• 한국염색가공학회지
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• 제30권4호
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• pp.304-312
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• 2018

This study reduced the number of hair bleachings and used a hair steamer machine to reduce hair damage during hair coloring. In addition, such treatment was given, focusing on the use of hair mist. When the $L^{\ast}a^{\ast}b^{\ast}$ values for bleached hair were measured using a spectrum colorimeter, the mist steamer-based hair revealed higher brightness. Hair damage was low when moisture contents were high after hair drying with the use of the mist steamer machine. The mist treatment-less hair showed more blurred cuticle boundaries than mist-treated hair. In other words, this confirms that cuticles are protected by the use of a mist steamer machine during hair bleaching. It appears that this could minimize hair loss and meet clients' aesthetic needs and satisfaction during color bleaching/coloring.

• 제어로봇시스템학회:학술대회논문집
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• 제어로봇시스템학회 1997년도 한국자동제어학술회의논문집; 한국전력공사 서울연수원; 17-18 Oct. 1997
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• pp.652-655
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• 1997

An exploration for an intelligence paradigm has been delineated. Artificial intelligence and artificial life paradigms seem to fail to show the whole picture of human intelligence. We may understand the human intelligence better by adding the emotional part of human intelligence to the intellectual part of human intelligence. Emotional intelligence is investigated in terms of composing machine as a modern abstract art. Various algorithmic composition and performance concepts are currently being investigated and implemented. Intelligent mapping algorithms restructure the traditional predetermined composition algorithms. Music based on fractals and neural networks is being composed. Also, emotional intelligence and aesthetic aspects of Korean traditional music are investigated in terms of fractal relationship. As a result, this exploration will greatly broaden the potentials of the intelligence research. The exploration of art in the view of intelligence, information and structure will restore the balanced sense, of art and science which seeks happiness in life. The investigations of emotional intelligence will establish the foundations of intelligence, information and control technologies.

• 복식문화연구
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• 제6권2호
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• pp.109-126
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• 1998

The purpose of this study was to analyze the expressional characteristics of the machine aesthetics in the fashion design. First, this study was started from analyzing mechanical beauty represented on the early 20th century art style. Machine aesthetics has influenced on the art and fashion design from modern to now. Futurism was grounded in the complete renewal of human sensibility brought about by the great discoveries of science. Especially, Russia avant-garde was inspired by the Futurism, that is Rayonism, Constructivism, Suprematism. Kasimir Malevich moved on immediately to purely abstract paintings of which the first was a black square on a white canvas. He had begun the art he called 'Suprematism'. Malevich's geometry was funded on the straight line, the supremely elemental form which symbolized man's ascendancy over the chaos of nature. The square was the basic suprematist element and was a repudiation of the world of appearances, and of past art. He repudiated any marriage of convenience between the artist and the engineer. Vladimir Tatlin made some of the most revolutionary works of modern art, these were the first works to be called 'construction'. Constructivists believed that the essential conditions of the machine and the consciousness of man inevitably create an aesthetic which would reflect their time. They eulogized simple shapes. That believed that buildings and objects should be freed from the ornamental excrescences and the accumulated barnacles of past art. Consequently, under the theoretical background, the result is as follows. First, The functional formativeness of machine aesthetics was expressed as a geometrical silhouette, construction line, non-ornamental construction, simple color in the 20th century design. Second, The mechanical formativeness of machine aesthetics was expressed as a construction of new material-iron, aluminium, plastic, glass-, geometrical form of material in he 20th century design. That is, machine beauty has more concerned with the expressional ideology of the art style and the formativeness of fashion design by silhouette, construction line, material, form.

• 한국가구학회지
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• 제24권2호
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• pp.121-130
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• 2013

Nature and technology are very popular themes in the everydayness of modern world. In our industrial age which is based on technology nature becomes an lost origin and basic environment. On the other hand, technology is conceived as future hope and realistic environment. Through 1960s they had been transformed as signs and connoted into furniture design. As signs, they structured environment, organized space, and bred their own aesthetics. In this context, Danish designer Verner Panton presented nature as experiential landscape and Italian designer Joe Colombo expressed technology as amusing machine. What they showed were not real but sign of nature and machine. Nonetheless they were successful to create aesthetic atmosphere and meaningful projects. Also they showed the potentiality that furniture design might include discoursive issues and values. They also extended functional interesting between furniture and body to cultural domain of social viewpoint in behavioral pattern.

• 대한심미치과학회지
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• 제26권2호
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• pp.68-83
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• 2017

치과용 CAD/CAM이 점차 보급됨에 따라, 사용할 수 있는 material의 종류와 활용할 수 있는 범위도 늘어나고 있다. 치과용 캐드캠의 가장 큰 장점은 한번의 방문으로 최종 보철물을 제작 할 수 있다는 점인데, 지르코니아나 복잡한 심미 보철의 경우 하루만에 제작하기 힘든 경우가 많다. 이러한 경우 임시치관용 PMMA 재료를 사용하여, 환자에게 심미성과 기능성을 가진 임시치관을 제공할 수 있으며 최종보철물에 대한 test crown이나 template등으로 활용할 수 있다. 그리고 원내에서 5축 밀링기로 가공한다면 임시치관을 빠른 시간에 큰 범위까지 정밀하게 제작할 수 있다. 이 글에서는 원내에서 가공하는 PMMA 임시치관의 다양한 활용과 임상증례에 대해 살펴보고자 한다.

• 문화기술의 융합
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• 제6권3호
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• pp.261-266
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• 2020

슈테이너 바술카(1940-)와 우디 바술카(1937-2019) 부부는 초기 비디오아트의 선구자로서 그들 특유의 실험적 예술을 비롯해 동시대의 아방가르드 퍼포먼스와 음악, 시각예술 세계 전반의 변화를 이끌어 냈다. 두 예술가는 디지털 수단들에 의해 변화하는 비디오이미지 프로세싱 작업을 위하여 엔지니어와 협업하며 기계장치를 개발하거나 응용하여 디지털이미지 변형 실험을 수행했다. 그들에게 비디오아트는 단순한 기록의 수단이 아니었다. 바술카 부부의 예술적 실천은 예술의 전통적인 규범이나 비평적 담론에 얽매이지 않고, 인간의 시각과 기계의 시각을 공존하게 하는 적극적인 미적 전략의 일환이었다. 특히 그들의 비디오아트는 미디어 테크놀로지가 커뮤니케이션 체계를 지배하기 시작한 시대에 비디오를 핵심적 미디어로 인식하고, 비디오카메라에 의존하지 않으면서도 움직이는 이미지를 전자적으로 조작할 수 있는 예술가의 권위를 개척했다는 점에서 더욱 그 가치를 부여할 수 있겠다. 이에 본고는 그 동안 국내에서는 아직 연구되지 않은 바술카 부부의 지난 예술의 여정을 되돌아보고, 그들의 비디오아트가 지닌 시대적 맥락과 미적 전략에 대한 학문적 관심을 제안한다.

• 미술이론과 현장
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• 제14호
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• pp.87-124
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• 2012

This paper focuses on the social implication of new media art, which has evolved with the advance of technology. To understand the notion of human-computer interactivity in media art, it examines the meaning of "cybernetics" theory invented by Norbert Wiener just after WWII, who provided "control and communication" as central components of his theory of messages. It goes on to investigate the application of cybernetics theory onto art since the 1960s, to which Roy Ascott made a significant contribution by developing telematic art, utilizing the network of telecommunication. This paper underlines the significance of the relationship between human and machine, art and technology in transforming the work of art as a site of communication and experience. The interactivity in new media art transforms the viewer into the user of the work, who is now provided free will to make decisions on his or her action with the work. The artist is no longer a godlike figure who determines the meaning of the work, yet becomes another user of his or her own work, with which to interact. This paper believes that the interaction between man and machine, art and technology can lead to various ways of interaction between humans, thereby restoring a sense of community while liberating humans from conventional limitations on their creativity. This paper considers the development of new media art more than a mere invention of new aesthetic styles employing advanced technology. Rather, new media art provides a critical shift in subverting the modernist autonomy that advocates the medium specificity. New media art envisions a new art, which would embrace impurity into art, allowing the coexistence of autonomy and heteronomy, embracing a technological other, thereby expanding human relations. By enabling the birth of the user in experiencing the work, interactive new media art produces an open arena, in which the user can create the work while communicating with the work and other users. The user now has freedom to visit the work, to take a journey on his or her own, and to make decisions on what to choose and what to do with the work. This paper contends that there is a significant parallel between new media artists' interest in creating new experiences of the art and Jacques Ranci$\grave{e}$re's concept of the aesthetic regime of art. In his argument for eliminating hierarchy in art and for embracing impurity, Ranci$\grave{e}$re provides a vision for art, which is related to life and ultimately reshapes life. Ranci$\grave{e}$re's critique of both formalist modernism and Jean-Francois Lyotard's postmodern view underlines the social implication of new media art practices, which seek to form "the common of a community."

• 한국융합학회논문지
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• 제11권10호
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• pp.237-241
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• 2020

본 연구에서는 실제형상과 같은 회전날개들을 가진 세 개의 세탁기의 모델들에 대하여 유동해석을 하였다. 회전날개의 좌측, 우측 및 바닥 평면들에 대한 압력 및 속도들에서는, 전반적으로 Model C가 유동에 대한 압력이 가장 크게 나와서 Model A에 비하여 2배 이상 나타났고, Model B와 Model A순으로 되었다. Model A, B 및 C의 회전 블레이드 측면에서의 유동의 유선속도들을 보면, 전반적으로 Model C가 유동에 대한 속도가 가장 크게 나와서 Model A에 비하여 1.7배 가량 나타났고, Model B와 Model A순으로 되었다. 회전날개의 갯수가 많다고 해서 유동상태가 양호하다기 보다 Model C와 같이 Model A나 Model B에 비하여 날개의 개수가 적지만 날개의 하부 두께가 더 두꺼운 경우가 유동 압력 및 유동 속도가 커서 세탁성능을 향상시켜 준다는 것을 알 수 있다. 또한 본 연구가 실제적으로 세탁기 회전날개의 내구성이 있는 효율적인 설계와 그 회전 날개의 미적인 융합에 적합하여 보인다.

• 대한인간공학회지
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• 제17권1호
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• pp.91-102
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• 1998

History of the Sensibility Ergonomics is explained. Concepts, definition, and research methods on the human sensibility are proposed for systematic applications of human sensibility studies to product and environment developments. Sensibility Ergonomics was born in socio-technological environments where consumers required aesthetic and satisfactory products in addition to useful and usable ones, and manufactures were trying to develop consumer-oriented, user-friendly products. Sensibility Ergonomics is defined as "multi-disciplinary and inter-disciplinary processes for developing products and environment as usable, comfortable and satisfactory with the information on human sensibility." Human sensibility is functionally defined as "feelings generated when perceived sensory and information stimuli are reflected from memory which has been accumulated through personal experiences." Human sensibility is affected by at least three factors: personal, social, and cultural. Consumers evaluate products in three aspects : functional, sensorial, and cultural sensibilities. Human sensibility is personal, dynamic, and ambiguous. It is generated reflectively and intuitively against external stimuli. No Physiological responses are accompanied, and one cannot control his/her sensibility. However, the sensibility affects the decision making or behavior of the person. To understand the human sensibility many inter-disciplinary methods should be used instead of one-variable approach. Micro-scopic studies such as Questionnaire, interview, behavioral analysis, and psychophysiological experiments can be performed. In addition, social and cultural studies are essential to understand an individual's sensibility. Results of sensibility studies can be applied to setup new interactions between human and machine through sensible(or affective) human-machine (computer) interfaces. Human-oriented and user-friendly products can be made with the information on human sensibility.

• Restorative Dentistry and Endodontics
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• 제23권1호
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• pp.197-212
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• 1998

The purpose of this study was to evaluate the effects of fluoride application on the aspect of shear bond strength of three aesthetic restorative materials to dentin. One light-cured composite resin(Palfique Esterite) and two light-cured glass ionomer cements(Fuji II LC and Compoglass)were used in this study. 120 permanent molars were used for this study. The teeth were extracted due to the origin of periodontal disease. The crowns of all teeth were removed, and the remaining roots were embedded in epoxy resin. The mesial or distal surfaces of roots were ground flat to expose dentin and polished on wet 320-, 400-, and 600 grit SIC papers for a total of 120 prepared flat root dentin surfaces. The prepared samples were divided into six groups. Group 1, 3, and 5 were control groups and group 2, 4, and 6 were experimental groups. Sixty samples for experimental groups were treated with 2% NaF solution for 5 minutes. Group 1 and 2 were bonded with Plafique Esterite, group 3 and 4 were bonded with Fuji II LC, and group 5 and 6 were bonded with Compoglass. After 24 hours water storage at $37{\pm}1^{\circ}C$, all samples were subjected to a shear to fracture with Instron universal testing machine(No.4467) at 1.0 mm/min displacement rate. Dentin surfaces treated with each conditioners before bonding and interfacial layers between dentin and aesthetic restorative materials were observed under Scanning Electron Microscope(Hitachi S-2300) at 20Kvp. The data were evaluated statistically at the 95% confidence level with ANOVA test. The result were as follows; 1. Among the control groups, group 1 showed strongest bond strength and group 3 showed weakest. 2. Among the experimental groups, group 2 showed strongest bond strength and group 6 showed weakest. 3. Statistical analysis of the data showed that pretreatment of dentin with 2% NaF solution significantly decreased the bond strength of three aesthetic restorative materials to dentin(P<0.05). 4. SEM findings of fluoride treated dentin surfaces (2, 4, 6 group) demonstrated dentin surfaces covered with fluoridated reaction products. 5. Except group 4 and 6, resin tags were formed in all groups.