• 제어로봇시스템학회:학술대회논문집
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• 2004.08a
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• pp.1121-1125
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• 2004

The RT(Robot Technology) has been developed as the next generation of a future technology. According to the 2002 technical report from Mitsubishi R&D center, IT(Information Technology) and RT(Robotic Technology) fusion system will grow five times larger than the current IT market at the year 2015. Moreover, a recent IEEE report predicts that most people will have a robot in the next ten years. RCP(Robotic Cellular Phone), CP(Cellular Phone) having personal robot services, will be an intermediate hi-tech personal machine between one CP a person and one robot a person generations. RCP infra consists of $RCP^{Mobility}$, $RCP^{Interaction}$, $RCP^{Integration}$ technologies. For $RCP^{Mobility}$, human-friendly motion automation and personal service with walking and arming ability are developed. $RCP^{Interaction}$ ability is achieved by modeling an emotion-generating engine and $RCP^{Integration}$ that recognizes environmental and self conditions is developed. By joining intelligent algorithms and CP communication network with the three base modules, a RCP system is constructed. Especially, the RCP interaction system is really focused in this paper. The $RCP^{interaction}$(Robotic Cellular Phone for Interaction) is to be developed as an emotional model CP as shown in figure 1. $RCP^{interaction}$ refers to the sensitivity expression and the link technology of communication of the CP. It is interface technology between human and CP through various emotional models. The interactive emotion functions are designed through differing patterns of vibrator beat frequencies and a feeling system created by a smell injection switching control. As the music influences a person, one can feel a variety of emotion from the vibrator's beats, by converting musical chord frequencies into vibrator beat frequencies. So, this paper presents the definition, the basic theory and experiment results of the RCP interaction system. We confirm a good performance of the RCP interaction system through the experiment results.

• Korean Institute of Interior Design Journal
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• v.18 no.5
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• pp.59-70
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• 2009

Since the emergence of a philosophical theory called deconstructivism, intertextuality has been promote the hybrid phenomenon amongst other jenres in arts. Various research efforts in intertextuality, however, have been more focused on the fields of literature and philosophy, rather than of architecture. This study aims to clarify the intertextuality between architectural design, music and literature as the following analysis of James Joyce's Finnegan's Wake, John Cage's music and Bernard Tschumi's early works. Joyce's Garden of Bernard Tschumi's project and some of John Cage's music works had borrowed from Finnegan's Wake, a novel James Joyce. Hence, the commonality between Bernard Tschumi and John Cage can naturally be related through Finnegan's Wake. Also, Finnegan's Wake had been contextualized by Jacques Derrida before it was used as a mediation by Bernard Tschumi. In this viewpoint, the paper will be able to identify the possibility of intertextuality between musical text and architectural one with a medium of literature. Major findings of the study are as follows: First, Finnegan's Wake played a guiding role to deconstruct the existing formalism and to construct a new concept in John Cage's music and Bernard Tschumi's architecture. Second, John Cage's music and Bernard Tschumi's works are included commonness with indeterminacy concepts. Third, the both artists share a drawing concept as found in John Cage's graphic notation of the 1950s and Bernard Tschumi's early architecture where grids, dots, and curves are used in common. As s result, intertextuality could be possible to make sure between others. Like this interdisciplinary research of relationships among different fields will be of great help in constructing creative design methods in architecture. With continuous research attempts, it is hopeful to intertextualize architectural texts with related art fields.

• The Journal of the Korea Contents Association
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• v.12 no.4
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• pp.174-185
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• 2012

The social and cultural influence about the popular music in Korea has been increased and the industry of popular culture has been also growing compared with other fields. In addition to this, many universities in Korea tends to establish departments of popular music for undergraduate and graduate program. Firstly, this paper suggest that the analysis of popular songs can be raised the academic value by the modern music theory. Secondly, the database of Korean popular songs should be built up so that popular songs can be classified to various aspects such as composers, musical style etc. As a result, Korean popular music deserves special consideration not just for the industrial value but for the contents of music education. Furthermore, these research can contribute that popular songs should be regarded and applied as a educational contents for the academic development and social improvement.

• Journal of the Korean Society for information Management
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• v.23 no.2
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• pp.5-19
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• 2006

The purpose of this study is to observe and analyze information searching behaviors of various user groups in different access modes for designing user-centered query interface of content-based Music Information Retrieval System(MIRS). Two expert groups and two non-expert groups were recruited for this research. The data gathering techniques employed in this study were in-depth interviewing, participant observation, searching task experiments, think-aloud protocols, and post-search surveys. Expert users, especially majoring in music theory, preferred to input exact notes one by one using the devices such as keyboard and musical score. On the other hand, non-expert users preferred to input melodic contours by humming.

• The Journal of Art Theory & Practice
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• no.13
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• pp.185-213
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• 2012

Charles Stankievech's 2011 installation LOVELAND includes a wall-sized screen depicting video footage of a barren arctic landscape in an enclosed room, painted and bathed in white light, that appears as an extension of the imaged environment. A melodic and industrial musical score emanates from multiple sound panels and as the music increases a cloud of purple smoke becomes visible on the horizon line in the distance and gradually advances toward the viewer until it completely fills the screen. The smoke then remains, rushing about madly and lapping at the border between the screen and the room before it suddenly subsides and the spectator is again left with the desolate landscape. The entire process takes a mere five minutes and then, fixed on an endless loop, begins again. This paper positions LOVELAND as an attempt to simulate a sublime experience of the end of the world through a transposition of the Arctic atmosphere into the gallery space. Encompassing a discussion of the historical and contemporary significance of the Arctic in popular culture, aesthetics and environmental politics, it is suggested that Stankievech employs an apocalyptic trope in reference to the unstable position of the North in the current political and ecological climate. Revisiting critiques of modernist exhibition practices and investigating the perceptual and temporal dimensions of the work, this analysis focuses primarily on the experience of the installation's spectator. Visually, aurally and phenomenologically immersed, the viewer is made subject to, and implicated in, the events unfolding on the screen and within the space. Due to the looping of the video footage, this paper argues that the apocalypse imaged in LOVELAND is presented as an endless event - incessantly enacted, yet infinitely deferred - and that the spectator is enveloped in an uncertain and unceasingly extended present moment.

• International Journal of Computer Science & Network Security
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• v.22 no.11
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• pp.11-18
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• 2022

Linking Ukraine's education system with the trends of global digitalization is mandatory to ensure the sustainable, long-term development of the country, as well as to increase the sustainability of the education system and the economy as a whole during the crisis period. Now the main problems of the education system in Ukraine are manifested in a complex context caused by Russian armed aggression. In the context of war, problems include differences in adaptation to online learning among educational institutions, limited access to education for vulnerable groups in the zone of active hostilities, the lack of digital educational resources suitable for online learning, and the lack of basic digital skills and competencies among students and teachers necessary to properly conduct online classes. Some of the problems of online learning were solved in the pandemic, but in the context of war Ukrainian society needs a new vision of education and continuous efforts of all social structures in the public and private environment. In the context of war, concerted action is needed to keep education on track and restore it in active zones, adapting to the needs of a dynamic society and an increasingly digitized economy. Among the urgent needs of the education system are a change in the teaching-learning paradigm, which is based on content presentation, memorization, and reproduction, and the adoption of a new, hybrid educational model that will encourage the development of necessary skills and abilities for students and learners in a digitized society and enable citizens close to war zones to learn.

• Sijohaknonchong
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• v.24
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• pp.223-258
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• 2006

This Research is about the classification of 'Sijochang', or the Korean ode narrative song, in terms of music. Contrary to the literature classification by the number of letters, sijochang varies with the melody. Literally, the classification is generally made as Dansijo(or short ode) Jungsijo(or medium ode) and Jangsijo(or lengthy ode) but the sijochang is normally divided into 'Pyongsijo' (or plain ode), 'Jirumsijo and Saseolsijo'. As while the same Sijochang is called under the different names, the different type of sijochang is also called as the same name, it needs the discussion about its name. Some Korean classical musicians have attempted to define it but they are trying to do it without the specific reasoning about its concept. As a result, the systematic research is required. This study designs to streamline the currently confusing and complex names and set up the sijo's classification system. After reviewing the ancient music note, current sijo score and the traditional theory, I largely classified it into 3 types: Pyongsijo, Jirumsijo and Saseolsijo. And then, 1 analyzed on to which type the sijochang which is presently called belongs, based on several principles. The 67 names of the sijo which I have investigated about are classified with them sharpy reduced into 16. Among the current sijo names. there are some which are of same type yet of different phonetics and there are others which are of different phonetics yet of same type. To avoid such complex and troublesome names, I have orchestrated them as follows, taking the literary and music concept into account. 1) Pyongsijo type : Pyongsijo, Joongherisijo, Wujosijo and Payeonkok 2) Jirumsijo type: Jirumsiro, Namchangjirumsijo(it refers to Jirumsijo sung by male ), Yeochangjirumsijo (it refers to Jirumsijo sung by female), Banjirumsijo(it refers to half the Jiumsiro), Onjirumsijo (it refers to the whole Jirumsijo), Wujojr\irumsijo, Saseoljirumsijo and Whimorisijo) 3) Saseolsijo type : Saseolsijo, Bansaseolsijo(it refers to half the Saseolsijo, Gaksijo or Pyongsiro There are still lots of things to musically streamline, in the fields of disposition of Sijo letters, its form, musical scale and influences on other genre. etc. and as such. the accumulation of theory on them is urgently required. Those musical elements need an in-depth review and study by the experts and the Korean traditional musicians. Later research is expected to play a role of exploring it.

• Journal of Korean Philosophical Society
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• v.137
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• pp.439-462
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• 2016

This Article's aim is to articulate Confucius's theory of poetics in analects. Confucius tried to establish Humanism and educate the idea of 'learning to become a sage' based upon six classics. He empathized with the education of The Book of Poetry. Sze-ma Tseen said that the old poems amounted to more than 3,000. Confucius removed those which were only repetitions of others and sang to them with his lute, bringing them into accordance with the appropriate musical style. This is the first notice which we have of any compilation of the ancient poems by Confucius. Confucius said, "If you do not learn the Odes, you are not fit to converse with. The Odes 1) serve to stimulate the mind, 2) may be used for purposes of self-contemplation, 3) teach the art of sociability, 4) show how to regulate feelings of resentment, 5-6.) 'From them you learn the more immediate duty of serving one's father, and the remoter one of serving one's prince. and from them we become largely acquainted with the names of birds, beasts, and plants.' Confucius' said, 'In the Book of Poetry are three hundred pieces, but the design of them all may be embraced in one sentence-- "Having no depraved thoughts."' This sentence is the final definition of Poetics.

• 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 Gifted/Talented Education
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• v.24 no.5
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• pp.807-827
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• 2014

The purpose of this study was to extract and validate the educational goals and the subjects for developing a music gifted curriculum. Based on literature review and analysis of music gifted curricula in foreign countries, 19 educational goals and 18 subjects were derived from literature review and analysis of music gifted curricula in foreign countries. To validate the educational goals and the subjects, delphi survey was carried out twice with 26 expert panelists in the field of music, music education and music gifted education. Delphi survey was analyzed using the mean, content validity ratio, and the degree of consensus. The final set of educational goals for music gifted education included 6 skills related goals, 4 creative expression related goals, 4 knowledge related goals, and 2 attitude related goals. The final set of subjects included 4 major-specific subjects, 5 foundational subjects, 4 theory-related subjects, 3 integration and social participation related subjects. The results of this study can be used as baseline data to develop a music gifted curriculum by providing ideas for deciding what to teach and why to teach in music gifted education.