• The Journal of the Korea Contents Association
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• v.6 no.12
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• pp.278-286
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• 2006

The purpose of this study was to investigate factors of film aesthetics, a core of creative power for works, and reference indicators to establish the successful model for works by analyzing Mise-en-scene through case works focused on domestic digital 3D short snimation that has developed consistently in recent years. As to the frame of analysis for Mise-en-scene, this study applied to the concept of triple articulation under discussion in U. Eco's film semiotics, but each factor is semes, figures, and cinemorphes. The case works were focused on by a film director Park Se Jong who was nominated for the Academy Award in 2005, and secured its objectivity.

• The Journal of the Korea Contents Association
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• v.12 no.10
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• pp.35-42
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• 2012

This study will research the possibility about the extension from aesthetic artwork of information visualization to performance area. In information visualization fields, the function of transmitting information is important factor. In addition, the relationship with the audience concerning immersion and interactivity is also significant. Therefore, if an artwork in information visualization can extend to a performance, this study proposes that it is necessary to consider what elements are needed to intensify sensorium for the audience in that artwork. In order to solve that question, this study introduces and analyzes the installation artworks by Ben Rubin and Mark hansen in 2001. From this case study, we suggest three elements-the performing self, the performing interface and the dramatic pattern-to amplify sensorium by hypermediacy for the audience. This research would contribute to the understanding aesthetic artworks based on information visualization in terms of performing arts.

• Proceedings of the Acoustical Society of Korea Conference
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• spring
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• pp.329-332
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• 2000

변수로서 악센트구 내 음절수, 첫째 음절과 둘째 음절의 음절 유형 (폐음절 대 개음절), 첫째 음절과 둘째 음절의 초성 자음의 유형 등을 고려하여 선택된 3음절 무의미 단어 35개와 4음절 무의미 단어 35개를 사용하여 4음절 이상으로 이루어진 서울말 악센트구의 성조에 대 하여 조사하였다. 이 실험의 발화에서는 1) 악센트구성조에 대하여 4음절과 5음절의 차이는 나타나지 않았다. 2) 음절 유형은 첫째 음절의 초성 자음이 보통음일 때는 유의한 영향을 미치지 않았으나, 센소리일 때는 둘째 음절의 유형이 유의한 영향을 미치는 것으로 드러났다 3) 악센트구 성조에 대하여 첫째 음절의 초성 자음의 유형이 중요한 역할을 하는 것으로 나타났다 첫째 음절의 초성 자음이 센소리일 때 악센트구 4개 성조 모두 보통음일 때에 비해 높게 나타났다. 4) 둘째 음절의 초성 자음의 유형도 자신의 성조에 유의한 영향을 끼치는 것으로 드러났으며 센 소리로 시작하는 경우에 다른 유형의 자음에 비하여 자신의 피치 값이 높은 것으로 나타났다.

• Proceedings of the Korea Information Processing Society Conference
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• 2014.04a
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• pp.163-165
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• 2014

클라우드 컴퓨팅 기술의 발전 및 모바일 디바이스의 확산으로 데이터센터의 수요가 폭발적으로 증가하고 있고, 데이터 센터내 트래픽 또한 급증할 것으로 예측된다. 따라서 데이터센터 내에 서버용 확장 할 수 있고, 고장방지에 뛰어난 서버센트릭 네트워크 구조가 수많은 서버를 효율적으로 관리할 수 있는 대안으로 제시되었다. 본 논문에서는 서버센트릭 데이터센터에서 서버 배치를 통한 트래픽의 변화에 대해 분석하고 효율적으로 트래픽을 감소시키기 위한 휴리스틱(Heuristic) 접근방법을 제안한다.

• Journal of dental hygiene science
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• v.11 no.5
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• pp.431-436
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• 2011

The aim of this study was to compare the effects of the short-term use of the desensitizing dentifrices marketed in Korea in vitro. Fifty human dentine specimens were wet ground with silicone carbide paper and etched with 6% citric acid for 90 seconds to allow complete opening of the dentinal tubule. Ten specimens from each group were brushed for 50 and 150 strokes with a V8 Cross Brushing Machine(Sabri Co., U. S. A). All the specimens were evaluated by SEM(${\times}3000$). The degree of occlusion of the dentinal tubules was quantified using an image analyzer. The results were analyzed by one-way ANOVA and Tukey's multiple comparisons using Window SPSS. The dentifrices containing nano-carbonate apatite, potassium nitrate and hydroxyapatite showed significantly higher occlusion effects than the other dentifrices after toothbrushing for 50 strokes(p<0.05). The Sensodyne freshmint$^{(R)}$dentifrice showed 34% fewer open tubular areas compared with the Sensodyne original$^{(R)}$dentifrice for 50 strokes. According to the short-term use of desensitizing dentifrices, the dentifrices containing nano-carbonate apatite, potassium nitrate and hydroxyapatite were most effective in occluding the dentinal tubules.

• Proceedings of the Korea Air Pollution Research Association Conference
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• 2003.05b
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• pp.397-398
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• 2003

대기 중 분진을 제거하는 방식으로 여과 이론을 적용할 수 있는 경우는 섬유 여과기, 입자상 여과기, 액적에 의한 습식 세정기 그리고 기포를 이용한 분진 제거 방법 등을 들 수 있다. 이러한 여과 원리를 이용한 집진 설비를 설계하는데 있어, 액적 또는 기포 주위의 유동장을 정확히 파악하는 것은 매우 중요하다. 특히, 포집구의 크기가 작아지고 화학적으로 반응성을 갖는 고온의 함진가스가 유입되는 경우 및 저압에서 운영되는 경우에 누드센수(Knudsen number)의 영향을 무시할 수 없는데 이러한 영역을 저 누드센 영역(low Kundsen number regime)이라고 한다(Lee et al., 1978). (중략)

• The Magazine for Energy Service Companies
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• s.65
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• pp.42-43
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• 2010

• Korean Architects
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• s.591
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• pp.88-91
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• 2018

• 발명특허
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• v.6 no.12 s.70
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• pp.50-50
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• 1981

• Cartoon and Animation Studies
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• s.11
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• pp.41-53
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• 2007

Due to the development of digital cinema, Animations are no longer a peripheral part of movies and become major role in making films, including live action movies. This kind of change makes the distinctive line between animations and live action movies vague. In order to prevent such side-effect, this study is aimed at building solid territory again between the two by reviewing the difference and, based on it, looking for effective cinematic techniques to produce synthesized and digitalized images. First of all, consideration on mise-en-scene is crucially required to tell this line. The mise-en-scene is a director's own unique style in making films. In other words, it is a symbol expressed by him/her. With the mise-en-scene, competitive directors explore huge possibility of image expression and know how to use it audiences can understand. Therefore, I look into a set of studies on the mise-en-scene and methodological problems because it is thought that the mise-en-scene is an important element to distinguish way of expression in animations, live action movies and digital cinema. In addition, owing to these fundamental differences, both movies have their own limitation on representation even though they imitate it each other. Synthesized images produced by both representation may not overcome that limitation and even worse bring up the lack of expression and the increase on unfamiliarity, which reduce audiences' interest. But ironically speaking, digital cinema accept each representation. And it serves as hindrance to narrative's delivery not to balance each of it. Therefore, digital cinema that integrate animations and live action movies should keep an eye on the overuse of images and pursue balanced mise-en-scene.