• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.277-284
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• 2020

This thesis interrogates the term a performer's 'spontaneity' as the key principle to approach and enhance contemporary performer's training and acting. Drawing on a number of problematic issues, this thesis particularly examines the paradigm of the subtle bodily movement inform the experience of a performer's spontaneity as embodied and understood in approaching and adapting through text analysis and action. The in-depth process of the relationship between a performer's action and the transformative effects, is central to understanding and adapting the key principle of acting/training that a specific text would pursue through a specific performance by means of what a performer must do on stage. Following the discussion of acting in training and rehearsal, this thesis argues the necessity of an alternative way(s) and model of the performer's work via how the performer's action is sincerely emerged from the moment-by-moment rather than the performer anticipates what comes in the next and therefore pretend to do/be something/someone. Expanding upon the assumptions mentioned above, this thesis provides some pragmatic and descriptive work(s) from the practitioners' concepts and approaches that invites us to reconsider the nature of acting and its adaptability for contemporary performers.

• Korean Journal of Acupuncture
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• v.25 no.1
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• pp.19-37
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• 2008

The aim of this study was to understand the function & the character of meridians through the theory of Gae-Hap-Chu (開闔樞). Methods : First, We researched the meaning of Gae-Hap-Chu from Internal Classic (內經). Then, We investigated the theory of Gae-Hap-Chu (開闔樞) comparing with the principle of Oriental studies. The last, we considered the function & the character of Gae-Hap-Chu (開闔樞). Results & Conclusions : Gae-Hap-Chu represents distributing-gathering-controlling of meridians and suggests the place of meridians acting. Gae-Hap-Chu is true to the principle of Sam-Jae (三才原理) and interrelationship of Jang-Bu organ (臟腑相關) is also true to the study of Sang-Su (象數學). Descending & ascending meridians make a interrelationship of Jang-Bu organ individually. The function of gathering & distributing is expanded on Yang meridians. Heart & Gallbladder Meridians control Hap (闔) and Kidney& Triple Energizer meridians control Gae (開).

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.233-238
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• 2019

The purpose of this study was to realize and apply Taekwondo's technology and the fact that actors on stage and screen have much in common. In the meantime, there have been many prior studies on the development of the theoretical field. However, there is a slight lack of practical development and development plans, and it is time to improve. This seems to be a lack of practical experience leading to the creation of physical images. In that sense, I think that it should be supported by the complement of concrete and detailed research that seeks to make changes in open technology significantly. Considering this situation, it is necessary to further develop the practical field in parallel with the theoretical field. Therefore, I suggested the principle of physical behavior through Taekwondo technology and the development of acting skill. The performance training using these taekwondo techniques is meaningful research.

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.15 no.3 s.96
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• pp.334-340
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• 2005

A disk-type 3-DOF actuator which has new principle and very simple structure is proposed. Also it utilizes the relation of bias and control fluxes produced by permanent magnets and coils, respectively, like other conventional electromagnetic actuators, but its main feature is that both the coils and permanent magnets are fixed in the stator, which makes it easy to design the shape of moving part. Operating principle is that a moving disk is driven by reaction force of Lorentz force acting on the fixed equivalent coil. Simple analytic approach and FEM analysis are performed to determine the design parameters so as to increase the driving force and distance. And some experimental results show the feasibility of the proposed actuator.

• Journal of Sasang Constitutional Medicine
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• v.15 no.2
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• pp.9-23
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• 2003

1. Objects of a study Dong-mu emphasized knowing who he or she is to treat disease, so this parer was written to summarize Dong-mu's thought on human 2. Methods of a study ${\ulcorner}Dongyi$ Suse Bowon Sasang $Choboguon{\lrcorner}$ is Dong-Mu's early writing, is composed of three chapters, which are ${\ulcorner}$Won-in$(原人)${\lrcorner}$ . ${\ulcorner}$Byung-byun(病變)${\lrcorner}$ . ${\ulcorner}$Yak-bang(藥方)${\lrcorner}$ . This is chiefly written on human, so this paper was written by summarizing Dong-mu's general and constitutional thought on human in ${\ulcorner}Dongyi$ Suse Bowon Sasang $Chobonguon{\lrcorner}$ 3. Results and Conclusion 1. Dong-mu's viewpoint of human in ${\ulcorner}Dongyi$ Suse Bowon Sasang $Chobonguon{\lrcorner}$ is viewpoint of human in the base of 'Human Nature(人性)-Human Form(人形)' and viewpoint of human in the base of 'Affairs-Mind-Body-Objects(事心身物)'. 2. The general viewpoint of human suggested in ${\ulcorner}Dongyi$ Suse Bowon Sasang $Chobonguon{\lrcorner}$ is that 'Nature-Emotion(性情)' is a action of mind and 'Knowing-Acting(知行)' is a action of body in human. He emphasized that we should try to become saint through controling 'Nature-Emotion(性情)' and 'Knowing-Acting(知行)' 3. It was thought that The span of lift is different according to the volume of Oi(氣) existed in the smallest organ. To manage the Qi(氣) existed in the smallest organ, it is very important to recover 'Good Qi of each constitution(體質正氣)' through cultivating Heart and body. 4. The constitutional viewpoint of human suggested in ${\ulcorner}Dongyi$ Suse Bowon Sasang $Chobonguon{\lrcorner}$ is that Human is classified into four constitutions according to 'Natural Principle of Organ(臟腑性理)' of 'Human Nature(人性)' mind and 'Knowing-Acting(知行)' of 'Human Form(人形)' 5. The viewpoint of human suggested in ${\ulcorner}A$ Aphorism in Teaching Children(敎子平生箴)${\lrcorner}$ emphasized 'Heart('心')'. but The viewpoint of human suggested in ${\ulcorner}Dongyi$ Suse Bowon Sasang $Chobonguon{\lrcorner}$ emphasized' Natural Principle of Organ(臟腑性理)' of 'Human Nature(人性)' mind and 'Knowing-Acting(知行)' of 'Human Form(人形)' and developed the viewpoint of human suggested in ${\ulcorner}Dongyi$ Suse $Bowon{\lrcorner}$.

• Journal of the Korean Society for Precision Engineering
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• v.12 no.2
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• pp.14-22
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• 1995

We treat the vibrations of circular beam and make use of the method employed by J.T.Tielking, which is based on the principle of Hamilton. The Hamilton's principle requires the determinations of the potential and the kinetic energy of the model as well as done by internal pressure forces. Thje potential energy is composed of a part due to elastic deformations of the beam and a part due to radial and tangential displacements of the tread band with respect to the wheel rim. The equations of motion for such a model are derived by reference to conventional energy method. The accuracy of the expressions is demonstrated by comparison of calculated and experimental natural frequencies for circular beam. The circular beam experiences a harmonic, radial excitat- ion acting at a fixed point on the beam. Modal parameters varying the inflation pressure and load are determined experimentally by using the transfer function method.

• Wind and Structures
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• v.32 no.2
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• pp.127-142
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• 2021

Wind load acting on a standalone structure is different from that acting on a similar structure which is surrounded by other structures in close proximity. The presence of other structures in the surrounding can change the wind flow regime around the principal structure and thus causing variation in wind loads compared to a standalone case. This variation on wind loads termed as interference effect depends on several factors like terrain category, geometry of the structure, orientation, wind incident angle, interfering distances etc., In the present study, a three building configuration is considered and the mean pressure coefficients on each face of principle building are determined in presence of two interfering buildings. Generally, wind loads on interfering buildings are determined from wind tunnel experiments. Computational fluid dynamic studies are being increasingly used to determine the wind loads recently. Whereas, wind tunnel tests are very expensive, the CFD simulation requires high computational cost and time. In this scenario, Artificial Neural Network (ANN) technique and Support Vector Regression (SVR) can be explored as alternative tools to study wind loads on structures. The present study uses these data-driven approaches to predict mean pressure coefficients on each face of principle building. Three typical arrangements of three building configuration viz. L shape, V shape and mirror of L shape arrangement are considered with varying interfering distances and wind incidence angles. Mean pressure coefficients (Cp mean) are predicted for 45 degrees wind incidence angle through ANN and SVR. Further, the critical faces of principal building, critical interfering distances and building arrangement which are more prone to wind loads are identified through this study. Among three types of building arrangements considered, a maximum of 3.9 times reduction in Cp mean values are noticed under Case B (V shape) building arrangement with 2.5B interfering distance. Effect of interfering distance and building arrangement on suction pressure on building faces has also been studied. Accordingly, Case C (mirror of L shape) building arrangement at a wind angle of 45º shows less suction pressure. Through this study, it was also observed that the increase of interfering distance may increase the suction pressure for all the cases of building configurations considered.

• International Journal of Advanced Culture Technology
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• v.10 no.4
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• pp.383-388
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• 2022

This thesis explores the principle of a performer's organic action by means of his/her bodily responses on stage. This research has been developed to define the nature of a performer's central task in order to constitute empirical understanding of acting and the purpose of training in addressing the question of what sort of qualitative bodily training is necessary to be in a state of the full body involvement. This study investigates to articulate a performer's fundamental task at the most rudimentary level by utilizing those theatre artists' concepts with practical assumptions. In particular, the key terms, happen and change signifies the quality of a performer's body that has to fit into the given environment in which the performer's body can be subordinated through the moment on stage. Here, we argue that a performer's essential task parallel to make the following moment to happen and change by means of progressing a set of the next moment. In this manner, we also argue that a moment of displaying the performer's conscious effort, forceful and externalizing the visible elements under the use of erroneous language leads his/her body not to function on stage, a state of disengagement from his/her body. Finally, we provide a way to facilitate a performer's organic action by focused on his/her lived experience to create the functional moment which is opposite to the predominance of a representation, maintaining the performer's intellectual sense.

• International Journal of Advanced Culture Technology
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• v.9 no.4
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• pp.180-187
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• 2021

This thesis explores the place and role of a performer's action from a perspective of a director and playwright David Mamet's concept for performer training. This thesis takes inspiration from the idea of Mamet's simple and practical investigation specifically in text-based approach with a performer's bodily function on stage. For Mamet, the writings and practices of many different body-centered training are not rooted in the principle and nature of acting/performance. Reconsidering complicated approaches particularly psychological-oriented theory, practice, and assumption draw on several practitioners takes us beyond the field of visible and/or outer appearance of a performer which in turn leads the performer's body to be as abstract therefore not to being in the moment on stage. Arming the points, we argue that whatever disciplines and/or methods necessarily need to meet the principles and demands of acting/performance/theatre to connect to the materials, an action/objective given by a specific playwright which the performer must inhabit through his/her body. Out of the context, any 'method' serves no purpose. That is, the mechanics of an action is an extension of addressing what a performer's specific needs which shifts his/her body to respond appropriately to the theatrical demands. Taking this argument further, we claim that the purpose of performer training should not be understood as learning and improving techniques or skills for his/her self-perfection. The research finding shows that this resembles to the phenomenon that the visible very often precedes the invisible where the performer's body lose a clarity with no more chance to happen and/or change the event(s). Rather, it is a process of learning what/how to learn which in turn brings us back to the central question of why we do training for what purpose in this contemporary era. Exploring and answering these questions is not only a way to employ the key materials applicable to the theatrical demands but also to achieve the identify as a professional performer/doer on stage.

• Journal of Mechanical Science and Technology
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• v.16 no.4
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• pp.512-521
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• 2002

The flap-lag-torsion coupled aeroelastic behavior of a hingeless rotor blade with composite flexures in hovering flight has been investigated by using the finite element method. The quasisteady strip theory with dynamic inflow effects is used to obtain the aerodynamic loads acting on the blade. The governing differential equations of motion undergoing moderately large displacements and rotations are derived using the Hamilton's principle. The flexures used in the present model are composed of two composite plates which are rigidly attached together. The lead-lag flexure is located inboard of the flap flexure. A mixed warping model that combines the St. Versant torsion and the Vlasov torsion is developed to describe the twist behavior of the composite flexure. Numerical simulations are carried out to correlate the present results with experimental test data and also to identify the effects of structural couplings of the composite flexures on the aeroelastic stability of the blade. The prediction results agree well with other experimental data. The effects of elastic couplings such as pitch-flap, pitch-lag, and flap-lag couplings on the stability behavior of the composite blades are also investigated.