In this work, we present the result of our follow-up observations of SDSS J092741.73+332959.1 and SDSS J130733.49+215636.7 using the 2.35 m Thai National Telescope and ULTRASPEC instrument. Both systems are listed among the recently found white dwarf main sequence binaries from the Sloan Digital Sky Survey. SDSS J092741.73+332959.1 is a new PCEB with a period of 2.3 days, the longest orbital period known to date for white dwarf binaries. SDSS J130733.49+215636.7 is confirmed to be an eclipsing system with a period of 0.21 days from the Catalina Survey's light curve, however the parameters for the white dwarf are still uncertain. Our goal is to determine precise parameters for both systems using the Binary Maker 3 software. The observation for SDSS J0927+3329 was done on 9 January 2014 in the SDSS r' filter while the data for SDSS J1307+2156 were taken in the z' filter on 27 April 2014. Our models show that the red dwarf companions in both systems are well constrained inside their Roche Lobes. We find that the binary M2/M1 ratio in SDSS J0927+3329 is close to 0.5, with white dwarf and M-dwarf temperatures of 12000 K and 3300 K, respectively. Our preliminary result for SDSS J1307+2156 show that this system has an extreme mass ratio of 0.3. The white dwarf in this system has a temperature of 7500 K and the companion star has an effective temperature of 3150 K.

This paper examines the effects of a story-writing class and a digital story-game class for primary school students at an after-school English program. To compare the effectiveness of a story-game p(23 students) and a story-writing class (22 students), this study used preand post- English achievement tests. This study also administrated a survey on students’ attitude towards their learning, and interviewed students as well as teachers. The results showed the two classes improved the students’ English ability in terms of reading, listening, writing and vocabulary over the 16 weeks. However, there were big differences between listening skills and writing skills between the two classes. The students in the story-game class showed a big improvement in listening skills. The students in the story-writing class were highly motivated by writing English stories in a group. Based on the results of the two classes, this paper discusses the factors that lead to an effective class with English story-based language learning. By exploring these elements, this paper suggests the educational implications for those who want to develop and implement a digital story-based language learning program for primary school students.

디지털 기술의 발전은 내러티브 영상콘텐츠에도 많은 영향을 미치고 있다. 디지털 영상이미지가 현실과 맺는 관계의 변화나 수용자의 문화인터페이스 변화는 텔레비전 내러티브 콘텐츠 구성 및 영상스타일 전략에도 변화를 요구한다. 하지만 디지털 합성 기술의 발전과 그 기술의 가능성에도 불구하고 디지털 내러티브 콘텐츠는 지각적 리얼리즘을 지향하면서 여전히 사진 사실주의를 완성하려는 영상이미지를 보여준다. 그렇다고 이러한 디지털 시대의 영상이 올드미디어 시대와 동일한 함의를 갖는 것은 아니다. 본고에서는 뉴미디어 환경에서 텔레비전 내러티브 콘텐츠의 영상 특징의 일단을 이해하기 위하여 SBS <별에서 온 그대>라는 드라마를 예시로 고찰한다. <별에서 온 그대>의 에필로그에서 몇 가지로 양식화되어 형상화된 영상들을 만날 수 있는데, 이들 영상들의 매개 전략은 흥미롭다. 비매개 전략으로 흥미로운 스토리를 담은 환영주의적 내러티브 세계를 구성하면서도 동시에, 불연속적 영상이 매체의 투명성에 반하여 하이퍼매개하면서 디지털 시대의 일반적인 영상 특성을 보여주기 때문이다. 본고는 이 드라마의 에필로그 영상이 비매개와 하이퍼매개 사이를 오가며 주는 영상의 매혹이 무엇인지, 또 이들은 디지털 시대의 영상들의 어떤 특징들을 공유하고 있는지 밝히고 있다.

Technological change leads to a value shift in human society. Various cultural experiences through the digital paradigm influence the expression of fashion. This article considers fashion film as a new form for presenting fashion and explores the distinctiveness of expression in digital fashion film. For the methodology, a literature review was conducted to examine the concepts and features of digital fashion film and metareality. Empirical research was also performed by drawing from Nick Knight’s digital films, “Sans Couture”, “#asif”, and “The Elegant Universe” and by specifically analyzing the classification of the themes, visuals, and auditory expression. The results are as follows. The proliferation of fashion film has accelerated in the internet environment. New media in the digital era allows images to become more realistic and variable through immaterial conversion. Metareality is the notion of a reality beyond existence. A metarealistic image maintains the metaphysical nature of an object and transcends empirical appearance. It possesses immaterial, transboundary, and multidimensional features, and the image is realized by digital technology. The expression analysis identifies the metareality expressed in contemporary fashion film appearing as atypical forms, irrational combinations, and the playfulness of motion. It shows a positive attitude, transcending the immaterial limit of reality toward fashion. This study indicates how fashion as products challenges the metaphysical transformation in the digital era. The exploration of metareality in digital fashion film promotes a wider perspective and understanding of the concept of fashion.

영국은 2014년 저작재산권 제한의 범주를 확 대하는 7가지 개정법을 시행하였는데 그중 사적 이용을 위한 사적복제의 경우에는 국가별로 조금 씩 그 규정과 함의가 다르다. 이번 개정을 통해 영 국은 독일과 일본에 이어 사적복제의 저작권 침해 여부를 결정할 때 원 저작물의 합법성을 전제하고 사적복제물 이용 범위를 복제 행위자에 한정하며 저작물에 적용된 권리보호기술을 우회하는 것은 불법으로 규정하였다. 사적복제의 도입과 동시에 저작권자의 권리를 보호할 수 있는 또 다른 방법 중 하나는 사적복제보상금제도를 도입하는 것인데, 사적복제를 가능케 하는 기기나 매체에 보상 금을 부과하여 저작권자에게 돌려주거나 문화 산 업에 투자하고 있다. 하지만 영국은 이번 개정에서 사적복제를 허용하여 저작재산권 예외 사항을 확대하면서 보상금제도의 도입은 하지 않아 유럽 연합 저작권지침에 어긋난다는 비판이 있다. 관련하여 2015년 6월, 영국 고등 법원이 정당한 보상 체계가 없는 사적복제 허용은 위법이라는 판결을 내며, 그 파장은 더 커질 것으로 예상된다. 우리나 라 역시 사적복제를 허용하고 있으나 사적복제보 상금제도 등을 도입하지는 않았기 때문에 이 사례 에서 고려해야 할 법정 쟁점이 있을 것으로 보인 다. 특히 사적복제 조항에 대해 개정을 고려하며 착안점으로 원 저작물의 합법성에 대한 제한, 사 적복제물의 이용 범위 설정, 원 저작물에 부여되는 보호기술의 우회를 고려하며, 제도적 보완을 위해 사적복제보상금 또한 도입을 검토할 수 있을 것이다.

The rapid development of digital technology makes it possible for fashion to combine new materials and technologies that maximize visual effects. In particular, the development of various fashionable technologies, which advocate a strong experimental nature of forward-looking images, have appeared in various ways by varying costumes with multi-functional concepts which have never seen so far, or interactive fashions. This study identifies formative features and the implicative meaning of inflatable fashion by escaping from traditional methods and function of costumes to analyze various types of inflatable wear that have function and form vary depending on the situation. Since the 1960s, new PVC and polyurethane materials and the development of high-frequency sewing technique enabled the mass production of inflatable products in rides and household goods that produced inflatable costumes to trigger a new visual interest in fashion. Inflatable wear, launched from a space look, has combined with digital technologies since 2000. Inflatable wear, one of various concepts of shifting wear, can transform function and form using a sensor in given circumstances that enable a focus on transformation. Therefore, it has been changed using multi-functionalities that can cope with a varying environment. The first type of inflatable wear, which represents an expansive simple costume image, is expressed as a swollen and expanded type such as part of skirt or jacket or dress. The representative work is ‘Kinship Journeys’ (2003-4 A/W Collection) published by Hussein Chalayan, which expresses the extension of simple forms and the extension of concepts. The second type of inflatable wear is a form conversion by remote control where the form was expanded by air insertion. However, this type has been produced by performance costumes that focus on immediate variability through digital technology. Diana Eng’s ‘Inflatable Dress’ is a work that shows a visual form conversion that highlights soft silk chiffon materials to plastic-looking materials with improvements in a flat silhouette to an extended three-dimensional structure. The third type of inflatable wear is the usage conversion type of multifunction concept. It is expressed by a function shifting design that uses a multipurpose concept through a conversion of usage and form. A sleeping bag, the representative work developed by C.P Company, can be used for multiple purposes such as a parka that wraps the full body or also acts as an up-and-down separable jumper; a sleeping bag form at bedtime and a bag form when moving. An analysis of inflatable wear types showed the following results. First, inflatable wear is an enlarged concept of costume different from traditional conventional costume stereotypes that creates an expanded communication and exchange space to express the garment of wrapping human bodies in liberal and various ways. Second, fashion combined with technology acts as a multifunction that actively introduces mobility and variability in costumes and expands the meaning and concept of fashion. Third, inflatable wear fashion is expressed as a performance arena moving forward from an experimental fashion show form that shows a distinctive difference before and after air insertion. Fashion design is identified as a method to stimulate human emotion and exchange mutual feelings and as a multi-purpose device that allows the protection and concealment; consequently, it is the best method to create visual stories that express the socio-cultural trends and conditions.

In the age of hybrid, the fashion industry has created multiple patterns of hybrid fashion due to mixed styles and genres. Fashion mixed with tradition and future and various cultures is emerging as a trend so that Asian cultures are reinterpreted in a modern way(Samsung Design Net. 2014). Korean images also change every year into a new type of cultural hybrid. This study aims to present esthetic and trendy hybrid outer wear designs applicable to the fusion of tradition and present and the west and the east as well as diverse life styles for the major target of consumption, the senior generation with young sense. This study conducted both theoretical and empirical study. The theoretical study looked into the characteristics of digital fashion illustrations using Sumuk technique and of senior outer wear through the precedent study and literature. In the empirical study, fashion illustrations were made according to the characteristics of digital fashion illustrations with Sumuk technique, and then fabric was made through digital printing. By doing so, hybrid outer wear designs for the senior generation were developed based on the characteristics of senior outer wear, and the real artwork was made. The findings are as follows. First, the characteristics of digital fashion illustrations using Sumuk technique are the hybrid expression where the spirit of inner feeling of oriental thinking, implications of symbolism and metaphor through blanks and lines, and fortuity of ink blurs and lines are recreated in a modern way through digital fashion illustration characteristics such as hybridity of multi-cultures and heterogeneous factors, expandability of blurring boundary, human-oriented playfulness, and sensibility of inner expression. Second, outer wear for the senior generation puts the most emphasis on aesthetic factors including designs, styles, youth, and complement of figure, followed by symbolism such as convenience of dressing or undressing, comfort, functionality of flexible size, trend, express of individuality, and dignity. In addition, this generation prefers outdoor wear for social, cultural, and casual activities and demand hybrid city wear designs adding the characteristics of outdoor wear that is highly worn for various city life styles. Third, the design motifs of fabric made by digital printing of Sumuk technique-based digital fashion illustrations include traditional ornaments of Joseon Dynasty such as norigae(Korean traditional ornaments worn by women), binyeo(Korean traditional ornamental hairpin), and ddeoljam(ornamental hairpin), mix traditional and Korean spirit with modern sensibility, and connote esthetic beauty of ornamental effects for women’s beauty and symbolism of lucky signs and wishes. Fourth, senior outer wear was designed using the made fabric. Work 1 arranged prints with the motif of traditional norigae in a spaced pattern. Hybrid outer was designed with comfortable, light, and reversible functions by using A line silhouette considering the senior generation’s figure, single buttons for easy clothing change, and outdoor wear materials and highlighted the utilization of city wear. Work 2 used border pattern of fashion illustration prints that use binyeo as its motif, and it was designed for social and cultural life styles with the fusion of tradition, which uses tent silhouette durumagi(traditional Korean outer coat) and composition lines that are plane and straight lines, and modernism. It highlighted functionality by using zippers and single buttons for each clothing changing and outdoor materials. Work 3 arranged fashion illustrations made by the motif of ddeoljam in a spaced pattern. This is a balloon silhouette considering the senior generation’s figure and a urban, modern design with unbalanced hem line with asymmetry of light and left. A zipper was attached, and a light and flexible outdoor material was used to emphasize its functionality. Work 1, 2, and 3 made the fabric of cultural hybrid sense using Sumuk technique-based digital fashion illustrations and used the design considering the senior generation’s figure and an outdoor material, and expressed easy clothing change and design of city wear. This is a hybrid senior fashion design expressing the fusion and coexistence of traditional and modern beauty, Korea’s oriental beauty and modern western beauty, and outdoor wear’s functionality and city life styles. This study will contribute to the invigoration of the senior fashion market that is newly emerging and the development of high-value added products as it presents hybrid outer wear adding functionality applicable to various life styles for the senior generation with the young sense.

China has become a key market for the luxury fashion industry. Yet the relationship with the role of digital marketing is still mostly unexplored. The increase of Internet in China has been Impressive. A report from CNNIC (China Internet Network Information Center) indicated that Chinese netizens increased to around 0.632 billion. Internet has a deep impact on people’s life, changing their lifestyles and consuming behaviours. For luxury brands entering Chinese market, the competition becomes fiercer. Despite the traditional marketing model, an increasing number of luxury companies are orienting their strategy towards the blue ocean—on-line market. On-line luxury fashion commerce has become a creative joint of Internet technology and business operations. Despite the fact that the Chinese market is regarded as potentially the fastest growing market for the luxury industry, many challenges exist nowadays since China is a young player in both luxury industry and e-commerce field. Some experts in the field believe that the limitation of customers’ experience is the most essential problem, and some others assert it would be difficult to do on-line marketing for luxury products. Besides, there is still an ongoing debate on the key factors that determine the success of on-line sales in luxury industry. Luxury Fashion customers are mainly composed by elder segment, while luxury consumers are increasingly becoming a younger segment (about under 40 years old) in China. In particular, their consumption concept is very different from that of traditional customers. A survey from McKinsey & Company indicates that there are almost 90% of Chinese Internet users living in tier1, tier2 and tier 3 cities have enrolled in a social-media site. Moreover, Chinese people are regarded as the world’s most active social-media population, around 91% of respondents telling they visited a social-media site in the previous six months, followed by 70% in South Korea, 67% in the United States and 30% in Japan (Chiu, Lin, & Silverman, 2012). This article is based on an exploratory study analysing the current situation of Chinese online market and the online shopping websites. Through interviews with customers who already had online luxury shopping experience and a questionnaire to about 150 potential customers of online luxury shopping websites, this paper tries to identify some of the key factors affecting the purchasing behaviour of Chinese customers of luxury fashion products. Based on the understanding of the current situation and the innovative role played by the digital orientation of purchasing behaviours in luxury, this article will introduce some hypotheses in order to verify the assumptions associated to key challenges and success factors in the Chinese market which can be the reference for luxury companies to fix their on-line marketing – pricing, distribution network, fashion brands variety. The exploratory study in the field has already showed specific results. With respect to pricing strategy for online purchasing, results showed clearly that besides the fact that traditional luxury purchasers are not price-sensitive also in relation to the fact that luxury products high price is a symbol of exclusivity; the modern luxury fashion Chinese customers, mainly composed by people younger than 30-years old, enjoying the wealth accumulated by their parents and other family members, have better education backgrounds which makes them have little conceptions about the purchasing power of currency. Logistics, which contain the products’ packaging, delivery mode and time and comprehensive quality of it appeared to be the one of the most important way to present the e-retailers’ services for online luxury customers. Through customers purchase luxury products online, the majority of them are still expected to enjoy the luxury experience and services just like in the traditional luxury boutiques. Based on the knowledge and the previous studies of luxury consumers and Chinese e-commerce two hypotheses will be proposed and verified in the empirical study. Furthermore, Supply channel for online luxury shopping websites have also shown to be also particularly relevant as the product quality and the modes are the most attractive factor for customers. A qualified supply channel will guarantee the products’ quality and variety for customers. Chinese market has its own characters and Chinese citizen shopping habits are also distinct, obviously, the current situation in China has indicated that luxury brands and e-commerce still in the run-in period. Through there are some successful cases in western countries which can partly provide some key factors for Chinese market, it is impracticable for luxury brands and some retailing websites copy their experience and follow those “rules” in China. It is quite critical for both luxury brands and e-commerce companies recognize the difference existed in this market, understand the real situation and then modify their marketing policies. This study has only analysed some of the key issues affecting the purchasing patterns of luxury fashion customers. Consequently more quantitative and qualitative research in the field that analyses it from different perspectives it is suggested.

The aim of this research is to expand application areas of the advanced manufacturing concept and technology based on combining the traditional weaving techniques with digital forming technology. Through the man-machine interface of traditional weaving techniques of processing machines and craftsmanship complex data visualization and interactive operation, Virtual Reality Technology can realize computer model images, which is a kind of new form of artistic language and the key of VR art presenting its unique advantages. Combined with digital technology, the production of raw materials can generate 2D graphics, and 3D object can also be generated by using rapid solidification laser material preparation and forming technology (3-Dimension Printing). In one word, the traditional weaving techniques of processing machine and craftsmanship realized the complete inheritance. In this paper, main content are 4 parts including the analysis of ethnic traditional weaving technology in southwest areas of China, the usage of fashion digital simulation forming technology, the combination of traditional weaving technology with digital forming technology, and expanding of digital customized technology. We started our research work using grass linen and its weaving machine. In the end, the conclusion of study will be used to build the digital museum online for Southwest Ethnic Traditional Weaving Technology Museum, which is also bridging around world marketing for traditional culture.

We are in the midst of a digital revolution, in which real-time technologies have become disruptive forces shaping the fashion industry, necessitating for a revision and re-conceptualizing of extant fashion theories about diffusion of innovations and dissemination of fashion trends.

Peu de recherches ont été réalisées sur les cours numériques en français. Donc, ce papier a pour but d'examiner les effets de cours numériques offerts dans les classes françaises d'université. Nous avons une expérience d’avoir donné trois types de classes numériques comme la grammaire française, la traduction et l'écoute. Ces trois ont été organisés par une méthode hybride, en ligne et en présentiel pendant un semestre. À partir de cette expérience, nous avons retenu quelques particularités liées aux cours numériques. Il existe quelques points positifs aussi bien que négatifs. Parmi les points positifs, nous pouvons mentionner les possibilités d'inciter les étudiants à développer leurs potentiels et de faire travailler en coopération avec d'autres. Les points négatifs sont liés à l'incapacité de vérifier comment les étudiants travaillent ou s'ils travaillent réellement en ligne. Et le professeur doit être toujours vigilant aux questions posées par les étudiants. Cela donne un fardeau au professeur.

Purpose of this study is to derive the sensitivity keywords of the digital crowd it can be applied to game. Our research is based on Korean emotion-based of culture contents dot com and emotional code of digital crowd in LG Business Insight Weekly focus. We tried to derive the new ways of getting emotional information. We live in an age of cultural changes, we can stimulate emotions of human through this study. We would like to derive the sensitivity keyword. This research could be used for game and digital content creation.

이 논문은 정보통신기술을 중심으로 불교와 영화의 호혜적 발전을 위한 소통 방식에 대해 논의하고 있다. 이를 위해 불교와 영화, 정보통신기술과 영화의 관계에 대한 선행연구들을 검토하고, 영화와 불교의 호혜적 발전이 라는 맥락에서 불교와 영화의 소통 방식을 논의하였다. 선행연구들에 대한 검토 결과 불교와 영화의 관계 방식을‘불교=콘텐츠, 영화=미디어’라는 관점으로 이해하고 있음을 알 수 있었고, 정보통신기술의 발전이 영화의 제작과 유통, 소비에 이르는 모든 과정에 심대한 변화를 초래 했음을 확인하였다. 이어서 디지털시대에 있어서 불교와 영화의 소통 방식을 다음과 같이 제 시하였다. 첫째, 불교문화콘텐츠의 발굴에 더욱 힘쓰고, 이를 활용하기 위해 불교 코드 개발이 필요하다. 둘째, 불교적 이미지와 영화적 상상을 결합해야 한다. 셋째, 불교영화의 안정적인 제작 기반을 마련하기 위해 소셜 펀딩을 활용한 제작비 모금 방식을 도입하고, 불교계의 화주 문화를 새롭게 정립하 는 계기로 삼아야 한다. 또한 소셜 펀딩에 참여한 불자 커뮤니티를 조직화하 고, 마케팅과 홍보를 위해 적극 활용해야 한다. 넷째, 불교텔레비전과 불교 계의 인터넷 TV 및 IPTV, 사찰영화제 등 불교영화가 소비될 수 있는 창구 를 다양화함으로써 수익 창출 기회를 만들어야 한다. 다섯째, UCC와 참여 영상을 통해 불교를 바로 알리고 불교계의 자기성찰을 모색해야 한다. 이와 함께 현재 시점에서 불교계와 불교영화는 영화산업 전체와 마주하기 보다는 소규모의 독립적 불교영화들을 불교계 내부에서 제작하고 유통시키 고 소비하면서 다양한 불교문화콘텐츠를 확보하고, 그 중에서 상업적 성공 을 거둘 수 있는 가능성을 모색해야 한다고 주장하였다. 마지막으로 이 논문이 불교계의 관점에서 불교와 영화의 호혜적 발전방안 을 모색하는 시론적이고 실천적인 연구임을 밝혔다. 특히 제작비 조달과 새 로운 영화 소비 방법의 제시를 통해 영화 제작 과정에서 불교의 새로운 역할 을 제안하고, 영화를 통해 불교계의 자기성찰 가능성을 드러냄으로써 불교 계가 영화를 활용하는 새로운 방법을 모색했다는 점에서 의미를 부여할 수 있다.

본 논문은 디지털 시대의 참여 미술에서 달라진 매체, 주체, 소통의 조건을 분석한다. 1990년대 이후의 미술은 관계 미학과 사회적 작업으로 특징지어진다. 미술은 사람과 사람 간의 소통, 사회 문제에 대한 개입과 참여를 유도하는 보다 민주적인 방향으로 전개되었다. 21세기 들어 디지털 미디어가 미술의 영역에서 더 큰 자리를 차지하게 되었고, 이로 인해 미술작품이 관객들과 맺는 관계에도 변화가 일어났다. 본 논문은 이러한 변화에 대한 관심에서 출발하여 디지털 시대에 참여 미술을 둘러싼 변화와 조건들을 살펴본다. 20세기 초 역사적 아방가르드 이래로 참여미술은 장소와 의미화의 문제에 개입해 왔다. 21세기 디지털화된 미디어 환경으로 매체특정성의 개념이 해체된 이후 제시된 포스트미디엄 조건이 전환을 보인다. 다시 말해, 다양한 미디어를 디지털로 재매개하여 다층적인 감각 경험과 소통을 야기한다. 그 결과 참여 미술이 디지털 미디어의 상호작용성의 미학을 포함하게 되었다.

디지털 기술의 비약적인 발전은 전통적인 문학과 문학연구에 새로운 도전을 제기하고 있다. 그동안 아우라와 상상력이 전통적인 문학과 문학연구의 특권화에 대한 기준이 되어왔으나, 최첨단 컴퓨터 신기술의 발전으로 인해 일반 대중문학과 예술도 보다 높은 차원의 아우라와 상상력을 표현할 수 있는 문화예술 양식으로 발전해왔다. 이에 디지털 시대의 문학연구는 문화연구로의 확장을 포함하는 새로운 형태를 취할 수밖에 없는 상황이다. 근래에 디지털 시대 문학의 존립과 정체성에 대한 논의가 이루어져왔음에도 불구하고, 디지털 시대의 문학과 종교 관련 논의는 미진한 것이 사실이다. 문학이 인간성에 대한 본질적 통찰과 궁극적 구원의 문제를 다룬다는 점에서 종교와 불가분의 관계에 있음에도 불구하고 말이다. 이제는 디지털 시대의 각종 신기술이 문학을 통한 인간의 종교적 상상력을 제한하기보다는 오히려 인간의 궁극적인 종교·철학적 물음에 대한 깊이를 더하고 있다는 점을 인정할 필요가 있다. “디지털 아우라”와 “디지털 상상력”은 인간존재의 근원과 구원의 문제를 보다 효과적으로 다룰 수 있는 무한한 예술적 상상력을 제공하고 있다. 미래의 문학과 종교 연구는 각종 디지털 문학과 예술을 섭렵하고 대중과 소통하는 학제 간 연구로 발전해야 마땅하겠다.

본 논문의 연구주제는 기억의 서사, 즉 구전되어 내려오던 종교 이야기, 특히 성서에 나타나 있지 않은 잃어버린 예수의 30년의 기록 중 그의 탄생 전후 시점을 구전을 바탕으로 쓰여진 외경을 통해 추적하며, 이러한 구전 전통이 오늘날의 디지털 시대에 어떻게 종교예술, 특히 영화로 승화되는지 고찰하는데 있다. 성서에 기록되지 않은 예수의 30년의 행적에 대한 영화는 그리 드물지 않지만, 외경을 통한 디지털 시대 기독교 종교예술을 분석하는 연구는 예가 많지 않다. 인간은 이야기하고 싶어 하는 본능을 가지고 있는 호모 나랜스이기에 성서에 기록되지 않았던 예수의 생애에 대한 기록이 구전을 통해 외경의 형태로 남겨질 수 있었다. 본 논문은 잃어버린 예수의 자취를 추적하는 그 시발점을 마련하는데 그 의의가 있다.

In this paper, we study the calculation for the fracture area of the composite material specimens using digital image processing techniques. This study was able to calculate the area of the fracture region through the main operation step 7 on the basis of improved image. To extract the area in the original image, we have to use opening operation, close operation, the Hit-or-Miss operation and Bottom hat filter, Top hat filter, etc. In particular, to extract the area of the composite specimen discussed in this study, we have to use the combination of the operations and filters because it is non-isotropic material, or should develop a new algorithm based on it.

우리가 접하는 도서, 음반 등 저작물에 대한 권 리관계를 규율하는 기본법은 저작권법이다. 저작권자는 저작권법을 통하여 저작물에 관한 일련의 배타적인 권리를 보장받지만, 이러한 저작권자의 권리를 제한하는 몇 가지 예외의 하나로서 권리소 진의 원칙(principle of exhaustion)을 들 수 있다. 최초판매원칙(first sale doctrine)이라고도 일컬어지는 동 원칙에 의하면, 저작물의 배포에 관하여 저작권자가 갖는 배타적인 권리는 저작물 이 최초로 판매되는 시점에 소진된다. 최초판매원칙이 적용됨에 따라 도서, 음반 등 유형(有形)의 저작물에 대해서는 온라인⋅오프라인 중고시장이 광범위하게 형성되어 있고 그를 통한 재판매가 활 성화 되어 있다. 그런데 컴퓨터 소프트웨어 프로 그램, 음원 파일과 같은 디지털 형태, 즉 유형의 매체를 통하지 않고 거래되는 저작물에 대해서도 동일한 법리의 적용이 가능한지에 관하여 많은 논란이 있어 왔다. 종래 미국의 경우 디지털 저작물의 권리 양도의 성격이 매매인지 또는 라이센스인지에 따라 최초판매원칙의 적용여부를 결정해왔다. 즉, 저작물의 첫 양도가 매매로 인정되는 경우에만 저작권자의 권리 소진을 인정하여 이용자는 그 이후의 재판매를 자유롭게 할 수 있는 반면에, 라이센스 형식으로 양도가 이루어진 경우라면 최초판매원칙 이 적용되지 않으므로 이용자의 재판매는 저작권 자의 권리를 침해하는 것으로 본 것이다. 한편 유럽에서는 2012년 7월 유럽사법재판소에 의해 컴퓨터 소프트웨어 프로그램에 대해 서도 최초판매원칙을 적용할 수 있다는 결정이 내려짐으로써 디지털 저작물에 대한 권리소진의 가능성을 확인하였다. 그런데 2013년 미국에서 는 합법적으로 다운로드 받은 디지털 음원파일 의 재판매를 위한 인터넷 사이트를 운영한 회사 에 대하여 저작권 침해 판결이 내려졌다. 만일 동일한 사건이 유럽사법재판소에 의하여 판단 되었다면 2012년 판결에서처럼 디지털 음원파 일에 대해서도 최초판매원칙이 적용된다고 보 아 저작권 침해가 아닌 것으로 결론이 달라질 여지가 있다. 이렇듯 디지털 저작물의 재판매에 있어 권리소진이론의 실제적인 적용을 인정하여 저작권 침해 여부를 판단함에 대하여 유럽 법원과 미국 법원 간 인식에 큰 차이가 있는 것 으로 보인다. 이러한 미국과 유럽의 논의를 국내에 대입할 경우 현행 저작권법의 규정상 미국 법원의 견해와 결론을 같이 할 것으로 예상된다. 국내 저작권법 규정에 의하면 유형의 매체에 의하지 않고 온라인 상 다운로드 방식으로만 거래되는 디지털 저작물 의 경우에 전송에 해당되므로 최초판매 원칙을 적 용할 수 없기 때문이다. 그러나 유형물에 고정된 형태로 거래되는 저작물을 대상으로 도입된 것이 라는 연원에 매여, 디지털 전송 방식이 보편화되 고 있는 거래환경을 외면한 채 원구매자가 합법적 으로 구매한 디지털 저작물에 대한 동 원칙의 적 용을 부정하여 재판매를 무조건 금지하는 것은 부 당하다. 이는 유럽사법재판소의 결정과 배치되는 것으로 국제적인 조화와도 동떨어지는 결과를 초 래할 것이다. 따라서 디지털 전송 방식으로 이루 어지는 거래에도 적용되는 최초판매원칙을 인정 할 필요가 있다.

The digital technology that has brought about the information revolution acts as the causes of multi-faceted socio-cultural phenomena. The spread of the digital environment and the popularity of the digital devices accelerate the phenomenon or the fusion of culture and technology, and such a phenomenon is no exception in the fashion design. Namely, the combination of fashion design and digital-based technology draws more and more attention; Not only the technology is simply applied to the fashion design, but also it is used as an emotional tool to enhance consumers' satisfaction, while some designs and marketing cases stimulating consumers' emotion are highlighted importantly. This study was aimed at surveying and analyzing the contemporary fashion using the digital technology and thereupon, assessing the characteristics of the emotional representations of technology as well as their aesthetic values. To this end, the theory of ‘science of emotion and sensibility’ was applied to divide the characteristics of emotional technological expressions in the contemporary fashion into immateriality, non-boundary, multi-media and interaction, while the aesthetic values of the emotional technology immanent in the contemporary fashion were categorized into communication & participation, conceptual configuration, physical expansion and variable movement. This study analyzed uses of technology for human emotion and sensibility shown in not only collections but also communication media and exhibition spaces and thereby, suggested the direction for our fashion industry to fulfill consumers' changing needs and advance further.

In this paper, we study the calculation for the fracture area of the tension specimens using digital image processing techniques. This study was able to calculate the area of the fracture region on the basis of improved image. To extract the area in the original image, we have to use opening operation, close operation, the Hit-or-Miss operation and Bottom hat filter, Top hat filter, etc. In particular, to extract the area of the composite specimen discussed in this study, we have to use the combination of the operations and filters because it is non-isotropic material, or should develop a new algorithm based on it.