• Korean Journal of Cognitive Science
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• v.24 no.1
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• pp.49-69
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• 2013

While we interact with other people or objects, the brain continuously updates our own body schema to recognize the agent of observed actions. The Extrastriate Body Area (EBA) provides an initial interface for the sense of agency by integrating visual inputs of body parts with internal signals related to self-generated body movements. Less is known, however, about how the functional use of tools contributes to such processes. Here, we investigated whether tool-specific affordance would differentially affect the neural responses in the EBA depending on the agency of imaginary actions. In each trial we presented a picture of an object in a rectangular frame. Objects were either the tools typically brought towards the body (body tools; e.g., telescope, earphones) or away from the body (world tools; e.g., pen, dice; Rueschemeyer, Pfeiffer, & Bekkering, 2010). Depending on the color of the frame, participants imagined either themselves or the other person using the tool (self vs. other conditions). These four types of trials were randomly intermixed with blank trials. As results, independently localized right EBA regions of interest showed greater activation when participants imagined themselves using body tools than using world tools whereas no such differential activations were found when they imagined the other person using the tools. The postscan test revealed no significant difference in vividness of imagery between the self and other conditions. Our results suggest that the EBA incorporates functional affordance of tools into the body schema in order to enhance the sense of agency and to guide our own actions.

• Cartoon and Animation Studies
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• s.22
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• pp.17-30
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• 2011

This paper analyzes Blood: the Last Vampire (2009) in comparison with the original Blood: the Last Vampire (2000). This digital movie, released in 2009, faithfully re-presents the visual of the original animation using more budget and more developed technology. Though these two movies share very similar visual style, they have slightly different modes of expression that can be easily detected in their opening scenes. The original Blood chooses to tell its story in more indirect way. Some shots are intentionally vague and forcefully separated by black credit screen, leaving audience guessing exactly what happened. The remake version of Blood provides faster, more diverse, and more sophisticated images. It also uses invisible and slick editing, leaving no room to guess. These differences comes mainly from the difference of media. However, since the differences between two movies lie mainly in their narratives, we can ascribe the box office slump of the digital movie version of Blood: the Last Vampire to its narrative flaws. The heroin's inner conflicts were not convincing enough, supporting roles were not probable enough, and the whole story was not unique enough. As a result, the new Blood: the Last Vampire became another bad example that shows the importance of narrative in films.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.125-131
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• 2020

In this study, the author comparatively analyzed the effects and applicability of drifts, one of planting design methods based on the principle of visual harmony, to look into the definition and characteristics in planing techniques with examples of drifts in gardens designed by Gerturde Jekyll and Piet Oudolf. Sites chosen for the case studies included Jekyll's Upton grey and Hestercomb garden and Oudolf's At Scampston Hall and Trentham Estate Garden. The results showed that Jekyll set layers for vertical and horizontal structures by using plants of different height to make flowers look like floating with their stems unseen and appear in turn over time. Assemble planting of groups was used to conceal rigid, irregular lines so that the plants are recognized as mass with smoother horizontal lines. Clearly visible, repeated drifts creates a sense of unity. Oudolf, in combining grass and perennial plants, used one-to-one correspondence or expansion to express drifts. Grass serves roles as a connecting material inserted when changing space or making transitions of images. Blocks in single species are repeatedly crossed to set scenes, and overlapping and mixing makes them more lively.

• Journal of Digital Convergence
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• v.17 no.6
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• pp.373-380
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• 2019

In this study, I examined the visual elements for narrative structure and the symbols, scene components and visual styles in the images through analyze the flat staging in Tomm Moore's animated feature film, . As a research method, I figure out the general theories about staging and analyze extracted scenes which revealed flat staging in the , then summarize and clarify the flat staging production elements and features of Tomm Moore. As a result, in , the composition of the screen using the basic shapes, the screen composition containing the spiral which is symbol of the Celtic traditional pattern, the stable and flat frame expression through the balanced screen composition, expression of spatial sensation using perspective, appearance of the period by using the inverted perspective, and composition that can emphasize the flat formability are appeared as a characteristic. Through this, the two-dimensional planarity was maximized to convey the feeling of appreciating the illustrations of fairy tales. Tomm Moore, who produced animation based on folk tales in order to inherit the traditional culture of Ireland, has been attracting worldwide attention because of its flat staging to help narrative, enhancing the original expression and performance of animation. I hope that this study will be used as basic data for industry workers and researchers who make unique and excellent animated feature film.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.39 no.3
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• pp.141-148
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• 2021

This paper presents a method to detect zebra-crossing using deep learning which combines SegNet and ResNet. For the blind, a safe crossing system is important to know exactly where the zebra-crossings are. Zebra-crossing detection by deep learning can be a good solution to this problem and robotic vision-based assistive technologies sprung up over the past few years, which focused on specific scene objects using monocular detectors. These traditional methods have achieved significant results with relatively long processing times, and enhanced the zebra-crossing perception to a large extent. However, running all detectors jointly incurs a long latency and becomes computationally prohibitive on wearable embedded systems. In this paper, we propose a model for fast and stable segmentation of zebra-crossing from captured images. The model is improved based on a combination of SegNet and ResNet and consists of three steps. First, the input image is subsampled to extract image features and the convolutional neural network of ResNet is modified to make it the new encoder. Second, through the SegNet original up-sampling network, the abstract features are restored to the original image size. Finally, the method classifies all pixels and calculates the accuracy of each pixel. The experimental results prove the efficiency of the modified semantic segmentation algorithm with a relatively high computing speed.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.101-110
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• 2019

Filmic spaces are not only a core expressive factors that can embody both internal and external meanings of films, but also play an important role for initiating dramatic context in terms of narratives. They establish visible environment in which provocative incidents occur and characters' behaviors are induced, include characters' psychology or emotional meanings of narratives and provoke tensions through symbolic meanings and the implicit function of surface background. This paper, therefore, analyzes the film, , by focusing on the dramatic function of narrative space. This film provides insights and thoughts through deep philosophical reflection, by escaping from the convention of such a genre, through deep philosophical reflection, by escaping from the convention of such a genre, though it belongs seemingly to the crime thriller genre using Mexico's drug cartel as it main material. In the film, narrative spaces are responsible for emotions invoking dramatic tensions beyond provocative incidents and the elaborately planned and controlled mise-en-scene absorbed audiences' attention by organizing ultimate suspense. In conclusion, flow and dramatic lingering imagery of this film might be achieved by power of scenes rather than plot factors. This study thus explained the correlation between narrative spaces and dramatic immersion, by analyzing spaces appearing in and visualized construction. It is hoped that this will further extends the pattern of researches on dramatic immersion, which have been primarily focused on plots and characters.

• Journal of Broadcast Engineering
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• v.19 no.6
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• pp.877-895
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• 2014

It is common sense that providing specific odor can increase the video reality when video scene has an object having specific odor. However, people still do not know how to increase video reality and emotional immersion when there is no information on specific odor in the scene. So, present study explores how we improve video reality and immersion when the scene has no concrete odor information from some objects. Especially, this research focuses on diverse previous studies about matching between odor and color and then we expect providing odor can increase video reality if the odor is well-matched with the video's color. To do this, we collected 48 odors and investigated which color was well-matched with each odor. As a result, we get 5 odors which had clearly well-matched colors and decide ill-matched colors of those 5 odors as complementary colors of well-matched colors (Experiment 1). After that, we organize 3 conditions such as coloring image and video clip with well-matched color (color-odor match condition), coloring those with ill-matched color (color-odor mismatch condition), and coloring those with achromatic color by removing color saturation (color-odor neutral condition). Under each of these three conditions, image-odor matching, increment of reality with the odor, increment of immersion with the odor, and odor preference are asked (Experiment 2; 3). The results showed that the scores of all 4 questions in color-odor match condition were higher than color-odor mismatch condition and neutral condition. These results mean that providing matching odor with the scene's color in video is very effective to increase video reality and immersion. We expect experiencing better reality and immersion with olfactory information by adding various future research.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.145-159
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• 2021

is a contemporary experimental film that forms ambiguity in the narrative and the psychological motivation of the characters, destroys linear temporality, and reminds of manipulation possibilities in digital images through varied techniques, and it carries implication by the fact that the transformation process of human subjects and self-awareness are connected to social trauma and makes way to infer by comparing it to the historical contexts of other nations or societies. centers on the space outside the screen, absent space, and the intrinsic meaning within the space and the frame and shares the information in the visible space and the space outside the screen and arouses an active perceptual process so that the audience can deduce the information that is not presented. The film visualized the historical meaning without describing the background of the times in detail and aimed to express the conflicts and worries between the god, a transcendental existence, with humans, which are marginal beings, within the conflicting structure among humans. Moreover, attempted to resolve the sadness of loss and absence through the spatial aesthetics and the film presented the progression of the situation through the contrast of the characters and also the comparison between light and darkness. This study intends to make an attempt of interpreting the realm involving personal (characters) stories and the social and historical backgrounds together with the religious sphere and discuss the visualization of the semantic context. In addition, this study analyzed the sequence of the scenes in , which reconstructs identity and historical cases and religious values to observe the meaning and characteristics and closely analyze the general meaning pursued by the film. discussed the issues of trauma that individuals, regions, and nations confront as a representation and interpretation of the trauma connoted in the film, and consideration can be provided about the implication concerning the situation and context in South Korea. Furthermore, the film placidly discusses the growth and agony in humans and the society without expressing it excessively, so it will be a valuable research result to inspire the trend of creating films that incorporate new imaging technology and original visualization techniques.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• Cartoon and Animation Studies
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• s.36
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• pp.375-391
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• 2014

Animation movie is a non-photorealistic animated art that consists of formative language forming a frame based on a story and cuts describing frames that form the cuts. Therefore, in expressing an image, artistic expression methods and devices for a formative space are should be provided in a frame while cuts have the images between frames faithfully. Short animation movie is produced by various image experiments with unique image expressions rather than narration for expressing subjective discourse of a writer. Therefore, image style that forms unique images and various image directions are important factors. This study compared the experimental image directions of and , both of which showed a production method of film manipulation. First, while uses pixilation that produces images obtained from live images through painting and many optical disclosure process on a cell mat, was made with diverse collage techniques such as tearing, cutting, pasting, and folding hundreds of scenes from action movies. Second, expresses non-causal relationship of characters by their repetitive behaviors and circulatory image structure through a fixed camera angle, resisting typical scene transition. On the other hand, has an advancing structure that progresses antagonistic relationship of characters through diverse camera angles and scene transition of unique images. Third, in terms of editing, uses a long-take short cut technique in which the whole image consists of one short cut, though it seems to be many scenes with the appearance of various characters. On the other hand, maximizes visual fun and commitment by image reconstruction with hundreds of various short cuts. That is, both works have common features of an experimental work that shows expansion of animated image expressions through film manipulation that is different form general animation productions. On top of that, delivers routine life of diverse human beings without clear narration through image of conceptualized spaces. expresses it in a new image space through image reconstruction with collage technique and speedy progress, setting a binary opposition structure.