements during sleep were excluded. Clinical data was collected through a semi-structured interview for narcoleptic patients. All patients and 21 control did HLA typing for the presence of DQB1*0602. Results Obtained were as Follows: 1) Mean sleep latency was 2.4 (${\pm}2.0$ minutes) and mean frequency of sleep-onset REM period was 3.0 (${\pm}1.6$) by MSLT. 2) Characteristic symptoms of narcolepsy investigated were as follows: excessive daytime sleepiness (100%), cataplexy (100%), sleep paralysis (60%), hypnagogic hallucination (70%) and disrupted nocturnal sleep (75%). 3) Strong emotional expression such as laughing (80%) and joking (70%) triggered cataplexy which affects the knee and leg region (80%) and jaw region (30%). 4) HLA-DR2 was found in 90% of patients and 35% in controls. The frequency of HLA-DQB1*0602 in patients and controls was 90%, and 24%, respectively. Conclusions: These results, which exhibit high HLA-DQB1*0602 expression in Korean patients with narcolepsy, suggest that HLADQB1*0602 could be a strong genetic marker in narcolepsy.

• (The) Research of the performance art and culture
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• no.37
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• pp.61-94
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• 2018

This article examined that the historical changes and current significance of the Jaedam(재담) and the Xiangsheng(相聲), one of the traditional Korean and Chinese language games. Both Korean Jaedam and Chinese Xiangsheng are representative language games and traditional performing arts for laughing. The origin of the Jaedam can be traced back to Uheui(우희). Uheui has been called Changyouxi in China, Bae Woo-hee, and Jo Hee in Korea. Uheui is the most traditional language game and a variety of performances were derived from its spreading and inheriting process. Among them, Korean Jaedam and Chinese Xiangsheng can be said to be a piece of art that has successfully inherited Uheui tradition. From the late 18th century, Korean Jaedam were established as independent performance arts, and became highly active in many performance by professional joker Park Chun-jae and other performers. With the development of gramophone record in the early 20th century, the Jaedam was mainly made on the theater stage and radio. At this time, the new performance art of 'Mandam(만담)' was derived from the Jaedam, which focused more on satire current events and criticizing the social situation. Mandam has been popular for a long time and then extinct in the 21st century. The jaedam have been handed down only in the Korean traditional performance so far. Meanwhile, Chinese Xiangsheng, which was built in the mid-19th century, a bit later than Korean Jaedam, was initially considered to be a vulgar art of the lower class, but finally became popular in the early 20th century. In the mid-20th century, Xiangsheng was transformed into a new character, which mainly deals with social praise and edification of the masses. But since 'New Xiangsheng' does not focous on a satire on social conditions, the humor has been reduced. In the early 21st century, Xiangsheng was on the verge of extinction just like Mandam, but through the efforts of young actors to revive tradition, another reformation of this art was made to return to tradition and small theater. Currently, the 'traditional Xiangsheng', which has returned to tradition, is once again receiving the love and support of the Chinese audience. Korean Jaedam and Chinese Xiangsheng have many similarities in terms of history and recruitment, but they are now in different fates. There is also a great deal in common ground in terms of the content and form of the two arts. In the case of Xiangsheng, it is one of the traditional folk art forms which is still loved by the Chinese people and has become one of the most important traditional performances. On the other hand, in Korea, Jaedam as independent performance arts has disappeared and now only can be seen in traditional performances such as 'Korean mask theater'. The fact that Korean Jaedam and Chinese Xiangsheng have undergone similar changes in their spreading and inheriting process, while Korean Jaedam have disappeared and Chinese Xiangsheng is well preserved. The reason can be confirmed through the main idea of this article.

• Journal of Intelligence and Information Systems
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• v.19 no.1
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• pp.79-94
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• 2013

Recently, the high value added business is steadily growing in the culture and art area. To generated high value from a performance, the satisfaction of audience is necessary. The flow in a critical factor for satisfaction, and it should be induced from audience and measures. To evaluate interest and emotion of audience on contents, producers or investors need a kind of index for the measurement of the flow. But it is neither easy to define the flow quantitatively, nor to collect audience's reaction immediately. The previous studies of the group flow were evaluated by the sum of the average value of each person's reaction. The flow or "good feeling" from each audience was extracted from his face, especially, the change of his (or her) expression and body movement. But it was not easy to handle the large amount of real-time data from each sensor signals. And also it was difficult to set experimental devices, in terms of economic and environmental problems. Because, all participants should have their own personal sensor to check their physical signal. Also each camera should be located in front of their head to catch their looks. Therefore we need more simple system to analyze group flow. This study provides the method for measurement of audiences flow with group synchronization at same time and place. To measure the synchronization, we made real-time processing system using the Differential Image and Group Emotion Analysis (GEA) system. Differential Image was obtained from camera and by the previous frame was subtracted from present frame. So the movement variation on audience's reaction was obtained. And then we developed a program, GEX(Group Emotion Analysis), for flow judgment model. After the measurement of the audience's reaction, the synchronization is divided as Dynamic State Synchronization and Static State Synchronization. The Dynamic State Synchronization accompanies audience's active reaction, while the Static State Synchronization means to movement of audience. The Dynamic State Synchronization can be caused by the audience's surprise action such as scary, creepy or reversal scene. And the Static State Synchronization was triggered by impressed or sad scene. Therefore we showed them several short movies containing various scenes mentioned previously. And these kind of scenes made them sad, clap, and creepy, etc. To check the movement of audience, we defined the critical point, ${\alpha}$and ${\beta}$. Dynamic State Synchronization was meaningful when the movement value was over critical point ${\beta}$, while Static State Synchronization was effective under critical point ${\alpha}$. ${\beta}$ is made by audience' clapping movement of 10 teams in stead of using average number of movement. After checking the reactive movement of audience, the percentage(%) ratio was calculated from the division of "people having reaction" by "total people". Total 37 teams were made in "2012 Seoul DMC Culture Open" and they involved the experiments. First, they followed induction to clap by staff. Second, basic scene for neutralize emotion of audience. Third, flow scene was displayed to audience. Forth, the reversal scene was introduced. And then 24 teams of them were provided with amuse and creepy scenes. And the other 10 teams were exposed with the sad scene. There were clapping and laughing action of audience on the amuse scene with shaking their head or hid with closing eyes. And also the sad or touching scene made them silent. If the results were over about 80%, the group could be judged as the synchronization and the flow were achieved. As a result, the audience showed similar reactions about similar stimulation at same time and place. Once we get an additional normalization and experiment, we can obtain find the flow factor through the synchronization on a much bigger group and this should be useful for planning contents.