• Journal of Korea Game Society
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• v.11 no.2
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• pp.29-37
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• 2011

As a field in Digital Arts, interactive video introduced the mirror metaphor to the foundation of media, given its characteristic as a medium that extracts an audience image in a particular perspective. The interactive video work introduced in this paper addresses conceptual topics in the extension of Zhuangzi's Butterfly Dream and illustrates the technological approaches that employ an intensity-based computer vision processing in order to obtain the silhouette of audience for multiple graphical butterflies to draw an audience image. Users generate narratives in the interaction with the projected image. Sound is used in order for the system to provide augmented perception in the space and to add more rooms for narratives. The computer vision and the graphics methods introduced in this paper are suggested as tools for interactive video.

• Proceedings of the Korean Information Science Society Conference
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• 2007.10b
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• pp.206-211
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• 2007

현대 그래픽스 장치의 발전은 수년전까지 Pre-Rendered 방식을 사용해서 볼 수 있었던 영상들을 Real-Time Rendering을 통해 실시간으로 인터렉티브하게 제공하고 있다. 이러한 장치의 발전은 게임, 시뮬레이션, 미디어 아트 등의 많은 분야에서 변화를 불러 일으켰으며, 앞으로도 많은 변화를 촉진시킬 것이다. 이러한 변화 중 하나로 기존까지 실시간으로 영상을 생성하기 힘들었던 분야 중의 하나인 미술 기법들의 실시간 재생이 가능해졌다. 본 논문은 미술 기법 중 판화기법과 탁본기법을 가상의 환경에서 모사할 수 있는 어플리케이션인 Virtual Engraving과 Virtual Frottage를 제안한다. Virtual Engraving은 3차원 공간상의 가상의 물체에 대해 3차원 입출력장치와 Bump Mapping을 이용하여 조각행위에 대한 경험을 사용자에게 제공하며, Virtual Frottage는 탁본의 대상을 영상으로 받아들여 영상 처리 기법과 Pixel Shader를 통한 렌더링을 통하여 사용자에게 흥미로운 프로타주 기법의 경험을 제공한다. 두 어플리케이션 모두 시각적인 정보를 통해 사용자에게 미술 기법의 경험을 제공하며, Virtual Engraving의 경우 3차원 입출력장치를 통해 촉각적인 정보를 제공하였고 Virtual Frottage 역시 촉각 피드백을 제공할 수 있도록 연구 중이다. 이러한 미술 기법의 모사 연구는 사용자에게 보다 더 실감적인 경험뿐만 아니라 실 공간에서는 가능하지 않은 여러 효과를 제공할 수 있다.

• Journal of Practical Engineering Education
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• v.9 no.2
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• pp.99-106
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• 2017

The most important thing in STEAM education is to enhance students' interest and understanding of science and technology. In this paper, we propose basic circuit system design and control method applicable to STEAM fusion education. The circuit system design practice using the breadboard is designated as an essential curriculum in the corresponding department at the high school and college level in the domestic curriculum. However, there is a lack of STEAM convergence implementation examples that can easily understand circuit system design and control methods. Therefore, we proposed and tested a method to implement and control a media art type circuit system.

• Proceedings of the Korea Information Processing Society Conference
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• 2009.11a
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• pp.559-560
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• 2009

네트워크를 이용한 LED 조명의 제어는 최근 IP(Internet Protocol)을 이용한 조명 제어와 융합되어 단순한 디밍(Dimming)제어 뿐만 아니라, 미디어 파사드(Media facade), 카이네틱 아트(Kinetic Art)등의 새로운 조명 분야로 범위가 확대 되고 있다. 본 논문에서는 다양화 되는 네트워크 기반의 제어 방식 중 DMX over IP 에 대하여 멀티케스트-다중화 방식(Multicast & Multiplexing)으로 분석 및 시뮬레이션 하였다. 그 결과 1 만개 이상의 채널 수를 가지는 규모가 큰(large volume) 조명 네트워크 시스템의 경우 채널의 개수 증가가 delay-throughput 에 영향이 적음을 알 수 있다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2022.07a
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• pp.531-534
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• 2022

최근 국악계가 지향하는 국악의 발전 방향은 국악의 대중화 및 현대화에 초점이 맞춰져있다. 이에 국악인들은 창작 국악, 크로스 오버 국악 등의 새로운 국악을 연주하는 공연을 진행해오고 있으나 타 분야의 기술 융합을 통한 국악 관련 콘텐츠 개발의 측면에서 제작된 디지털 콘텐츠들은 두각을 드러내지 못했다. 다수의 선행연구에서는 국악 소재 디지털 콘텐츠에 관한 학술적 연구가 미미하다고 언급하며 이에 대한 연구의 필요성을 강조했다. 이에 따라 본 연구는 국악 소재 디지털 콘텐츠의 특징에 관한 사례연구를 진행했다. 사례조사 범위는 국내 스마트폰 보급이 본격화 된 2009년부터 2022년까지로 설정하여 해당 자료를 수집했다. 본 연구의 분석기준은 사례를 크게 콘텐츠의 기능적 측면과 내용적 측면으로 나누어 국악과의 연계성을 분석하는 데에 집중했다. 연구 결과 팬데믹으로 인한 언택트 형태의 온라인 국악 교육 콘텐츠가 주를 이루었고, 정보 콘텐츠와 교육 콘텐츠의 사례가 모두 이에 해당했다. 공연 콘텐츠는 LED 기술을 사용한 의상을 입은 퍼포먼스형 공연의 형태와 3D 미디어 아트가 주가 되는 음악회의 형태가 있고, 오락 콘텐츠는 리듬 게임과 스토리텔링형 게임으로 나눌 수 있었다. 본 연구는 선행연구에서 언급한 국악 콘텐츠 연구의 한계점을 해소하고자 수집한 자료를 본 연구의 분석 기준에 적용하여 특징을 도출하는 데에 그치지 않고 더 나아가 향후 국악 소재 디지털 콘텐츠가 개발되어야 할 방향을 제안했다는 점에서 연구의 의의를 지닌다. 또한 사례의 연도별 추이를 파악하였으므로 국악을 소재로 한 콘텐츠 제작 사례에 관한 연구를 진행하는 향후 연구자들에게 기초자료로서 도움이 될 것으로 사료된다.

• Journal of Broadcast Engineering
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• v.25 no.4
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• pp.497-506
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• 2020

A chameleonic surface proposed in this study was a pin-art and 3D display device for generating arbitrary shapes. A smooth and continuous surface was formed using slim telescopic actuators and high-elasticity composite material. Realistic 3D shapes were continuously generated by projecting dynamic mapping images on the surface. A slim telescopic actuator was designed to show long strokes and minimize area for staking. A 3D shape was formed by thrusting and extruding the high-elasticity material using multiple telescopic actuators. This structure was advantageous for generating arbitrary continuous surface, projecting dynamic images and lightening weight. Because of real-time synchronization, a distributed controller based on EtherCAT was applied to operate hundreds of telescopic actuators smoothly. Integrated operating software consecutively generated realistic scenes by coordinating extruded shapes and projecting 3D image from multiple projectors. An opera content was optimized for the chameleon surface and showed to an audience in an actual concert.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.3
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• pp.371-381
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• 2017

This paper presents a methodology for creating abstract animation based on the human movement theories originating from the work of dance theorist Rudolf von Laban. Laban Movement Analysis is a method and language for describing, visualizing, interpreting and documenting all varieties of human movement, and Choreutics is based on universal patterns of nature and of human as part of a universal design. Laban defines the space of movements in a profoundly dualistic way. Outwardly, his objective and scientific definitions provide a concrete base for generating human movements in computer graphics in terms of geometric and motion primitives such as points, lines, planes, polygons, linear and nonlinear movements. On the other hand, he also offers a system for understanding the subtle characteristics about the way a movement is dynamically done with respect to inner intention. Laban's interpretations of human motion can be utilized potentially in plastic arts and computer arts. Our work was inspired by those physical and psychological analyses and computer algorithms have been developed for creating abstract animation. We presented our computer animation works entitled "Choreography" in the exhibitions: a special section in "2015 Craft Trend Fair" and "Make Your Movement" held in the Korean Cultural Centre in UK, 2016. In this paper, we describe our ideas and methods for creating abstract object movements based on the Laban's motion representations.

• 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'.

• Archives of design research
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• v.19 no.5 s.67
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• pp.213-222
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• 2006

This paper presents MIDAS (Media Interaction Design Authoring System), an authoring toolkit for designers and artists to develop working prototypes in new interaction design projects. Field research were conducted to identify the requirements and a case study of designing new interactive products was carried out to examine the feasibility of the new tool. MIDAS provides easier ways of integrating hardware and software, to manage a wide range of electric input and output elements and to employ 3D Augmented Reality technology within conventional multimedia authoring tools, such as Director and Flash, which are popularly used by designers. MIDAS was used in case study projects of design education as well as by voluntary designers for evaluation. From the result of case studies, it was found that many design projects were successfully accomplished using MIDAS. Designers who participated in the projects reported that MIDAS not only helped them to concentrate more on ideation but also was very easy to use as they implemented the physical interface concepts without advanced engineering skills. It is expected that MIDAS can also support prototyping in interactive media an, tangible user interface development and related human computer interaction fields.

• Journal of Digital Contents Society
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• v.16 no.5
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• pp.783-793
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• 2015

TV display which existed only in house started to show up out of house around us and now it found naturally its place in everywhere like street, bus, subway and elevator. It is called digital signage which showed up through digitalization of sign, that is, sign board and bulletin board. The distinction of digital sign from existing signs is that the latter one should go through physical process like removal after installation every time its contents are changed but the former one can produce its various outputs flexibly once it is installed. Also existing sign may be static image or 2 or 3 pieces of image to express simple motion while digital sign can contain multi media contents luxurious in design and motion. This paper confined the range of contents in digital signage in bus and subway. It needs to analyze characteristics of mass transportation-people of use, consumer by place and time, accommodation environment for consumer etc and arrange planned contents along with time and place. Developments of dedicated contents suitable to those digital signages will harmonize with place and time and promote the realm of digital signage which provides variety of experience to consumer and with which communication is possible and which is distinctive. Furthermore we may expect the birth of smart signage as a new media, in which fun and art are combined.