This study analyzes the effects of the number of angles and bends on resistance in a conductor-embroidered stitch circuit for efficient power transfer through a conductor of wearable energy harvesting to study changes in power lost through connection with actual solar panels. In this study, the angle of the conductive stitch circuit was designed in units of 30°, from 30° to 180°, and the resistance was measured using an analog Discovery 2 device. The measured resistance value was analyzed, and in the section of the angle where the resistance value rapidly changes, it was measured again and analyzed in units of 5°. Following this, from the results of the analysis, the angle at which the tension was applied to the stitch converges was analyzed, and the resistance was measured again by varying the number of bends of the stitch at the given angle. The resistance decreases as the angle of the stitch decreases and the number of bends increases, and the conductor embroidery stitch can reduce the loss of power by 1.61 times relative to general embroidery. These results suggest that the stitching of embroidery has a significant effect on the power transfer in the transmission through the conductors of wearable energy harvesting. These results indicate the need for a follow-up study to develop a conductor circuit design technology that compares and analyzes various types of stitches, such as curved stitches, and the number of conductors, so that wearable energy harvesting can be more efficiently produced and stored.

본 연구의 목적은 생체 신호 측정 압력 및 인장 직물 센서의 전극을 자수 공정을 이용하여 제작할 때 전도사의 필요 물성을 파악하는 것이다. 스마트 웨어러블 제품의 전극을 전도사를 이용한 자수 공정을 통해 전극 및 회로 등을 제작하면 불필요한 재료 손실이 없고 복잡한 전극 모양이나 회로 디자인을 컴퓨터 자수기를 이용하여 추가 공정 없이 제작할 수 있다. 하지만 보통의 전도사는 자수 공정 내의 부하를 못 이기고 사절 현상이 발생하기에 본 연구에서는 silver coated multifilament yarn 3종류의 기계적 물성인 S-S curve, 두께, 꼬임 구조 등을 분석하고 동시에 자수기의 실의 부하를 측정하여 자수 공정 내 전도사의 필요 물성을 분석하였다. 실제 샘플 제작에서 S-S curve의 측정 결과가 가장 낮은 silver coated polyamide/polyester가 아닌 silver coated multifilament의 사절이 발생하였으며 그 차이는 실의 꼬임 구조와 사절이 일어난 부분을 관찰한 결과 수직으로 반복적인 부하가 일어나는 자수 공정에서 꼬임이 풀리면서 사절이 일어나는 것을 알 수 있었다. 추가적으로 압저항 압력/인장 센서를 제작하여 생체 신호 측정용 지표인 gauge factor를 측정하였으며 스마트 웨어러블 제품의 대량 생산화에 중요한 부분인 자수 전극 제작으로의 적용 가능성을 확인하였다.

As biennale exhibitions has been expanded into all of the world since 1990s, these trends of blockbuster exhibitions have caused several problems. For instance, some major curators monopolized most global size exhibitions despite of a variety of cultural and historical backgrounds. Besides, due to a strong connection between these curators and their own artists, the young emerging artists’ opportunities tend to be reduced as a result of the power game. In addition, major curators’ power have influence on the exhibition style as well as on the theme itself. Some artists who did not involved that kind of huge scale exhibitions dispute that the direction of the exhibition is concentrating on the curator’s interest instead of artists or viewers. Although these dissatisfactions could not portray correctly the process of organizing and managing system of a biennale exhibition, those biennale exhibitions held in recent have shown tautologic discourses without any passion and positive attitude direct to the exploitation of our society as a vanguard. In the process of comparing several kinds of biennale exhibitions, I could find that some artists who participated several biennale exhibitions at the same time did not present their creative vision, although the triumph of an exhibition was typically measured by the amount of visitors. Thus, the aim of this article is to prove that the biennale can show us new cultural discourse as well as progressive method of understanding our times. Is biennale producing the real ‘global standard’? If biennale has done it, could this global standard present up-to-date paradigm for the unique exhibition system? Is biennale providing an useful opportunity for the understanding and communicating of contemporary art through the re-contextualization which is pronounced by the publicity of curator and organizing committee? How can we find the distinctive strategy from each biennale exhibition including Venice Biennale? Biennale, as a blockbuster exhibition, always requires a degree of hype, otherwise it would not be a special event and would not attract a big enough audience. It is the actual reason why major biennale exhibitions seem to be similar artistic events. Unfortunately, it seems that the excess of biennale exhibitions might bring about the lack of contents. In this case, the biennale syndrome would being a kind of the center of poverty, in spite of the visual splendor. After all, following the global standard may not be a matter of great importance now. What really matters is how each biennale exhibition which started under the different conditions can search their own identity.