• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.28 no.6
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• pp.669-676
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• 2010

Visualization requires for effective analysis of the spatial data collected by various sensors. The best way to convey 3D digital spatial information which is modeling of the real world to the users, realistic 3D visualization and display technology. Since most of the display is based on 2D or 2.5D projection to the plane, there is limitation in representing real world in 3D space. In this paper, data from airborne LiDAR for topographic mapping, Flashi-LiDAR as emerging sensor with great potential to 3D data acquisition, and multibeam echo-sounder for underwater measurement, were stereoscopically visualized. 3D monitors are getting popular and could be information media and platform in geoinformatics. Therefore, study on creating 3D stereoscopic contents of spatial information is essential for new technology of stereo viewing systems.

• Cartoon and Animation Studies
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• s.41
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• pp.533-552
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• 2015

The environment of images in VR-based animation is constructed to generate and promote interactivity between the images and the viewer without any physical space like a screen, or a monitor. In this process, the images and the viewer are combined as a complex through the media technology, that is, an interface. And it is far more in the case of the animation consisted of the bio-feedback interface closely connecting with the body of viewer. As a result, the viewer experiences a permeable interaction between ego and images world, namely virtual reality. That is different from the way of seeing and interpreting the images from a distance. So it needs to analyse the perception of viewer in the world of virtual images. This paper examines the complex phenomena of both the VR-based animation and the viewer mediated by the interface in light of Media Aesthetics. Media Aesthetics is effective in analysing the phenomena of VR-based animation, for it is concerned with the perception of viewer mediated by the media technology. The perception in VR-based animation is a full-body immersion, or embodied immersion, and it is different from the contemplative immersion in that it is remediated continuously by the technological apparatus. The viewer as an immersant, especially with a bio-feedback interface, can immediately touch and control the images in VR-based animation. Such an immersion, therefore, is new every single moment. And the world of VR-based animation is ultimately constructed through the viewer's full-body, or embodied immersion crossing between the virtual and the real. So the animation is not interpreted, but embodied. And the meaning of it is constructed and reconstructed by the viewer's embodied immersion as an immersant. Here, a new frame of animation more oriented to the viewer's participation as an full-body immersant can be created.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.101-103
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• 2010

최근 도시의 건축물들은 파사드(Facade) 전면에 디지털 조명을 활용하여 도시의 표정을 빛으로 표현하고 있다. 이러한 표현 방법은 빛을 통한 시각적 만족감 뿐 만 아니라, 파사드를 도시 공간과 소통하는 매개체로써, 사람의 감성과 상호작용을 시도하며 새로운 가능성을 실험 하는 도구로 사용 되고 있다. 하지만 일부 미디어 파사드는 독창적 컨텐츠의 부재와 상업적인 성향만이 강조 되어 이에 따른 부작용이 우려 되고 있다. 이에 본 연구는 공공 미술의 관점으로 미디어 파사드의 특성과 문제점을 고찰하고 분석하여, 공공 미술로서의 미디어 파사드 표현방법을 제시하고자 한다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2021.07a
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• pp.643-644
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• 2021

최근 가상 디지털미디어에 대한 관심이 집중되고 있는 시대적 상황에서 물의 다양한 속성에 관한 시공간적 표현은 동시대 매체 미술에서 중요한 의미를 지닌다. 본 연구는 물의 표면을 경계(boundary)로 그 경계면의 상하 공간, 경계면과의 거리감, 물그림자, 물의 투영성 등을 통한 시공간 표현에 관한 것이다. 대상 작품으로는 빌 비올라의 을 중심으로, 레안드로 에를리치의 설치 작품, 데이비드 호크니의 회화를 사례로 제시한다. 다양한 미술 매체를 통해 변형된 시공간성은 물 표면이라는 매개체와의 관계적 특성 안에서 이미지의 환상성을 부각한다.

• Journal of Industrial Convergence
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• v.18 no.4
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• pp.1-8
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• 2020

The case of Dance Chang-jak-san-shil, a dance performance support project linked to digital media, was analyzed from the perspective of liveness. The purpose was to examine the limitations of the liveness and to suggest ways to overcome them. The research case was focused on the factors of the time and space and audience (the sharing of field and acceptance experience) of the creative production room that supports works based on the creativity of dance performances. As a result, active SNS for accessibility of performing arts, expansion of access to art through the use of teaching media of art education through archiving, multi-dimensional access and provision for inducing audience participation and creative appreciation in one-way digital media transmission, provision of copyright protection devices, and audience to enter offline. As a long-term strategy for the future of the performing arts field, I would like to present the need for a change in the communication with the audience and experimental works that combine art and technology.

• The Journal of Korea Institute of Information, Electronics, and Communication Technology
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• v.15 no.4
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• pp.217-222
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• 2022

Information plays an important role in modern society. Most of the information is processed and moved in the digital space. In cyberspace, confidential communication based on resistance and security is fundamental. It is essential to protect the information sent and received over the network. However, information may be leaked and forged by unauthorized users. The effectiveness of the existing protection system decreases as an innovative technique is applied to identify the communication contents by a third party. Steganography is a technique for inserting secret information into a specific area of a medium. Stegganography and steganalysis techniques are at odds with each other. A new and sophisticatedly implemented system is needed to cope with the advanced steganalysis. To enhance step-by-step diffusion and irregularity, I propose a hybrid implementation technique of image steganography for Hangul messages based on layered encryption and variable ShiftRows. PSNR was calculated to measure the proposed steganography efficiency and performance. Compared to the basic LSB technique, it was shown that the diffusion and randomness can be increased even though the PSNR decreased by 1.45%.

• Journal of Digital Contents Society
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• v.11 no.4
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• pp.503-511
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• 2010

While various artistic trends coexisting in the 20th century, media arts that formed with the medium of a material attempts in various ways to induce the establishment of the artwork through the public communication. The visual arts that use the media satisfy both the artistry and the popularity in the area of popular culture as the form of variable. Moreover, visual arts stimulate a playful sense of human to maximize the public satisfaction that works here. This paper aims to discuss the potentials and the trends in the contemporary art by understanding the conceptual and principle background of the contemporary media art which shows the active employment the playful sense of human nature in the work in order to establish the effective communication with the public. Consequently, as the digital environment and advanced network technology which were thought to be the key elements of the popularization of media art were reached its limit, media artist, Tony oursler's artwork which was created based on human playful nature and interactive artwork that supports the audience to interact with artwork and its space are proven to be the useful devises for the public communication.

• Cartoon and Animation Studies
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• s.49
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• pp.651-676
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• 2017

Shadow images are a representative medium and means of expression for the imagination that exists between consciousness and unconsciousness for thousands of years. Wherever light exists, people create play with their own shadows without special skills, and have made a fantasy at once. Shadow images have long been used as subjects and materials of literacy, art, philosophy, and popular culture. Especially in the field of art, people have been experimenting with visual stimulation through the uniqueness of simple silhouettes images. In the field of animation, it became to be recognized as a form of non - mainstream areas that are difficult to make. However, shadow images have been used more actively in the field of digital arts and media art. In this Environment with technologies, Various formative imaginations are being expressed more with shadow images in a new dimension. This study is to introduce and analyze these trends, the aesthetic transformations and extended methods focusing on digital silhouette animation and recent media art works using shadow images. Screen-based silhouette animation combines digital technology and new approaches that have escaped conventional methods have removed most of the elements that have been considered limitations, and these factors have become a matter of choice for the directors. Especially, in the display environment using various light sources, projection, and camera technology, shadow images were expressed with multiple-layered virtual spaces, and it becomes possible to imagine a new extended imagination. Through the computer vision, it became possible to find new gaze and spatial images and use it more flexibly. These changes have given new possibility to the use shadow images in a different way.

• Proceedings of the Korea Water Resources Association Conference
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• 2008.05a
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• pp.2179-2183
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• 2008

지금까지 분포형 모형 개발에 대한 많은 노력이 있음에도 불구하고 여러 제약사항들에 의해 잠재력을 보여주는 정도로 활용되어 왔으나, 최근 급속도로 발전하는 컴퓨터의 계산능력, DEM 등 디지털정보의 구축이 진행되어 오고 있고, GIS 및 인공위성 영상기법의 발달로 공간적인 비균질성을 고려하여 유출과정에서 운동역학적인 이론을 기반으로 물의 흐름을 수리학적으로 추적해 나가는 물리적기반의 분포형 유출모형의 활용도가 높아지고 있다. 본 모형개발에 있어 이론적 배경이 된 모형은 1998년부터 일본 교토대학 방재연구소 코지리 연구실에서 개발 중인 Hydro-BEAM으로 유역 물순환의 건전성을 평가하기 위하여 장기간의 유역 내 유량, 수질을 시계열 및 공간적으로 파악하여 유역의 영향평가를 위해 개발된 물리적 기반의 격자구조를 가진 분포형 장기유출 모형이다. 유출량 계산은 유역내 수평 유출량산정 모듈로서 평면 분포형의 격자형을, 연직 분포형으로는 $A{\sim}B$층의 수평유출량은 하천으로 유입하고, C층은 하천유량에 영향을 미치지 않는 지하수층으로 가정하는 다층모형을 이용해서 A층, 지표 및 하도흐름은 운동파 법(kinematic wave)으로, $B{\sim}C$층의 유출량은 선형저류법으로 계산하는 모형이다. 본 연구에서는 격자흐름방향을 4방향에서 8방향으로 개선하였고, 모형의 각종 수문매개변수들을 GIS와 연계하여 직접 입력할 수 있도록 하였으며, 물리적기반의 침투과정을 모의할 수 있도록 Green & Ampt모듈을 추가하고, 향후 레이더 강우 및 수치예보강우의 홍수유출예측을 염두에 두고 격자강우량을 활용할 수 있도록 하는 등 홍수유출해석을 위한 분포형 강우-유출모형으로 개선 하였고, 이를 남강댐유역에 적용해 봄으로써 모형의 적용성을 검토해 보고자 하였다. 홍수기동안의 지표흐름과 지표하 흐름의 시간적 변화와 공간적 분포를 모의할 수 있었으며, 전처리과정으로서 ArcGIS 혹은 ArcView등의 GIS 프로그램을 이용하여 모형에 필요한 ASCII형태의 입력 매개 변수 자료들을 가공하였다. 또한 후처리과정으로서 모형의 수행결과인 유역내의 유출량 분포 등을 GIS상에서 나타낼 수 있도록 ASCII형태로 출력하도록 구성하였다. 남강댐유역을 대상으로 유역을 500m의 정방형 격자로 분할하고 수계망을 통하여 유역 출구까지 운동파이론에 의해 추적 계산하였으며, 수문곡선 비교결과 재현성 높은 결과를 보여주었다. 모형의 정확성 및 실용성에 대한 보다 정확한 평가를 위해서는 향후 다양한 강우 사상 혹은 다양한 크기의 유역에 대한 유출량의 재현성 및 매개변수 등에 검증이 이루어져야 할 것이다.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.45-53
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• 2010

This paper has attempted to propose a more progressive direction for U-environmental sculptures in a ubiquitous urban space in terms of usability, service, function and formative characteristics that enhance user satisfaction with these sculptures. For this, Media Pole, a U-environmental sculpture on Gangnam U-Street, has been examined. The results of this study are as follows: First, a study of user satisfaction was planned after establishing levels of satisfaction in terms of service, function and formative characteristics. In terms of satisfaction by the section of Media Pole, the public transportation map was the most influential in service while street culture and beauty of shape were critical in function and formative characteristics, respectively. In the relationship between satisfaction by section and overall satisfaction, furthermore, functional satisfaction had the biggest influence. Therefore, the development of human-centered functional factors which have pleasant and touching stories to facilitate communication with citizens are important in order to develop various Media Pole contents to enhance user satisfaction with the U-environmental sculpture and allow it evolve into a Gangnam landmark Since we are in the initial stage of a U-city, there are many problems that need to be addressed such as a lack of natural beauty, poor material quality of environmental sculptures, absence of storytelling, poor technology, lack of content, poor profitability and lack of means of social communication. In the end, the development of a comfortable, people-friendly space and U-environmental sculptures are needed in consideration of economic, social and cultural aspects instead of focusing on advanced technology only.