http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
한진수(Jin-Soo Han),엄기환(Ki-Hwan Eom),김주웅(Joo-Woong Kim),정성부(Sung-Boo Chung) 대한전자공학회 2016 대한전자공학회 학술대회 Vol.2016 No.11
For the worker safety in a confined space, we propose the smart RFID system that can measure the oxygen concentration in the near and far. The proposed safety system consists of an UHF band RFID tag, a sensor type oxygen indicator, a reader and a server. The sensor type oxygen indicator is oxygen sensor of Zn-MB cell and self-generation type as non-enzymatic, and the RFID tag is passive tag in the UHF band. In order to confirm the usefulness of the proposed system, we performed experiments on oxygen concentration in a confined space for worker safety. In the experiments, the oxygen concentration was confirmed visually by using the indicator in the near, and was measured by using a RFID tag in the far.
한진수(Jin Soo Han) 한국연극학회 2002 한국연극학 Vol.0 No.18
Method Acting, Strasberg`s adaptation of Stanislavski`s theories, is composed of three major parts, which are: Relaxation, Concentration and Sensory exercise. Among them, this paper deals with Sensory exercise and focuses mainly on the practical training process rather than theoretical approach ― searching for its validity for acting education. Sensory exercise is divided into two parts, Sense memory and Affective memory. The purpose of Sense memory is to relive sensations that were experienced through the five senses and fix them in memory. Affective memory, is where emotions are added. It approaches emotion through sensory steps using the five senses. So, Affective memory is based on Sense memory. This paper takes 7 core exercises from Sense memory and discuss them in a concrete way about how they function for actor training. For Affective memory, it tries to explain why it is still controversial in spite of having produced so many fine actors, and then to seek a reason it should be trained. This paper also tries to introduce its training process concretely dividing it into four stages. This paper concludes that Method acting is useful for actor training, in spite of the many faults critics have made. Strasberg emphasizes on an actor`s inner impulse. To be an artist, actors must possess creativity. All actors` instruments are their bodies itself. So an actor`s ability comes not from the outside but within themselves. It is obvious that inner impulse is the core factor, forming