• Cartoon and Animation Studies
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• s.37
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• pp.509-537
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• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.

• Cartoon and Animation Studies
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• s.33
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• pp.503-529
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• 2013

The commemorative AR postage stamps which are the world first presented at The YEOSU EXPO 2012 has had meaning of communicating with future in this present from a convergence that the most analog medium is using now and that the AR is cutting edge of digital technology. The AR stamps printed 10 kind out of 33 commemorative stamps. These have great significance that is artistic value than that is world first. The applied AR images are not only expressed 3D real images but also artic represented and signifying each stamp images from visualized creativity process, and build 'new art space' that is new concept between on real(analog) and virtual(digital). This study analyzes meaning of images and then makes concept of AR contents design. The processing is designed and considered the meaning of architectures and environments, and the regional specific feature of the Yeosu with surrealistic graphic concept. The 10 of deducted images were expressed after AR coding such as visual arts. This study realized markerless 3D image tracking AR stamps and deducted research result are; the first, it was able to figure out how to realize AR in the process of registering the reference images, coordinating transformation, and hybriding AR on the stamps for the mobile devices. The second, it was able to be seeked a possibility of new virtual exhibition space. The third, it was able to know possibility of satisfaction of immersing with visual formativeness and usability with informativity.

• Journal of the Korean association of regional geographers
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• v.2 no.1
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• pp.39-49
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• 1996

There is a limestone basin surrounded by the mountains consisted of Paleozoic sedimentary and metamorphic rocks in the Masung, Munkyung city, Kyungsangpook do. The purpose of this paper is to elucidate the geomorphic processes of the gentle hillslopes in the marginal piedmont of Masung basin. To do so, I analyzed deposits over hillslopes and the relation ship between the distance from the divide and the height(above sea level) at the longitudinal profile of the hillslope, and considered interrelation between the distributions of the gentle hillslopes(less than 230m) and lithology. Geomorphic processes of Masung basin are as follow: (1) The depth of deposits over hillslope increases toward downstream of the hillslope. Most gravels within deposits, whose lithology is limestone, are those eroded at the boundary(overthrust fault zone) between the back-mountain and the hillslope. Deposits at the outward margin of hillslope is well sorted. and moderately imbricated. (2) Hillslope at the margin of the basin(160-230m asl) is formed by the action of 'the flow with channel'. At the boundary between the soft rock(limestone; basin floor) and hard rock(sedimentary and metamorphic rock; back-mountain), the relatively weak limestone is eroded to fresh bedrock by the subsequent action of the overland flow, and therefore discontinuity in slope appeared. (3) After hills lopes were formed, sediments(boulders and fine material) produced during dissection in back-mountain buried deposits over hillslope. In conclusion, geomorphic processes of Masung basin is 'differential erosion due to differentiation of lithological hardness' having suggested as geomorphic processes of granitic basin. However it is not 'removal of weathering material due to sheetflow' but 'erosion due to the overland flow with channel'.

• Journal of Korean Society of Transportation
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• v.27 no.5
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• pp.97-111
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• 2009

Image-based traffic information collection systems have entered widespread adoption and use in many countries since these systems are not only capable of replacing existing loop-based detectors which have limitations in management and administration, but are also capable of providing and managing a wide variety of traffic related information. In addition, these systems are expanding rapidly in terms of purpose and scope of use. Currently, the utilization of image processing technology in the field of traffic accident management is limited to installing surveillance cameras on locations where traffic accidents are expected to occur and digitalizing of recorded data. Accurately recording the sequence of situations around a traffic accident in a signal intersection and then objectively and clearly analyzing how such accident occurred is more urgent and important than anything else in resolving a traffic accident. Therefore, in this research, we intend to present a technology capable of overcoming problems in which advanced existing technologies exhibited limitations in handling real-time due to large data capacity such as object separation of vehicles and tracking, which pose difficulties due to environmental diversities and changes at a signal intersection with complex traffic situations, as pointed out by many past researches while presenting and implementing an active and environmentally adaptive methodology capable of effectively reducing false detection situations which frequently occur even with the Gaussian complex model analytical method which has been considered the best among well-known environmental obstacle reduction methods. To prove that the technology developed by this research has performance advantage over existing automatic traffic accident recording systems, a test was performed by entering image data from an actually operating crossroad online in real-time. The test results were compared with the performance of other existing technologies.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.11
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• pp.5284-5289
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• 2011

This study focused to evaluate thermal transmittance(U-value) performance of sliding type of aluminum alloy window frame(AAWF) with double glazing(DG) and glazing spacer and that without thermal breaker in winter and summer season by two dimensional steady state heat transfer analysis. The AAWE was installed to an existing educational facilities in Seosan area which is the southern region of the Korean Peninsula. Analysis of 2D steady-state heat transfer was performed through the use of BISCO as calculation and simulation program. U-value and temperature factors were calculated. The results are as followed. First, the isotherm simulation shows that AAWF with double glazing have serious differences from recently proposed window thermal performance standards such as Insulation Performance of Windows and Doors of Building Energy Saving Design Standards and the results of calculation of thermal transmittance performance of AAWF and DG are U=9.631 W/$m^2K$, U=2.382 W/$m^2K$ respectively during winter and summer season. Second, the results of analysis of heat transfer analysis, calculated by simulation, shows that 225% of heat is lost comparing with thermal performance standards U=4.0 W/$m^2K$ of general double glazing among those standards on AAWF without thermal breaker.

• (The) Research of the performance art and culture
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• no.22
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• pp.223-252
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• 2011

If we remember that modern world history has built systems of meaning through the concepts "difference," "different," and "other-ness" and has constructed new identity based on opposing hierarchy, music anthropology which tried to build "difference" between the west and the non-west was thoroughly west -centered, in the sense that it has perceived the heterogeneous symbolic systems among nations, as well as the barrier between the two cultures. On the other hand, world music, which has emerged as the most attractive field in culture industry and concert-art-market by crossing over global capitals, markets, and barriers, can be considered the most post-modernist and glocal. However, it is interesting to note that world music, which has been described as post-modern and glocal, has "difference" and "different" in its basis, just like the precepts for modern music anthropology (Meintjes 1990; Guilbault 1993; Taylor 1997; Frith 2000; Feld 1988). Furthermore, one can understand that the "different" and "difference," generally termed as being "non-western," are fundamentally based on ethnic or national imagination. In this sense it is interesting and important to examine such ethnic imagination in the "non-western ethnic musics" in music anthropology and in world music. Notwithstanding the attention paid and research made by music anthropologists, they have failed to elevate the "non-western ethnic musics" to become universally communicative, and these ethnic musics were reborn as "global" and "world music," through the process of "acculturation," "derivation," and "hybridization," with the west as major site for production and consumption. Meanwhile, the audience for world music, which did not exist before the birth of world music as a term, was now born as world music emerged. They are global populace who consume the musical "difference" and "imagined ethnicity," who through their consumption are constructing new social meanings including ethnicity, race, nation, and class identity. This study, by examining current discourse, performance, and process for the world music through media and field studies and scholarly debates, attempts to understand the production and consumption of "imagined ethnicity." This will also shed light on how "ethnicity" is created and consumed, and how this is involved in the process of world music.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.24 no.4
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• pp.215-228
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• 1991

In the East Sea of Korea the vertical structure functions of the temperature field were evaluated and the characteristic thermal zone was classified by the use of the empirical orthogonal function(EOF) method. The East Sea of Korea within the hydrographic lines of 10-107 of the Fisheries Research and Development Agency of Korea(FRDA) can be divided into three thermal regions by the characteristics of the vertical temperature variability. They are the North Korean Cold Current(NKCC) region near the coast which extends parallel to the north-south direction, the Warm-Core(WC) region which dominates almost all the hydrographic stations of the Line 104 of the FRDA and occupies a few stations of the Line-103 and -105 with its axis at the Line 104, and the East Korea Warm Current(EKWC) region which is bisected into the northern and the southern part by the WC region, respectively. Considering the two most important modes, $85.20-98.20\%$ of the total variance of temperature variation are explained in the NKCC region, $85.20-92.90\%$ in the EKWC region, and$85.50-91.70\%$ in the WC region. The first mode has its peak value at the surface with the annual cycle of variation. The spatial pattern of the first mode portrays a coherent vertical variation in the EKWC region and a clear anti-correlation both in the NKCC region and in the WC region where the zero-crossing depths are loom and 200m, respectively. The second mode of the NKCC region is particularly noticeable, haying its peak at loom with coherent vertical variation. To study the time dependency of the vertical structure functions, the extended EOF(EEOF) method was used. The persistence of the first mode is less than 4 months in the study area. The annual variation of the first mode in the NKCC region is different from those in the WC region and in the EKWC region.