• The Journal of Art Theory & Practice
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• no.1
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• pp.49-70
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• 2003

What is an exhibition? Is it of the system which is designed to serve Art Works in their representation, or is it a place where the artistic presentation could be considered as art work itself? After modernist era, the role of exhibitional space might have been shifted from those two principle raison d'$\^{e}$tre of exhibitional space into another, a new one. What Deleuze would call it as he borrowed the term from Spinozian philosophy : the Affectional Space. This new type of exhibitional space has been announced since 1969 when a Harald Szeeman, young independent curator and art critic from Swiss, has organized his brilliant exhibition "When Attitudes become Form" in Bern. For sure, these intensities in curatorial practices have been existing before like some early 20th century exhibitional efforts by Marcel Duchamp, El Lissitzky, Yve Klein, etc. It has influenced much on many of, otherwise most of contemporary art exhibiting practices. And now it seems to be necessary to give it a conceptual idea which could enlighten better the new paradigm of exhibitional practices that we try to clarify. I would propose the idea of that new exhibitional space as "space of non-organic becoming". This idea is inspired by Deleuze's ever famous philosophical work Thousand Plateaus, which, with Folds by the same author, has contributed to many contemporary and aesthetical debating issues. What is "affect"? Explaining about Spinoza's principle concepts, Deleuze defines it as a kind of durations or variations which are constituted by different levels of perfection. One perfection is precedented or followed by certain perfection bigger or lesser through lived transitions or passages. So each time it actualizes and reflects the state of All as a cut of Reality while each state of affections, images or ideas can not be separated from the duration which binds it to the precedent state and extends it to following one. Affect is also a term of changes. One affects at the same time it is affected. Exhibitional space as affect (or affectional space) is distinguished from representational and presentational space in the way it attributes movement, produces arrangements and generates new factors of artistic creation including those which are outside of ever accepted artistic elements. The concepts of affectional space are used especially to enlighten contemporary situation of artistic and curatorial processes. Art is no more limited to be seen as mere objects of aesthetical admiration, nor as art vis-$\`{a}$-vis art relationship apart from the whole. It includes possibilities and virtuality that appear in the imperceptible and undescribable manners if delimited in given language. As once noticed by Kuhn, we might be living in a paradigmatically shifting world, not only in Art but also in Life. And we need to express it more with Art as moving and affectional nods than as just a clean window or a distinct manual book.

• Cartoon and Animation Studies
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• s.17
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• pp.147-161
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• 2009

Colors in design elements are visual non-verbal symbols both sensual and emotional. It is the first priority in the selection of products for the consumers, and also represents differentiated strategies and coherent integration symbols for the brand. Colors in advertising is an important tool to represent the long-term image management for the brand as well as the product image and concept of the advertise. The theme of this paper is to develop creative advertisement analyzing colors from automobile video ads. Analysis results showed that video ads with small cars under 2000cc preferred pastel colors with high saturation and brightness to emphasize on individuality rather than authority. On the other hand video ads with big and luxury cars upper 2000cc preferred dark colors with lower saturation and brightness. Small car video ads focused on product appearance showing the practical value of the car, big luxury car video ads focused on the symbolic image feeling the difference between the representation of the ads. Colors used in advertisement represents the sensitivity of the consumers. In video ads the concept of the color should be set by identifying on who the globule targets are and on what item you show by identifying the corresponding colors sensitivity to suit your advertising strategy will increase the value of the brand and products.

• Journal of the Ergonomics Society of Korea
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• v.33 no.5
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• pp.395-405
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• 2014

Objective: The aim of this study is to investigate 1) somatotopic arrangement of the second and third fingers in SI area 2) difference of neural activation in the SI area produced by stimulation with different frequencies 3) correlation between the intensity of tactile perception by different stimulus intensity and the level of brain activation measurable by means of fMRI. Background: Somatosensory cortex can obtain the information of environmental stimuli about "where" (e.g., on the left palm), "what" (e.g., a book or a dog), and "how" (e.g., scrub gently or scrub roughly) to organism. However, compared to visual sense, the neural mechanism underlying the processing of specific electrotactile stimulus is still unknown. Method: 10 right-handed subjects participated in this study. Non-painful electrotactile stimuli were delivered to two different finger tips of right hand. Functional brain images were collected from 3.0T MRI using the single-shot EPI method. The scanning parameters were as follows: TR and TE were 3000, 35ms, respectively, flip angle 60, FOV $24{\times}24cm$, matrix size $64{\times}64$, slice thickness 4mm (no gap). SPM5 was used to analyze the fMRI data. Results: Significant activations produced by the stimulation were found in the SI, SII, the subcentral gyrus, the precentral gyrus, and the insula. In all participants, statistically significant activation was observed in the contralateral SI area and the bilateral SII areas by the stimulation on the fingers but ipsilaterally dominant. The SI area representing the second finger generally located in the more lateral and inferior side than that of the third finger across all the subjects. But no difference in brain area was found for the stimulation of the fingers by different frequencies. And two typical patterns were observed on the relationship between the perceived psychological intensity and the amount of voxels in the primary sensory cortex during the stimulation. Conclusion: It was possible to discriminate the representation sites in the SI by electrotactile stimulation of digit2 and digit3. But we could not find the differences of the brain areas according to different stimulation frequencies from 3 to 300Hz. Application: The results of the study can provide a deeper understanding of somatosensory cortex and offer the information for tactile display for blinds.

• Asian Pacific Journal of Cancer Prevention
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• v.13 no.12
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• pp.6391-6395
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• 2012

Background: Ovarian cancer is ranked as the fifth most common cause of cancer death in women. In Malaysia, it is the fourth most common cancer in females. CA125 has been the tumor marker of choice in ovarian cancer but its diagnostic specificity in early stages is only 50%. Hence, there is a critical need to identify an alternative tumor marker that is capable of detecting detect ovarian cancer at an early stage. HE4 is a new tumor marker proposed for the early diagnosis of ovarian cancer and disease recurrence. Currently, none of the normal ranges of HE4 quoted in the literature are based on data for a multiethnic Asian population. Therefore, the aim of this study was to determine reference intervals for HE4 in an Asian population presenting in University Malaya Medical Centre, a tertiary reference hospital. Materials and Methods: 300 healthy women were recruited comprising 150 premenopausal and 150 postmenopausal women, aged from 20-76 years. All women were subjected to a pelvic ultrasonograph and were confirmed to be free from ovarian pathology on recruitment. Serum HE4 levels were determined by chemiluminescent microparticle immunoassay (CMIA, Abbott Architect). The reference intervals were determined following CLSI guidelines (C28-A2) using a non-parametric method. Results: The upper limits of the $95^{th}$ percentile reference interval (90%CI) for all the women collectively were 64.6 pmol/L, and 58.4 pmol/L for premenopausal) and 69.0 pmol/L for postmenopausal. The concentration of HE4 was noted to increase with age especially in women who were more than 50 years old. We also noted that our proposed reference limit was lower compared to the level given by manufacturer Abbott Architect HE4 kit insert (58.4 vs 70 pmol/L for premenopausal group and 69.0 vs 140 pmol/L in the postmenopausal group). The study also showed a significant difference in HE4 concentrations between ethnic groups (Malays and Indians). The levels of HE4 in Indians appeared higher than in Malays (p<0.05), while no significant differences were noted between the Malays and Chinese ethnic groups. Conclusions: More data are needed to establish a reference interval that will better represent the multiethnic Malaysian population. Probably a larger sampling size of equal representation of the Malay, Chinese, Indians as well as the other native ethnic communities will give us a greater confidence on whether genetics plays a role in reference interval determination.

• Journal of Korean Ophthalmic Optics Society
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• v.19 no.4
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• pp.435-443
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• 2014

Purpose: The purpose of this study was to analyze the design identity visual elements of optical shop brand$\underline{s}$ in order to provide objective data necessary for optical shop brands' design development. Methods: This study examined the design identity concept of the optical shop brands and analyzed visual elements of brand design identity with a focus on the symbols of domestic franchise optical shops, type of a symbol mark, representation style of logo type, color usage, use or non-use of character, etc. Results: Many symbols were directly associated with the eyeglasses, such as eyeglasses and eyes, face and iris. Along with that, letters or figures were also observed. For the type of symbol, most types were found to have the designs that took spherical and word mark shapes. Particularly, the word mark type had English words more often than Korean words. For logo types, the gothic format was dominant. In relation to the thickness of letter, thick boldface type was commonly used. The combination of 2 degrees was the color frequency used most often in the optical shop brand design. For the frequency of color usage, black and red colors were used most often. Particularly, the orange color, as well as the black color, was also often used for the main color of symbols or logo types. Meanwhile, the characters were used only in some optical shop. Most characters were animals and expressed in the cartoon and graphical forms. Conclusions: Typifier, symbol mark, logo type, color, and character are the elements forming the basic development system for brand design identity. Systematic design is needed which clearly ensures the function and role along with the mutual consistency as a important visual component of the optical shop brand.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.779-785
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• 2023

In the creation of non-verbal dance performance, stage costumes are an important element of visual expression and serve an expanded role in addition to its fundamental decorativeness, representation of status reflective of the historical setting of the act and functionality for the dance movement. We intends that the purpose of this research is to analyze the expanded role of the costumes in the creative ballet <'That' Girl>, and through this exercise, provide foundational data on and suggest new future directions for stage costume design. <'That' Girl> is composed of two acts, offering condolences and eliciting empathy by conveying the fear experienced by the victims of the time. The second dance act representing freedom and "Haan" requires this expanded application of costume design. The costume design was inspired by the "Statue of Peace" representing comfort women, and completed through three draft designs and material experiments testing the ease of operation of the strings and fabrics installed in the costumes as well as the functionality of the associated ballet movements. In conclusion, expansion of time & space, expansion of form and expansion of symbolic expression were shown in the dance of liberation using strings wrapped around the arms and through the cloth embodying 'Haan' hidden in front of the costume.

• Journal of Service Research and Studies
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• v.14 no.2
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• pp.69-81
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• 2024

The The purpose of this study is to have a positive impact on the evaluation of the traditional market revitalization project by discussing the business details and implementation process of the commercial district revitalization project in depth. The research method uses practical methods for traditional market revitalization projects. First, the activation method of the place was examined through the concepts of Oldenburg's 'Third Place' and Carr et al.'s 'Five Demands for Public Space' and the theories related to non-face-to-face transactions were examined. The first study case was the commercial district revitalization project of the Cheongju Global Market Development Project(Seongan-gil Street Shopping Mall and Yukgeori traditional Market), which discussed revitalization of open space, revitalization through reproduction, and revitalization through festivals. The revitalization project through representation is a project to install a symbolic sculpture at the estimated location of the 'Namseokgyo' buried in Yukgeori traditional Market. The revitalization through the festival is the Korea Sale Festa, which is a vibrant business due to increased sales at traditional markets and shopping malls and floating population in open spaces. The second study case was the Cultural Tourism Promotion Project(Hanmin traditional Market), which discussed revitalization through the development of local brands and SNS content. In the conclusion, the relationship between the six projects and commercial district revitalization methods was discussed, and policy recommendations were made, mentioning the importance of reflecting regional characteristics in design planning. We hope that this study will be used to positively evaluate the traditional market revitalization project, showing that stakeholders are working hard to produce positive results within institutional limitations.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.37 no.8C
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• pp.680-689
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• 2012

U-healthcare is maintaining of users' health without limitations from where and when they are. As it is important to guarantee compatibility between heterogeneous systems in U-healthcare, a medical information standard is compulsory. An adequate standard means that it is easy to understand and it can cover wide range of information types and various medical devices. Among them, HL7(Helath Level 7) has those traits, but HL7 is not adequate for non-text message, especially for medical waveform. JAHIS suggested an appropriate standard, that is MFER. MFER has many advantages for representation of medical waveform, but it is still not good for real-time applications. In U-healthcare, there are lots of needs for real-time application, so we need a standard that can have useful properties of MFER and HL7, and support real-time. In this article, there are two main topics. The first one is introducing MFER and HL7. Second, the new scheme(TS-MFER with HL7) is developed by modifying MFER and HL7 for real-time applications.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.22 no.4
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• pp.637-637
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• 1997

In this paper, format conversion filters are proposed, which have advantages in hardware implementation compared to the ones proposed in MPEG-4 Video Verification Model. since each coefficients of the proposed filters is constrained to have less than two non-zero digits in minimal signed digit representation, multiplication of input and the coefficient can be implemented by a single adder. As a result, the proposed filters have advantages in hardware complexity and speed, compared to the filters which are usually implemented by integer multiplier or carry save adders. Six kinds of filters are proposed in MPEG-4 Video Verification Model for size conversion of 2:1, 4:1, 5:3 and 5:6. We design 5 filters for the same purpose and compare the performance. The remaining one is very simple to implement. For comparing the filtering performance, we first compare the results of sine wave frequency conversion as an indirect but meaningful comparison. Second. We compute the PSNR of the images obtained from the proposed filters and the ones proposed by MPEG, with reference to the images obtained by using double precision arithmetic and high order filter. The results show that the performance of the proposed filters is almost the same as that of the filters proposed by MPEG. In conclusion, the peroformance of the proposed filters is comparable to that of the ones in MPEG-4, while requiring lower hardware complexity and providing high operating speed.

• Journal of Korean Philosophical Society
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• v.139
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• pp.265-313
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• 2016

This research aims to reconstruct the philosophical content and essence of Schopenhauer's metaphysics of music in his book, Die Welt als Wille und Vorstellung, particularly in paragraph 52, and to pay close attention to its theoretical account of music in the context of traditional musical aesthetics. The question whether Schopenhauer's theory of music is about aesthetics of feeling or about absolute music is dealt with at the end of this paper. It can be answered only within the whole system of his philosophy, because Schopenhauer's theory of music is the result of his philosophical reflections, and plays an important part in his metaphysics of the will. Schopenhauer's music theory, or rather his metaphysics of music, thus cannot be treated separately from Schopenhauer's metaphysics of the will, and is connected organically with it. As the metaphysics of the will lies in suspense between the traditional metaphysical philosophy and the non-metaphysical philosophy after Nietzsche, between the idealism and the philosophy of the body, the music aesthetics of Schopenhauer oscillates between the (romantic) aesthetics of feeling and the modern idea of absolute music.