• Title/Summary/Keyword: 공현존감

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A Study on Comparative Experiment of Hand-based Interface in Immersive Virtua Reality (몰입형 가상현실에서 손 기반 인터페이스의 비교 실험에 관한 연구)

  • Kim, Jinmo
    • Journal of the Korea Computer Graphics Society
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    • v.25 no.2
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    • pp.1-9
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    • 2019
  • This study compares hand-based interfaces to improve a user's virtual reality (VR) presence by enhancing user immersion in VR interactions. To provide an immersive experience, in which users can more directly control the virtual environment and objects within that environment using their hands and, to simultaneously minimize the device burden on users using immersive VR systems, we designed two experimental interfaces (hand motion recognition sensor- and controller-based interactions). Hand motion recognition sensor-based interaction reflects accurate hand movements, direct gestures, and motion representations in the virtual environment, and it does not require using a device in addition to the VR head mounted display (HMD). Controller-based interaction designs a generalized interface that maps the gesture to the controller's key for easy access to the controller provided with the VR HMD. The comparative experiments in this study confirm the convenience and intuitiveness of VR interactions using the user's hand.

A study on the design of a virtual environment for the joint experience of online concert viewers -Focused on viewers' immersion and platform's loyalty- (온라인 콘서트 시청자의 공동 체험을 위한 가상 환경 디자인 연구 -시청자의 몰입감과 향후 사용 의향을 중심으로-)

  • XU, GE;Park, Sujin;Lee, Sangwon
    • Journal of Korea Game Society
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    • v.22 no.1
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    • pp.43-54
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    • 2022
  • COVID-19 provided visitors with new online concerts that gradually increased in many ways. The disadvantage of current online concerts is that cannot make full use of the interaction with others. We hope to provide online concert audiences with the same experience as offline. This study was conducted under the condition that the audience watched online concerts and movies individually or group. Experimental results confirm that watching online concerts collectively will increase the sense of immersion. It can be used as a design guide for the virtual public viewing environment in the future.

Intelligent Equipment Maintenance System based on Augmented Reality (증강현실기반의 지능형 장비정비 시스템)

  • Lee, Doo-Hee;Woo, Chong-Woo
    • Proceedings of the Korea Information Processing Society Conference
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    • 2010.11a
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    • pp.498-501
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    • 2010
  • 현대의 기계기술이 고도화됨에 따라 기존의 시스템과 비교하였을 때, 더 많은 부 시스템들과 연계하여 동작하며, 다양한 센서를 활용하고, 운용의 흐름이 복잡하여 사용자는 시스템의 운용, 정비를 위한 많은 양의 지식을 소화하여야 하며, 작업도중 수시로 크고 작은 실수를 범하게 된다. 이러한 문제점들을 개선하기 위하여 본 연구에서는 기존 장비정비 시스템의 보다 현존감 있는 정비기능을 제공하기 위한 인터페이스로써 증강현실기술을 적용하고자 한다. 본 연구에서는 첫째, 장비정비의 대상이 되는 객체에 3D 가상모델을 합성하고 추가적 정보를 증강하여 사용자에게 작업수행에 대한 예시를 보여줌으로서, 현장에서 실질적인 도움을 받을 수 있게 하였다. 둘째, 장비정비에 대한 도메인 지식을 전문가 시스템으로 구축함으로서, 문제 발생 시 추론을 통한 해결방안을 생성할 수 있고, 이에 대한 세부 작업계획을 생성함으로서 지능적인 정비시스템을 구축하였다.

Performance of State-of-the Art ATSC DTV Receivers for Multipath Fading Environments (최신 ATSC DTV 수신기의 다중 경로 페이팅 환경에서의 수신 성능 평가)

  • Lee, Dong-Hoon;Park, Sung-Woo;Kim, Jung-Jin;Jeong, Jin-Hee;Chang, Yong-Deok;Jeong, Hae-Joo
    • Proceedings of the Korean Society of Broadcast Engineers Conference
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    • 2006.11a
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    • pp.191-195
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    • 2006
  • 국내와 북미 지역에서 ATSC DTV 방송 서비스가 시작된 이래 수신 성능을 개선하기 위한 계속적인 노력이 경주되어 왔다 [1]-[6]. 본 논문에서는 2005 년 8 월 캐나다 CRC (Communications Research Center) 센터의 테스트 결과를 토대로 최신 ATSC 수신기의 성능을 고찰해 보고자 한다 [4]. CRC 테스트는 수신 감도, 다중 경로 환경에서의 수신 성능, 간섭 신호에 대한 강건성 등 다양한 항목에 걸려 실시되었으며, A/74 권고안에 기술된 난시청 지역의 50 개 신호 샘플에 대한 성능 평가를 포함하고 있다. 테스트에 사용된 ATSC 수신기는 당사에서 개발한 최신 칩 (GEMINI)을 탑재한 것으로 파일럿 (pilot) 신호가 손상된 경우에도 안정적인 동기 획득이 가능하며 현존 수신기 중 가장 넓고 강력한 반사파 (ghost) 제거 성능을 보유하고 있다. CRC 테스트 결과와 국내외 필드테스트 결과는 최신 ATSC 수신기가 A/74 권고안뿐만 아니라 각종 성능 지표에서 이전 수신기에 비해 대폭 개선되었음을 확인시켜 준다.

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A Study on the Arrangement of 360 VR Camera for Music Performance Video (음악 공연 영상의 360 VR 카메라 배치에 관한 연구)

  • Nam, SangHun;Kang, DongHyun;Kwon, JoungHuem
    • Journal of Broadcast Engineering
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    • v.25 no.4
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    • pp.518-527
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    • 2020
  • 360 VR technology is used not only in movies, but also in performing arts such as music, theater, dance, and so on due to the characteristics of immersion and presence. The technology allows the audience can be perceived a feel of participation in a story. This study is conducted an analysis of the techniques of 360 video shooting in order to find the answers of the following questionaries: how to make viewers enhance to a better understanding of a space, how to make the viewer feel comfortable ceding control of the experience, how to generate greater empathy with a 360 video. Thirty cases were analysed 360-degree videos of live performances performed on stage among 360-degree images of music performance content shared on Youtube from 2015 to 2020. The result shows that live performances are performed with the audience, so the stage shape and the layout of the audience seats are preferred to the characteristics of the performance. It was also shown that directing using a 360 VR camera was also greatly affected by the stage and audience placement. The stage is manly classified into three types, and the camera layout and characteristics mainly used are organized according to the number of 360 VR cameras, whether fixed or mobile cameras are used.

How do people verify identity in the Metaverse: Through exploring the user's avatar (메타버스 내 아바타 정체성 확인에 영향을 미치는 요인에 관한 연구)

  • Kihyun Kim;Seongwon Lee;Kil-Soo Suh
    • Journal of Intelligence and Information Systems
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    • v.29 no.2
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    • pp.189-217
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    • 2023
  • The metaverse is a virtual world where individuals engage in social, economic, and cultural activities using avatars, which represent an alternate version of oneself within the virtual realm. While the metaverse has garnered global attention recently, research exploring the identity manifested through avatars within the metaverse remains limited. This study investigates the influence of four IT artifact characteristics related to avatar usage in the metaverse-avatar representation, avatar copresence, avatar profiling, and avatar-space interaction-on perceived avatar identity verification. A survey was conducted with 196 experienced users of the Zepeto platform, and hypotheses were tested using structural equation modeling. The analysis results indicate that the use of IT artifacts enabling avatar representation, avatar copresence, and avatar-space interaction has a positive impact on perceived avatar identity verification. This achieved self-verification indirectly influences the satisfaction and subsequent intention to continue using the metaverse. This study contributes to the academic field by empirically verifying the metaverse technological factors that influence the projected identity onto avatars within the metaverse. Furthermore, it is expected to provide effective guidelines for metaverse platform companies in designing and implementing the metaverse.

Design of Immersive Walking Interaction Using Deep Learning for Virtual Reality Experience Environment of Visually Impaired People (시각 장애인 가상현실 체험 환경을 위한 딥러닝을 활용한 몰입형 보행 상호작용 설계)

  • Oh, Jiseok;Bong, Changyun;Kim, Jinmo
    • Journal of the Korea Computer Graphics Society
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    • v.25 no.3
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    • pp.11-20
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    • 2019
  • In this study, a novel virtual reality (VR) experience environment is proposed for enabling walking adaptation of visually impaired people. The core of proposed VR environment is based on immersive walking interactions and deep learning based braille blocks recognition. To provide a realistic walking experience from the perspective of visually impaired people, a tracker-based walking process is designed for determining the walking state by detecting marching in place, and a controller-based VR white cane is developed that serves as the walking assistance tool for visually impaired people. Additionally, a learning model is developed for conducting comprehensive decision-making by recognizing and responding to braille blocks situated on roads that are followed during the course of directions provided by the VR white cane. Based on the same, a VR application comprising an outdoor urban environment is designed for analyzing the VR walking environment experience. An experimental survey and performance analysis were also conducted for the participants. Obtained results corroborate that the proposed VR walking environment provides a presence of high-level walking experience from the perspective of visually impaired people. Furthermore, the results verify that the proposed learning algorithm and process can recognize braille blocks situated on sidewalks and roadways with high accuracy.

Broadening the Understanding of Sixteenth-century Real Scenery Landscape Painting: Gyeongpodae Pavilion and Chongseokjeong Pavilion (16세기(十六世紀) 실경산수화(實景山水畫) 이해의 확장 : <경포대도(鏡浦臺圖)>, <총석정도(叢石亭圖)>를 중심으로)

  • Lee, Soomi
    • MISULJARYO - National Museum of Korea Art Journal
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    • v.96
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    • pp.18-53
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    • 2019
  • The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.