• Journal of the Korea Convergence Society
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• v.11 no.12
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• pp.329-341
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• 2020

As COVID-19 pandemic sweeps across the world, more than 45 million confirmed cases and over 1,000,000 deaths have occurred till now, and this situation is expected to continue for some time. In particular, more than half of the infections in European countries such as Italy and Spain occurred in nursing homes, and it is reported that over 4,000 people died in nursing homes for older adults in the United States. Therefore, the issues that need to be addressed after the COVID-19 crisis include finding a fundamental solution to group care and shifting to family-centered care. More specifically, it is expected that there will be ever more lively discussion on establishing and expanding hyper-technology based community care, that is, family-centered care integrated with ICT and other Industry 4.0 technologies. This poses a challenge of how to combine social security and social welfare with Industry 4.0 in concrete ways that go beyond the abstract suggestions made in the past. A case in point is the proposal involving smart welfare cities. Given this background, the present paper examined the concept, scope, and content of non-face-to-face care in the context of previous literature on the function and scope of the social security platform, and the concept and expandability of the smart welfare city. Implementing a smart city to realize the kind of social security and welfare that our society seeks to provide has significant bearing on the implementation of community care or aging in place. One limitation of this paper, however, is that it does not address concrete measures for implementing non-face-to-face care from the policy and legal/institutional perspectives, and further studies are needed to explore such measures in the future. It is expected that the findings of this paper will provide the future course and vision not only for the smart welfare city but also for the social security and welfare system in administrative, practical, and legislative aspects, and ultimately contribute to improving the quality of human life.

• Cross-Cultural Studies
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• v.40
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• pp.111-131
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• 2015

An unusual success engendering loyalty among cult fans in the United States, Mamoru Oshii's 1995 cyberpunk anime, Ghost in the Shell (GITS) revolves around a female cyborg assassin named Motoko Kusanagi, a.k.a. "the Major." When the news came out last year that Scarlett Johansson was offered 10 million dollars for the role of the Major in the live action remake of GITS, the frustrated fans accused DreamWorks of "whitewashing" the classic Japanimation and turning it into a PG-13 film. While it would be premature to judge a film yet to be released, it appears timely to revisit the core achievement of Oshii's film untranslatable into the Hollywood formula. That is, unlike ultimately heteronormative and humanist sci-fi films produced in Hollywood, such as the Matrix trilogy or Cloud Atlas, GITS defies a Hollywoodization by evoking much bafflement in relation to its queer, posthuman characters and settings. This essay homes in on Major Kusanagi's body in order to update prior criticism from the perspectives of posthumanism and queer theory. If the Major's voluptuous cyborg body has been read as a liberating or as a commodified feminine body, latest critical work of posthumanism and queer theory causes us to move beyond the moralistic binaries of human/non-human and male/female. This deconstruction of binaries leads to a radical rethinking of "reality" and "identity" in an image-saturated, hypermediated age. Viewed from this perspective, Major Kusanagi's body can be better understood less as a reflection of "real" women than as an embodiment of our anxieties on the loss of self and interiority in the SNS-dominated society. As is warned by many posthumanist and queer critics, queer and posthuman components are too often used to reinforce the human. I argue that the Major's hybrid body is neither a mere amalgam of human and machine nor a superficial postmodern blurring of boundaries. Rather, the compelling combination of individuality, animality, and technology embodied in the Major redefines the human as always, already posthuman. This ethical act of revision-its shifting focus from oppressive humanism to a queer coexistence-evinces the lasting power of GITS.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.35-50
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• 2022

The Korean cultural heritage protection act, enacted in 1962, is known to have been enacted in imitation of the Japanese cultural heritage protection act. The Japanese law differs from the current law dealing with intangible cultural heritage, folklore materials, and buried cultural properties. The Japanese law was enacted in consultation with the GHQ, and reflected the historical issues at the time of the enactment. Recently, in Japan, GHQ documents have been released and so research on the cultural heritage protection act is carried out. Therefore, it is necessary to understand the meaning and achievements of the Japanese cultural heritage protection act before comparing it with the Korean law. GHQ stipulated the emperor as a symbolic entity in the Japanese constitution and prescribed the country as a liberal democracy. Influenced by this, the cultural heritage protection act was enacted to identify the people's cultural heritage. Accordingly, the cultural heritage protection committee is a private and independent organization in Japan. The committee designates cultural heritage assets, and it operates as the national museum and the cultural heritage research institute. This system was a part of policy changes shifting cultural heritage management to the private sector. Since many cultural heritages are associated with the imperial family, museums were managed by the imperial family. Meanwhile, the Japanese house of councillors persuaded GHQ, which was negative about including intangible cultural heritage in the cultural heritage protection act. The purpose of this idea was to provide the system of the government support for Japanese imperial court music and dance. In addition, folk materials were included with the consent of the GHQ in that they represent the cultural heritages and the academic achievements of the people at the time in Japan. According to the Korean Law, the subject of designation of cultural heritage is the government, and the cultural heritage committee acts as an advisory body with its limited functions. In the early days, the committee confused the concept of intangible cultural heritage and folklore materials. This was because the concepts of cultural property was borrowed from Japanese law and applied to the Korean law without a full understanding. In response, the cultural heritage committee urged the ministry to investigate the current situation in Japan. The cultural heritage committee, mainly consisting of folklore scholars, was confused about the concepts of intangible cultural heritage and folklore materials, but the concept became clear when the enforcement regulations of the cultural heritage protection Act was enacted in 1964.

• Journal of Korea Entertainment Industry Association
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• v.15 no.6
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• pp.35-54
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• 2021

This study examines the characteristics of CBS's Kim Hyun-Jung's News Show(hearafter News Show) and the change to transmedia. The distinguishing characteristics of News Show compared to radio-based current affairs programs are as follows. First, despite its time limit, it adopts the form of investigative reports or investigative documentaries to uncover the truth of the events through 'Detective Son Su-Ho', etc. Second, News show's interviews have avoided biased stance in the reporting of minority issues by interviewing the affected parties anonymously including people involved in incidents and accidents, bereaved families, and other victims. News Show has been producing a transmedia content called 'That Honey Show' (a show that reads comments as fun as honey) since November 2018. 'That Honey Show' is broadcast in real time on YouTube right after the News Show radio broadcast ends. As a form of spin-off content, 'That Honey Show' breaks down the boundaries among staff, MCs, and guests, as well as shifting roles by using 'vice characters'. The female host, Kim conducts interviews with the main characters related to various issues and extends the fixed identity of current affairs shows to the everyday politics and cultural realms. Thus she draws active participation and responses audience. This paper analyzes two representative broadcast cases of 'That Honey Show'-first, the case of resistance and activity of the BTS fandom ARMY in the US presidential election, and, second, the case of reporting on the Nth room incident. This analysis considers the critical participation of digital citizens and the effect of fostering a sense of community in the current affairs show in the transmedia era.

• Journal of Korea Water Resources Association
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• v.56 no.6
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• pp.403-417
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• 2023

In this research, a methodology was developed for constructing an appropriate rainfall image database for estimating rainfall intensity based on CCTV video. The database was constructed in the Large-Scale Climate Environment Chamber of the Korea Conformity Laboratories, which can control variables with high irregularity and variability in real environments. 1,728 scenarios were designed under five different experimental conditions. 36 scenarios and a total of 97,200 frames were selected. Rain streaks were extracted using the k-nearest neighbor algorithm by calculating the difference between each image and the background. To prevent overfitting, data with pixel values greater than set threshold, compared to the average pixel value for each image, were selected. The area with maximum pixel variability was determined by shifting with every 10 pixels and set as a representative area (180×180) for the original image. After re-transforming to 120×120 size as an input data for convolutional neural networks model, image augmentation was progressed under unified shooting conditions. 92% of the data showed within the 10% absolute range of PBIAS. It is clear that the final results in this study have the potential to enhance the accuracy and efficacy of existing real-world CCTV systems with transfer learning.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.9-54
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• 2019

Since the birth of melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution. The modern melodrama was formed in the period between the end of the 18th century and the start of the 19th century. It was born at the intersectional point of the contradictions of the modern imagination and the political paradox of the French Revolution, which demanded an autonomous citizenship but did not recognize a woman as a citizen. The aesthetic of women's sacrifice and tears reproduced in the modern melodrama is a political aspiration to restore a corrupt society by glamorizing a woman as a moral icon. This was an icon to save a society under divide and crisis and a coordination of emotions to conceal sexist violence in the politics of the exclusion of women. The aesthetic of women's sacrifice and tears reproduced in modern melodrama has consistently been considered under negative evaluation such as a play of moral hypocrisy and vulgar drama. However, the academic interest in melodrama in the 1970s has been amplified due to the "Sirk-melo" which is a transition to the new aesthetic of women's sacrifice and tears, encompassing not only women, but also races and classes. In modern society, entering the era of uncertainty, where various social problems, national disasters, and global disasters have become commonplace, 'the aesthetic of women's sacrifice and tears' are shifting from gender differences to various victim narratives. Reviewing new theoretical trends and changes of recent melodrama as well as analyzing specific works are left as follow-up tasks.Since the birth of the melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is basically necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution.

• Asia Marketing Journal
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• v.15 no.4
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• pp.103-129
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• 2014

Differentiated positioning becomes increasingly difficult when brand salience weakens. Also, the daily increase in new media use and information load has led to a social climate that regards advertising stimuli as spamming. For these reasons, the focus of advertisement-related communication is shifting from persuading consumers through the direct delivery of information to an emphasis on appealing to their emotions using matching stimuli to enhance persuasion effects. Recently, both academia and industry have increasingly shown an interest in storytelling methods that can generate positive emotional responses and attitude changes by arousing consumers' narrative processing. The purpose of storytelling is to elicit consumers' emotional experience to meet the objectives of advertisement producers. Therefore, the most important requirement for storytelling in advertising is that it evokes consumers' sympathy for the main character in the advertisement. This does not involve advertisements directly persuading consumers, but rather, consumers themselves finding an answer through the advertisement's story. Thus, consumers have an indirect experience regarding the product features and usage through empathy with the advertisement's main character. In this study, we took the results of a precedent study as the starting point, according to which consumers' emotional response can be altered depending on the storytelling methods adopted for storytelling ads. Previous studies have reported that drama-type and vignette-type storytelling methods have a considerably different impact on the emotional responses of advertising audiences, due to their different structural characteristics. Thus, this study aims to verify that emotional response aroused by different types of advertisement storytelling (drama ads vs. vignette ads) can be controlled by the socio-psychological gender difference of advertising audiences and that the interaction effects between the socio-psychological gender differences of the audience and the gender stereotype of emotions to which advertisements appeal can exert an influence on emotional responses to types of storytelling in advertising. To achieve this, an experiment was conducted employing a between-group design consisting of 2 (storytelling type: drama ads vs. vignette ads) × 2 (socio-psychological gender of the audience: masculinity vs. femininity) × 2 (advertising appeal emotion type: male stereotype emotion vs. female stereotype emotion). The experiment revealed that the femininity group displayed a strong and consistent empathy for drama ads regardless of whether the ads appealed to masculine or feminine emotions, whereas the masculinity group displayed a stronger empathy for drama ads appealing to the emotional types matching its own gender as well as for vignette ads. The theoretical contribution of this study is significant in that it sheds light on the controllability of the audiences' emotional responses to advertisement storytelling depending on their socio-psychological gender and gender stereotype of emotions appealed to through advertising. Specifically, its considerable practical contribution consists in easing unnecessary creative constraints by comprehensively analyzing essential advertising strategic factors such as the target consumers' gender and the objective of the advertisement, in contrast to the oversimplified view of previous studies that considered emotional responses to storytelling ads were determined by the different types of production techniques used. This study revealed that emotional response to advertisement storytelling varies depending on the target gender of and emotion type appealed to by the advertisement. This suggests that an understanding of the targeted gender is necessary prior to producing an advertisement and that in deciding on an advertisement storytelling type, strategic attention should be directed to the advertisement's appeal concept or emotion type. Thus, it is safe to use drama-type storytelling that expresses masculine emotions (ex. fun, happy, encouraged) when the advertisement target, like Bacchus, includes both men and women. For brands and advertisements targeting only women (ex. female clothes), it is more effective to use a drama-type storytelling method that expresses feminine emotions (lovely, romantic, sad). The drama method can be still more effective than the vignette when women are the main target and a masculine concept-based creative is to be produced. However, when male consumers are targeted and the brand concept or advertisement concept is focused on feminine emotions (ex. romantic), vignette ads can more effectively induce empathy than drama ads.

• Information Systems Review
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• v.25 no.4
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• pp.131-159
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• 2023

Recently, amidst the backdrop of the COVID-19 pandemic shifting towards an endemic phase, there has been a rise in discussions and debates about the future of the metaverse. Simultaneously, major metaverse platforms like Roblox have been launching services integrated with generative AI, and Apple's mixed reality hardware, Vision Pro, has been announced, creating new expectations for the metaverse. In this situation where the outlook for the metaverse is divided, it is crucial to diagnose the metaverse from an ecosystem perspective, examine its key ecological features, driving forces for development, and future possibilities for advancement. This study utilized Wang's (2021) Information Ecology Theory (IET) framework, which is representative of ecosystem research in the field of Information Systems (IS), to derive the Metaverse Industrial Ecosystem (MIE). The analysis revealed that the MIE consists of four main domains: Tech Landscape, Category Ecosystem, Metaverse Platform, and Product/Service Ecosystem. It was found that the MIE exhibits characteristics such as digital connectivity, the integration of real and virtual worlds, value creation capabilities, and value sharing (Web 3.0). Furthermore, the interactions among the domains within the MIE and the four characteristics of the ecosystem were identified as driving forces for the development of the MIE at an ecosystem level. Additionally, the development of the MIE at an ecosystem level was categorized into three distinct stages: Narrow Ecosystem, Expanded Ecosystem, and Everywhere Ecosystem. It is anticipated that future advancements in related technologies and industries, such as robotics, AI, and 6G, will promote the transition from the current Expanded Ecosystem level of the MIE to an Everywhere Ecosystem level, where the connection between the real and virtual worlds is pervasive. This study provides several implications. Firstly, it offers a foundational theory and analytical framework for ecosystem research, addressing a gap in previous metaverse studies. It also presents various research topics within the metaverse domain. Additionally, it establishes an academic foundation that integrates concept definition research and impact studies, which are key areas in metaverse research. Lastly, referring to the developmental stages and conditions proposed in this study, businesses and governments can explore future metaverse markets and related technologies. They can also consider diverse metaverse business strategies. These implications are expected to guide the exploration of the emerging metaverse market and facilitate the evaluation of various metaverse business strategies.

• Korean Journal of Radiology
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• v.2 no.1
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• pp.28-36
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• 2001

Objective: To provide a systematic overview of the effects of various parameters on contrast enhancement within the same population, an animal experiment as well as a computer-aided simulation study was performed. Materials and Methods: In an animal experiment, single-level dynamic CT through the liver was performed at 5-second intervals just after the injection of contrast medium for 3 minutes. Combinations of three different amounts (1, 2, 3 mL/kg), concentrations (150, 200, 300 mgI/mL), and injection rates (0.5, 1, 2 mL/sec) were used. The CT number of the aorta (A), portal vein (P) and liver (L) was measured in each image, and time-attenuation curves for A, P and L were thus obtained. The degree of maximum enhancement (Imax) and time to reach peak enhancement (Tmax) of A, P and L were determined, and times to equilibrium (Teq) were analyzed. In the computed-aided simulation model, a program based on the amount, flow, and diffusion coefficient of body fluid in various compartments of the human body was designed. The input variables were the concentrations, volumes and injection rates of the contrast media used. The program generated the time-attenuation curves of A, P and L, as well as liver-to-hepatocellular carcinoma (HCC) contrast curves. On each curve, we calculated and plotted the optimal temporal window (time period above the lower threshold, which in this experiment was 10 Hounsfield units), the total area under the curve above the lower threshold, and the area within the optimal range. Results: A. Animal Experiment: At a given concentration and injection rate, an increased volume of contrast medium led to increases in Imax A, P and L. In addition, Tmax A, P, L and Teq were prolonged in parallel with increases in injection time The time-attenuation curve shifted upward and to the right. For a given volume and injection rate, an increased concentration of contrast medium increased the degree of aortic, portal and hepatic enhancement, though Tmax A, P and L remained the same. The time-attenuation curve shifted upward. For a given volume and concentration of contrast medium, changes in the injection rate had a prominent effect on aortic enhancement, and that of the portal vein and hepatic parenchyma also showed some increase, though the effect was less prominent. A increased in the rate of contrast injection led to shifting of the time enhancement curve to the left and upward. B. Computer Simulation: At a faster injection rate, there was minimal change in the degree of hepatic attenuation, though the duration of the optimal temporal window decreased. The area between 10 and 30 HU was greatest when contrast media was delivered at a rate of 2 3 mL/sec. Although the total area under the curve increased in proportion to the injection rate, most of this increase was above the upper threshould and thus the temporal window was narrow and the optimal area decreased. Conclusion: Increases in volume, concentration and injection rate all resulted in improved arterial enhancement. If cost was disregarded, increasing the injection volume was the most reliable way of obtaining good quality enhancement. The optimal way of delivering a given amount of contrast medium can be calculated using a computer-based mathematical model.

• Journal of Korean Society of Disaster and Security
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• v.17 no.1
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• pp.9-16
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• 2024

In Korea, as disasters become larger and more complex, there is a trend of shifting from a focus on response and recovery to a focus on prevention and preparedness. In order to prevent and prepare for disasters, each local government manages disaster management resources by stockpiling them. However, although disaster management resources are stored in individual warehouses, they are managed by department rather than by warehouse, resulting in insufficient management of disaster management resources due to the heavy workload of those in charge. In order to intensively manage these disaster management resources, an integrated disaster management resource management center is established and managed at the metropolitan/provincial level. In the case of Gangwon-do, the subject of this study, a warehouse is rented and operated as an integrated disaster management resource management center. When leasing an integrated management center, there is the inconvenience of having to move the location every 1 to 2 years, so it is deemed necessary to build a dedicated facility in an available site. To select a location candidate, network analysis was used to measure access to and use of facilities along interconnected routes of networks such as roads and railways. During network analysis, the Location-Allocation method, which was widely used in the past to determine the location of multiple facilities, was applied. As a result, Hoengseong-gun in Gangwon-do was identified as a suitable candidate site. In addition, if the integrated management center uses our country's logistics system to stockpile disaster management resources, local governments can mobilize disaster management resources in 3 days, and it is said that it takes 3 days to return to normal life after a disaster occurs. Each city's disaster management resource stockpile is 3 days' worth per week, and the integrated management center stores 3 times the maximum of the city's 4-day stockpile.