Abstract Purpose : The objective of this study was to investigate the influence of higher-order aberrations on contrast visual acuity among young adults. Methods : A total of 29 young adults in their 20s were recruited for this study. Contrast visual acuity and higher-order aberrations were measured. Based on the results of contrast visual acuity, a comparison was made between the higher-order aberrations at 100% and 10% contrast levels. Results : The average refractive error correction among the participants was –3.21±1.57 D. The measured values for higher-order aberrations, including defocus, oblique trefoil, vertical coma, horizontal coma, horizontal trefoil, oblique quadrafoil, spherical aberration, and horizontal quadrafoil were –0.326±0.730, -0.026±0.038, 0.042±0047, 0.023±0.048, 0.003±0.038, 0.000±0.022, 0.073±0.027, and 0008±0020 μm. The average high-contrast visual acuity and low-contrast visual acuity among the participants were 1.114±0.304 and 0.686±0.239 logMAR respectively. The analysis of the relationship between higher-order aberrations and contrast visual acuity revealed no significant correlation at high contrast (100%). However, at low contrast (10%), significant correlations were found between oblique trefoil and spherical aberration (p=0.009, p=0.039). Conclusion : Higher-order aberrations have an impact on contrast visual acuity in young adults. Correcting these higher-order aberrations may improve visual quality.

네팔의 시각 예술은 국가 정치의 중요한 영향을 받고 있는 현실적인 측면을 대표하고 있다. 본 연구의 주요 목적은 국가 정치와 시각 예술 간의 관계를 체계적으로 분석하는 것이다. 예술은 특정 사회의 이념뿐만 아니라 정치 철학과도 깊은 연관 이 있다. 리치비 시대와 말라 시대는 에베레스트 산을 정점으 로 시각 예술을 발전시켰다. 네팔의 예술은 네팔 사회 뿐만 아 니라 중국과 티베트에도 큰 의미를 지니고 있다. 정치 체제와 철학은 그 나라의 예술과 밀접한 관련이 있다. 대부분의 리치 비 왕조는 신에 대한 높은 헌신을 지니며 힌두교를 따르지만 불교도 동등하게 존중한다. 또한 중국과 티베트와의 관계가 긍 정적이다. 이러한 맥락에서 라나 규칙 아래에서의 시각 예술 발전과 라나 규칙의 공헌도 논의된다. 이 논문은 현재의 정치 적 개입과 네팔 시각 예술 분야에 미치는 영향에 대한 분석을 했다. 과거에는 정거 바하두르 라나, 마헨드라 왕, 비렌드라 왕 과 같은 정치적 리더들이 예술 발전을 촉진한 중요한 역할을 한 것으로 나타났다. 본 연구는 사회 변화를 주도하는 예술의 역할에 대한 논의를 포함하며, 정치는 국가 예술과 시각 문화 환경을 조성하는 중요한 요소임을 강조한다. 또한 탑과 시카라 스타일의 건축물은 여전히 네팔 말라 시대와 샤 시대를 대표하 고 있다.

무분별한 산업화로 인한 스카이라인의 무질서, 자연경관 오염 등은 경관의 훼손을 가속화시킨다. 이에 국토의 경관을 보다 효율적으로 관리, 조성 및 복원하기 위하여 현재 환경부에서는 시행되어지 고 있는 개발사업 등을 대상으로 자연 경관 심의지침을 도입하였다. 제도에 입각하여 사업유형을 분류한 후, 정성적 평가를 시행하는 국내 지침 특성 상, 평가자에 의해 결과가 달라져 주관적이며 이는 곧 신뢰성의 문제로 이어진다. 반면 개발 대상지 각각의 평가 인자들을 도출한 후, 정성적, 정량 적 평가를 병행하는 영국의 경관영향평가는 지침의 유연성으로 인해 경관의 특이점을 반영하며 주 관적 관점 또한 최소화되어진다. 본 연구에서는 국내 및 영국의 경관영향평가에 대한 고찰과 영국 노썸버랜드 경관영향평가 사례 분석을 통하여 국내의 경관영향평가의 한계점과 보완 가능성을 제시 하였다. 이는 국내외 경관영향평가에 대한 기초적 연구로, 향후 이어질 경관영향평가의 세부적인 가이드라인 개발 또는 정책 수립에 합리적인 발전 방안 제시에 기여할 수 있을 것으로 예상된다.

This paper attempts to bring the rather dated concept of Cultural Capital (CC) from the sociology literature to luxury retailing; it argues that Visual Merchandise Display (VMD) can enhance the consumers’ intentions to purchase luxury brands but this influence is stronger for consumers with higher CC than for those with lower CC. In particular, we develop a psychometric scale to measure CC and empirically and quantitatively investigate in two experiments the impact of VMD on consumer purchase intentions and the moderating role of CC. Walking first into TK Maxx and then into Harvey Nichols, one could assume that brand perceptions are affected not by the merchandise but rather by the store environment and particularly the way in which the products are visually presented to the consumers. In 2013, Karen Miller announced a substantial remodelling of its stores, including a change in their look to communicate ‘affordable luxury’ (Felsted, 2013). Although the luxury marketers seem to understand the importance of the display in influencing consumer perceptions, academics yet admit to knowing very little about the role of visual merchandising and display on the mechanisms of luxury brand consumption (Joy, Wang, Chan, Sherry, & Cui, 2014). Emerging research in the luxury retailing literature focuses on and explores qualitatively the role of ‘museological’ product presentation techniques in building and sustaining a luxury brand image (Dion & Arnould, 2011; Joy et al., 2014). However, till now, it has not considered that people can differ in their ability (i.e., ‘connoisseurship’) to decode and appreciate such display techniques, which often require substantial investment in fixtures, expensive materials, or complicated designs or architecture. This paper argues that the success of many newly introduced marketing communication techniques, including the tendency of contemporary branding to ‘subtly’ communicate the understated cleverness of a brand, can be subject to the consumers’ level of CC. CC refers to human culture and constitutes an individual characteristic that encompasses consumer’s intangible cultural assets and resources, such as knowledge, personality traits, and values, which manifest via consumers’ lifestyle choices and affect the way they think and act (Bourdieu, 1984; Blackwell, Miniard, & Engel, 2001). We argue that in luxury retailing, where ‘brand museums’ (Hollenbeck, 2008), ‘museological’ product presentation techniques or simply ‘museum like displays’ (Joy et al., 2014) and collaboration with contemporary artists and creative directors (Dion and Arnould, 2011) have been pointed out as new formats of in-store communication, CC can play a crucial role in explaining whether and how much consumers’ purchases can be actually affected. The marketing literature, to date, however, misses a contemporary continuous measure to assess consumers’ CC. In their effort to avoid limitations embedded in prior conceptualisations of CC— which mostly concern its supposed static and inherited nature (McQuarrie, Miller, & Phillips, 2013) —, many studies of consumer behaviour tend to assess CC qualitatively and set criteria to dichotomise a sample into two groups who are somewhat arbitrarily classified as people with either high or low CC; or, they only approximate CC by assessing the participants’ knowledge in a specific field of consumption, which is often a crude proxy for CC and pre-supposes the consumers’ interest-involvement in the investigated field of consumption (McQuarrie et al., 2013). For example, the literature on luxury brands tends to replace CC with fashion knowledge (e.g., Berger & Ward, 2010). Nevertheless, the researchers recognise this replacement as a limitation of their studies and a poor operationalisation of the concept of CC (Berger & Ward, 2010). The present research has three objectives. First, rather than dichotomising people into high and low CC groups, it acknowledges CC as a continuous variable and develops a contemporary psychometric scale to measure the extent to which people within the same culture differ in it. Second, it aims to provide a conceptual framework for understanding a set of mechanisms that explain how consumers’ purchase intentions for a luxury brand can be affected by specific VMD cues which are used for displaying it. Last and more importantly, we want to validate the newly introduced scale in a final experiment that tests whether the process whereby VMD indirectly increases the purchase intentions for luxury brands, depends positively on the consumer’s CC. The first study, which incorporates a qualitative inquiry as well as a purification and a validation study and uses multiple samples, succeeds in developing and validating a psychometric CC scale. In the second study, by conducting an experiment, we develop a model which explains how a combination of specific high-image VMD cues that form a museum-like display affects the consumers’ luxury brand purchase intentions by increasing consumers’ perceptions of luxury and by decreasing their perceived personal risk. This study’s model is, then, re-estimated in the final study after introducing into it the measure of CC. In this experiment, the strength of the basic relationships was found to be contingent on CC, suggesting that consumers with higher CC tend to be more strongly influenced by the store environment cues. Although we recognise that for many consumer behaviour studies in the marketing literature, consumers’ knowledge in fashion represents sufficiently well the concept of CC (e.g., Berger & Ward, 2010; McQuarrie et al., 2013; Parmentier, Fischer, & Reuber, 2013), we show that this might not be the case in the context of store atmospherics. In particular, we test the influence of both CC and fashion knowledge by introducing them together into the same model. Interestingly, CC is found to behave differently and to some extent oppositely to fashion knowledge in influencing consumers’ store-induced perceptions and purchase intentions for the luxury brand on display. The identification of specific VMD cues that form what the luxury retailing literature rather vaguely describes as a ‘museological presentation’ and the measurement of their combined effect as a ‘museum-like display’ on the consumer’s perceptions and behavioural intentions can have important implications for both the offline and online retailers. Our findings can also inform the contemporary brand communication methods, such as the brand’s representation in social media (e.g., in pinterest). Moreover, the measurement of consumer’s level of CC can allow brand managers and retailers to identify receptive segments and make more efficient resource commitments to VMD. Investment in VMD elements can then be better matched to the anticipated target market to avoid either over- or under spending on it. Sales forecasts can also become more accurate if CC could be assessed and considered along with the employed in-store and digital product presentation methods.

운전에 필요한 외부 정보를 얻기 위한 감각 중 가장 중요한 감각은 시각으로써, 시각은 운전에 있어서 매우 중요한 역할을 담당하고 있다. 주행 중 충돌사고와 시기능의 관계에 대한 연구는 다양한 방식으로 진행되고 있다. 운전면허 취득을 위해서 필수적인 검사가 시력임에도 불구하고, 저하된 시기능이 사고를 더 일으키는지에 대한 부분은 여전히 논란이 되고 있다. 이 논문에서는 기존에 진행된 연구의 내용을 중심으로 여러 가지 시기능과 운전과의 관계에 있어서 논란이 되고 있는 부분에 대하여 전체적인 개요에 대한 검토를 하였다.

The purpose of this study was to examine whether there were any changes in motor skills, motor knowledge, and participation level in two different groups that were given feedback based on the results of descriptive visual evaluation and through the verbal

A Visual landscape planning and management system has been introduced and implemented by each ministry so as to solve the problems of visual landscape destruction due to recognition on the value of natural landscape of beautiful territory and various development projects. At present, this system emphasizes the importance of the visual and perceptual aspect of the landscape however, there is a lack of techniques required for comprehensively predicting, evaluating, and managing it. Furthermore, sustainable landscape management after the completion of development projects has been inadequately carried out, as the focus has been only on consultation in the planning process of the development project in institutional performance. To this end, we presented objective and standardized criteria to predict and judge the effects of development projects on landscapes before project implementation. During the implementation of the development project, the influence of the visual landscape becomes accumulated in the construction progress stage. There is a need to identify the main viewpoints and to examine the continuous changes in the landscape-influencing factors, owing to the remarkable influences on the landscape, such as the change in the topography and the change caused by the artificial structure. During the stage of managing the influence on the visual landscape after the completion of the project, the influence on landscape should be monitored by measuring the change in the continuous landscape-influencing factors and determining the extent to which the actual reduction plan has been implemented. These processes should be performed continuously to maintain the quality of the visual landscape. The change in the landscape caused by the development project is shown to cause relatively greater visual damage than other factors composing the landscape owing to the influence of the artificial factors including the structure or the building. This shows that not only detailed examination of the visual impact before the development project but also continuous management is required during and after the development project. For this purpose, we derived eight landscape-influencing factors including form/shape, line, color, texture, scale/volume, height, skyline, and landscape control point. The proposed considering to be of high utilization in that it has a clear target of the landscape influencing factors.

While cities became bigger and bigger since 1990s, many indiscretely high buildings started to be built in the mountain areas inside a city and in the rural areas in the suburb of each city. To regulate such indiscrete developments, the government prepared for some relevant legal and institutional criteria by having enacted the “Landscape Act” and established a strong management means in the legal and institutional aspects by having introduced the natural landscape deliberation system and the landscape deliberation one into the “Natural Environment Conservation Act.” However, since some uniform levels of absolute height and no. of stories are suggested legally and institutionally, it is hard to consider the effects of a real building structure onto the relevant landscape. Accordingly, this thesis is intended to grasp the contrast of the landscape elements in the allowable height section, which is presented through landscape sensitivity. As the results from the visual contrast rating on a small apartment complex located in Dangjin and a large scale of apartment complex in Seosan as the apartment complexes surrounded with natural landscapes that were selected as the subjects of this study, the following conclusion can be finalized. First, there were deducted some factors, that is, forms, lines, colors, textures and sizes as the ones with which can measure and evaluate the contrasting properties when a structure gets into a natural landscape. Second, in case of a small scale of apartment complex (in the foreground) compared to a large one (in the foreground), it was found that the contrasting properties were bigger. In addition, it was also found that the contrasting property of the landscape factor of the foreground compared to that of the middle one becomes bigger depending on a distance. Third, as the results from an evaluation on the contrasting properties of the landscape factor depending on the changes of each floor of a structure, it was found that the factors, that is, forms, lines, colors, textures and sizes are very significant. Among those factors, the factors, forms and lines in a small scale of apartment complex (in the foreground) showed each log regression. But in all of the other cases, they showed each line regression. Fourth, as the results from examining the regression coefficients of the landscape factor, the coefficients of the shapes and lines have similar coefficients and the colors and the textures have similar ones, too. In case of the sizes of apartment complexes, the colors and the textures of a large apartment complex (in the foreground) have similar coefficients, in case of that in the middle ground, the shapes and lines have similar coefficients. Fifth, as the results from estimating the contrasting properties of the landscape factor on the floors within the allowed scope of the landscape sensitivity, it was found that the contrasting property was 3.5 to 4.9 in case of a small scale of apartment complex (in the foreground), but 2.5to 3.7 in case of a small scale of one. In case of a large scale of apartment complex, the value was 3.5 to 5.3, but in case of a large one in the middle ground was 2.9 to 4.9. Sixth, it was comprehended that the contrasting properties of the landscape factor become different depending on each size of apartment complex and the distance of a view point. In this study, it is intended to find the meaning from the aspect that the results can be used as the baseline data for comprehending a proper range of heights of structures objectively during a natural landscape deliberation or a landscape deliberation.

In Korea, a regulation of visual impact evaluation on development plan in natural environment is provided at the Natural Environment Conservation Act, but it was difficult to obtained the effectiveness enough to conserve natural landscape. So, the visual impact review on development plan is introduced to the act, through the revision of the Natural Environment Conservation Act in 2005. The basic directions of visual impact review are preservation, restoration, view protection, and harmony. The items of review are as follows; (1) development alternations for the provided plan, (2) executive reduction plan of visual impacts including consideration of growth of plants, (3) deliberation process between persons or parties concerned, etc. For rapid settlement of visual impact review system, it needs that the validity, the reliability, and the objectivity should be confirmed through steady research about reasonable guidance of review.