• Journal of The Korean Society of Integrative Medicine
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• v.7 no.4
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• pp.23-32
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• 2019

Purpose : The purpose of this study was to evaluate the effects of multi-sensory treatment programs on attention and learning in ADHD children. Methods : The program was provided for 50 minutes twice a week for a total of 12 times over 6 weeks. The FAIR concentration test was used to identify the children's concentration of attention before and after the intervention. The children's learning ability was evaluated using K-ABC. Results : When attention was evaluated using FAIR, there was a significant increase in all dependencies of performance value (P), quality value (Q), and continuity value (C) (p>.05). In addition, when learning ability was evaluated using K-ABC, learning ability in general increased significantly (p>.05). The multi-sensory play therapy program had a positive effect on the children's attention and learning ability and thus it is a positive intervention method for children with ADHD. Conclusion : In addition to providing challenging activities, the program showed that it was possible to elicit the children's interest by engaging a variety of senses at the same time. This is believed to have motivated them internally to engage actively in the program.

• Journal of architectural history
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• v.19 no.2
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• pp.67-83
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• 2010

The purpose of this research is to rethink Alvar Aalto's architecture on the basis of the aesthetic concept of play. This attempt is valid because he had asserted the importance of play in his design. But more fundamentally, his critical view of the instrumentalised rationalism implied the idea that a human being is "Man the Player" as well as "Man the Thinker", of which theory was elaborated in Johan Huizinga's Homo Ludens (1938). Premised on it, this paper investigated the evolution of the play idea in aesthetics and located Aalto's concept within the map. Summing up, his play was an intuitively grasped desire opposed to a rational requirement, which leads to a dialectical synthesis. This schema is similar to that of Schiller, in which Spiel reconciles the reason and the sense. However, Aalto's play could be differentiated into the "astonishingly rational" and "a jest", each of which roughly corresponds to the Spieltrieb (play impulse) and the sinnliche Trieb (sensuous impulse) in Schiller's thinking. On the other hand, Aalto's architecture illustrates play that could be interpreted as the overflow of surplus energy. This play is the very concept that can bridge the gap in the form-function formula of modern architecture. Aalto's play idea seemed to basically originate from his personality but its value must be confirmed by the Finnish litterateur Yrjo Hirn as Aalto mentioned in his statements (1953 & 1972). It appears that Aalto's play concept was materialised in architecture through his typical design language, such as the undulating wall, the aperspective space, the imitation of nature and the collage of heterogenous elements. However, we should be careful not to reductively analyse the application of play in practise. As Huizinga's comprehensive theory suggests, the play element exists in any cultural areas including any architectural activities. In conclusion, this paper argues that Alvar Aalto the Homo Ludens presented the possibility of critical rationalism in modern architecture by imbuing dry modernism with "the life enhancing charm" of "the art of play".

• Management Science and Financial Engineering
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• v.17 no.2
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• pp.99-129
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• 2011

This paper analytically studies how to choose hedging instrument for firms with steady operating cash flows from value maximization perspective. I derive a formula to determine option's optimal strike that makes hedged cash flow have the best monetary payoff given a hedger's view on the underlying asset. I find that not only the expected mean but also the expected standard deviation of the underlying asset in relation to the forward price and the implied volatility play a crucial role in making optimal hedging decision. Higher moments play a certain part in hedging decision but to a lesser degree.

• (The) Research of the performance art and culture
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• no.38
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• pp.111-142
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• 2019

Saeteo-gaeulgut-nori(Play) is derived from the fact that the folk song that was played when harvesting in the Shinhori (aka Satter) in Chongdong, Miryang City was associated with the play and played a sacrificial feast at the end of autumn threshing. Saeteo-gaeulgut-nori(Play) consists largely of three chambers. The first one is the entrance gut, 2) the second one is SeonghwangGosa(城隍告祀), 3) the sound of bench threshing(空床 打作), 4) the harvesting chapter 5) the dry grass threshin, 6) the wooden millstone play, and the third one is 7) Pan-gut. Milyang has developed a sense of agriculture to the extent that both the Sangwon play and the Jungwon play are designated as intangible cultural properties. Especially, since the tradition of the House of Representatives is weak nationwide, the status of Milyang Saeteo-gaeulgut-nori(Play) has a very important value. The overall sound of the autumn good play is that the characteristics of Gyeongsang Folk Song are rooted in the structure of the menaritri, It has the characteristics of folk songs well.

• Journal of the Korean housing association
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• v.13 no.2
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• pp.47-53
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• 2002

The purposes of this study actually measure to the dimension and the quality of material play equipment's examine whether they meet safety standards or not, and intend to offer basic data to present proper safety standards concerning the dimension of play equipment in the end. The subjects for this study were 59 outdoor playgrounds, 30 among them located in apartment sites and the remainder did in residential districts. The time of actual measurement was in June 1999, and June 2000. Data were analyzed into frequency, percentage, mean, and standard deviation by using SPSSWIN program. The main results were as follows.: First, more than half of playgrounds were assessed for being traffic hazards due to the adjacent streets. And they were hardly equipped with the toilet and drinking water facilities, but were almost equipped with the shade of a tree and benches. Second, it was caused in inconvenience of children's use and difficulty of play equipments'management, since the quality of play equipments materials was consisted of wood or metal. Third, the standards for swing and slide were established in detail and actual measurement's results were suitable to standards'value as well, whereas the standards for seesaw and climber were not in detail and they did not design or install suitably.

• Journal of Digital Convergence
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• v.17 no.4
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• pp.19-27
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• 2019

The purpose of this study is to develop play education programs based on the instructional systems development (ISD). To achieve the goal, play education programs for elementary school students were developed based on the ADDIE model. Internal researchers, teaching design experts, and subject matter expert reviewed, modified, and developed play and education programs having three modules: design and scheduling, making a model, and preparing an exhibition. Students set up a program to realize the play space they want through collaboration with their peers. The program was applied to fifth grade elementary school students in Chungju for verification of the play and education program. At the end of the play education program, the FGI was conducted on 13 students to measure the overall value of the play education program, including its sustainability. Through these processes, we drew the effects and implications of the play education program and presented future research directions of play education and projects for elementary school students.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.31-44
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• 2014

The purpose of this study was to identify the characteristics of stage costumes of a children's play and to creatively design them for the play, 'The Nutcracker', in an attempt to expand the means of expressing designs for stage costumes for children's plays. The Nutcracker, a play written by the German author, E. T. A. Hoffman in 1816, is better known today through its ballet adaptation by Tchaikovsky, and various versions have been presented by ballet companies and drama producers. The characteristics of the stage costume in a children's play are visual artistry, decoration, activity, and visual attention. The costume shows visual artistry because stage costumes with high artistry can increase the elements of fantasy and visual satisfaction in a play for children. The various decorative elements in stage costumes can help capture the attention of children and enhance their interest in the play. As dynamic movement and lines are often used to prevent children from becoming bored, activity must be taken into account when designing stage costumes. Visual attention is required to help children become better immersed in a play, and color selections for the stage costumes need to be emphasized. Thirteen characters were selected to develop a total of 13 pieces of stage costume in a standard size for a 9-year-old child. The design was focused on enhancing the fantastic elements and the entertainment value, and diversified surface decoration techniques were applied to the costume to draw the attention of children and express the formative beauty.

• (The) Research of the performance art and culture
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• no.40
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• pp.163-192
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• 2020

Sinjungsin Mask Play, one of Ttangseolbeop, is related to Seongjusin's life story. Sinjungsin Mask Play is a reconstruction of the story of the folk gods Seongjusin met while returning home. Seongjusin's life story proceeds in the form of Mask Play, and the monk who leads the sermon plays narration and main roles. Many believers play various roles and musicians. Sinjungsin Mask Play introduces many folk beliefs, sounds for intrigue, and talks. Sinjungsin Mask Play uses the same method of enumeration and repetition as the existing Mask Play. The repetition of a sentence or phrase plays a role in foreseeing the meaning of the context or foretelling the development of the plot to the audience. This repetition is intended to emphasize the situation of the scene and to create rhythm. Since Mask Play was exclusively for the common people, Mask Play actors use the repeating method commonly used in folk songs to form lines. This gives the audience a familiarity, effectively communicating the lines and responding to their tastes. Sinjungsin Mask Play borrowed people's way of playing for the public's mission. It inherits the dramatic forms of traditional traditional plays such as repetition of words or sentences or phrases, codification of words or sentences, borrowing of existing songs, and formal expression units. In addition, through repeated performances, believers can easily and easily learn and understand. This is the dramatic form and characteristics of Sinjungsin Mask Play. Sinjungsin Mask Play was handed down from Faith Communities and was used as a means of folk cultivation to spread illegality. Buddhism externalizes the process of accepting folk beliefs through Mask Play, and in the case of Shinto who participated directly or indirectly, they naturally acquire the belief system of Hwaeom Kyung through play. Sinjungsin Mask Play, one of Ttangseolbeop, can be said to have great value as an ICH, as well as popularization and mission.

• Journal of the Korean Society of Earth Science Education
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• v.7 no.1
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• pp.1-10
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• 2014

The purpose of this study is to introduce the science-play in the regular class, stimulate the student's curiosity, motivate them and take active part in their science class. To make an effective science class, we developed the science-play activity instead of experiments in the text, and applied it to the class. The experimental group has statistically meaningful results in the science process skills, expecially in subordinate elements such as observation, deduction, expectation, data analysis and assumption establishments(p<.01). However, the comparative group has no meaningful results in the science process skills. Though the average value of the science related attitude in the experimental group had only a little increase and had no statistically meaningful results, that in the comparative group has decreased during the same period. As for the experimental group, the science-play activities were repeated and their science related attitude has increased a little. Even though there were no meaningful statistic results(p>.05), the science-play activity was effective in the science related attitude. As a result of this research, it could be said that the science-play activity can improve the student's science process skills and the science related attitude, and the science-play program should be further developed and applied to make easy and effective science classes.

• Communications for Statistical Applications and Methods
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• v.7 no.2
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• pp.475-480
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• 2000

In a game called red and black, you can stake any amount is in your possession. Suppose your goal is 1 and your current fortune is $f$, with 0$p$ and lose your stake with probability, $q$=1-$p$. In this paper, we consider optimum strategies for this game with the value of $p$ less than $^1/_2$ where the house has the advantage over the player, and with the value of $p$ greater than $^1/_2$ where the player has the advantage over the house. The optimum strategy at any $f$ when $p$<$^1/_2$ is to play boldly, which is to bet as much as you can. The optimum strategy when $p$>$^1/_2$ is to bet $f\cdot\alpha$with $\alpha$, a sufficiently small number between 0 and 1.